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Alistair Timmis

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About Alistair Timmis

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  1. Dear all, I wonder if those of you on the forum can assist me with some enquiries, based on the wealth of knowledge, experience or both that I know exists here. Firstly, I regularly play an instrument in an average sized parish church, with a relatively dry acoustic, with the below specification. It has Hill origins of 1859 but is now more recognisably Compton of 1948. Department and Stop list Pedal 1 Bourdon 16 D 2 Dulciana 16 A 3 Flute 8 D 4 Dulciana 8 A 5 Dulcet 4 A 6 Trombone 16 C 7 Clarion 4
  2. John Scott Whiteley for Joseph Jongen, in particular the Sonata Eroica - without doubt.
  3. Malcolm, I would agree with you about some of the repertoire - wouldn't be my first choices either, although I confess to have found some of it really very interesting listening. Reading the programme notes, many of the pieces 'paint' really quite clever images. I had no idea that the organ at Canterbury is as modest as it is, but it is certainly good at what it does. Indeed, John's manner was good, but it isn't really a first for the series. Inevitably throughout it there have been some confident speakers and some less so, and the two John's rank highest for speaking on camera in term
  4. Agreed on all accounts. A wicked sense of humour, one could say!
  5. It was certainly a treat - perhaps the fastest hour I have ever known to pass! The Bach Wedge was great fun - I liked the little disclaimer he put on it before hand, along the lines of it not being a fully authentic performance, fit for 21st Century Bach! I wondered what that would mean when the time came, but thoroughly enjoyed the result. We have greatly enjoyed a couple of other big Bach works this year at York, and this was a fitting end. The Passacaglia was superb - it was the third time I have heard it, and every time it grows on me more. I agree that repeated hearing is perhaps
  6. I also heard it at Ripon - wasn't it splendid? The detailed programme notes John provided were very useful I agree, and gave the piece much depth and feeling. I still have them so will take them along incase they aren't provided at the Minster.
  7. Dear all, Following on from previous discussion relating to the departure of the Organist of York Minster, John Scott Whiteley, I thought it would be of interest to members to note this Saturday as the date of his final recital as the Organist (advertised by the Minster as 'farewell concert'), which also closes the ever popular York Minster summer recital series. The programme is as follows: Allegro (from Symphonie VI, Op.42) Charles-Marie Widor (1844-1937) Passacaglia, Op.17 (2009) John Scott Whiteley (b.1950) Etude (Canon) in E Major, Op.56 Robert Schumann (1810-1856)
  8. All, Interesting points. As MM states, the vastness of the space (if that's a legitimate piece of phrasiology) at York Minster imposes a particular effect upon the sound of the organ, which is very hard to describe concisely. This of course gives it a rather grand and spacious feel, but also creates difficulties for the organ, not only with listening, but as we have heard, in playing as well. Whilst never having played it myself, I hear of the challenges from those who have - and the interesting ways of compromising or overcoming the various issues that are presented. The organ, o
  9. Yes I made this, and it was inspiring. Frankly, I wish/dream/hope/pray (not in that order, mind) to be able to climb the stairs up to that or any console, let alone play a big recital, at well over 90 years of age. I thoroughly enjoyed the music, and to be fair, despite the couple of mis-fired pistons in the final piece (Carillon de Westminster, Vierne), it was the usual inspirational and touching performance from FJ. Year on year, this is a special recital, not least as he must have known the organ since 1929 when he became a chorister at York. Great also to hear the JSW fascinating fact
  10. Francis Jackson is doing a recital in York Minster this Saturday. He has known this organ from the 1930s, and possibly before! His programme can be found at this interesting link, which I found yesterday: http://organrecitalobserver.blogspot.com/ Regards
  11. I THINK this may be the new series of 21st Century Bach. We knew it was coming up, and apparently it was to move away from the BBC.
  12. Thanks for these - the performance in itself was brilliant. A thoroughly enjoyable evening.
  13. Dear All, Tonight at Ripon Cathedral is a one off, and will undoubtedly be spectacular in the Cathedral setting, if not highly unusual and thrilling. Taken from the Cathedral website: THE PHANTOM OF THE OPERA Tuesday 13th July, 7.30 pm International virtusoso DAVID BRIGGS improvises to the 1925 silent film classic. David Briggs is one of the finest improvisers of his generation and renowned for his virtuoso performances accompanying classic silent films. Now he brings his artistry to Ripon, providing music for "The Phantom of the Opera" starring Lon Chaney. For a nig
  14. I also have this CD - it's an unusual and interesting take on the instrument. Personally, I don't like the sound, BUT found it very interesting to learn where all the 'crispness' is going when you're in the nave and it sounds like its playing 10 miles away (straight up the tower)!!! The current organ at York is really designed to face East, and if it wasn't for the Tuba Mirabilis, would be a bit of a flop for big nave services. What would work miracles would be a big glass or perspex screen to be put across the base of the tower itself, at nave roof height, which would direct more of the
  15. Peter, I would like to go to this, but then I saw what was on at Evensong at York and had a fuel/time/musical debate with myself! D'Arcy and his mother are both wonderful characters. His programme looks excellent - enjoy! Best Wishes.
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