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Mander Organs

Martin Kemp

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Everything posted by Martin Kemp

  1. Personally, I think PL's style is extraordinary - he has the ability to conjure that elusive extra-musical atmosphere within the context of the Mass, as did PC. The organ of Notre-Dame is one that has, and will continue to grow and change according to taste and technology of the day (as opposed to St Sulpice and Rouen, say, which are both fabulous monuments to their creator). Had Vierne had funds, the ND orgue would have, possibly, changed more radically than under PC's custodianship, and since - including the addition of an "English" Diapason, with much else, and a multitude of couplers with a new English/American console! I rather like the new console which pays homage to CC with its hints of terracing. I also think the Titulaires are better judges of what is appropriate than ringside commentators!
  2. I notice that Willis Organs are having their open day on Saturday 27th September. Some interesting pictures on their site of the recent Carshalton Job too ... http://www.willis-organs.com/
  3. I count myself as fortunate in being permitted to do this - one of our more tasteful features in liturgical music, potentially, anyway! I believe the practice is now not permitted in the RC church - so, sadly, the Cochereau-type Elevations are a thing of the past.
  4. The Lincoln Willis console is up in the triforium. Not the greatest pic, I'm afraid:
  5. All Hallows' Gospel Oak (1915) has both Octave and Violoncello on the pedal; extensions to Open Wood and Violone, respectively. Nothing above 8' here. It was my understanding that Arthur Hill was the son of Thomas and therefore grandson of William. He took over directorship of the firm in 1893 and continued, following the merger (where the staff of the two firms worked quite separately for some years), until his death in 1923 when the firm was bought by John Christie.
  6. Good to see rubrics such as "The Organist will play ... ".
  7. More to the point, such classical French (manual) reeds were originally designed to sit with the Grand Jeu - with bourdons, prestant, cornets etc. - not mixtures. The manual 'chorus work' was used separately as the Plein Jeu (with ped 8 & 4 reeds for the CF).
  8. Sorry, I hadn't realised you'd got there first. I heard it years ago from an unrelated source ... so it must be true!
  9. I remember hearing of the same organist using the cimbelstern in his interpretation of the fair ground.
  10. I agree with much that has been said above, especially Malcolm's contribution. You could also try playing along with your favourite interpreter(s). Having previously tried this, in preparation for the same exam, the sound one hears rarely tallies with the actual "feel". What is really important IMHO is projecting the sense of the musical argument to the listener, however much stylistic interpretation is added. Ornaments should do what is said on the tin - embellish the argument rather than draw undue attention to themselves. Hope this helps. M
  11. Church of All Hallows, Gospel Oak Savernake Road, London NW3 2JP Winter Organ Festival Thursday, 17 January, 7.00 pm. Colin Walsh Seasonal Music Epiphanie Litaize Noel & Rosace (Esquisses Byzantines) Mulet In Dulci Jubilo BWV 608, Das alte Jahr vergangen ist BWV 614 and In dir ist Freude BWV 616 JS Bach Choral No 1 in E Franck Pastorale, Intermezzo & Exultemus Whitlock Adeste Fidelis (written for Colin Walsh) Langlais Dieu parmi nous Messiaen Programmes £10; Concessions £5.00 Refreshments served In aid of the Organ Restoration Appeal Details at: allhallowsorgan.org.uk/recitals.php
  12. Slightly OT but lovely impro on a theme of Harold Darke from M Lefebvre this evening!
  13. Surely it too had something to do with his amazing ability as an interpreter and improviser!
  14. Church of All Hallows, Gospel Oak Savernake Road, London NW3 2JP Winter Organ Festival Thursday, 13 December, 7.00 pm. Huw Williams Celebratory Music for Advent and Christmas Prelude and Fugue in C Major BWV 547 J.S. Bach Variations on Nun komm der Heiden Heiland Heiller March on ‘Lift up your heads’ Guilmant Andante Sostenuto from Symphonie Gothique Op. 70 Widor Three short pieces on ‘Quem pastores laudavere’ Paulmichl, Willan, Walcha Toccata on ‘God rest ye merry, gentlemen’ Rutter La Nativité Langlais At Christmastide Stanford Cradle Song Hollins Prelude and Fugue in B major Op. 7 No. 1 Dupré Programmes £10; Concessions £5.00 Refreshments served In aid of the Organ Restoration Appeal More at: allhallowsorgan.org.uk/recitals.php
  15. All Hallows', Gospel Oak Savernake Rd, London NW3 June 2nd, 5.10pm Recital for the Queen's Diamond Jubilee followed by Service of Thanksgiving Two fanfares - Bliss Rhapsody No. 1 in D-flat - Howells Fantasia & Toccata in D-minor - Stanford Adagio in E - Bridge Military March No. 4 in G-major - Elgar/Sinclair Martin Kemp (All Hallows') Admission Free
  16. We've just had our school organ, a Mander, tuned to Young II (by another board member who may reply with what he thinks!). I've known the instrument for a number of years and can honestly say that it's sounding the best it has in that period. Circles of 5ths come alive with each key having its own colour. We've found it fine for choral accompaniment so far (Stanford in C, I was Glad etc). Best mpk
  17. Having, at last, found the sign-in field, I have to say that, on listening again, I cannot recognise the comments above. The sheer sense of line in the singing in addition to the sense and proportion of every word from the choir is a lesson in choral unity. It is also wonderful to observe that less can be far more in conducting a well drilled choir.
  18. I too thought the excellent Vierne poorly miced as was the organ in CW's excellently orchestrated accompaniments to the psalms, Brahms and hymns. I am sure that had the Brahms been accompanied by orchestra, rather than organ, far greater care would have been taken to ensure that the accompaniment was given proper clarity in the overall mix. I have heard the Lincoln organ many times and could never describe it as sounding "muddy"! mpk
  19. There are some wonderful typos in the reviews, presumably as a result of OCR. Thanks for the link. M
  20. This is my basic reading of what happens without having the King's specification to hand: Gt and Ped Combs on so Pedal reduced with Great Full swell coupled to Great 16, 8, 4 (2) swell big reeds 16, 8, 4 off great reduced in three stages to 8, (8) swell reduced to 8 (4) oboe swell (to oboe) solo violes Bear in mind that much is down to the balance of organ and building. A generous acoustic and fairly gentle voicing will allow seemingly seamless registration changes whereas much more precision is required in a dry building. The King's organ can be used fairly generously against the choir but if the same were done at my church they would be obliterated. Also, the King's interpretation on the clip is a modern day one with a generous array of pistons at the disposal of the organist which would not have been available at the time this piece was written (1908). I think the tuba solo is a kind of oral tradition. I imagine that such solos were not written in as relatively few organs have a tuba. best wishes M
  21. I recall a radio 3 documentary when the interviewer noted the coffee machine in the organ loft of a cathedral North of London. He then asked Olivier Latry if he had such a device at ND. The reply was, I come here to work - my coffee machine is at home. I must confess that I am accompanied by a flask of espresso coffee on Sunday mornings - an advantage of a decent loft in the clouds. M
  22. My few pence worth: As, I think, has been covered, the English style of playing very much depends on which period/style of music and organ are to be played. The piston thing, in my view, is a red herring as pistons are only as good as what is set on them (often, sadly, vertical choruses)! They can lead to extremely inartistic registration and the horrors that one used to hear eg. swell 8,4,2(mixture) coupled to great 8' flute - ugh! Those days, thankfully, seem to mostly be gone.. If we are talking about late 19/early 20c music, the important thing is to make sure that the fundamental 8' pitch is not obscured, balancing higher pitches with lower. The swell oboe (as with French Romantic repertoire) essentially goes with the 8' flues. The Kings CD of Stanford choral music with James Vivian at the organ superbly illustrates how to register such repertoire. I would also recommend hearing Colin Walsh accompany at Lincoln. The old Southwark piston settings ( http://www.organrecitals.com/southwarkpistons.php ) are worthy of study The articles on the Gothenburg Willis: ( http://www.organacademy.se/blog ) (formerly just up the road from my Church at St Stephens Hampstead) make a lot of sense too. The spec of the Abbot & Smith organ of Our Lady and English Martyrs in Cambridge, designed by Stanford is here: http://www.olem.freeuk.com/ Hope this helps a little M
  23. Martin Kemp

    Lancaster

    I prefer single malts.
  24. Martin Kemp

    Lancaster

    I am perplexed as to why anyone would want two organs of vastly different character and origin playable from the same console. mpk
  25. This is the organ I practised on when I first started learning, complete with sumptuous Willis keys: http://www.npor.org.uk/cgi-bin/Rsearch.cgi...ec_index=N14132 I'd rather like to try it again. M
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