John Furse

From this, it looks as if their ‘Tonic’ is dominant in the market ! I’ve managed to find the shot below of the west end of the Abbey. It can be seen that the gallery is capacious- in fact, one bay of the nave in depth- and looks more than sturdy enough to support most installations. It would, presumably, be the wish that pipework avoided obtruding on the stained glass windows. [To clarify: in my previous post, #10, I made allusion to ‘Daleks’. I was not imagining a console rasping ‘Excommunicate !’, before zapping the congregation with its en chamade weapon; rather, referring to their floor-roving capabilities. In other words, that Ruffatti had made movable consoles.]

The EFTA/EEC/EU began long before the 20th century. We exported Dallams to France and imported Bernhardt Schmidt, for instance. Fair exchange, non/nein ? This will be the first Ruffatti in the UK, will it not ? They have an established international footprint and have built successfully in places with a problematic layout. They have some huge 5-manuals in the States. In any case, a builder with half a brain could hardly go wrong in that glorious acoustic; the proposal seems eminently sensible, too. If money is no object, that is up to them. Is honey that profitable, by the way ? Or, do they have other sources (sauces ?) of income ? I’m sure Michael Farley will make good use of the ‘Downes pipes’, if he is now their custodian. I know some of his work and respect it. As for ‘how many consoles’ ? Ruffatti has provided some with a Dalek-like persuasion in other places and have a penchant (rather, inclinazione) for the orizzontali (chamade). There is certainly a strong case (sorry, unintentional !) for a west end battería, as at St Paul’s, and such eastward fizzing fanfaronades could be sensational. Every couple of years, I find myself in Devon. I hope that I’ll be able to hear a masterpiece there, possibly with the slightest of Italian accents, in the nearish future.

During the middle years of the 18th century, articulation was in a state of transition. From when there was, seemingly, little or none, as we understand it (pace Harald Vogel et al.), it began rapidly to develop during Bach’s latter years. In those days, composers would have assumed that those who performed their music would know what was required for different types of pieces, tempi, etc. etc. Now, we are subject to the ‘benefits’ of hindsight- where everything is known and has been uncovered (not !). If you look at the autograph in Book I, composed less than a decade before, it has no slurs. In this case, as you state, he himself writes two different modes of articulation for, seemingly, the same group of notes. However, this is not the case. He was not the person wilfully to confuse: all must have a purpose, for our Johann Sebastian. I believe the solution is to employ the articulation indicated by the slurs, until it changes; then, use that, and so on. In the autograph (see http://imslp.org/wiki/File:PMLP03269-Bach_-_Dritter_Theil_der_Clavier_%C3%9Cbung,_bestehend_in_verschiedenen_Vorspielen_-...-_vor_die_Orgel.pdf), the first half of what we might call the ‘inégales sections’ has slurred paired notes; the second, over the group of four. (Notwithstanding his lax scribing.) For whatever reason, therefore, this is what I would play. I’m most interested to learn if anyone might suggest why he indicates the different articulations.

The blurb states that this was written in 1699. Purcell died in 1695. Methinks he would have done well to have returnèd four years later. Astonishing how much he was able to accomplish in his 36 years- and how much has survived the centuries, what with wars, damp, mould, fire and other vicissitudes. In this HIP recording, moreover, I believe it's more like 'The Hautboy Voluntary'.

“During the 19th century, when the Bishop of Llandaff began, for the first time for centuries, to reside in Llandaff” (http://en.wikipedia.org/wiki/Llandaff_Cathedral) might give one clue to how some clerics viewed the Cathedral’s perceived importance and to its prior and subsequent neglect. Another can be seen in the engraving of the ruinous state of the edifice, dating from ‘before 1734’: http://en.wikipedia.org/wiki/Llandaff_Cathedral#mediaviewer/File:Llandaff_Cathedral_Nave.jpg (There was an 18th century ‘Italian Temple’ which, perhaps fortunately, does not survive.) Another is that the List of Organists shows none before 1861. Can this be true ? Finally, and from a nationalistic point of view, I can’t see why this place should feature in a book on English music.

I’m surprised no-one else has posted this, yet- so, I will: https://www.youtube.com/watch?v=ri9HSwhN9Wc. It is a partial recording of the second inaugural concert, from last November, by Henry Fairs. This includes a performance of (Bach’s) Wachet auf, which could hardly go any quicker, and the première of a piece utilising beating between tones and other ‘extended techniques’, on the Mitteltönigeswerk (!). The first piece, a Fantasia & Fugue by C. P. E. Bach, is the one which demonstrates the range of the instrument most fully. There is also: https://www.youtube.com/watch?v=ICh7MJD7Iyk, which solely features the Mitteltönigeswerk. Interestingly, I cannot find a website for M. Garnier’s company.

In the early 1970s, I played for a service (I can no longer remember whether a wedding or funeral !) at St Andrew’s, Halstead, in Essex ( http://www.halsteadchurches.co.uk/index.cfm/id/131 ). This is a smallish, 3-manual Father Willis from 1882, last rebuilt in 2002. Previous organists included George Oldroyd (1909-1915)- a detail which seems to have eluded his all-too-brief Wikipedia article. But, why I write now is that this thread did remind me of my belief that, in the 19th century, pedal stops were often a little louder in comparison with those built later. I think of some wonderfully stringy, even slightly boomy (to our 20th century ears- I await rebuke from a teenager !), stops which, nonetheless, do blend and balance- in a different way.

Celebrating the birth of 'Chris', no doubt ! Sic transit gloria. At a certain cathedral, 'Amen' used to be sung as 'A-men-er' . . . to take into account the glorious acoustical properties of that building and to assist intelligibility. Another of my bugbears is 'Anne', the grapheme-deficient sister of 'And'.

Something that makes me so much less than merry is the seeming inability of (even) BBC Radio 3 announcers, let alone the BBC Singers, correctly to pronounce 'Christmas'. Usually, it emerges as 'kriss-muss'. Oh, for a return to 'Crystémasse' ! (Alternative spellings are available.) A Happy and Blessèd time to you all.

It looks as if it's available even more cheaply, by Googling "Anthologia Antiqua": e.g. http://www.amazon.com/gp/offer-listing/B002N04LXM/ref=tmm_other_meta_binding_used_olp_sr?ie=UTF8&condition=used&sr=&qid= .

More's the pity ! It was a nice gesture in 2012, as Ledger had died in that November. There were last-minute re-orderings of the Service, resulting in something of a commemoration. However, I've always been of the opinion that there's only one descant for this- and was always unhappy when I had to sing or play another one.

As a chorister, once the novelty had (quickly) worn off, SoP became interminably boring. I agree about carols from King's- both the programme recorded for TV and the live Carol Service. For me, Christmas proper does not begin until the descanted (Willcocks, of course) last verse of "Once in Royal". I look forward especially to the commissioned carol, which is sometimes controversial, usually interesting and often very, very good- if not brilliant. A welcome tendency of late has been to show more of the Organ Scholars' performing- fascinating and salutary when viewing their easy technical accomplishment.

In one establishment, I had a candidate who performed on Didgeridoo in one of her compositions. In another- and in the same year- there were first studies on Highland Bagpipes (a youth national prize-winner), Accordion and Theatre Organ. Sadly (or, perhaps, fortunately), they never combined in a Hoffnung-esque panoply of reediness. On a trip to Brittany, I once attended a recital of Organ and Bombarde (a shawm). I was unable to last until the interval: it was akin to being inside the organ at Liverpool, during repeated endings of Cocker played on the Tuba Magna !

Contra-Vuvuzela: I have sent you a PM.

T’wouldn’t bother me in the slightest, David, were I to hear sounds similar to those even later in the 18th century (like, say, St Mary’s, Rotherhithe) emanating from that case. How many true Bassoon stops are there in the UK, now, anyway ? There have been enough rebuilds and new instruments in the last one hundred years, when the auditor is bamboozled by the totally incongruous noises fizzing, popping or mightily chiffing out of pipes and surrounds completely inappropriate to either setting or case- or the lack of one. I would close my eyes and think of (George) England.

"Something Oxford University and its Music Faculty can be internationally famous for." I can’t help feeling that innate has hit the nail on the head in #5. Do we really need another eclectic instrument, or one that’s ‘happy’ within its sublime baroque setting ? If, as has happened, the Berlin Phil visits, they don’t need to programme Cockaigne, Mahler 8, Saint-Saëns 3, et al. Jackson’s beautiful case certainly looks commodious enough for at least a big 2-manual and pedal, in the style of a ‘developed’ Father Smith or Renatus Harris. There is enough evidence and expertise in these isles to provide for the recreation of an appropriate (whatever that means) ‘English’ instrument . . . and, most importantly, sound, in those special acoustics. As innate says, it needs to be able to play Purcell and Handel (Wren was, of course, contemporaneous with both) with complete conviction, yet be able convincingly to render later repertoire of the 18th century. Is a larger instrument required ? (There were 3 manuals in previous incarnations.) If so, imaginative design could involve the addition of a Chair on the balcony, stylistically identical with the main case. Encaenia (fanfare) Trumpets, anyone ? Who would do the considerable funding ? Sponsors are the rage at unis, these days (The I. Plentee Rank III Organ ?). The Theatre seems to be ‘well into’ marketing itself, judging by its booking site.

A thought struck me, when this thread was recently revitalised. (I had been listening to an early recording of Sir Adrian Boult.) With the striving for ‘authentic’/‘historically-aware’ performance practice, what is a keyboard player supposed to do about portamento ? What did they do, if anything ? And might this apply to the Sonata in any way ? I don’t know enough historic recordings of such repertoire, which is why I ask. (Cue responses.)

If one uses a search engine, variously to include ‘Llandaff’, ‘Richard Moorhouse’, ‘Christopher Gower’ (a bit of a surprise) and ‘Jonathan Bielby’, links appear, which may catalogue a very sad tale of woes, musical and otherwise and which I do not have the will to pursue too far. I am unable to get my (Christian) head around all of this. The long-term future, stability and quality of the music provision at what should be Wales’ premier (as in primus inter pares) cathedral seem far from secure. One description of a major service made this lamentable comparison: “the quality of the singing was school assembly standard.” For parents with prospective choristers, this would hardly be their first choice of establishment. I suspect many have already come to this conclusion and that the choral prospects at the Cathedral for the next generation will be seriously impaired- failing to act as an adequate complement to the splendid organ.

Thank you, handsoff. Priory's website didn't provide this information, when I looked- just a list of works performed.

I call on the knowledge of members to point me in the direction of a CD/DVD/YouTube clip that demonstrates and, if possible, identifies the various Tubas and other (loud) reed stops. This is following my recent purchase of the Hyperion CD containing the Tippett (St John’s) Magnificat and recorded last year. I must say that this performance gives the work new ‘clothes’, with the enhancement provided by the much larger and more resourceful St Paul’s organ and famous acoustic- in contrast to that of the relatively dry Cambridge chapel. Thank you.

Oh, sorry ! I wasn't suggesting that it would - just that white and gold is not always gaudy. In fact, with the rose window as backlighting, w&g wouldn't stand out at all. Another (probably even more important) factor: it wouldn't look FRENCH. Not that that seems to matter in this location. I await someone posting a pic of something to contradict me (!).

I'm afraid I must disagree, most respectfully, as always, here. I believe 'white and gold' can be tasteful, if not elegant. (That is, unless my taste 'buds' have deserted me.) For instance: http://upload.wikimedia.org/wikipedia/commons/6/62/Alkmaar_organ.jpg Of course, it could easily, in the wrong hands, descend into pure kitsch- and, going by the console, your fears may very well have borne fruit.

It is matter of regret that a recording by Thalben-Ball isn’t available. Indeed, there’s very little from him on a well-known on-line supplier (the one with a name strangely similar to that of a South American river). Did he ever record it ? Did anyone here hear him play it ? Nor, Sir Andrew Davis: himself a former King’s organ scholar and fine Elgarian. I await the arrival of Mr Curley’s recording (at Redcliffe in 1991) from those sticky tropics, which I can’t recall having heard before. Mr Trotter, too: from Salisbury in 2006. Have just listened to the 1st movement, played by Professor John Butt (King’s), which goes some way towards fulfilling my ideal. It does seem, however, that producing the characteristic Elgarian ebb and flow which, e.g., Boult and Barbirolli effortlessly manage, eludes many organists. I believe this is what Carlo Curley refers to in #31. (There are three indications as to how this should be performed in the first three bars.) Also, it should start forte; only becoming ff at bar 21- the end of the first page. I was struck, on looking at the score for the first time in ages, how like Howells keyboard music it is; the latter being of some twenty and more years later.

I’m not sure I, too, didn’t hear this Evensong, possibly in the car. I remember seeing the Music List and thinking ‘Elgar; New College; won’t go’. But, as AJJ & David say (#18, #21), it did. With my memory in its present state (post-concussion), I can’t be sure; but was it this work, or another of the late Romantics, for which the Cymbelstern was employed on the last chord ? It almost sounded OK.

Further to what I wrote above, (Colin) have you been able to add to these findings, since 1999 ? And, apologies if this eluded me (but I’m currently suffering from mild concussion), has it ever been confirmed on which of the Worcester instruments the Sonata was premiered ? Phoneuma: if this helps, site yourself in authentic ‘Sunday best’ (GoogleImage, for appropriate dress), in a stuffy, heavily furnished sitting room, with closed thick drapes; have, in the corner of your mind, privilege, trams, steamships and smoky factories. I once had the immense pleasure of playing the organ in ‘The Enigma’; finding the first entry exactly as Colin describes (#10)- and left fervently wishing for 32s (!). I was asked, after the event, if I’d been reading a novel; I was, of course, following the music in a miniature score. AJJ: do you have details of that Murray recording, please ?