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Jonathan Dods

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About Jonathan Dods

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  1. St Mary's Twickenham has a lovely mechanical action and a swell sub octave coupler which might mean you didn't need the bassoon. I sometimes wonder about this 4' harmonic flute business. Doesn't it mean if you want that as a solo colour you have to play down the octave. It's a different timbre for the 8+4 combination, but I'm not sure I'd much to have a 4' harmonic over an open 4'. More open 8' flutes would be good though. I remember playing at St Michael's Highgate and being overwhelmed by 3 stopped flutes at 8' and no harmonic flutes at all! I had assumed your 8' flute on the bombarde would be harmonic. I miss a mixture under expression. I don't miss a third pedal 16' flue. I occasionally regret not going for a vox humana on the recit at Bedford Park. One was mooted, and after we added the Basson it was just about the only other possible addition, but at the time I couldn't see the point. Ah well, I've left that for my successor to do.
  2. True - it certainly means that it’s the mixture rather than the reeds which come on last in the crescendo at Bedford Park.
  3. Well I've got to approve because I think I can see a little https://www.npor.org.uk/NPORView.html?RI=K01266 in there! Would the Bombarde also be enclosed?
  4. I played the organ at St Mary's University Twickenham this morning. It's quite patchy, but holding up remarkably well if it hasn't had much doing to it since 1964. It makes a decent sound, and the tromba unit was rather fine, with a nice edge to it. Someone told me they're running it down in hopes of getting rid of it, but the choir director was sitting next to a university trustee and put in a good word, so maybe there's hope.
  5. St Michael and All Angels Bedford Park, London, W4 Friday 7th June 12.30pm (next to Turnham Green tube) Oxbridge Organ Duo (Julian Collings and Benedict Lewis Smith) http://www.oxbridgeorganduo.com David Briggs (b. 1962) Variations on ‘Veni Creator Spiritus’ Theme - Intermezzo - Assez Lent - Tres Lent - Fanfare sur les Jeux d'Anches - Scherzo - Ricercare - Duo pour Pedalier - Final Thomas Tomkins (1572-1656) - Fancy for two to play Ad Wammes (b. 1953) Wave - Gentle breeze - Row the boat - A sunny afternoon on the lake - Breeze in gently Nicolas Carleton (c.1570-1630) - A Verse Samuel Sebastian Wesley (1810-1876) Duet for Organ in C Major - Allegro - Andante - Fuga. Alla Capella Free admission
  6. Thanks for your replies. Lots of food for thought! The recital's in June, so I've got some time to process it all.
  7. Hello All, I wondered whether I could pick your brains? I've been asked to play a recital specifically for children. Local schools will be invited to bring groups to hear a 45 minute programme/presentation. I played a recital for a group of about 20 children at Christmas. I met them beforehand and showed them the instrument up close and we talked about how it worked. The recital consisted of Christmas music with tunes they might know, and a bit of talking about the organ and the music. It seems to have gone down well! I'd be interested in ideas for repertoire, both individual pieces and longer cycles of pieces or over-arching themes (I have an arrangement of Peter and the Wolf which is a possibility). Any examples of programmes, written notes or Youtube clips, also any ideas about what to say and show between the pieces. I'll almost certainly set up some cameras so they can see me playing more clearly and so they can see inside the instrument.
  8. Just out of interest can you suggest organ music which was written at Christmas, or has some other Christmas link, but is not Christmas titled or thematic and isn't based on Christmas melodies? I have a vague memory that there's a big Howells piece written at Christmas, and I've just read that the Clavier-Ubung III might have been first performed in December, which is my tenuous reason for playing some of it on Friday...
  9. We are very pleased with ours! http://www.npor.org.uk/NPORView.html?RI=K01266
  10. A new recording of the organ at St Michael and All Angels Bedford Park: https://www.youtube.com/playlist?list=PLJIsJpp9ITLz4YaNU1AkGCAciuW1ypPls
  11. St Michael and All Angels Bedford Park, London W4 1TT (next to Turnham Green tube) Friday 8th June, 12.30pm D'Arcy Trinkwon Concerto in G after Prince Johann von Ernst, BWV592 Johann Sebastian Bach Prelude & Fugue in E minor, BWV548 Tierce en taille (6thcouplet of ‘Gloria’) François Couperin from Messe Solemnelle à l’usage des paroisses Ballo del granduca Jan Pieterszoon Sweelinck Prelude & Fugue in E Flat, Op.99 No.3 Camille Saint-Saëns Symphonie Op.13 No.4 in F minor: Charles-Marie Widor, III. Andante Cantabile, IV. Scherzo Suite Carmelite Jean Françaix L’Ange à la trompette Jacques Charpentier Retiring collection
  12. Another possible work around depending on the organ is to play the held A in the pedals as well as the written pedal line. Possibly controversial but playing two naturals with the thumb wasn't possible on a heavy tracker action for me.
  13. Charles Andrews is playing a recital at St Michael and All Angels Bedford Park London W4 (opposite Turnham Green tube) tomorrow at 12.30. Prelude and fugue in E flat - Saint-Saëns Five portraits for home organ - W. Lloyd Webber 1. Carol - Lyric piece 2. Imogen - Fairy tale 3. Elizabeth - Valse de ballet 4. Justine - Romance 5. Mandy and Dula - Burmese blues Miserere - Byrd Récit de Tierce en taille - De Grigny Sonata no 3 - Mendelssohn 1. Con moto maestoso 2. Andante tranquillo
  14. I'm accompanying a performance of the Kodaly Missa Brevis soon and I wondered whether anyone had any thoughts about the pedal part. On occasion it doesn't seem very idiomatic - manual parts which go beneath the pedal part, which might sound like second inversion chords on a small instrument withonly a few pedal stops and seem to produce a gritty texture. The way he prefers the middle of the pedal register (plus the balletic nature of the part in the Gloria!) makes me think he might have been thinking of orchestral basses, which would only sound an octave down, without the organ's problem of being mostly coupled through from the manuals at written pitch. However I have a vague idea that the first version of the Mass was organ alone and that he spent some time in Paris with Widor. Any ideas how to remedy the problems (if indeed they are problems) without losing the undoubtedly interesting textures you sometimes get from his use of the organ?
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