Dee Surtees

Is there an organ arrangement of David Willcocks brass fanfare introduction to Adeste Fideles, and if so, where is it published?

I see your point now. But I would hope that if the move, if it goes ahead, would be done sensitively (even if that seems unlikely). At least the organ would be played more than in its present location.

With the exception of the pedal, most of the organ dates from 1994 so I’m not sure that qualifies as historic.

I was wondering if anyone has come across the list of errata publish on the “Site Jean Langlais”? http://www.jeanlanglais.com/_Partitions.php?type=opo The site appears to be run by Marie-Louise Langlais, so presumably the errata contained therein have some authority. I am learning the Te Deum from Trois Paraphrases Grégoriennes at the moment, and so went through the corrections listed. Apart from tempo changes, which seem to originate from a recording by Jean Langlais himself, most of them are fairly obvious things like missing accidentals, etc. but there are some interesting more substantive ones. One in particular, though, just seems wrong to me. She says: Or, translated, “p. 13, 2nd system, bar 1, 2nd right hand chord F♯-G♯-B”. Really? That would make it the same as the third chord in the bar. And while it fits harmonically with the left-hand chord, all the other chords are the same in both hands. Also, in the reprise of that section (p. 18, bottom system) no change is suggested.

I have to say I agree. I have a similar instrument (also a Viscount 3-manual, but slightly smaller spec) at home, and while it greatly facilitates practice, and I wouldn’t want to be without it, I wouldn’t want to hear a recital on one. Perhaps that is by the by - Miriam’s recital was splendid, and I thoroughly enjoyed listening to it, even if I didn’t enjoy the sound.

Sure, you might not want to perform romantic repertoire on such an instrument, but there’s a lot to be said for the discipline of practicing with simple flute registrations, and that is surely the primary purpose of these small instruments. Yes it’s nice to be able to hold concerts in your living room, and there’s still plenty of repertoire you could use for that. The only downside I can see in terms of practice is the lack of a swell pedal.

This thread has wondered far from whence it began, which seems to be normal round these parts, but in an attempt to bring it back, I should mention that my copy of Melancholia by Inquire arrived yesterday, ordered direct from the french label. http://www.musearecords.com/ext_re_new_catselect.php?np=18427 I had already heard the last movement of the Vierne thanks to Contrabombarde's link above, and I thoroughly enjoyed listening to the rest of the album this morning. The first disc is a concept album based on Sartre's Nausea, which was originally titled Melancholia, and was published in 1938, the year after Louis Vierne's death. The album is dedicated to the memory of Jean-Paul Sartre and Louis Vierne. There is a quotation from Grieg's Piano Sonata in one of the songs. Probably not everyone's cup of tea, but if you enjoy the clip above, then I recommend checking out the rest. On the subject of accordions, I was particularly impressed by the Messiaen - a thoroughly convincing performance. The French accordionist Richard Galliano has an album of Bach, but to my knowledge has not recorded any of the organ music. http://www.richardgalliano.com/discographie/bach/ I love his version of the harpsichord concerto in F minor. A well played harmonium is an extraordinarily expressive instrument. If you are not familiar with the piece, I would urge all of you to listen to Karg-Elert's 2nd sonata, a real tour-de-force for the player. Both sonatas are on Volume 5 of Johannes Matthias Michel's survey of the complete works. Graham Barber has recently recorded an organ arrangement, which has the potential to bring the work to a wider audience. I suspect it is also considerably easier to play than the original.

Wow. That’s some guitar playing skills.

I have been known to play the Widor toccata on a keytar (with a synthesized backing track) Never heard of Inquire, but I must check them out. Sounds just like the kind of thing I would love.

If there were a culture in this country that valued the organ, the demise of Christianity would not be an issue. It is worth comparing the situation here with that in the Netherlands. In an increasingly secular society many churches have closed, but the organs (often of huge historical significance) remain in use. The number of organ recitals that take place seems staggering, and they are by and large very well supported. It seems unlikely to me that the Dutch organ building industry will die out any time soon.

But that only applies to the staff, whether performing or front of house. There are (to my knowledge) no similar protections for the paying public.

It was discussed here when it was first announced by Škrabl. Although it appears that the stop list has changed slightly since then. There is now an Hautbois on the Récit which was noted in the comments as lacking.

There’s also a version by Anne Marsden Thomas that does just that in the Oxford Service Music for Organ, manuals and pedals Book 1. Her solution is a da capo, then a 3 bar coda after bar 8.

No one has mentioned Barber’s Toccata Festiva yet which has a very substantial organ part including a pedal solo. It’s almost an organ concerto in all but name.

The most expensive performers on a per note basis have to be the two percussionists in Bruckner Symphony no. 7. Just one note in a piece lasting over an hour.

Those two comments, from John Lill and András Schiff, are very perceptive, perhaps suggesting that those pianists that are successful in transferring Bach’s music to the piano are those that have some affinity for the instruments on which it was originally composed, even if they don’t play them themselves. I know a pianist (who doesn’t play the organ) said to me that she had a much greater appreciation for Bach’s music after playing a harpsichord for the first time. As far as my own experience is concerned, I now have no inclination to play Bach on the piano, but before I learned either the organ or harpsichord, it was one of my greatest joys.

Definitely agree with VH’s comments regarding András Schiff. He’s one of the few pianists who I enjoy listening to play Bach. His depth of feeling for the music is unsurpassed. As far as Bach piano transcriptions go, the only one I care much for is Brahms’ version for left hand of the Chaconne from the D minor partita. Unashamedly romantic, but still with the character of the piece intact.

Thanks for this. Will make sure to listen. Though I might have to catch the second one one iPlayer (or whatever it is called these days) as have a rehearsal at the same time. On a related note, does anyone know if any of the OrganFest was recorded? Would be great to hear some of the concerts for those off us who weren’t able to make it.

I don’t think the BBC can be held too much at fault for merely repeating what the RAH say about the organ. The fact the the hall doesn’t seem to know (or care) about the instrument under their protection is however concerning.

As far as i can work out, the B&H edition is not for organ and piano. Rather it is either for organ or two pianos. In the case of the two piano version, the first pianist plays the manual parts of the organ version, and the second pianist plays the two staves at the bottom of the score. The note on IMSLP seems to suggest that both versions are by Liszt, the with the organ version being the original.

According to NPOR (N18210) “the organ at St Mary’s Southampton (N11630) is said to ‘incorporate some Father Willis pipework from the former Albert Hall in Stirling’.” This is corroborated by the entry for Stirling Town Hall in Alan Buchan’s Organs in Scotland (2018).

The Straube edition is available on IMSLP here: https://imslp.org/wiki/Orgelkompositionen_(Liszt%2C_Franz)

I believe there was an HTB plant (somewhere in London) that used the organ regularly in Sunday services, as I know someone who depped there occasionally. He thought it was the only HTB church that did.

What a fascinating piece. I've never come across it before, nor Porter Heaps, for that matter. Given that the organist James Welch is from Palo Alto, where Heaps lived in his retirement, it is entirely possible the piece has never been published, and Welch was given a copy personally by the composer.

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