Jump to content
Mander Organ Builders Forum

Colin Pykett

  • Content Count

  • Joined

  • Last visited

Community Reputation

0 Neutral

About Colin Pykett

  • Rank
    Advanced Member

Contact Methods

  • Website URL

Profile Information

  • Location
  • Interests
    For those who really must know, hit the 'About the Author' button on my website.

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. I feel moved to say something in response to this. Although there are indeed acerbic members on this forum, I had not got you down as one of them, SL. Having said that, it's no particular sin and it doesn't matter to me as it's a trait which adds colour to the discourse in my view. And with Ph.D., M.A., B.Mus., F.R.S.A., A.R.C.M., yes, you are indeed 'slightly well qualified', which is one of the reasons I've enjoyed reading your posts, often learning something from them as well. I'm sorry we won't be 'seeing' you again. That's yet another of the losses of this sad situation. All goo
  2. It's a good question which I've been pondering on as well, doubtless like many other members. This is the only forum I belong to, so if I want to continue to air my views I'll have to find another I suppose, though this is an obvious opportunity to consider whether to join one at all. However, I like the ABRSM affiliation of their 'Viva Organ' forum, and have often wondered why it has been so little used for quite a long time. Some members here post on it occasionally. As far as I can see it also exists without having to rely on advertising, other than the ABRSM banners. The Magle forum is
  3. What a shocking thing it is whenever a source of any ancient craft disappears. Apart from anything else, its practitioners thereafter can rapidly cease to exist. Voicers and their incomparably skilled colleagues cannot just be brought off the street when required by placing ads in a local job centre. It's not unlike the almost complete disappearance of mechanical (clockwork) timepieces. Politely disregarding the output of the Beijing watch factory, a few of these are still made commercially at enormous cost for the more discerning super-wealthy, but mostly the art is kept alive within the
  4. I don't know which source(s) Cantoris had in mind, but one answer to Rowland's question is: https://religionmediacentre.org.uk/news-comment/religion-news-7-july-3-2/ I came across this a couple of weeks ago or so. It does seem that there is some basis for the story, though it doesn't mention the music specifically.
  5. The original and quite popular Compton Miniatura was later sold in two versions: an 'A' model and a 'B'. According to one advertisement the synoptic stop list of the 'A' was Ped 16.8; Great; Swell That of the 'B' was Ped 16.8.4; Great 2/3.2; Solo 2/3.2. According to the makers, 'A' was intended for leading the worship of '150 voices', and 'B' for the 'practice and performance of polyphonic organ music'. The ads also said that it was 'more quietly voiced than Miniatura A and is therefore more suitable for practice rooms and private residences'. '
  6. I don't think I can add much to what I said previously, but would like to emphasise should there be any doubt that in no way was I intending to slight or criticise Professor Wilkes. In fact his lecture sounds very interesting and I wish I had been there to enjoy it.
  7. It's a book of two halves by two authors with two rather different perspectives. They make no secret of this, saying in the Preface that " ... we naturally do not see eye to eye on every detail. For instance, we differ somewhat on the merits of organs built before about 1850". They also say that "it may seem the height of presumption for the authors, neither of whom could, by any stretch of the imagination, be regarded as a competent organ player, to attempt to deal with Registration". Quite. But also honest. It does what it says on the tin. I enjoyed reading it the first time I came ac
  8. "One could ask 50 organists for their thoughts on any piece and probably get 51 opinions. It's a very interesting discussion though." Yes, it is interesting, and the same seems to apply to any other discipline. Physicists and mathematicians are regularly asked to vote for their most beautiful equation. (FWIW, Euler's identity often comes out top or very near to the top of the list ... ). 'Beauty' pervades all human experience. It's fascinating that even in something so apparently black-and-white as physics or maths, exactly the same emotions are aroused as they are in music and all ot
  9. Yes Stanley, I'm sorry, but I have to agree with SL here! But never having been one to let go once having got a rat between my teeth (a bit like Stanley in this respect I think, and I know he won't mind me having said so), how abouts a bit of the truth about at least some professional organists? I'm of an age when I was lucky enough to be have been able to attend the weekly organ recitals at the Royal Festival Hall on Wednesdays at 5:55 (because I spent 7 years at King's just across the river in the 1960s/70s). So twixt then and now I've attended an awful lot of them, and not only i
  10. I find it odd to hear the pejorative remarks aimed directly or indirectly at amateur organists. We've had quite a few of them on parallel threads recently, and there are hints on this one as well. It often seems that this breed of musician is thought to be uniquely associated with the instrument, and as though amateurs do not exist in connection with any other. It's nonsense of course. Of those who attempt to learn any instrument, how many become professional in the sense that they succeed in making a living by playing it? Surely the answer has to be only a minority in all cases? Therefo
  11. It's odd isn't it, the empty church syndrome, considering the number of people who nevertheless seem to have an interest in organ music as per my original post. There were 7530 downloads of my so-called Top 20 titles alone, which was just a small fraction of the total in the stats I analysed. And that's just for my humble minority-interest site buried within the detritus of the billions out there. But of course it's much more of a commitment to actually go to a venue and pay to hear the music. So why does live pop music attract such crowds? One reason might be that it costs money however
  12. Some recent posts have discussed things like youtube performances and various pieces of organ music. This has reminded me of a related topic I ponder about from time to time, which is how to construct a recital programme. There seem to be several aspects|: 1. Who are we playing to? Sometimes it might be an audience 'of the cloth' so to speak, in other words made up largely of organists. Such occasions will include recitals given to organists' associations. Compiling a recital programme for this sort of audience is probably not seen as particularly difficult by most players. But at
  13. David, your question is interesting though as I said in my post above, everyone's preferences for audio equipment are heavily subjective, so I would not wish to impose mine on you or anyone else who reads this. But as you are seeking opinions ... Having listened to the multi-mic clip in your initial post, it did sort of confirm what I would have expected from dynamic and capacitor mics, and it was an interesting listening opportunity - thank you. Dynamic mics seem to me to have noticeably lower bass compared with their mid-range, but this makes them good for vocals which they are often
  14. Mention of curtained organists brought to mind John Betjeman's description of St Enodoc's church in Cornwall: ... "A rattle as red baize is drawn aside, Miss Rhoda Poulden pulls the tremolo, The oboe, flute and vox humana stops; A Village Voluntary fills the air And ceases suddenly as it began, Save for one oboe faintly humming on" ... I think she was playing a reed organ, as the poem ends with: ... "The Lord's name by harmonium be praised" ... To me this is particularly and sadly evocative at a time when it's next to imp
  15. Like any other component in the recording and reproduction chains, one's choice of mics is as much subjective as anything else. I'm wary of posting on this topic because one can so easily sound preachy on audio matters, which isn't my intention at all. And David has probably at least as much if not more experience as anyone else. However, here goes. Steve makes some valid points with which I agree. One is that the inbuilt mics which come with the little Zoom, Tascam, etc recorder products are really quite good both for the modest financial outlay and for many recording situations. Bu
  • Create New...