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Mander Organs

Jonathan Lilley

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About Jonathan Lilley

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    Waltham Abbey, Essex

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  1. Can someone kindly explain the science behind the rule that one doesn't blow into (metal) organ pipes, what would be the consequences of doing so, and whether indeed it's sensible to be handling them in the first place?
  2. Graham Barber's radio broadcast of the Whitlock with BBC Welsh is on YouTube, admittedly in a poor-quality and probably illegally-shared home recording: https://youtu.be/nLT1iHZlwDs
  3. Widor: second movement of Symphonie VIII. Sounds like Rachmaninov and I'm surprised no-one's mentioned it already. Also: Cochereau/Briggs: Berceuse a la memoire de Louis Vierne. Whitlock: second movement of Sonata Widor: Andante cantabile from Symphonie IV
  4. Ely: could definitely do with one, as was part of the thinking at the last rebuild until the (ostensibly musical but difficult) Dean of the time blocked it. Worcester: I think the effectiveness of the new, and newly sited, quire organ has called into question the necessity for westward extension.
  5. ...as indeed it was, when H & H carried out the rebuild. The rank in question was originally a (full-compass) Great 32' Bourdon available on the Pedal, subsequently extended into a unit playable at 16' (only) on the Great remaining at 32' on the Pedal, so the original pipes remained playable throughout, and restoring the Great 32' was a matter of electrical wiring. If John or anyone else able to comment is still monitoring this thread (I notice that tomorrow is the 10th anniversary of the above-quoted!), I'd love to hear more about what exactly the Schulze researches revealed and in what way a manual division is enhanced by a 32' stop.
  6. C.H.Trevor's arrangement is good, effective but 'playable', and published by British and Continental Music Agency (!). To really bring it off you have to be clever with registration, and blessed with an organ having plenty of strings and octave couplers.
  7. I love and hate Coates on the organ. Love because I love the music; hate because it's just not the same without the counter-melodies and other 'layers'. In spite of these reservations, I've been known to give In the Country (Meadow to Mayfair) and Covent Garden (London Suite) an airing at Harvest Festival, playing from the solo piano version.
  8. Adagio from I, as well as the above-mentioned, gorgeous M├ęditation Menuetto from III Scherzo from IV 2nd movt (slushy like Rachmaninov) and 3rd movt (a scherzo) of VIII - staples of Thomas Trotter's programmes Andante sostenuto from Gothique, which I'm surprised no-one's mentioned
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