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About Phoneuma

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  1. How wonderful to hear Dave again - thanks so much Peter, I’ll keep an eye on that Soundcloud site. I can remember the Fulda session from a Doncaster visit - Dave’s ‘mucking about’ was often way ahead of some more professional attempts I’ve had to endure. Always full of clever and oblique references and played with a huge twinkle in his eye when you got it. Thanks again Peter.
  2. 'A professionally qualified organist wrote yesterday on this forum of the cliqueiness of the organ world. How right he is.' I suppose that is to a certain extent true. However, if I sleighted the poor amateur organist then please accept my apologies, it was not intentional - Hans Keller once came up with a very true comment something on the lines of 'the love of music is most apparent in the amateur musician even if you don't necessarily hear it'. Nevertheless I'd suggest that there are some basic standards which I'd regard as essential. One or two current threads are pointing out q
  3. Phoneuma

    Room 101

    As there seems to be some cross-referencing between two recent threads (BBC Organs and Organ Recitals : Audience Preferences) I thought I'd start one off which might be worth debating. There seems to be some consensus that there is some repertoire which we might consider to be less than attractive for general audiences. I'd suggest there is also quite a lot of music which is also overplayed and I'd like to kick off by suggesting my nomination for Room 101, a piece I'd be glad never to hear again in a recital. However, I'm also suggesting that we should suggest something we consider more w
  4. ‘So whydoes live pop music attract such crowds? ‘ - (tongue in cheek here) - because it’s popular?! I’d also suggest that the prospects for bassoonists and violists are possibly better. By pure chance I had a very interesting conversation with a professional horn player who has had to be laid off recently. In a general discussion about the sorry state everything is in now he was very much of the opinion that there are far too many trumpeters, clarinettists, flautists around for the amount of work. Pre-lockdown and as a horn player he found little difficulty in staying on the podium.
  5. I don’t think I could have come up with a better selection of organists who are really worth hearing. Correct me if I’m wrong but at least three of them have no other church duties which suggests that the more successful organists seem to be the ones who can solely concentrate on that aspect. Thanks for clearing up some of the mysteries of the German system, I had a vague recollection of the ABC designations and, like the entire tertiary music education system are we turning out too many highly qualified and competent musicians - there doesn’t seem to be anywhere near enough employment fo
  6. A valuable exercise indeed. There’s probably a case for saying it might be too late but there are some points where the marketing and planning of recitals falls way short of similar events in, say, local music societies. One of my biggest gripes is the abject failure to publish the programme of music in advance and this is pretty widespread. I simply won’t go to any recital if I don’t know beforehand what is to be performed. There’s really no excuse for it and it strikes me as lazy and even amateur. You wouldn’t be expected to turn up at the Wigmore Hall not knowing the programme so why i
  7. ‘So what we're seeing is that the conventional bounds of accepted wisdom in the recording industry can be broken and are ripe for re-investigation, and in the 21st Century defined by uncertainties of unstoppable biospheric forces rather than the anthropocene illusion of dominance of the 20th century, all areas of accepted wisdom are ripe for re-evaluation.’ Good grief - care to offer a translation in layman’s terms!? From many years of recording a variety of performances, including the organ, it became clear that a lot of the built-in mics on portable digital recorders were excellen
  8. I recall a discussion at school with some pupils in which I posed the question - which is the easiest key to play. True to form they nearly all said C Major, I suspect due to subliminal piano teacher brainwashing, that it has no accidentals and was therefore easier to read. Fair point I suppose. However, I suggested they try playing a B major scale and say how that ‘felt’, under the fingers. Unanimously the answer was ‘dead easy’. And why? Because thumb passing is simpler off black keys, C involves a contraction to pass the thumb. Same principle goes for D flat, a similar easy feel. It’s Not
  9. PM sent Peter.... RIP Donny Dave, a good friend indeed and great company. Peter is correct - he knew or had almost everything on record, in print and out of print and was a close friend of FJ.
  10. I’ve looked before and it’s not easy to find but there is some information here. https://www.cm-mafra.pt/cmmafra/uploads/writer_file/document/420/dossier_tecnico__1_.pdf
  11. Darius - I’m not sure you have the answer for this but I was a little puzzled attending a couple of orchestral concerts over the last year (Also Sprach and something else which had an organ part). Both times a toaster was used. Is the Town Hall organ perhaps not at concert pitch or might there be another reason? It seemed unusual the first time and I wasn’t sure of any reason.
  12. Tchaikovsky - Manfred Wiki has this list (although it looks a bit thrown together). SL - Brian does figure more then once as you suspected! https://en.m.wikipedia.org/wiki/Category:Music_for_orchestra_and_organ
  13. Holst - Planets Strauss - Also sprach Respighi - one of this Roman things. Mahler - Symphonies 2&8 Vaughan Williams - Job (?), Antartica agreed - there isn’t a lot springs to mind!
  14. ‘On the subject of Angela H*witt she is highly commercially promoted and has achieved a name thereby. It doesn't mean that I admire her playing. I've heard her play Mendelssohn as if it were Prokofiev as well as the Haydn Variations in F Minor. As soon as I hear a pianist play those variations on an equally tempered modern piano I conclude that they don't know much about the music. Likewise pianists who are willing to play the 48 on an equally tempered modern instrument.’ I’d maybe suggest that yours is a minority view regarding her abilities. Leipzig (and do look up the signatories to th
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