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Phoneuma

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  1. 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.
  2. 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
  3. 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!
  4. ‘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 that award) think otherwise. This is the eternal problem with HIPP and related movements - it polarises opinion,entrenches views and ultimately achieves not much at all in musical terms. Mission creep on a grand scale.
  5. By sheer coincidence today this was awarded - ‘In 2020, the City of Leipzig Bach Medal will for the first time be awarded to a woman: the Canadian pianist globally acclaimed for her interpretations of Bach and for her Bach tours, Angela Hewitt.’ Might this be ‘that Canadian woman’ referred to in an earlier post? It seems that Leipzig holds Bach played in a modern concert grand, tuned to Equal Temperament in very high regard.......
  6. You’re not alone! This has been covered elsewhere on this forum. Interesting as it may be it does nothing for me at all and remains a curiosity at best.
  7. It’s piano for me though. I make no apologies at all, I prefer the sound and EQ every time. The HIPP movement passed me by many years ago without any lasting influence.
  8. What terrible news. I’m sure we’ve all had an interesting conversation with David on this forum and I myself spent a very informative evening at the H&H in Christ Church Skipton four years ago when he was over in the UK for a family occasion. He relished the instrument and rather put me on the spot when he asked me to ‘play something’ as he wandered around listening intently to the organ. I needn’t have worried, he was very complementary and I left with my nerves intact. A sad loss and a very friendly, interested and well-connected musician.
  9. Good for him - I’d suggest it’s perfectly in order for him to turn down any request to record any public recitals. This seems to be, or at least was, particularly common a few years back when I attended a few recitals in the north with, on occasion, more than one set of devices recording the concerts. Whether or not permission had been sought (and, I know it hadn’t in more than one case) I found it a very off- putting practice. This simply wouldn’t happen in, say, the Wigmore Hall or the RFH so why should it be considered acceptable at organ recitals. It appeared to me that it was nothing more than some sort of trophy-hunting and very disrespectful to the performer (and, I’m assuming, in clear breach of intellectual property rights).
  10. Might I suggest this excellent book as possible holiday reading on far flung beaches? I’m on my second read through and it’s no less riveting than the first time. The link below is not a buying plug, it’s available from all sorts of outlets including the Brazilian bank-robbers...... As many on here also look after and nurture choirs it’s a fascinating history, written by someone with extensive knowledge of recordings from way back. The synopsis should whet your appetites. Very heartily recommended and it sweeps all kinds of misconceptions and myths firmly under the carpet. https://www.penguin.co.uk/books/309/309388/i-saw-eternity-the-other-night/9780241352182.html
  11. You’re not kidding anyone Vox! I’m completely in agreement with this and I see no real reason why organists should not play from memory. It frees the performance, you don’t need a page turner, it looks much more professional. There’s everything to gain. I wouldn’t expect it in the daily offices of course but a public recital, well that would most certainly raise the status.
  12. ‘6 manuals is just an absurdity for so few pipes, and if that translates into (61 X 6) + 32 = 398, it means that there are just 4.1 pipes per available note.’ I’m not sure that the 6 manuals are just for this new choir organ MM! Looking at the Klais site the new console. also controls the west gallery Marcussen organ and a couple of other divisions (Altar and something else). https://www.klais.de/m.php?tx=225
  13. That looks like the inside of St Saviour’s, Richmond Hill, Leeds - beautiful church interior and it should sound excellent in there.
  14. ‘The conversion of the Cranleigh instrument to equal temperament was a travesty and a significant loss to the musical world.’ Really? I’m sure there must have been sound reasons for this change. I might here recall an experience with this temperament switch and why it sometimes has to be done. Some years ago when in Braunau,Austria, I had a few hours on a fantastic Metzler instrument. As you may know Metzler specialise in historic reconstructions and this instrument was probably the finest thing I’ve ever played. No playing aids, straight pedalboard and you could hardly reach the stops. I got chatting to the Kantor and, surprise surprise, he’d requested a complete retune to ET! They’d had to use an electronic organ for the holy hymns, it was that bad. He said it was almost unusable beforehand save for arcane early German stuff in about 4 keys. I think that Metzler were a bit miffed about it all really but it was outstandingly good, the most beautiful flutes and the principal chorus was stunning. His main point was that it was in a working church and not a museum, I think he had a perfectly reasonable point and I’m sure that neither he or I would consider it a travesty.
  15. I’m not, no. Maybe something I can’t really appreciate, in the same way that HIPP does absolutely nothing at all for me (but let’s steer well clear of that debate please!). It’s a question of taste and personal preference and maybe I lack a bit of the former and made bad choices in the latter but that’s how it is and I see no reason to be persuaded otherwise. There is most certainly a great deal of learning and research into both topics and I’d be the last one to attempt to stifle or repudiate any of this scholarship. It remains up to the listener, in the end, to decide what is or is not to their own preference.
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