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Dafydd y Garreg Wen

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About Dafydd y Garreg Wen

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  1. “It’s the right evening for a tune,” Snufkin thought. A new tune, one part expectation, two parts spring sadness, and for the rest just the great delight of walking alone and liking it. He had kept this tune under his hat for several days, but hadn’t quite dared to take it out yet. It had to grow into a kind of happy conviction. Then he would simply have to put his lips to the mouth-organ, and all the notes would jump instantly into their places. If he released them too soon, they might get stuck crossways and make only a half-good tune, or he might lose them altogether and never be
  2. This is the sort of folk mass I prefer .... https://www.youtube.com/watch?v=fQfuf8MyRP4
  3. Incidentally, I only discovered recently that Gregory Murray’s People’s Mass was originally written for the Latin text of the ordinary (in 1950). The version we all know and love (hem hem) is an adaptation of this original to fit the English translation: hence the addition of “new” to the title.
  4. It’s amazing/amusing how often one is told that something (like the almost total disuse of Latin or chant) is “because of Vatican II” when it’s not in the decrees, and quite often directly contrary to them. (Of course, “because of Vatican II” isn’t quite the same as “in accordance with the decrees of Vatican II”, but that’s generally the implication.) Not that this is a peculiarly Roman Catholic thing. How many Anglicans know that the canon law of the Church of England expects them to go to church every Sunday? But I digress ....
  5. On the other hand, Vatican II also decreed e.g. that Latin should remain the norm for worship (with the vernacular only being allowed as an exception where local conditions made it desirable) and that chant should be the musical norm. I’m not sure quite how well these mandates are working out in practice ....
  6. Thank you for these suggestions. We have a suitably noisy reed on the Solo here (not en chamade but more that sort of sound than a Tuba). I know the Miller Winchester New piece and shall probably play it on Palm Sunday. I was wondering about an improvisation, as I could only think of the Guilmant and didn’t quite fancy that. But it also struck me as a bit odd that such a splendid tune should have had so little use made of it, or was that just my ignorance? Hence my enquiry. In some ways an improvisation would be better as an introduction to Mass - easier to manage the timings. P
  7. Have a fancy to play something based on Maccabeus on Easter Morning. Any recommendations? (Other than the Guilmant Paraphrase, which I’m already familiar with.)
  8. The Drayton Pavane is gem - a bit “different”. The opening reminds me of Vaughan Williams’ Job. He has written other organ music but as far as I can tell none of it is published.
  9. Personally I’d say the rot set in when we abandoned monody. Ban organum now, before it’s too late!!!!
  10. Well put. An implied rebuke to their neighbours in Sheffield??
  11. It's in the unlucky 1904 edition. That seems to be its first appearance. It's not in Steggall's 1889 supplement to the 1875 edition (the "First Supplement").
  12. Possibly he was a Welshman! Having made my generalisation, I have to admit that tenors are much commoner here than in England (genuine tenors, not just highish baritones).
  13. A singing teacher I once met had a lot of pupils who were older teenagers coming to him with little singing experience. He complained that they all wanted to sing in the same area regardless of sex (the upper tenor and lower alto area), and had great difficulty in accessing the upper part of their voices (girls) or lower part (boys). Even more frustrating was the fact that the favoured area was rarely the best part of the voice. Even experienced / trained singers don’t fit very well into these categories. Most men are baritones and most women mezzos and have to be shoe-horned into bass
  14. The case of Goss's Praise, my Soul is interesting. It was originally published in two versions (Brown-Borthwick Supplemental Hymn and Tune Book, 1869). The first version is in D and sets five unison verses, each with a different accompaniment. This reflects the tradition where hymns and metrical psalms were sung in unison, with the organist varying the accompaniment (including the harmonies) for each verse. S.S. Wesley's A Selection of Psalm Tunes: Adapted Expressly to the English Organ with Pedals (1842) is a good example, and later in the nineteenth century Stanford was praised for
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