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Dafydd y Garreg Wen

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Everything posted by Dafydd y Garreg Wen

  1. Assuming that the rest is in reasonable condition, it’s easy enough to undo a stapled volume, replace the cover with fresh card, and then sew it up: https://www.dartmouth.edu/library/preservation/repair/dartmouth-book-repair_manual_sewing-single-signature.pdf I finish off with self-adhesive linen tape (archival grade!) which reinforces the spine and protects the exposed thread on the outside: https://www.stix2.co.uk/product/self-adhesive-linen-tape/ If I’d known it was that easy I’d have started doing this years ago. Bound volumes are harder to tackle (whether traditio
  2. Quite, especially as some of the pieces in that collection are actually quite difficult! And someone really looking for simple voluntaries would get a bit of a shock on acquiring the Album of S.V.
  3. Some of the weaker (but still perfectly acceptable) pieces in this series resemble written-down improvisations - but that’s fine because they give me ideas for my own improvising! I do so agree that the standard of the series is high - much better than similar volumes from other publishers (one in particular, whom I shall forbear to name).
  4. Yes, the Postlude is a good piece. As you observe, most of the music in that volume is solid stuff, but the title does its contents no favours. I once had a comment (when playing the Murrill as it happens) from a non-musician who was surprised I was using a collection with that title. He’d seen it near the organ and assumed it belonged to learner who had access for practice. It was too complicated to explain that the title was misleading; but I wondered after that whether I ought to cover the volume with brown paper if that was how people generally were going to react on seeing it!
  5. Possibly that you were good at it. Church musicians (singers as well as organists) don’t always give themselves enough credit for their sight reading skills - even amateurs of moderate ability take for granted (because it’s necessary and expected) a level that’s actually pretty high.
  6. Thank you. Just the sort of recommendations I was hoping for.
  7. Hear! Hear! The recital is an excellent initiative. Ad multos annos. A discussion of Dr Jackson’s organ works would useful. Because he is a prolific composer and his music takes some getting to know, it is hard to know where to start. As a result I don’t play much by him, which I regret. It’s not the sort of music that one can play through and say, “Ah, yes, I want to learn that.” It’s only after one has invested time and effort in learning that something clicks and one can really appreciate the strengths and beauties of a piece. So suggestions from those who play more of D
  8. Favourite example of poor programming: the recital where all the pieces were in F major, apart from two, which were in ... (wait for it) ... D minor.
  9. So the arrangement of Barnby as published is correct, but the original Campbell chant (though originating with the composer himself) isn’t, tho’ you wouldn’t realise that from looking at/performing it. Meanwhile the manuscript version of the Barnby arrangement circulating in some places, tho’ emanating from S. George’s, is inauthentic. Fascinating! Who’d be a musicologist?
  10. I only have a manuscript copy, but you’re welcome to a scan of it. Vox, however, may have the original.
  11. Ingenious, tho’ the opportunity is there for things to go radically wrong! (Grimaces at wrong note. App interprets as instruction to turn page. Grimaces at this and the app does it again ....)
  12. A worthy project. I’ve tried A3 landscape scores in the past but found the long “systems” disconcerting - it’s such a long way back from the end of a line to the beginning of the next one. I’ve also tried A3 portrait. This has the advantage that the lines aren’t so long and I can fit three sheets on the music stand. But staring up into the stratosphere for the top lines is, again, disconcerting, especially when you’re at the extreme top left or right (and inevitably the hands will be at the opposite extremity of the keyboard at this point). Recently I’ve been experimenting with a new
  13. I couldn’t agree more. I should have added a rider - something like “and hymns but in a rather different way.” Distraction and mucking about were emphatically not what I had in mind. I would suggest a separate thread on hymn accompaniment to avoid further hijacking this one, but I am wary as this is such a contentious area.
  14. Because of the way digital images are produced latency is an inherent problem. WiFi may exacerbate it, but (essentially) it will always be there. Whether it would be serious enough to cause difficulties, however, is another question (depends on the particular equipment you use and the purpose you’re using it for).
  15. N.B. Just reporting, not endorsing that view! I prefer the freer approach, but I shouldn’t wish to impugn the artistry or professionalism of musicians who adopt a different one.
  16. Thank you for that pointer. Superb playing, and a fine psalm to accompany. The singing's not too shabby either! No doubt a happy combination of all three to raise things to this level. This approach to psalm accompaniment seems not exactly a lost art, but less common nowadays. I was brought up with the idea that it was inartistic, even amateurish, to play the voice parts of a chant (or indeed hymn) as written over and over again. I'm not sure why there has been a change - I don't recall e.g. a critique of the "free" approach and a call for a simpler one. It's been some years since I
  17. Indeed. For that reason I’m not in a hurry to recommend replacing the analogue system here. The snag is that we really could do with a third camera, but I’ve had no luck sourcing a suitable second-hand one.
  18. Yes, I enjoyed this recording when it first came out. It struck me how strong an advocate Porter was for Campbell’s music.
  19. It used to be normal too to increase the tempo as the music got louder, and slacken as it became softer, whereas nowadays it’s considered a fault. You hear this a lot in early recordings. Ironically it may be that recordings led to the change of taste. I don’t suppose that before they existed anyone (except metronome fiends??) noticed the tendency, which is a perfectly natural one.
  20. I’m probably guilty myself of wallowing a bit in this piece, but yes I think that is probably about the right tempo. We organists often have in our mind’s ear an orchestra playing this sort of thing, but forget that the tone of orchestral instruments (especially strings) is more dynamic than that of the organ, so a slow tempo still has a certain life about it. To get an equivalent effect on the organ one needs to play a bit faster, or else the line sags and things start to stagnate. The opposite is true with faster tempi. An orchestra can take music at a tremendous lick that will sou
  21. Sorry to hear it. I had a nasty feeling they’d eventually succumb to this pernicious habit. Alas that they have done so.
  22. Thank you for all these interesting suggestions. Much to explore.
  23. “Arthur is a good boy; he doesn’t say them’s grouses, he says them’s grice.” A.W. Verrall (But they were actually partridges.)
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