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Rowland Wateridge

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  1. Eventually tracked down on the YouTube thread of this very same Mander board, posted by MM on 25th June 2010. He began with the organ chamades from Esztergom, adding “I'm terribly sorry! This is the more refined version:- MM”, and then followed up with the carillon with organ, trumpet and pan pipes. I suggested this might be from a church in Vienna, but have since wondered whether it could be somewhere in the Netherlands. I think it’s a masterly piece of coordinated playing! I think the organist aloft has a CCTV link, but that’s all - like many an English cathedral organist, I suppose. It’s a rousing piece, but can sound quite elegant in some orchestral versions. Inevitably there are several Viennese recordings, and others include the Berlin Philharmonic and von Karajan.
  2. Fingers-crossed, here it is (Adnosad, take cover!). There may be an Ad to skip at the start. There are several organ versions of ‘Wien bleibt Wien’. https://youtu.be/s0VQHewtgdA
  3. Not at all. It’s interesting to hear of bells supplementing the specific liturgy of the day. I guess this might happen also in the Netherlands and other countries where carillons are prominent.
  4. No answer is possible to Adnosad … “Ears have they, and hear not” … The once in 80 years experience was beautiful as well as magical. We are rather straying from portable carillons to the real full-size ones in towers. USA yields a rich harvest, most universities having one or even more; the University of Michigan has two on campus, one of them among the largest anywhere and also by Taylor’s of Loughborough. Just along the street from Washington National Cathedral is another large one at the Basilica of the National Shrine of the Immaculate Conception. This features during the Mass there on great festivals with a peal immediately preceding and leading directly into ‘Gloria in Excelsis Deo’. Dr Robert Grogan is Carilloneur and Organist Emeritus.
  5. There’s something similar at Winchester Cathedral, although I have only heard it once (in my now 80 years). Back in the 1970s Raymond Daveluy from St Joseph’s Basilica Montreal gave a recital (incidentally, Martin Neary was somehow able to bring a host of international virtuoso recitalists to Winchester in that era) and, as a noted improviser, Daveluy was inevitably asked to extemporise. He was given a theme by Anthony Caesar, and we had an impressive 10 minutes of wonderful varied interpretations and playing. At the conclusion, the theme was repeated on the bells from the tower above. The effect was magical!
  6. Some years ago, it must have been in August 2000, with my local organists’ association on a visit to Geneva led by the late, and sadly early deceased, Martin Hall, we had the experience of hearing Lionel Rogg as both organist and carillonneur. The former was on the van den Heuvel at the Victoria Hall (Geneva named their principal concert hall in honour of the British Queen) and the carillon was the following day at St Peter’s Cathedral. Our visit coincided with the late Queen Mother’s 100th birthday, and we were instructed by Lionel Rogg to assemble outside the cathedral at 12 noon. Punctually he appeared at a very great height emerging on the roof of the cathedral from a door and entering another in the tower. He then played the British National Anthem and ‘Happy Birthday’, followed by combining them in an inverted fugue. Back to mobile carillons, not sure whether Adnosad would like it, but some time ago Musing Muso posted a video of a particularly complete, I thought rather impressive and substantial one (it would have required heavy lifting equipment to be portable), played with organ, trumpet and pan pipes - possibly from a Vienna Church. I have been unable to track it down. They played “Wien bleibt Wien”, a very catchy piece which the carillon seemed to suit well.
  7. You may know this already, but the National Pipe Organ Register is an invaluable source for locating organ specifications, locations, dates and details of builders in England, Wales and Scotland. Having said that, without further information I was not able to locate Pattman’s organ. I have read about it in odd places from time to time, but it had not ‘registered’ that it was still around, in the chapel of Durham School and listed under NPOR N04178. An invaluable tip for making searches on NPOR is to insert just a single word or place name, or the index number if known. That was how I located the Pattman organ. Obviously several hundreds of listings turn up for ‘London’ and you could be specific with a more local name like Southwark or Westminster. Or you can search for a church name if it is an unusual one - omit ‘Saint’ just the name like ‘Swithun’ or ‘Boniface’ as two examples. That will produce a limited number of results, and it is easy to select the right one. There are more tips on the NPOR home page, particularly for searches about organ builders.
  8. I don’t know about losing it, but we both have advancing age on our side (or at least that is true in my case, now octogenarian). I experimented with other online searches but failed, and would not have tracked this down without the NPOR number which, somehow, you must have found. Anyway, these details should be helpful for Niccolo.
  9. The other thread was “Nosferatu 1922” and on that we were given the NPOR reference N04178 for this organ by none other than your goodself! The organ, minus piano, is now in the chapel of Durham School. NPOR discreetly states ‘Builders Unknown’ but there are clues to its Pattman provenance, which is actually stated, with the ‘drum roll’ percussion and ‘dulcitone (enclosed)’, not to mention the plethora of tubas! An interesting and unusual organ in a school chapel! If H&H archives are silent about it, surely its present location in Durham is significant. I seem to remember that Laurence Elvin referred to it in his book ‘The Harrison Story’, naming it as one of theirs. NPOR adds ‘Further information, The Organ, 1950’. Also more details in your post dated 20th July on the other thread: rebuilds by H&H and, most recently, Willis.
  10. In answer, only, to your question about memorial music, “Be still my soul” (Sibelius Finlandia) seems popular and “Amazing Grace” in its various formats (not to everyone’s taste, I realise). There is some assistance in the service sheets for Ronald Reagan’s state funeral in Washington National Cathedral 2004 and the commemorative service for the 10th Anniversary of the 9/11 terrorist attacks on the USA held in our own St Paul’s Cathedral (as it happens, exactly ten years ago today on 11th September 2011), both accessible from Google. The Washington service contained a wealth of international organ music, but included these two pieces by American composers: “Just as I am” from Gospel Preludes by William Bolcomb, and ”The Peace may be exchanged” from Rubrics by Dan Locklair. “Be still my soul”’ was also included in the pre-service music at both Washington and St Paul’s, so that must rank fairly high, but perhaps we will get a reply from the US with more definite information. I’m sure there are plenty more.
  11. Several factors in their demise, I think: the RFH organ itself ageing, RD’s retirement and changed tastes? Interestingly in a group setting some years later, RD told us that if starting afresh things would now have been very different, not least the shape of the hall and its acoustics, and the organ would be tracker! He mentioned, with slight contempt in the tone of his voice, that some younger organists had refused to play the RFH organ as it wasn’t tracker! In earlier days it was looked on as a very great honour, probably the apogee for a young player, to perform there.
  12. In very much the way which Colin Pykett describes, an answer to this turned up today quite fortuitously on, of all places, the YouTube thread about the failed première of Ligeti’s ‘Volumina’ at the RFH in 1971. A BBC article is linked there with a close up photograph of the left stop-jamb which does, indeed, reveal a label directly under the pedal reed stops “Manual Basses”. From memory (to be checked) there is no reference to this on the NPOR specification other than the relevant stops being individually shown as derived. Having said this, I’m not sure that this is the same thing as Niccolo has described on the Mutin/ Cavaillé-Coll organ being discussed here.
  13. I could be wrong, but I took S_L to be referring to the demise of the 5.55 recitals rather than demise of the organ under the strain of Volumina! Thank you for that fascinating link to the BBC article. The history of the event and how the fault was rectified are dealt with more fully in the book, so I limited myself to the bare bones here. But also fascinating is the close up of the RFH left stop-jamb and the label, directly under the pedal reeds “Manual Basses” which confirms my recollection that Downes’ design carried down manual basses onto the pedal - this was discussed only just the other day on Niccolo Morandi’s thread about the Mutin/ Cavaillé-Coll “Unusual 77-Note Residence Organ”.
  14. In the fascinating book “Wednesdays at 5.55, Organ Recitals at the Royal Festival Hall” (W Harry Hoyle, Clontarf Press, 2018) it is related that the first performance there of Volumina by Xavier Darasse on 4th March 1971 did not proceed beyond the first chord - this had fused the organ’s ‘electrics’! The Times reported this as possibly “an Act of God”! Elsewhere in that book I recall reading that Ralph Downes had categorically forbidden a visiting artist playing a work involving clenched fists! Downes kept a tight rein on all performers, however distinguished, and they had to conform strictly to his house rules; repertoire had to be ‘approved’ and not duplicated or repeated in the same season; no smoking at the console - and a notice on the console to that effect! But it is said he was exceptionally kind and helpful to young, nervous players, and many of our leading organists had their ‘breakthrough’ debut at the RFH. The RFH audience sizes could be extraordinary in the early years. Even Lionel Rogg was nervous at his first recital to see an audience of 1,300. A year later it was 1,600. Helmut Walcha achieved similar figures.
  15. I’m pretty certain you have solved the mystery. ‘Folk Tune’ is dedicated to the memory of Delius so people’s instincts were sound about that link. I have only heard one other recorded performance by Anthony Wilson on YouTube. Agreed that Lindsay O’Neill’s is particularly fine. In fact, both performances are fine, albeit on different instruments.
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