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Rowland Wateridge

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Everything posted by Rowland Wateridge

  1. Coventry Cathedral recitals 2021 Coventry Cathedral resumes its live weekly lunchtime recitals from Monday 17th May. In present circumstances pre-booking is requested. it looks a stupendous series of fine programmes on (dare I suggest) England’s finest post WW II cathedral organ, introduced here by Rachel Mahon: https://www.coventrycathedral.org.uk/wpsite/blog/2021/05/01/monday-lunchtime-organ-recitals-from-may-to-october-at-12-30-pm/
  2. I defer to you expert players - and this discussion has become entirely hypothetical anyway! - but in Stephen Bicknell’s scheme could a ‘party horn’ effect be achieved with the Great trumpet plus cornet? He doesn’t specify whether the latter is to be a five ranks mounted cornet; I have heard that combination do the trick. But would his Swell be sufficient to accompany it? He does concede that tracker action was limiting in this particular situation, and thus no option of a transfer of Great reeds on Choir.
  3. Well, Trinity College next door only has one more speaking stop than Stephen Bicknell’s original Walker design for St John’s, and it likewise has no “party horns” and no 32’s. How do they manage? Probably Stephen Bicknell had in mind a different tonal structure, presumably a traditional English one, although we do not know that.
  4. Truro Cathedral, larger than both St Peter’s and St John’s, is clearly the inspiration: the hints on the St John’s page which VH linked above (post number 2) could not be more obvious, and Andrew Nethsingha is the common denominator. This, if it happens, is still a little way ahead anyway, and doubtless St John’s will employ the best builder to ensure success both tonally and whatever is decided about the case. At St Peter’s the console is en fenëtre, and it’s difficult to see, although not impossible, that this would be repeated at Cambridge. Stephen Bicknell was largely the person res
  5. Helmut Walcha seems to be the only known case. André Marchal and Alfred Hollins both played Bach, but there is no suggestion that either committed to memory and performed the entire works. Obviously any information about others (whether sighted or blind) who have completed the marathon would be very welcome.
  6. It’s confirmed in his obituary in ‘The American Organist’, 1980. He did it a long time ago, spread over four months starting in October 1929, on a new Casavant Frères organ at the University of Redlands, California in 20 twice-weekly recitals. This was a first for the USA, but Dupré had done it twice in Paris in 1920 and 1921. There may be others yet to be discovered.
  7. I wondered whether Willis might figure! Hereford would be excellent, but somewhat larger than what it is replacing!
  8. Peter Allison has beaten me to it. I was going to say Paul Jacobs and Helmut Walcha, both of whom I have heard play Bach ‘live’ - but not the complete works! Paul Jacobs played at Symphony Hall, Birmingham; Helmut Walcha, long ago in the 1960s/ 70s at the RFH. I heard Helmut Walcha twice, and on both occasions he played the Toccata and Fugue in F, BWV 540. He was led to the console by his wife who, I think, assisted with registration (the RFH organ probably had a single memory in those days) and there was a score on the music desk which puzzled me at the time, but was doubtless for h
  9. Thank you for those details, but sbarber49’s challenge was to identify any other organs by Father Willis currently in Cambridge. Emmanuel seemed the only candidate, and I relied upon H&H, no less, for providing authoritative confirmation. Now we are told that Emmanuel, or its building, has gone with the hope that the FW organ will be preserved by Pembroke College. If so, when the organ from St Peter’s Brighton has been transplanted to St John’s, that will mean two Cambridge colleges possessing a FW. But, as you say, the firm of Willis seems to have done very little work in Cambridg
  10. Only one, apparently. Emmanuel United Reformed Church, 1880 restored to original state with the addition of a pedal trombone in 1992 by Harrison & Harrison. https://www.harrisonorgans.com/wp-content/uploads/2021/03/CAMBRIDGE-URC-2020.pdf
  11. I’m certain that this has already been discussed on the Forum. Very interesting that the St John’s College page which VH linked has an illustration of the College Chapel on which the FW organ of Truro Cathedral is superimposed! Doubtless a reflection of Andrew Nethsingha’s affection for that wonderful instrument, but not the one being acquired, of course! As an afterthought, this is also an oblique reference to the fact that the FW organ at St Peter’s Brighton has a very similar specification to Truro’s, but visually they are very different. Truro surely has one of the most impress
  12. The Kirklees Borough Council announcement states that David Pipe will be the Guest Curator for the forthcoming Organ Concert season (initially online recitals) and Gordon Stewart becomes Organist Emeritus of Huddersfield Town Hall, and will be giving a farewell concert before a live audience when circumstances permit.
  13. A Google search for recordings of ‘Tuba Tune’ results in an astonishing number, 13 pages of listings, possibly more as I did not delve further. Performances on some surprising instruments (and by surprising performers!) are included. What I was searching for was the remote possibility of a recorded performance by Cocker himself. It would be revealing to know how he played this piece. Does anyone know if one exists? As mentioned on an earlier thread, a couple of years ago Darius Battiwalla gave a performance at Leeds Town Hall which was a revelation - instead of the somewhat jaunty ‘f
  14. But very easy, in your case, to guess which proper instrument!
  15. I am a very slight organist, ‘at the coalface’ in BCP Matins and Evensong in country churches pre-Covid. However, I have played the Kenneth Jones organ in the chapel of Emmanuel College, and was greatly impressed. Emmanuel College is a very friendly place, or rather that was my experience as a guest there. NPOR N09198 is, I think, fully up to date. I don’t think there is very much, if any, surviving Hill Norman and Beard pipework. This was effectively a new organ in 1988 inserted into a late 17th century case. It has feather-light mechanical key actions, and so a good discipline fo
  16. I watched the ITV broadcast ‘live’ and none of the pre-service organ music was included, the outdoor ceremonial taking precedence. As much as we heard it, I thought the organ sounded absolutely splendid. Luke Bond opened up for the final verse of ‘Eternal Father’ without drowning the singers - splendid stuff! The opening bars of BWV 546 were simply tremendous, and I quickly switched to BBC where the impact was considerably less, but they may have faded it for the ‘talk-over’ commentary. I simultaneously recorded Sky TV’s broadcast which included much of the Prelude without ‘talk-over’, and
  17. I have the impression that this is an American recording. The singing doesn’t remotely match what I heard at the Masonic funeral mentioned above. It’s interesting that ‘St Oswald’ is (largely) used worldwide. When Martin first raised the subject, my memory went back more than 60 years with ‘St Oswald’ as the immediate answer. But for some reason ‘St Bees’ (also by Dykes) rang a bell. I now see from another video here that this is usually the tune for the Opening Ode.
  18. My only experience of a Masonic funeral evidenced singing of a very high order! I remember remarking to a colleague there that no one would know the first hymn (expecting the silence, apart from the organ, which happens in that kind of situation at weddings). But I could not have been more wrong. The brethren sang like a Welsh male voice choir, and very accurately it must be said.
  19. Unfortunately, I cannot answer your question about improvement as I never heard the organ in the flesh before the work done by Ruffatti. But I went to a recital by James O’Donnell in February last year, almost on the eve of the first pandemic lockdown, and the instrument, matched by the playing, sounded superb.
  20. The only one I have encountered, slightly simpler - in D major, D (up to) G G (down to) F sharp. Perhaps, after the funeral, Martin Cooke will tell us which tune he played, and how he rose to the challenge of “so mote it be”!
  21. An organist whose playing has you on the edge of your seat, especially in the music of the French school and large Bach works like the Dorian Toccata and Fugue; his performance of that was the most gripping that I have ever experienced. His service accompaniments are a model and the improvisations thrilling. The lucky people of Lincoln have enjoyed this for a third of a century! Clearly the Lincoln Father Willis has been an inspiration, the perfect combination of instrument and player. I have always felt privileged to hear his playing at Lincoln. I hope that will still be possible and
  22. I am not a Mason, but I have played the Masonic Closing Ode “Now the evening shadows closing”. It is a short hymn in metre, and I played it to J B Dykes’ “St Oswald” which suits the words very well. It is an evening hymn and not specifically a funeral ode, although it obviously lends itself to that. I understood that it was sung at the closing of every Lodge meeting. “So mote it be” translates simply as ‘Amen’.
  23. In spite of the limitations of listening on an iPad, it was a delight in present circumstances to be able to feel as though in the building hearing that wonderful organ. I think a revelation for me (and it has been said before by others) is how well César Franck sounds on the Schulze - and that was especially so in today’s performance by Graham Barber of ‘Pièce Héroique’.
  24. Sadly I missed it. Living in the Southern Province I watched the BBC televised Eucharist from Canterbury Cathedral with the Archbishop presiding. Mixed feelings about some of it; I thought the girls’ choir was impressive. David Newsholme directed and Adrian Bawtree played the organ. It was difficult to get any real impression of the organ from the sound quality of an ancient television. Adrian Bawtree certainly opened up the organ in the closing voluntary, Guilmant’s “Grand Choeur”, but in best BBC tradition this was faded out to a scene of someone preparing pastry with a rolling-pin! On
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