Cornet IV

I suspect that the original concern, with which I wholeheartedly relate, possibly arose from a perceived unfairness of having attained an award from academic diligence and toil but subsequently having that effort effectively devalued by the same award being conferred upon another substantially less deserving, often for quasi-political reasons. This is such a pity for it is entirely "meet and proper" for there to be public recognition of notable achievement, particularly where there is demonstrable public benefit - it seems a growing number of gongs is being metered out to the increasingly undeserving. I'm inclined to think that should my name be put forward for anything like this, I would have the honesty to decline on the basis that the whole honours system has become debased and that my self regard substantially would be diminished in finding myself in the company of the pop-celebrity which now seems a prerequisite for such things. I know he's not one of us but perhaps Sir Andras Schiff should be included in the alumni. I do like his Bach.

As so often seems to be the case, I'm again steaming somewhat astern of the fleet and responding a month after the topicality of the thread has passed but I feel moved to support Rowland in his position. Those, like me in their mid-eighties, very much have their faith shaped by "what we grew up with" which, of course was the BCP and the KJ version and I for one, have never considered the need for anything other. The liturgy and words of many of the hymns for centuries were inculcated in schools, military church parades and so forth to become a staple of the social fabric. What the reformers and those seeking "accessibility" (whatever that might be) fail to acknowledge, is that an essential component of faith is the continuity of the known and the familiar - profound and essential comfort is derived from these, particularly in times of social flux as we now have. Sadly, this essence not always is understood and in recent years, I have crossed swords with several incumbents invariably holding diplomas in something; long gone are the days (in my experience) when orders of service and musical accompaniment could be discussed with Oxbridge MAs able to quote Aeschylus in the original and expert in the workings of Walschaert's valve gear. But perhaps grumpiness increases in direct proportion to one's age . . . . Robert Hope-Jones and his relationship with Ernest Skinner is much more interesting, don't you think?🙄

Thank you Choir Man for posting this. It is an interesting collection of performing styles and instruments. Recital 6 reminded me of my early youth and struggles with bench heights which invariably were too high for my 12-year old legs.

Oh dear - steaming a little astern of the fleet again as I have only just noticed this thread. I was fortunate to meet Simon Preston on several occasions and found him an engaging personality; we were almost the same age. I was pleased to introduce him to the three-decker Byfield at St Mary's, Rotherhithe a long time ago - this must have been in the early 'sixties for I remember that Charles Purpart was organist at the time. This was not long after Noel Mander had performed a thorough overhaul and returned some of the specification to the eighteenth century original. Preston had a large influence in the recital world but sadly was unheard in recent years.

I have been rapped over the knuckles by admin for this reference. My time in South London was a not an easy one and I have less than pleasant memories of some associations, but this should not have influenced the contents of my post. It was never my intention to cause any distress; I shall be more circumspect in future and readily apologise to any whom I may have upset.

I was pleased to stumble across this thread. I was flattered to meet E J Warrell when he graciously attended a recital I gave on the Harrison at St Mary's, Woolwich the year after he was appointed to Southwark. I remember him as an intelligent and mild-mannered man and sometimes wondered how he coped with the Mervyn Stockwood - perhaps Warrell was able to avoid him. I had left Woolwich by the time he arrived just around the corner in Deptford so regretfully, we did not meet again.

I sold an Italian virginal to the Early Music Shop and found them really easy to deal with. But this was when Malcolm Greenhalgh was in charge in Denmark Street and a few years ago now, so things probably have changed - as they irritatingly do.

And under the present management from York and Canterbury, the braying becomes louder and of increasing irrelevance as the brayer ascends the ecclesiastical hierarchy. Sadly, the future of the organ in large measure is linked with the general demise of the Church, both nationally and parochially, so that with the current contraction of the parish system and the hegemony of the "progressives", there will be fewer places to house these noisy instruments which are considered such a drain on dwindling financial resources. The same fate awaits the bells which an increasing number of incumbents regards as equally clamorous and expensive.

More than half a century ago, a clever mechanical engineer acquaintance lived in a large detached house in Purley, then in Surrey. Installed in the house was a two-decker with a not immodest pedal division which occupied the stair well, the swell was in the dining room, although there was no swell box - he had a string operating the spring-loaded door for that purpose. The great was in the "front room". Holes in the ceiling had been judiciously cut to accommodate a few of the unstopped longer pipes which couldn't be mounted elsewhere. There was a complete instrument disassembled in the garage and another ground floor room had been given over to his collection of player pianos and piano players. The first time I visited him, before ringing the bell, I was intrigued by the Fugue a la Gigue (577) wafting through the letter box, not least because I have trouble with this piece; it's like patting your head and rubbing your tum at the same time. Anyway, he called out "Come in" which I did, to find him at the console in the hall. He turned around, beamed "My dear fellow" at me and swung his legs over the bench. To my astonishment, the Gigue continued to play. He then removed the music to reveal an opening panel behind which was the punched roll of a player system. I was fascinated. I have often wondered at the apparent connection had between mechanical people and music. Frederick Lanchester (arguably, together with I K Brunel, also a musician) this country's most clever engineer was a competent fiddle player. The first Chief Engineer of the RAC was an organist in Southport for many years - I owned Felix Hudlass's music collection for a long time and there are many other examples of this relationship. I have no idea what happened to the Purley organ.

How heartening to read in this morning's Telegraph of the restoration of the Wimborne Minster organ contract going to Manders. The picture is of one Stephen Hayley with an "orchestral trumpet" but in the background, there is the instrument disporting a rank of these mounted en chamade. I find this a little curious because whilst I have known many Spanish and other 17th century organs with reeds thus mounted, I have never met a 17th century English instrument so equipped. I suspect this must be a later addition. Yes?

Thank you Peter, Curiously, this performance is not available on my YouTube programme and, more pertinently since it was a CD i was wanting, I am unable to find it as a CD either. Remember a wonderful rendition at Selby Abbey by Fernando Germani a long time ago - wish that had been recorded.

Many years ago when I was much younger and a good deal fitter - early sections have more pedalling than the Tour de France - I struggled to get to grips with Max Reger's "Ein Feste Burg" but was never really successful. I was able to make a passable fist of the last three pages which could sound magnificent on a large instrument. Strangely perhaps, for one who considers that the world came to an end in 1750, I regard this work as a worthy successor to you know who but equally strangely, have no recording of his Opus 27. I would be grateful for recommendations of good performances on suitable instruments, please. Thanks in advance

My thanks for the heads-up on this. I have listened to and thoroughly enjoyed the service which I thought was of a high order of attainment. It reminded me of the glory days of Barry Rose. And on the basis of one good turn and all that, but nothing to do with Choral Evensong, can I commend the truly excellent Wachet Auf done by the Netherlands Bach Society on YouTube. This a wonderful choral offering, not the Schübler variation.

Une flûte en chamade. It would need some form of support which I imagine would dull the tone to some degree?

Perhaps it's as well that I did not compound the confusion by adding that my fondly-remembered cleric took his holidays walking in the Lütschinen valleys!