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Johannes Riponensis

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  1. Years ago, I recall a Saturday morning Radio 3 Record Review (or similar) programme in which Olivier Messiaen was heard playing BWV 671 Kyrie, Gott heiliger Geist (Clavierübung 3). At the point where Bach's music plunges into remarkable chromaticisms over the final statement of the chorale in the pedal (final 12 bars), Messiaen broke off and substituted his own startling improvisation, equally fantastic (in the proper sense of the word), but in a totally different aesthetic. Did anyone else hear this broadcast, by any chance? I have searched high and low through R3 archives on BBC Sounds, but have been unable to track it down.
  2. There's more detail from Andrew Nethsingha in the latest Organists' Review (Page 94)
  3. Fugue State Film's latest production seems to me a remarkable achievement - a detailed exploration of Bach's organ music from youthful beginnings to mature works in terms of compositional techniques, performance practice, theological background and the whole 18c. concept of Affektenlehre. In a 204-minute documentary Daniel Moult and his eloquent co-presenter, Martin Schweding, examine - both individually or in conversational dialogue - a variety of Bach's works, both free and chorale-based. Together they offer some quite remarkable new insights. The presentation is in seven chapters, each treating a different aspect. The thread meanders slightly at times and the editing is somewhat clunky in places, but the overall message is surprisingly thought-provoking and should make us re-think our approach to this music. A second DVD includes around 30 pieces performed on various 18c. organs that Bach would have known - Rötha (2 organs by Silbermann), Sangerhausen (Hildebrandt) and Waltershausen (Trost). All four are also suitably demonstrated. Not included, alas, is Hildebrandt's famous masterpiece in St Wenzel, Naumburg, of which we are offered tantalising glimpses but never get to hear - a pity since this is the one organ for which there is documentary evidence of Bach's personal involvement in its design and in its opening celebrations.
  4. The thing vergers carry is a 'virge'. The great London churches like the Abbey and St Paul's seem to prefer this rather more dignified spelling. 'Lesser institutions' seem to use 'verger'. As for CCTV at the console, I trust they do not make the mistake (as elsewhere) of installing a digital system as the inherent delay can be very disconcerting for the poor organist trying to follow the conductor. It should be analogue, of course.
  5. I recall Sunday mornings at ChCh in the mid-1960s. The choir sang in the east (quire) stalls, directed by Sidney Watson resplendent in DMus robes over cassock and surplice. The eucharist was unaccompanied, with mass settings by Palestrina, Lassus, Jakob Handl etc - wonderful stuff and completely new to me. Sidney would disappear to accompany the offertory hymn on the little Crotch organ behind the north stalls. If memory serves me right, all that was required of the Organ Scholar (Paul Morgan) was a final hymn and voluntary on the main (Willis/Harrison) organ at the west end.
  6. Does anyone have particular view on how this piece should end? The final section is marked Tempo I ma più gravemente fff (Rohrwerke an) i.e. + reeds. After the big climax comes tranquillo, but with no indication of change in dynamic , leading into mit feierlichem Glanze ausklingend, which I read as 'fading away with solemn radiance', i.e. a (big) diminuendo. However, many players, including Wolfgang Stockmeier, a leading expert on K-E's music, continue fff to the end. The key word here is the ambiguous 'ausklingen'. It usually means to fade away. However, it can simply mean 'end', as in 'das Lied klingt aus' - the song ends, or, in a figurative context, 'die Besprechungen klangen in die hoffnungsvolle Note aus' - the discussion ended on a hopeful note. Any thoughts? It works equally well either way, I suppose.
  7. This is the second such redundant Scottish organ with an uncertain future I've seen in the last few days: the other was the walker organ in St James, Paisley. Perhaps it will follow the 1904 Hill organ from Kilbarchan to a new life in Germany.
  8. I read somewhere of the Septime described as 'goguenard', which translates roughly as 'rougeish' or 'rogue-like' (with ref, I think, to the Metzler organ in the Grossmünster, Zürich). It seems to me rather apt.
  9. I love the moment where the church mouse in the nave scuttles for cover from the onslaught of both Tubas together!
  10. During lockdown I have found delight and solace in the beautiful online recitals given by Dutch organist, Sietze de Vries, as here, for example, at the Martinikerk, Groningen, one of the very finest organs in Holland. Intelligent, lively, expressive playing and consummate musicianship throughout. Take the Buxtehude 'Komm, heiliger Geist' at 13.57, played in novel fashion at 4 ft pitch and the transcription of the Harpsichord Concerto BWV 1054, which follows at 21.50. Just listen to magical phrasing of the pedal line in the Adagio at 30.15, uncannily recreating the sound of cellos and basses in the orchestra. Balm to the soul.
  11. The piano version was published in 1944 by W Paxton & Co, who also published the organ version. It works well enough, but you need a) big hands, b) to share the 'tenor' melody between both thumbs and c) extensive use of the sustaining pedal!
  12. I have a copy of GTB's piano reduction of this famous piece (which, incidentally, is much harder to play than the organ original!). It is marked Larghetto (crochet = 72). To my ears, the organ version also makes sense at the same basic speed, albeit with slight easing at the ends of phrases etc. This still retains the requisite note of sentimentality without becoming the dirge so often heard these days. The composer's own recording from St Mark's, Audley Street in 1948 (available on YouTube) begins at about 69 and increases to about 88 at the climax. This, together with the omission of the first three bars, was presumably to meet the limitations of a single 78 side. The performance lasts 3 mins 27 seconds. If we assume 3.50 for the complete piece, why is it that some players today take a full 5 minutes? Does anyone share my views on a slightly brisker speed.?
  13. In the good old days they used to raise the orchestral canopy for organ recitals and to good effect, especially for those listening in the arena. The, one day, during the lifting, a light fitting (or part of one) fell on the percussion section of the orchestra below. Fortunately, the stage was empty. As a result he canopy has not been moved since, but it does mean some of the sound goes over the top of it. The best place to listen these days is from the balcony or even the gallery, in direct line of fire from the heavy reeds!
  14. Ripon - see the Cathedral Newsletter of 26 July in which the Dean writes: At the end of the academic year we announced the departure of our Director of Music, Andrew Bryden, to pursue new opportunities. Andrew joined the cathedral in 1998 as Assistant Director of Music and was promoted to Director of Music in 2003. I’d like to thank Andrew very much for his service to the cathedral over the past 22 years and we wish him well as he looks to the future. Canon Michael has been collecting cards and letters of thanks from people to pass on to Andrew – please be in touch with Canon Michael if you would like to send your own message.
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