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Tony Price

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Everything posted by Tony Price

  1. It is possible a copy may be available to purchase from: https://bradfordorganists.org.uk/sheet-music/ Tony
  2. I wonder if this article in the Daily Telegraph relates to the matter Denis has raised? https://www.telegraph.co.uk/news/2019/05/19/westminster-cathedral-putting-heritage-risk-sending-choir-boy1/ Tony
  3. I played the instrument at St. Mary's, Strawberry Hill, for three years as a student from 1972-75. At the time it was suggested that it was the last Kingsgate Davidson built, and, as such, incorporated a lot of remaindered pipe-work from their work shops. I've never been able to verify this though!
  4. Appointment of new Director of Music Posted: 19 Jun 2018The Dean of St George's Cathedral, Southwark is delighted to announce that Jonathan Schranz has been appointed to be the Cathedral Director of Music with effect from January 2019. Canon Richard Hearn says, "Jonathan will bring a great deal to the role and I am confident that he will build upon the great work that his predecessor Norman Harper has done both in developing the choir and enhancing the music tradition at St George's Cathedral".
  5. Norman Harper retiring from St. George's cathedral: http://www.stgeorgescathedral.org.uk/music/StGeorgesDirectorOfMusic2018.pdf Tony
  6. St. Jude's had a quite wonderful Tuba rank if I remember correctly?
  7. Thanks, SL. This is a fascinating thread. There is a quote from St. Augustine in the Catechism of the Catholic Church #1157: “How I wept, deeply moved by your hymns, songs, and the voices that echoed through your Church! What emotion I experienced in them! Those sounds flowed into my ears, distilling the truth in my heart. A feeling of devotion surged within me, and tears streamed down my face – tears that did me good.”. The plainchant Missa de Angelis was considered very avante-garde when Pius XI encouraged its use by the laity in 1928. In reality, Pius XI, and, as a consequence the Church in general, was commencing a re-discovery its music for the laity to participate in. The Missa de Angelis is a real historical mish-mash of geographical and chronological sources. The Kyrie goes back to the 15th century. There are some interesting words on Cunctipotens Genitor Deus here: https://www.questia.com/library/journal/1G1-339530395/kyrie-cunctipotens-genitor-deus-alternatim I hasten to point out that the words above are written purely from a position of interest rather than from historical knowledge! I have no qualification whatsoever to speak of what may or may not have been familiar in the French Catholic Church at the time of Couperin, but I venture to suggest he may well have been familiar with traditional alternating plainchant. Tony
  8. Might this just be a reflection of the 'three-fold' manner in which the plainsong Kyrie was sung? Kyrie thrice: Choir, Choir+Congregation, Choir Christe thrice: Choir+Congregation, Choir, Choir+Congregation Kyrie thrice: Choir, Choir+Congregation, Choir It now tends to be two-fold in these 'modern' times. Choir followed by Choir+Congregation for each of the Kyries and the central Christe. Tony
  9. I played the HJ at St. Mary's, West Croydon, for a couple of years 1975-77, whilst I was teaching at the Secondary School next door. I would agree with your comment, David. It was dull, but relatively forceful. Tony
  10. A tragic loss of a fine young musician who was devoted to his duties. His expertise, especially in the world of Gregorian Chant, will be sorely missed. http://en.radiovaticana.va/news/2015/03/11/english_catholic_musician_killed-in_hit_and_run_collision/1128565 Requiescat in Pace Tony
  11. I have a feeling the now-mobile console in the nave at All Saints, Carshalton has a wireless (Bluetooth) connection (capability) with the pipework in the west end gallery following the recent Willis overhaul? www.willis-organs.com/carshalton_general.html Tony
  12. There is a nice review from a mystery worshipper who was at Worcester for the occasion on The Ship of Fools at http://www.ship-of-fools.com/mystery/2014/2770.html Tony
  13. Many thanks for the additional suggestions, and apologies for the tardy acknowledgement - just returned from time in Ludlow, and, yes, I did buy that DVD and am looking forward to watching it and listening to it! The Britten is a little outside of the scope of what I had in mind, I fear. The de Wert is interesting: something else I'd never heard of!! Tony
  14. Many thanks, to you both, for the replies. Much appreciated, and I'll look into them. Does seem to be a general dearth of such musical material on the subject. Tony
  15. I'm considering a concert in June next year on the theme of Parables. The core of this would be WS Lloyd Webber's The Good Samaritan and Shutz's The Pharisee and the Publican (in English). I need to pad it out a bit beyond these two works, but am struggling to find music that fits the theme. The concert would be accompanied by the organ, and, apart from anything else, hymn suggestions would be good. Able but amateur SATB choir. Has any one any thoughts they might be prepared to offer. There seems to be nothing helpful I could find elsewhere on-line. Many thanks, in hopeful anticipation. Tony
  16. Unusually, perhaps, for a Roman Catholic choir, we have sung The Crucifixion half a dozen times over the last ten years or so. On each occasion it has attracted a nearly-full church to hear it, and every time it has resulted in a lot of comment about how moving the work is (a commendation for the composer more than the choir and soloists I think). The choir sings from it's liturgical position up in the west gallery rather than concert-style at the front of the church I produce a little programme for those attending, and ask that they wait for the music in silence, join in the hymns, and, afterwards, offer no 'applause' whatsoever; stay a while in the church, and leave in silence. The lights are dimmed enough to read the words of the hymns, and no more. During the work I arrange the projection of a series of appropriate images (artists' representations of the Passion, Stations of the Cross etc.) onto a screen at the front of the church to illustrate the words. Each time I have done this, the absolute, complete and utter silence at the end has been as moving as the music (both for me, and for those attending). I am lucky to have a sensitive organist who is an excellent accompanist to the choir (something, in my experience, that is huge good fortune in amateur circles). However the accompaniment might be approached on a particular instrument, it is the 'ability to accompany' that so often makes or breaks a performance; something that those of you (most of you?!) who move in higher circles than I often, understandably perhaps, take for granted. Stainer's genius (my opinion) was in writing so much approachable music that falls both within the abilities of the amateur parish choir and the appeal of those who listen to his music. His Bb Mag and Nunc is another excellent example.... I am Alpha and Omega....... As an aside, having Stainer's The Daughter of Jairus in the repertoire and St. Mary Magdalen on the way, I would encourage people in amateur positions to look at Stainer's music beyond The Crucifixion. (Gideon? Not published, but perhaps..... one day!!) Tony
  17. Our organist gave us the Georges Mac-Master Toccata in A last Sunday. I have to confess that I'd never heard of it, but am very pleased to have made its acquaintance. Whilst my abilities on the instrument are not nearly as competent as our organist's I fully intend to learn it. It has shades of Dubois, and is a little easier than some of the mainstream 'big' French toccatas. Worth a look, maybe? Tony
  18. Perhaps consider: Simple Mass Lotti, Missa Octavi Toni Lassus and the very much more recent Missa Brevis from Nicholas Wilton? All Latin. Tony
  19. Dave, how lovely to see the George Malcolm Christmas Mass being used - a delightful work! Happy Christmas to all here from me, and may Percy Fletcher ring 'em out for you all in 2014! Tony
  20. From the The Telegraph: http://www.telegraph.co.uk/news/obituaries/9483336/Carlo-Curley.html Tony
  21. Very sad news indeed - I only saw/heard him once, at St. Paul's Church in Cheam some years ago - I remember him most for the infectious and thoroughly approachable way he made himself avalable to the audience after the recital as well as the way he communicated his music-making to those present throughout the event and, by doing so,completely involving them in the music. Lots of smiles in the huge audience, but a wonderfully absorbing introduction to the instrument for many of those present. May he rest in peace. Tony
  22. Very many thanks to you both for the most helpful pointers. Very much appreciated indeed.I'm most grateful to you. Tony
  23. I wonder if anyone has a copy of this motet they would be kind enough to share with me? It was originally (?) published by Cary as No. 109 in their Motets Ancient and Modern series. i have tried Banks Music Publications (who hold a large part of the Cary archive), and also Richard and Barbara at Allegro Music both without success. I'd really appreciate it if someone were able to send me a copy of the work that they might have lurking somewhere. With grateful thanks in hopeful anticipation, Tony
  24. A good resource for some the music of the period (if it's not sadly gathering dust in the corner of a music cupboard in the organ loft already!) is: http://www.bardon-mu...ang=en&curr=gbp Like much of the music of that period, many of the compositions are easy on the ear, approachable for the average organist, tuneful, and popular (my opinion) with congregations and audiences. The sort of music that many academics might treat as very much 'second class' but actually encourage average day-to-day congregations to engage with the instrument. As an amateur parish organist, an accompanist and never a recitalist, with a love of the music of the late Victorian/Edwardian period, there is much to commend it. Yes, there is a huge amount from the period that might disappoint, but finding the gems is so satisfying. Stainer's short 'Song of Praise' comes to mind......... as does Faulkes's Prelude on Ein feste Burg (at, perhaps, the opposite end of the difficulty scale). Don't be put off by the mechanical synthetic sound examples that are offered by Bordun Music - indeed, congratulate them for making the effort to offer them as a taster; then play them as you find them - warmly! Tony
  25. Old Hundreth arr. RVW, O taste and see RVW,Crimond Grant/ Baird Ross, God Save the Queen arr. Elgar (just to be different!). Played out with the Introduction, Andante, Scherzo and Fugue extracted from Pearce's Fantasia on the National Anthem. Aslo included Lead us heav'nly Father, lead us Mannheim, which like All people that on earth do dwell is helpfully Trinitarian! Tony
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