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Tony Price

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Posts posted by Tony Price

  1. 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!

  2. Appointment of new Director of Music
    Posted: 19 Jun 2018

    The 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".

  3. 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

  4.  

    You seem to have too many Kyries here, SL. Would not the order be this?

     

    Kyrie

    Plein chant du 1er Kyrie

    [Kyrie sung]

    Fugue sur les jeux d'anches

     

    Christe

    [Christe sung]

    Recit de Chromhorne

    [Christe sung]

     

    Kyrie

    Dialogue sur la Trompette et le Chromhorne

    [Kyrie sung]

    Dernier Couplet

     

    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

  5. 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

  6. 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

  7. 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

  8. 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

  9. 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

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