Tony Price
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Posts posted by Tony Price
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CHRISTUS VINCIT!
A bravura improvisation from Karel Martinek:
http://www.youtube.com/watch?v=b8z3a2WfBgY...feature=related
Enjoy!
Tony
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I thoroughly enjoyed most of the KCC Nine Lessons and Carols this year, but once again am left challenged by the use of the word 'carol' for some of the more obscure (modern?) items. How would others define the noun carol in a Christmas context? At what point does a carol become a Christmas anthem, or is any music with a Christmas theme to be defined as a carol?
There are obviously those carols that have been determined as such over time and through tradition, most of which encourage participation from beyond the choir. Beyond this, for me personally, it gets a trifle difficult to draw a line between something appropriate for a concer or carol service, and something that is better left for something more reflective and/or eucharistic in nature.
Is it just the passing of time and familiarity that eventually attaches the word to a piece of music, or should there be other essential qualities present to enable the description to be invoked?
Tony (who shocked a small number of conservative Catholic attendees at a carol concert in the church by using the John Julius Norwich 12 Days exactly as written - it was suggested afterwards that the Blessed Sacrament should have been removed from the church prior to the concert - it was huge, huge fun though!)
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Apologies. I've just had a look. and the LP sleeve image that came to mind when I first read the words William Mathias Organ Concerto turned out to be that of Malcolm Williamson's Concerto.
Tony
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I'm sure I have a vinyl recording of this concerto - I'll dig out the reference if nobody else has it immediately to hand. Like you, I am unable to find it currently available on CD - surely it must be?
Tony
I wonder whether anyone could point me in the direction of a recording of this work, please? I'm pretty sure it's not commercially available, but perhaps someone has an off-air recording that they would be willing to share with me. As a young lad, I was involved in some of the early performances of the concerto, and met the composer. But I've never heard it since (and can recall tantalizingly little of it). -
Just noticed this from the BBC Web site today, regarding the Last Night:
Attenborough and Goldie play Prom
Not for the purists, maybe, but sounds fun!!
Tony
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Many thanks to the board member who passed my enquiry on to Stephen. As a result he has been in touch, and advised that he is playing:
1. on Tuesday 18th August at the Tullamore International Summer Organ Festival on the Frobenius instrument in the church of Our Lady of the Assumption in Tullamore
The programme includes music by Byrd, Bull, Mendelssohn, Bach and Dupre.
2. on Friday 25th September a lunchtime recital with a visiting Norwegian choir at St. Anne & St. Agnes in Gresham Street, London
Tony
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Ian, might this be helpful for advice?
http://www.bobstevenson.co.uk/default.htm
Click on 'Organ Blowers'
Tony
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I would imagine that there are relatively few churches that employ a competent organist who would insist on being paid whether or not he/she played for the wedding, but that the majority of people on this forum who play the organ for weddings fall into the professional or at least pretty high standard category, hence why so many here are defensive of the practice of charging for not playing.
In all the weddings I've ever played for I can't ever remember the matter of paying the church's regular organist their due having arisen. Many of the weddings I play for are for friends, often in evangelical churches that tend to lack their own organist, and for whom I don't charge a fee (as invariably I get invited to the reception I consider that due reward in itself!). Weddings I play for where I don't know the couple I would expect to be paid a fee at the going rate, though again these are usually not at my regular church but by word of mouth and I'm usually asked to play by friendly local vicars who don't have their own regular organist and need someone who can "play the Widor". Thus most weddings I've ever played at have not been in churches with celebrated music traditions and resident organists to consider. (The one time I've played for a wedding in a cathedral, it was a Catholic caethdral doing conveyor-belt weddings and the organist was only too happy to take a break...).
In practice perhaps this matter doesn't arise in all that many churches?
Agreed. As an amateur parish organist who endeavours to provide the best possible music within my limited capabilities, I have never asked for a fee in lieu of my services when the couple require another organist (or CD player) to accompany the service. In my experience such a request generally occurs when a member of the family (or close friend) plays the instrument. When playing away from home I always warn the hopefully happy couple that they may also be required to pay the resident organist who may be acting professionally.
Whilst I may not be dependent on such things for an income, I am always aware that others are.
Tony
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At the church I play at the organ is in the west end, in the gallery, console facing east - behind the altar is what is referred to as the retro-chapel, with the congregation facing west. I well remember promising a well known parishioner that I would slip in 'Happy Birthday to you' at some stage in the service for the occasion she would be celebrating on the day. I had, however, not been aware of just how many young nieces and nephews she would have around her on the day, or that she had advised them of my intentions beforehand. When I gently introduced the promised theme in the quietest moment during communion the result was the loudest 'whisper' imaginable from young voices of 'THERE IT IS!'.
Tony
The relevance (which I ommitted to mention) of the east-west words was that the family were in the retro chapel, facing me when the word (and more) went up!
Tony
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At the church I play at the organ is in the west end, in the gallery, console facing east - behind the altar is what is referred to as the retro-chapel, with the congregation facing west. I well remember promising a well known parishioner that I would slip in 'Happy Birthday to you' at some stage in the service for the occasion she would be celebrating on the day. I had, however, not been aware of just how many young nieces and nephews she would have around her on the day, or that she had advised them of my intentions beforehand. When I gently introduced the promised theme in the quietest moment during communion the result was the loudest 'whisper' imaginable from young voices of 'THERE IT IS!'.
Tony
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I would therefore be most grateful if any of you who know about organ in state schools could let me know about them.
Both of the Catholic comprehensive secondary schools in London Borough of Sutton have organs.
The John Fisher School, Purley, has a two manual (N017989) that is remains in very active use, and is regularly maintained by Browne & Sons, Canterbury.
I'm afraid I know nothing about the organ of St. Philomena's, Carshalton.
Regards,
Tony
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Like many, I guess, I've rather lost the plot when it comes to deciding what has, and has not, been posted here. Nevertheless I hope the selection (distraction?!) below will stir one or two thoughts and a few emotions ;-)
..... from Christchurch Town Hall, with some nice views of the inside of the case (Lefébure-Wély warning!).
..... St. Bonifatius Church in Karlsruhe, Baden-Württemberg - a splendid trumpet + organ performance of the Allegro from the Albinoni Concert San Marco
..... a movement from Andrew Bishop's arrangement of Randy Newman's music for 'The Original' for Brass, Organ and Percussion
..... a splendid performance by Frederick Hohman of Lemare's arrangement of Wagner's Ride of the Valkyries
http://www.youtube.com/watch?v=ygsxjs3OeZI
..... Cameron Carpenter playing one of his own compositions (health warning for those who may never have seen every note (apparently) on a single manual played at once with one hand!)
and finally, a master at work at
Tony
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Thanks for that, Graham - fascinating, in that the web site seems to offer reviews (from the dates shown in the reviews quoted from) written in the 1970s. A little googling suggests that the CD pictured on his web site was, at least, post 1995.
The reviews of the time lead one to believe that there might have been a promising career as an international organist ahead of him.......... sadly, it would seem, things did not work out.
I did like the pic of him seated at what looks like an armchair in front of the console!!!
Tony
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When I was at college (St. Mary's, Strawberry Hill, between 1972 and 1975) a young and apparently upcoming Stephen Hicks was then, to my mind, well known in the organ world. I recall him borrowing my copy of the Bach 'St. Anne' and giving a excellent rendition of it at no notice to fill for somone else at a concert in the college chapel (a small 'cathedral'!).
Whatever happened to him - or was he not as well known at the time as I recall?
The instrument at St. Mary's was believed at the time to be the very last built by Kingsgate Davidson, and, allegedly, used up much of the remaining pipe-work they had in their workshops at the time. Can anyone substantiate this?
http://npor.emma.cam.ac.uk/cgi-bin/Rsearch.cgi?Fn=Rsearch&rec_index=N15874
I seem to recall a single rank running 16', 8', 4', 2' and 1' on the Positive.
Tony
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Then how about Bevenot's 2-part settings of the Latin text? I still use them (now andf then) but when he set the English text the result was not, in my opinion, so successful.
Peter
The Bevenot settings (Masses in Mi, Re and Sol) were what I started with in 1970 – I’m tempted to dig them out again.
We’re a humble ‘all welcome’ RC parish choir, and Bevenot led us to John Turner’s Masses (John the Baptist, St. Mary Magdalen and Good Shepherd), and onwards (and upwards, some might say!) to Charles Kitson – his Masses in D and C minor are largely unheard today, and, in my opinion, worthy of a wider hearing. Apart from the Bevenot Masses, all these remain in the current repertoire. Current favourites include the Trotman St. Luke Mass, Lloyd-Webber’s Prince of Peace, and Nicholas Wilton’s recently published Missa Brevis. On the ‘old school’ front, the Lotti Simple Mass remains a delight, as does Hasler’s Dixit Maria.
We recently introduced the Dom. Gregory Murray Mass, at the request of the Parish Priest to do something in English (please!!) and it works far better than anything else I have come across of its kind, though Jack Putterill’s Thaxted Mass might be a worthy contender.
All that said, the plainsong Missa de Angelis, with a large choir leading, and a large congregation willingly participating, takes some beating, especially with the incense billowing from the sanctuary!
Humble stuff among most of you, I know, but another view-point from lower down the ladder, perhaps.
Tony Price
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Life is full of surprises! On stepping into a subterranean passage while changing trains in Lausanne earlier today, I heard a familiar theme. A young busker was playing "that toccata" on an accordion. He played the whole thing from memory with stunning accuracy. It is a sound I normally dislike, but I had to admire the courage and skill involved. At the end I thanked him and put a generous contribution into his hat, but declined the CD. Unfortunately, I didn't have time to discover anything about his background. (And, no, I don't think it was the titulaire from Lausanne Cathedral!)
JC
The music is available here if you'd like to try it out, John!
http://www.abnir.co.uk/shop/index.php?productID=307
Meanwhile the 'other' Toccata:
http://www.komikalem.org/izle_Dmitriev---B...jJQwTKYfd4.html
.... and its associated Fugue:
http://www.komikalem.org/izle_Dmitriev---B...Bmajjf5WKE.html
Not for the purists, but suprising approachable to listen to!
If Toccatas are your 'thing' then it's worth having a little dig around on this site.
All the best,
Tony
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I have to confess that unless there is a sound financial necessity for charging to use the instrument, I would certainly never request payment from those associated with the parish and/or its music making. An external organist wanting to use the organ on a regular basis might receive a request for a modest amount if it was unlikely he would ever share his expertise with us.
As one who was given the keys to the church when appointed in 1969, I am in the fortunate position of just making sure the church is not in use before popping in and practising. I have always ensured that any assistants I have had over the years have enoyed the same privilage, and it has never been abused (though it took a while to get a set of keys returned on one occasion!).
Such an approach has generally ensured that the youngsters who have benefitted have always willingly made them selves available to play for us when returning home during university studies, and indeed in their post-graduate lives if still living in the area.
We also offer young people undertaking GCSE and A-Level music studies formal accreditation for the Group Music making element of their examinations, which has encouraged a number of younger voices into the choir over the years. We don't charge them either!
I appreciate that such an approach may not be viable with the larger churches and cathedrals where, perhaps, professionals are employed, and where there might deemed to be a greater element of privilage inherent in the use of the facilities.
Tony
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Has any of Lloyd Webber's orchestral music been transcxribed for organ? I am keen to get a copy, if available, of his Serenade for Strings (Barcarolle; Romance; Elegy). I had this on a CD called Invocations - now lost, alas. I think it would make a gentle recital suite.
Thanks
Peter
Whilst I cannot answer your question, Peter, you could always hire the string parts and practice your skill in reduction? ;-)
I have been trying to find a list of William Lloyd Webber's published works, and can only come up with a list of his works currently available in print? Is anyone able to point me in the direction of a source at all?
Lloyd Webber's choral output was very parish friendly, in that much of it is often liturgically appropriate, approachable by a parish choir and an average parish organist. I have recently used his Venite Exaltemus Domino (SATB + opt. organ double), and, this being the 25th anniversary of his death) his Mass, The Prince of Peace, both with organ accompaniment and with an orchestration authorised by the composer. For the organ his set of Christmas preludes is a delight, as is much of his organ music - I used the Cantilena during communion on Sunday. I also have a rather more robust Prelude and Fugue somewhere that I must dust off - it was trying to find mention of this on-line that prompted my question.
I must pick up copies of his Love Divine, excerpts from which were heard during the Radio 4 broadcast about his (absolutely fascinating) life heard sometime in late May this year, and also available on the Invocation CD - delightful music.
All the best,
Tony
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Depends on where you 'sit' with the school, Peter - I have never played for public thanks: a private bottle is enough for me! That said, as the school's 'encumbant' for many years, I'm generally viewed as an associate member of staff. If you were had been asked to play for the first time this year then, yes, I'd probably understand your position.
Tony
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But you are still ignoring the fact that there appear to be many genuine music-lovers here who are simply put-off by the style and performances of these two 'entertainers'.
You, perhaps sadly, underestimate "genuine music-lovers": such people broadly have the intellect to make a very personal judgement, as with any other music interpretation they hear, according to their individual tastes - they are unlikely to be put off as you suggest. They are broad-minded enough to understand that music comes in many forms, in many styles, and with many interpretations, and attracts, or otherwise, an equally broad range of emotions.
They do such things quietly and intellegently.
Tony
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I’ve been organist to a largish Catholic parish in Norbury south London since 1969, and am now organist and DoM in the same parish.
Nothing more than a reasonably competent parish musician, with a philosophy (that most will not agree with) of wanting to involve the people in choral singing regardless of the level of their musical talents – not always easy, but always rewarding.
F.H. Browne & Sons organ installed in 1972, and enlarged and improved twice since – hugely valued partners throughout my tenure.
Nothing like a good tune to keep everyone happy!
Tony
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I have to say that I find it quite heartening that, all these years after his un-timely passing, Virgil Fox and his music (for that is what it is, whatever people might think of it) still have the strength of personality to engender often quite heated discussion about the instrument, the manner in which it is used, and the music played on it. He must be delighted!
In this respect, I have some sympathy with Lee’s view that he (and likewise Carlo Curly still) was a great ambassador for the organ. I can think of very few others who had the huge charisma and technique necessary to achieve this in a manner attractive to a wide, and often hugely non-organ related audience.
The service such people provide in encouraging a basic interest in the instrument that is not generally inherent in the provision of the organ repertoire for organists and the organ-literate cannot be understated. Equally, the service such people provide in encouraging a basic interest in an instrument that is hardly well catered for in terms of exposure to a mass audience must be equally valuable in encouraging a deeper interest from those, especially the young, who might not otherwise turn out for an ‘organ recital’, cannot be under-valued.
As a youngster I was given VF’s Wedding Album, an LP that introduced me to the ‘Albinoni’ Adagio. Equally, my first hearing of the Widor Toccata was on the ‘wireless’ in a programme called The Organist Entertains, possible in the late 1960s. Both were, in their own ways, inspirational in encouraging an interest I still have today. Like most young keyboard instrumentalists, I was never in danger of being taken to an ‘organ recital’ – something that is demonstrably still very much the case.
Tony
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I remember these getting a very good review, but it was quite some time ago. I'm thinking of getting them, so I looked them up on the net and can find only five discs covering nos 1-13. Were the later sonatas ever released? Is this still an ongoing project?
According to Naxos, when I contacted them in November 1994, volume six was "likely to be realeased in 2005".
I contacted them again in April this year and was informed that nothing further had been heard about the release, and they could not provide me with any further information.
Hopefully it will arrive in due course - it would be shame if it didn't (not least because I'm particularly waiting for no. 14)
Also of interest is the Naxos release of Paul Skevington, with the Amadeus Orchestra conducted by Timothy Rowe, playing Rheinberger's two organ concertos on the Steiner-Reck at St. Luke's Catholic church in McLean, Virginia.
Tony
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Hi.
As a student currently 'on release' for a little while over the summer, i'm looking for some new suggestions for music to learn. The criteria are:
1) Suitable for somebody between Grade 7/8
2) Not a music student
3) Something that will give the hands plenty of work (out of scales practice...!)
4) Not ambitiously long
5) Challenging enough to not be considered 'sightreading fodder' (as in, will hold my interest.....
I have a few ideas, but some creative suggestions from people on here would be most welcome!
DWL
Join (if you haven't already) the nearest library with a decent music section, and just explore. Look at what you feel you'd manage, and borrow it, and play it (or not as the case may be!). I can't be the only one here whose introduction to the organ and its music was steeped in the music (Rheinberger comes to mind - it was everywhere in the late 60s/early 70s, and is deservedly making a return) available to everyone to borrow freely from the local public lending library.
Good luck, and keep at it!
Tony
Youtube
in General discussion
Posted
Firstly a couple of contrasting performances of the William Tell Overture:
Secondly, Lauridsen's absolutely stunning O Magnum Mysterium from Westminster Cathedral's last
Tony