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Paul Walton

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  1. Interesting to read these comments just as a new historical consultancy has been set up by one of our layclerks: https://scenespan.com/ Paul
  2. Thanks for the Love Unknown recommendation - I've not played it but clearly should, as I've got the book. There's also a nice Cantilena in the Centenary Album of the Oldham, Rochdale and Tameside Organists' Association. Thanks for the plug for the hymn arrangements - let's hope for an opportunity to use some of them before too long! Paul
  3. The tracks on Apple are in the wrong order - what you get when you preview the Impromptu is the Arabesque (track 7). Click track 11 (listed as first movement of Sonata Giocosa) for the Impromptu! Paul
  4. I've played quite a lot of FJ in recent years, so hope this will help. Good starting points would be: Three Pieces (op.17) - the outer pieces Procession and Pageant are very useful voluntaries Seven Pieces (op.84) - there is a Praeludium written in Leipzig as homage to JSB, and an Intrada with echoes of Walton's Belshazzar Acklam Pieces (op.141) - I play the opening Fanfare, Reverie on a theme of Ravel, and Aria Celtica (a prelude on 'Slane') Prelude on East Acklam (his own tune) from Five Preludes on English Hymn Tunes All the above are quite approachable in terms of both musical language and technical difficulty, and work well on a variety of organs. After those, Sonata No.6 is probably the first big piece to go to - satisfying and probably not as difficult as most of the others - the last movement is fun, a gigue written at about age 87! The Impromptu (op.5) is very fine - written for Bairstow's 70th birthday though with the York organ in mind, making full use of the various Tubas (enclosed and unenclosed) Probably the most satisfying big pieces are: Toccata, Chorale and Fugue (op.16) - an ingenious piece, particularly the fugue on a very quirky subject but ideally needs a big Tuba at the end Sonata No.1 (op.35) - written for the opening of the Blackburn organ in 1970 and so needs that kind of colour, i.e. a reasonable selection of mutations and soft reeds, plus a big reed for the last movement. Paul Walton
  5. The Solo has always had the octave couplers but, as Philip Moore has said, in recent times they have not affected the Mirabilis. Robert Sharpe has implied in the other thread that this will still be the case post restoration. The only possible use for them I can think of would be when using the Pedal Divide, to have the Mirabilis in the right foot, sounding an octave higher, though this would require a Solo Octave to Pedal coupler. Paul
  6. The Sumsion arrangements were OUP and are now archive, so try Banks. Paul
  7. Apologies for reviving a very old thread, but a Google search on this organ has brought me here! As the recently appointed University Organist, I am due to be hosting a visit to and giving a talk on this organ next month. All I know is what's on NPOR. I'd be extremely grateful if anyone could furnish me with a copy of the David Drinkell article mentioned above. Paul Walton
  8. Howells grew up with the pre-Harrison Gloucester, but the 1920 - 1970 incarnation became his favourite instrument (then Durham and St Mary Redcliffe) and he dedicated the Six Pieces to Sumsion so they would be played on it. Paul
  9. Not rare enough to be an exception though: York (1832) Newcastle (1883) St Paul's (1872) Salisbury (1876) Peterborough (1894) Westminster Abbey (1895) Southwark (1897) Lincoln (1903) Winchester (1905) Chester (1908) Ely (1908) Lichfield (1908) Glasgow (1909) Hereford (1909) and Durham prepared for in 1905, though not put in until 1935. I always use the Mag Gloria to judge whether the choir is strong enough to take the (in my case 16') reed at the end of the Nunc. Paul
  10. 'The Organs of York Minster' lists the Swell Open Diapason becoming the Voce Umana along with the reinstating of the Solo and part of the Pedal in 1972 following work on the building. 'The Organs and Organists of Ely Cathedral' doesn't mention the Fiffaro before 1975. However, it does mention work done in 1956 (Choir flues transposed into a cornet) and 1962 (repair work and revoicing of reeds). Arthur Wills, in his book 'Organ' (Menuhin Music Guides) discusses the retuning of two Choir flues to become Unda Maris and Fiffaro in the same paragraph as the cornet, and implies this was all done before the 1962 work. Paul
  11. Most 20th century organs have registration aids. If the ones that don't are either historic copies from which we can learn how things were done in a certain period, or can be reasonably expected to only perform music pre-c.1850 that doesn't require registration aids, then no problem. If neither of these is the case, then whatever the sound of and however musical the instrument, failure to provide registration aids of some description (hardly a new fangled idea) is at best misguided and at worst sheer dogma, particularly on consoles of different design to the English Romantic console. If for example (from experience) you build a 2-manual organ for a church that has an annual festival that includes such things as Dyson in D and Britten Missa Brevis and Festival Te Deum then you should include playing aids. Bangs and crashes from stops going in and out by hand (and the contortions of the player in order to get to them) may be amusing for the choir, but are hardly conducive to high level corporate music making.
  12. I think 'no tonal alterations or revoicing' covers it. And unless it was meant to be a historic copy, it's an organ of the 20th century, and 20th century organs have registration aids because the music they are required to play (accompaniments and repertoire) requires them.
  13. Bristol will be going out to tender soon and, once decisions are made, there will be an announcement as to who is doing the work and when it will start. As you may have seen, we've been very lucky with a major donation. Paul Walton (Assistant Organist, Bristol)
  14. Lots! Various marches, etc, in A Walton Organ Album David Bednall Fanfare-Processional (in The Organists' Charitable Trust Little Organ Book) John Cook Fanfare Healey Willan Chorale Prelude on Gelobt sei Gott (no.4, Six Chorale Preludes) Percy Whitlock Fanfare / Paean Francis Jackson Worcester Processional / Fanfare (op.18) Andrew Carter Trumpet Tune Paul Edwards Turvey Tuba Tune William Mathias Processional / Recessional Stanley Vann A Fancy for Tuba Arthur Wills Praise him in the sound of the trumpet (or tuba, or whatever) - yes that is the full title! Pretty much all British. As to other repertoire, Gigout Grand Choeur Dialogué would be the main one, and there are opportunities in the final page of Mulet Carillon-Sortie and Alain Litanies. Paul Walton
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