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Paul Walton

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  1. TWO NEW VOLUMES OF EXCITING HYMN ARRANGEMENTS NEWLY PUBLISHED, AVAILABLE NOW Arranged by Paul Walton DESCANTS ARE FOR LIFE* [* not just for Christmas] Add some of that festive fizz to hymn singing all year round with this volume of 140 descants to 125 hymns. The arrangements can be used as descants, or the organ parts serve as last verse harmonisations as well. In addition, 22 of the hymns have parts for full choir. The volume is available in three editions: Full Music, with organ and choir parts in full; Choir, with full music for the singers (no organ part) Lower Voice, a smaller volume containing the 22 arrangements with parts for full choir The book is available physically, or as a digital download. For full contents, FAQs, sample scores and recordings, see: quiresandplaces.co.uk The volume is available until 13 February as a Kickstarter project: pledgers enjoy discounted copies and your name will be printed in the Full Music Edition. Postage to the UK is free as part of the Kickstarter, shipping to the EU, US and Australia is charged at cost. Visit kickstarter.com/projects/quiresandplaces/descants-are-for-life now for these early bird offers. From 14 February 2024, the volume will be available to purchase exclusively from Quires and Places. --------- But wait, there’s more. Organists get something extra… FOR THE LAST VERSE This volume contains 160 last verse organ accompaniments to 135 hymn tunes. There is no duplication with Descants are for Life - around 50 tunes appear in both books, but enjoy entirely different treatments in this volume. FOR THE LAST VERSE is available either as a physical copy (at a discount) or a digital download as part of the Kickstarter above. From 14 February 2024, the volume will be available to purchase exclusively from Quires and Places. --------- For Kickstarter or sales enquiries contact: Tim Popple (Kickstarter Campaign Manager, founder Quires & Places) tim@quiresandplaces.co.uk For musical queries contact: Paul Walton (arranger) pauldwalton@hotmail.com
  2. A fascinating spec and very creative response to the challenges of the space. It's new and forward looking but with clear influence from the past. It's clearly designed to do the three jobs of a Cathedral organ: accompany the choir - plenty of foundation, enclosed soft 16s (including a reed), enclosed Clarinet, 32' tone - all the things the 1971 organ didn't have. Yes, we all prefer two enclosed divisions but if there's no space, there's no space. support the congregation - the 1971 organ by the nature of its sound gave the impression of being very loud but actually struggled to support a full building and was criticised almost immediately for this. play repertoire - although third on the list, still clearly thought about. This is definitely making a statement as a 21st century Cathedral organ, not harking back to an early 20th, and acknowledging that (despite its shortcomings) there was good in the 1971 organ. Undoubtedly the right way for Gloucester with its varied history. I'm glad it's the flute mutations that are enclosed, for Alain, Messiaen, etc - there's no repertoire to my knowledge that calls for enclosed principal mutations. And all that in so little a space. Many hours must have been spent. I'm sure some might like such things as a Pedal Mixture or Great Cornet, but in that space what is there will be used far more often than they ever would. Forgive yet more questions, but two thoughts, if I may (I'm sure they've already been considered): Might having the Voix H available on the Solo to combine with the Clarinette give a more convincing Cromorne to dialogue against the Sw cornet? I can't see a way of having a 4' reed on the pedal for the right foot if the pedal divide is being used. Maybe impossible (and maybe not wanted!) as the soft Solo reeds are borrowed from the Swell, but could a Solo Octave to Pedal (which we're having a bit further down the M5!) make that work? Very much looking forward to hearing and hopefully playing it in a few years. Congratulations! Paul
  3. Thanks, Dave. Just one correction - the last chance to hear the organ will be the 10:00 Eucharist on Christmas Day, where I’ll be playing her out to the Widor Toccata. Paul
  4. It doesn't seem to be available to buy over here (I tried earlier in the year but Wayne Leupold has no UK distributor). If anyone knows otherwise, please let me know. Paul
  5. Three ranks now but not sure of composition. 2' replaced with Fifteenth, and new pipework for Oboe and Clarion. Paul
  6. Flourish for an Occasion, Harris
  7. Photos I've seen were posted by Sean Tucker but not sure if they're public. Paul
  8. The NPOR spec isn't entirely accurate - photographs of the console on Facebook show a Pedal Clarion and Choir Tuba (as well as the Orchestral Trumpet).
  9. Just to clarify, the electronic isn't fully installed - the main speakers will go on a platform yet to be built which will be opposite the pipe organ. The documents were part of the CFCE application - there is to be a small expansion of the pipe organ stoplist (mostly putting back elements of the 1907 scheme lost over time) but there's no redundant pipework involved that I know of - unless anyone knows what happened to our Choir Clarinet in 1947! Paul
  10. As part of the 1990 work. The Gt Fourniture was added on a clamp onto the higher pressure soundboard. The Ch Piccolo was fitted onto the existing soundboard. The new pedal stops (Trumpet 8, Fifteenth 4, top octave of Cello 8) are on new chests. Paul
  11. It was me - the programme was all pieces based on Come Holy Ghost (Bach, Buxtehude, de Grigny, Duruflé) and a wind trunk burst after the Bach, so the rest of the recital was accompanied by a great gust of wind. The wind of the Spirit also put in an appearance next time I played the Bach - it was during Covid so I had photocopied sheets to avoid needing a page turner and the last page blew off the music desk. It's clearly jinxed! Paul
  12. Interesting to read these comments just as a new historical consultancy has been set up by one of our layclerks: https://scenespan.com/ Paul
  13. 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
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