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Justadad

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Posts posted by Justadad

  1. Can anyone help, please?

     

    Marie-Louise Langlais recorded Incatation pour un Jour Saint on an album for the Schwann label that featured Jean Langlais' Second Organ Concerto. I've not been able to find it for sale on-line and the original distributors doesn't know anything about it.

     

    I wondered if anyone here had it in their library and, if so, whether a brief loan for educational purposes and an appropriate consideration might be possible?

     

    PMs welcome.

     

    Thanks.

     

    J

  2. I’m sure there will be others (so please add them) but Messiaen’s centenary offers at least three opportunities to experience complete performances of his Nativité:-

     

    Saturday 2nd February, 18:30 - King’s College, Cambridge – Stephen Cleobury (Free)

    Friday 22nd February, 19:30 – Westminster Abbey – Olivier Latry (£15)

    Sunday 7th December, 18:00 – St Paul’s Cathedral – Huw Williams (Free)

     

    Which takes your fancy (and, if you feel so inclined, why)?

     

    Best wishes

     

    J

  3. I'm afraid it made me feel weak at the stomach.

     

    J

     

     

    I felt weak at the knees when I watched this video of Cameron Carpenter playing the Chopin Revolutionary study. Yep, that's right. And guess what he uses to play the runny left hand bits with???

    Think I'll give up now and take up truck driving again.

     

    chirps

    Churchmouse - still feeling weak-kneed

  4.  

    The choir of Coventry Cathedral, c.1988, deliver the Coventry Carol accompanied by the (I'm guessing) inclusive music group.

     

    There are other clips in the same account (notyobs) that you might find interesting.

     

    Best wishes

     

    barry

  5. The RCO membership directory is downloadable (by members) from the website as a .pdf file and as such is searchable.

     

    As at June 2007 there were 25 HonFRCOs - most of them with names even I recognise (Ian Tracey, Gillian Weir, Marie-Claire Alain, Gerre Hancock, Simon Preston, Petr Eben and so on) and the ones I don't know of seem to have OBEs. It looks pretty much as one might expect.

     

    Perhaps there are many others who choose not to be included in the directory.

     

    Best wishes

     

    J

     

     

    No disrespect to the folks now running the RCO, but I didn't.

     

    SNIP

     

    The plentiful and rather haphazard election of honorary FRCOs and those people's involvement in any way with examinations when they themselves had never sat an RCO exam.

     

    SNIP

  6. I came across the following page which claims to have MP3s of the complete organ works, recorded "for Bach’s tricentennial in 1985 at St. John’s Cathedral in Albuquerque by Dr. Dennis Schmidt, former Artistic and Executive Director of the Bach Festival of Philadelphia."

     

    http://www.bach-fest.org/podcast.aspx#Schmidt

     

    I apologise if this has been posted here before.

     

    Best wishes

     

    J

  7. You might want to give the BBC another try.

     

    I listened to the King's College L&C and the St Thomas's Evensong via Listen Again and thought the audio quality greatly improved since the last time I tried it, the only minor niggle being the intermittent rumble at St Thomas's which I assume was generated by passing subway trains and, thus, couldn't be helped.

     

    Best wishes for a happy and healthy new year to you all

     

    J

     

     

    I heard some of the broadcast while driving, and I must say the choir sounded excellent; very clear, confident and fresh. I wouldn't bother with the BBC recorded webcast though. I don't know if it's me or the software they insist on using, but every time I've tried it the sound quality is worse than an old portable cassette recorder with flat batteries!

     

    Regards to all

     

    John

  8. I went to the local state primary school in the 60s.

     

    Every day we had Assembly in the hall that doubled as a gym. Assembly started with a record on the Dansette. By the time I left aged 11 I knew a whole load of Tchaikovsky, Beethoven, Bach, Mozart and Grieg by heart.

     

    We sang hymns. We didn't have hymn books so the younger kids learned from the older kids. For years I heartily sang "To be a penguin."

     

    And at Christmas we sang (and learned) carols the same way. I got to know them all by heart. Still do.

     

    There was nothing 'political' about it. It was just an opportunity for mass singing.

     

    I have no objection to Polish and Punjabi songs being included in the process today but if the Polish and Punjabi numbers are too difficult for the local primary school teachers to master that's no excuse for abandoning Away in a Manger.

     

    Incidentally, if you haven't read Mark Thomas's reflections on Away in a Manger in the Culture supplement of the Sunday Times, Dec 01, 2007, I gladly recommend it. He may have lost his faith but his prose will, I suspect, enable many others to recover theirs.

     

    Best wishes

     

    J

  9. You mean ... you've agreed to play something extremely long and extremely hard in a foreign country, and in a place that is extremely lacking an organ to play it on?

     

    Wow!

     

    Best wishes

     

    barry

     

     

    Hello all,

     

    I have (stupidly) agreed to play something extremely long and extremely hard in a foreign country in about a fortnight. Has anyone got a spare toaster they would consider selling me for a knock-down price? I can run to a couple of hundred and would be aiming to collect before the end of Sunday!

     

    With fingers crossed...

     

    David

  10. At the risk of parading my ignorance, I've never quite got the point of Mahler.

     

    As for opera I think it should always be in a foreign and incomprehensible language. I don't know why so much liturgical music seems to match words and music together beautifully whilst opera is often so very banal. In fact, all new operas should be written in a made-up language that doesn't mean anything to anyone. Then the lyrics wouldn't be silly and the diction wouldn't matter.

     

    Best wishes

     

    barry

     

    (ps ... did anyone else wince at "Bring me my chariots of fur" in the Remembrance Day service on the BBC?)

  11. Dear ACC

     

    Thank you so much for looking that up, and for taking the considerable trouble to type it all out.

     

    The following is taken from the museum pages of the INJA site (and loosely - and badly - translated by me).

     

    Un peu plus tard, en 1883, Lebel verra la construction d’un second instrument dans la salle des concerts (actuelle salle Marchal) par le même facteur. Relevé en 1910 par Puget, puis par Convers en 1926 et enfin par Danion-Gonzalez en 1961 il est composé actuellement de 64 jeux réels répartis sur 3 claviers de 61 notes et une pédalier de 32 notes.

     

    A little later, in 1883, Lebel ordered the building of a second instrument in the concert hall (the Marchal Room) by the same builder (Cavaillé-Coll). Developed in 1910 by Puget, then by Convers in 1926 and finally by Danion-Gonzalez in 1961 it comprises 64 speaking stops across three manuals of 61 note compass and a 32 note pedal organ.

     

    And that doesn't seem to agree with anything in Eschbach.

     

    If only the blessed Tony ran a French NPOR it would be easy to discern the state of the organ in 1953.

     

    Best wishes

     

    barry

     

    PS. Thanks again, JC. Yes, I found that addy myself and sent an e-mail at 13:32. I've also written to the INJA, and the Duruflé.org. No luck yet.

  12. Further investigation reveals that C-C built it in 1883, Puget did something ('Relevé ... par Puget) in 1910, and Convers did some more in 1926. So it's the Convers 1926 spec I really want.

     

    M. Dargassies isn't on my Christmas Card list so I'll see if I can find an e-mail address. Thanks John.

     

    Best wishes

     

    J

     

     

    It might be worth contacting Bernard Dargassies. He will almost certainly know the history of this instrument.

    JC

  13. Hi

     

    Thanks. Yes, it's the one in the salle André Marchal, but I'm trying to find the specification as it would have been in 1920 (before Gonzalez got to it in 1960).

     

    Best wishes

     

    J

     

     

    SNIP

     

    The second one ( Orgue Cavaillé-Coll (1885) - Gonzalez (1960) is located salle André Marchal, composition:

     

    3 claviers de 61 notes et pédalier de 32 notes. Transmissions électriques. 70 jeux (64 réels).

    Grand-Orgue :

     

    Bourdon 16'

    Principal 8'

    Gemshorn 8'

    Flûte harmonique 8'

    Bourdon 8'

    Prestant 4'

    Flûte 4'

    Quinte 2' 2/3

    Doublette 2'

    Cornet V rgs

    Plein-jeu VI rgs

    Cymbale IV rgs

    Bombarde 16'

    Trompette 8'

    Clairon 4'

     

    Positif :

     

    Montre 8'

    Bourdon 8'

    Prestant 4'

    Flûte 4'

    Nasard 2' 2/3

    Doublette 2'

    Tierce 1' 3/5

    Larigot 1' 1/3

    Septième 1' 1/7

    Piccolo 1'

    Plein-jeu III rgs

    Cymbale II rgs

    Ranquette 16'

    Cromorne 8'

    Chalumeau 4'

    Récit expressif :

     

    Quintaton 16'

    Principal 8'

    Flûte 8'

    Cor de nuit 8'

    Salicional 8'

    Unda maris 8'

    Prestant 4'

    Flûte 4'

    Flûte 2'

    Sesquialtera II rgs

    Plein-jeu IV rgs

    Cymbale IV rgs

    Bombarde 16'

    Trompette 8'

    Hautbois 8'

    Clarinette 8'

    Voix humaine 8'

    Clairon 4'

    Pédale :

     

    Soubasse 32'

    Bourdon 16'

    Flûte 16'

    Soubasse 16'

    Principal 8'

    Flûte 8'

    Bourdon 8'

    Principal 4'

    Flûte 4'

    Nasard 2' 2/3

    Flûte 2'

    Tierce 1' 3/5

    Mixture IV rgs

    Bombarde 16'

    Trompette 8'

    Clairon 4'

    Buccine 2'

    Bombarde 16' > Récit

    Trompette 8' > Récit

    Clairon 4' > Récit

     

    Accouplements: Pos./G.O., Réc./G.O., Réc./Pos. Tirasses: G.O., Pos., Réc. Trémolo au Récit. Combinaisons ajustables.

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