Jonathan Thorne
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Posts posted by Jonathan Thorne
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Nope - it's the C major one in 3/8 time.
ok!
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Back in the 60s Bärenreiter published a slim volumes of "Sonatas and Fugues for Organ" by Scarlatti. The editor, Loek Hautus, considered K255 to be "undoubtedly" an organ piece, apparently because of two markings which he assumed were registrations: "Oytabado", which he thought derived from "Octava tapada" (a 4' Gedeckt) and "Tortorilla" (literally "Turtle Dove") for which he suggested a bright registration like 8'+2' or 8'+1' (obviously he'd never heard a Turtle Dove!)
However, "oytabado" must surely derive from the Portuguese dance "oitavado". So was the "tortorilla" also a dance? And, if so, where does that leave K255 as an organ piece?
I seem to remember the edition - my copy has a redish cover - is it the D maj one?
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The Cochereau is fantastic in all ways and I don't think there is too little of the master's footage, it was good to hear of his family and students.
Regarding pcnd5584 comment about "The sound, the visual aspect, the atmosphere - God, sometimes England can be so boring! - has he not heard of even played the organ oratory - a rare publicly organ indeed.
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There is also an interesting one on the organ I play at the Symphony Hall, Birmingham as a Quintadena 16 on the Positiv.
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I would like to know what people's thoughts are about the interpretation on Vierne's organ music as I am dong a part of my final exam about him. It is obvious that Vierne's scores was littered with phrase marks and if one looks at Symphony 4 then fingerings too. With all this to mind I have heard many different approaches to his music including the composers own and I would be interested to hear any (intelligent) responses from you people out there.....
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They look like interesting CD's, have played Bavo myself - very nice. Some other improvisers - Pierre Pincemaille, A Mason and J Pryer from B/ham
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I think the Organists' Review has actually improved despite what other people have said. As an undergraduate organ student I have been inspired by the content and the revised style of the new publication. Its layout is more user-friendly, open-minded and approachable. With regard to the review section I have found it more informative better presented with clear miniature photos of each front cover for the cd's.
I did find the previous issues very cold and it seemed to stay in a very 'British' and closed frame of mind, which is no good if one is going to talk about performance practise of many different styles and genres of the organ's repertoire.
There may still be some work to be done, but it is certainly a step in the right direction and credit goes to the new team who have vision, enthusiasm and style. I look forward to the next issue.......
JT
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have a look @ http://www.stmarksepiscopalchurch.org/organ/organstops.pdf for spec!!
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There are thousands! It depends on player, building, organ, record label and price. There is a really cheap set going for about £40 played various Swedish organs by Hans Fagius on the Brilliant Classics label, available at Amazon. Hyperion have recorded a completed series played by Christopher Herrick, on various and rather nice Metzler organs in Switzerland. Not to mention some recordings by Jacques Van Oortmerssen. There is also a good set by Kevin Bowyer on the Nimbus label too. These are just a handful, but it should point you in the right direction.
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Sorry but what has this got to do with Richard McVeigh's website. Are we loosing the thread a bit?!!!
Yes, Mr Child,
This makes sense, and there are some of my ancestors in these graves near Ieper as well.
What I mean is this: a man today who would stick to cold reason would sit on a chair watching the trains like the cows do. No risk, no investment in recession times.
But is such a life worth the name?
Best wishes,
Pierre.
Dear Pierre,
In terms of the progress of the human race you are clearly right. If no one had ever taken the risk of getting up and going to see what was over the next hill we would still be living in caves and complaining that this antelope meat did not taste like the mamoth meat they used to have in the old days ! Society needs people who will encounter risks when there is a reason to do so. We all approve of the person who rushes into a burning building to try to save a person who is trapped inside. Or rather we all approve of such a person in general terms. Approval in specific circumstances does not necessarily follow from this generalised approval. For example, if I have deliberately started the fire to dispose of my intolerable mother-in-law (standard British joke this as you will be aware - I actually got on very well with my mother-in-law, a lovely lady) then in the specific case I will consider the heroic rescuer an interfering busybody. Thus we need to be careful when moving from the general to the particular or specific. While it is undoubtedly good for Society (and our general well being) that we should not all stand watching the trains in a suppine fashion, it may be the best course of action for a particular individual to follow. There are many reasons for this but just one will do here: we are all different in our ability to cope with failure, to pick ourselves up, dust ourselves off , and start all over again. In the course of my life I have known people whose lives were ruined by something which appeared trivial in comparison to an apparently far more serious problem which someone else was able to take almost in their stride. I am sure this has been your experience too.The objective impression was not the subjective reality for the individuals concerned. Because we are all different in our stamina , resilience and ability to cope with disappointment, it follows , I think, that some individuals (those least able to cope) would be best advised to stand and watch. But it is far better for those individuals to identify themselves than for others to presume to do so. What others can do is provide the raw information which the particular individual can take into account in deciding on what course of action would best serve his or her interests.
All the best,
Brian Childs
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As an organ student and part time organ builder myself I think the website is very good and there are some nice pictures of the Beverley Minster organ. I've some good and some not so not personal websites. I thought about having one once, but I though - what the point, but that is only my personal feeling.
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This is an intersting possibility. Where does this 'rumour' come from?
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I am helping out with a restoration on a small Gern organ and I am trying to find out any information about him. The organ I’m working on has so many similarities to the work of A Cavaillé-Coll, whom Gern, I believe, was an employee. Not to mention the organ is virtually original e.g. the majority of pipe-work, the nameplate, stop-heads and the aluminium squares used for the mechanism one can certainly say that this is the work of him, but there is no date. Why?
I would be interested to know from anyone if they have any information about him e.g. Where did he live? When did he leave A C-C? Are there any drawings or pictures of him?
Many thanks
JT
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A good recording!
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True that was why I asked the question!!!
I also saw it on D B's website! However this is a real British organ with a lot of charactor and richness in a fine Cathedral. -
Am I right in thinking that the organ at Bristol Cathedral is undergoing restoration?
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Whilst exercising my interest about E M Skinner I came across a book on Amazon by Dorothy J. Holden. I was just wondering if it is a recommended book or if there is any other literature about this great organ builder.
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Does anyone know of a uk distributor of the Cochereau DVD? It is by the Solstice label. Thanks. Jonathan Thorne
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Last Friday I had the opportunity of tuning of a two manual organ by Sweetland of Bath. It was a charming and rather and amusing instrument and a pig to tune i.e. you had to take half the front pipes out in order to tune the Swell! Interesting that they used aluminium squares, just like Cavaillé-Coll and his work mate August Gern. Therefore this suggests 1800's onwards. We could find no date. I would be interested to know of any other people who have come across any Sweetlands.
JT
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I would be interested to know what type of pipe work various organ builders would use for constructing a 5 rank cornet. This has always intrigued me, because every builder does his own thing. Having read about and visited a Cavaillé-Coll organ in Paris, I have noticed that Cavaillé-Coll used a ‘Chimney Flute’ or rather ‘Bourdon à cheminée’ for the 8ft basis’s of his Cornet’s, but for the Grande Orgue at St. Etienne in Caen for example he uses a canister flute instead for the whole rank. I would like to know what type of pipes would be used for the rest of the Cornet. I have seen one new organ with a canister flute for the 8ft and then open metal flutes for the rest of the pitches.
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The Dulciana is an interesting stop. I used to think them as a useless stop and maybe I still do, but I remember asking if a village organist if he found it a useful stop. His answer was YES! Of course it shut me up and the organ builder I was helping at the time laughed at me. In England at one time it was the 'done thing' to have a Dulciana, its job was (perhaps) accompany a swell reed or something, rather then use the ‘fat’ Claribel . I think we all must respect this. I recall one organ builder saying that it's best to cut them down and make good use of them. I think English organ builders are perhaps making their Salicional's bigger and now the 'English' Dulciana being replaced by a Gamba perhaps in the 'French' style. People's tastes are now changing!!...
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Didn't Herbert Howells say that Liverpool Anglican Cathedral was one of the finest organs for his music? There is a good series of recordings available on www.priory.org.uk of the organ music of Howells, featured at Kings Cambridge, Winchester and Hereford Cathedrals.
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I think the link given my Mr. Mander is the current specification and of course is different to the 1920. The 1920 specification is available at www.bios.org.uk. Go to the NPOR-Address link and then you would have to type in your e-mail address (for some reason) to access the data base. When you do, then ONLY type in Gloucester in the TOWN box (as the search engines are not that great), you should then be able to find the Cathedral and any specific specifications from there, including the 1920 spec.
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Thank you very much for the wesite links, I've had a further look and will do so again soon!
JT
I also saw it on D B's website! However this is a real British organ with a lot of charactor and richness in a fine Cathedral.
Cochereau Dvd
in General discussion
Posted
Sorry I meant to say the Birmingham Oratory UK - a fine Nicholson organ in a Catholic Church
J