sbarber49

If you mean the one that was broadcast this year, then give me the Willcocks any time. I like a descant to add something to a hymn, not destroy it.

Ah, I didn't know that matins had 9 lessons. A. C. Benson said, "My father arranged from ancient sources a little service for Christmas Eve — nine carols and nine tiny lessons, which were read by various officers of the Church, beginning with a chorister, and ending, through the different grades, with the Bishop." The service also included a sermon. So can I then assume that you have a sermon at your carol service?

We had only SEVEN lessons (as, indeed we do every year) with 5 congregational carols/hymns and 7 choir carols. Left enough time for a mince pie and mulled wine before dinner. As far as I am concerned, nine is just a notional number.

I think it's an fine descant which suits both the words (a children's poem) and the simple tune. It's repetitive - nothing wrong with that per se (and matches the tune) and simple, so that wonderful, gentle clash for "stars" as the descant creeps above the melodic horizon is particularly effective. The Willcocks one that I don't think works is the one for While Shepherds watched - unless perhaps it's sung much more slowly than is the current taste.

Yes, too fast - especially shows in the more complex chorus parts, I think. It's such a wonderful performance, though, it very nearly convinces me.

Not to mention In Dulci Jubilo in the Orgelbüchlein!

I'm not sure what the difference between over dotting and double dotting is. Surely if I tell an orchestra to double-dot the opening of Messiah they know exactly what I mean: lengthen the dotted notes and shorten the succeeding ones. Everyone who's ever opened Watkins Shaw knows that they weren't written as such (and I'm sure that includes Guilmant's trendy conductors and maestri). I didn't know, though, that what I call "double-dotting" was going out of fashion again - I can't keep up any longer.

Bédard: Postlude on "Il est né". (Also comes with a lovely prelude on the Huron Carol. (Get it from RSCM)

The Great chorus should, presumably, be a fairly light one, bearing in mind Bach specified Oberwerk and Ruckwerk rather than Hauptwerk. (Or was that to separate the sound spatially?)

I am lucky enough to play a tonally unaltered Harrison from 1917 - albeit one of only 3 manuals and moderate size in a parish church. It was left unfinished, sadly, so the Pedal Reed and Great mixture are "prepared for" (the mixture would have been a harmonics, so wouldn't have been much use for Bach anyway). The more I play the organ, the more I love it. It's clearly not a baroque organ (!), but you can play Bach on it perfectly well. The Great Small open, and 4' and 2' principals gives a good, bright sound. The swell to mixture (and octave) can be coupled and the Great 12th added for a fuller pleno (Great 16' is too big and Choir 16' too small!). There is no chance of an independent pedal, of course, but it sounds a lot better than many of the shrieking-mixture neo-baroque things. As for the Dorian - much as I like it, you can't build an organ just for this piece! (Anyway what's wrong with swell to mixture + octave for the secondary chorus?)

Me! I played the Postlude on Sleepers Wake by Miles l'A Martin afterwards, from A Marsden Thomas's Graded Anthology Book 4. Does anyone have a Grade 4 standard pupil who can play this?

The reeds were not used during Lent in St George's Windsor in Sir Walter Parrott's time.

Provided thet none of the bits fall on the keys.

Perhaps a tiny bit of artistic licence in the telling of the story!

I don't think Christopher is a gulper either!

The carol I think is the most unfortunate verbally is "This is the truth". Because several verses are normally omitted, verse 2 ends "Woman was made with man to dwell." And verse 3 begins: "Thus we were heirs to endless woes," Nobody ever seems to see anything wrong with it!

Yes, it's a wonderful organ in a good acoustic. The cathedral is a bit like a miniature version of King's College, Cambridge, but the organ is on the West wall so speaks well. Mind you, I haven't heard it since about 1960!

Sorry, I was attempting a witticism - dangerous on the internet! You had said they were by Peter le Hurray (he was Huray, with only one "r", and clearly NOT in a hurry).

Are they very quick ones?

I agree: hear, hear. Although if "Swing low" is to be performed because it's a rugby song - then I'm not so keen, though I'd do it. If it's as a spiritual then it's highly appropriate, even if, for me, it's not quite up there with the B minor Mass as a musical experience.

Not all is out of copyright in the UK, though. For example there is music by Dupré on one of the organ Cds.

I wonder if cathedral organists used to treat the notes much more freely when they accompanied. I don't see how else they could have managed the stop changes. Nowadays we're so hung up on dotting every i and crossing every t all the registration aids are essential.

But don't forget Roger Molyneaux (http://www.usedorganmusic.co.uk) He has it for £5

Did anyone else think that the Bach D major after choral evensong this week was pretty speedy?

I wouldn't have thought you could get much cheaper than Bombarde32's suggestion at Post 6. Don't forget ebay. Have you got an electrician in the congregation?