sbarber49
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Posts posted by sbarber49
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The cover refers to "The mighty Binns Collossus of sound". My friend also tells me it is indeed the Lincolnshire one.
Hope this helps.
R
I'm gobsmacked! I would love to hear the Reubke on it - Great: three 8s and two 4s; Swell four 8s and a 4!
Has anyone got a copy of this?
Stephen Barber
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Yes. Well apparently this is the thing with this mentioned LP. I was told that the Abbey has a glorious acoustic, one of our hidden treasures one might say. Apparently the organ tone just rolls around in there.
R
We must be talking about a different Croyland Abbey (although I'm not aware of another one) - or else your friend is having a laugh. Croyland Abbey, near me in Crowland, is a 12-stop Binns and only has 8s and 4s (it now has a 2-rank mixture as well). I would love to hear the Reubke on it! The acoustic in Croyland Abbey in Lincolnshire is nothing to write home about.
Stephen Barber
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Another one a friend told me of that he loved, was an "Organ Spectacular" from Croyland Abbey. Has anyone seen this?
R
It could hardly be spectacular if you mean Croyland Abbey in Crowland, Lincs.
http://npor.emma.cam.ac.uk/cgi-bin/Rsearch...ec_index=N14443
Stephen Barber
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Dover published an 18th Century edition of Overtures by Handel arranged for keyboard which I've used from time to time.
I think it's virtually impossible to destroy Bach's music if you play the notes he wrote, whatever instrument you play it on, but Handel, for me, doesn't work if it's played too slowly and heavily. It took me a long time to appreciate Messiah - in my youth the performances I heard were usually slow and turgid. So, not too many transcriptions for me, please, although Fireworks and Water Music work well.
Stephen Barber
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The organ in Schleswig Cathedral is a rather nice Marcussen in an elegant case.
http://www.schleswiger-domorgel.de
I'm afraid I can't remember much about the stoplist except that it was Sw, Gt, Ruck, ped had 32 reed, all very versatile and yet another lovely Spitzflöte. How do they do that?
Thanks for the information. The 32' gets an outing at the end of the St Anne Fugue.
The Dorian Fugue took a long time to grow on me too - I wonder if it's because Schneider didn't play it (just the Toccata) on his LP. It is certainly a wonderful fugue, though.
[speaking of Bach Fugues: can anyone tell me how to play bar 59 of the "Wedge"? (The bar with the first semiquavers in it.) My fingers get in a tangle. unless I play the LH semiquavers on another manual.]
Stephen Barber
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Ah, yes, the one with the Sei gegruesset variations. Must dig that out again and have a listen!
Sei Gegrusset is on the Amphion Centenary Tribute CD (taken from Festival Hall and Oratory recordings). I wish they'd put the Toccata in F on as well. Of course, I'd probably be very disappointed if I heard it again.
Stephen Barber
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Gosh - what memories have come flooding back!
Bach (and Widor Toccata!) played by Ralph Downes at the Festival Hall (Pye Golden Guinea) - I remember listening to the Toccata in F for the first time and being completely overwhelmed. And playing it again and again.
Bach played by Michael Schneider in Schleswig Cathedral on the Marble Arch label. (In fact I've just brought it down from the loft and am listening to it again - wonderful (to my ears) gimmick-free playing, without mannered rubati. Does anyone know anything about the organ? I wish this was on CD - my LP (well used) sounds dreadful on my cheap turntable!
The James Dalton recording from Queen's College, as already mentioned.
Arthur Wills playing Vierne 3 in Ely Cathedral on Saga.
"French Organ Music of the Late Romantic Period" played by Saorgin, Raynaud and Darasse at St Sernin (on the Turnabout label). My first experience of the French organ sound.
Hymns and Organ voluntaries from the Temple Church - absolutely wonderful hymn accompanying by Thalben-Ball plus some of the hymn variations (published as, I think, 113 Hymn Variations). I love the Temple Church hymns - no-one now phrases hymns so musically.
Stephen Barber
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Yes, the Toccata and Fugue from Le Tombeau de Marcel Dupré is a fantastic piece.
It sort of holds a mirror to the Dupré B maj P&F from Op. 7. John Scott, who it was written for, has recorded it on the Mander at St Ignatius in NY. A Priory recording, well worth getting.
I got the score, eventually from World Wide Music in 2001 - do they have a website (or a computer even) these days.
I seem to remember having to do it all by post!Very worth it though, even if it is difficult to play!
If the 'Franck' Chorale 4 is half as good it will be worth getting...
P.
Yes they have a website. It's an odd URL:
http://66.70.247.75/index.shtml
I'm certainly tempted by the Homage a Franck piece, but I'm not sure I have the stamina for the "Dupré". Did he write any other organ music worth playing - that is not too difficult (ie. somewhere between Kevin Mayhew and Hakim.) Come to that is there anything else worth trying in the World-wide Catalog(ue)?
Stephen Barber
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Copies now sent. Please allow time for them to arrive - sometimes the speed of light seems terribly slow - maybe it's living in the Frozen North.....maybe it's Internet Providers who give the minimum rather than the maximum attention to the service they actually provide. 'Up to' (as in 'speeds up to..') is the well-worn equivalent of 'From' in the advertising world. Sometimes it takes nearly a full morning for items to come from my wife's computer to mine and we're on the same IP!
Dear Paul,
Thank you so much - I look forward to playing the pieces, which I am currently printing.
I fear I have no music that you could possibly be interested in but if inspiration comes to me I will send you something. I'll have a look for Franck's Chorale No 4 in F sharp minor.
Sorry to use the public board but I get logged out whenever I try to send a PM.
Stephen Barber
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Thanks for those who told me how to send a message, but it isn't working. I just get "logged out" and told that I don't have permission to send messages. Any advice.
Stephen Barber
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Dear Friends,
a while ago, probably in an Off-topic aside, I mentioned that I have copies of a number of Mulet's pieces that have not been seen for quite a while which I am prepared to share. I recorded them all as part of a project with Priory in 1988. A number of you responded, only for me to lose record of your messages - time has passed and (at last) today I had a long dig for them, searching through my stacks!
Dear Paul,
I would be very grateful if you could send me the Mulet scores. I have tried to use the PM system, but have totally failed. I'm just told I don't have permission. So sorry that my request is a bit late and also for using the message board.
I can't resist the thought of a piece which is as heart-rending as a Franck Chorale!
My email address is: sbarber49@ntlworld.com
Thank you,
Stephen Barber
How do you send a PM?
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Have you listened to your boomy recordings on more than one piece of equipment? It may be the system you're playing it on.
Graphic equalizers tend to work alongside other programs. VST files work with many of the music editing programs and there are loads of equalizers in that format. I use Wavelab, which comes with one that is excellent.
Peter
Yes, I've listened on different hi-fi systems and also on the computer and on headphones. I have another microphone that I used to use with my old minidisc (Sony ECM-MS907) but I haven't compared the sound yet. I would guess that it would not be so good, and would be bass-light rather than bass-heavy. Any suggestions for reasonably-priced stereo microphones to use with the Edirol R09? They have to be connected via a mini-jack plug. It's probably not worth it?? (I think the Zoom H4 is better for use with external mics.).
I have a graphic Equalizer on my Total Recorder programme but I haven't yet played with it enough to achieve as good a result as just turning the bass down on my hi-fi.
Thanks for your response,
Stephen Barber
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A follow-up on my point about it being bass heavy...
I made this point, but I was referring to the Edirol (it was quite a few posts back!). And I was talking about recordings burnt to CD and played back. It makes for a very impressive organ sound, but any particular notes which boom sound extremely "boomy". I use a computer programme to tame it (Total Recorder) with some success. Is there a free or cheap PC Graphic Equalizer out there somewhere that I could try?
Stephen Barber
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It's certainly a nice idea, but I don't think we need more organ recordings just for the sake of it. There are plenty out there!
What I think might be interesting would be to build up a bank of recordings on interesting, or even ordinary instruments which have never been recorded. Perhaps a website with downloadable tracks, perhaps linked to NPOR? I play a wonderful 3-manual Harrison from 1917 which is nearing the end of its life - goodness only knows if we will be able to keep it going - which has never been recorded. (http://npor.emma.cam.ac.uk/cgi-bin/Rsearch.cgi?Fn=Rsearch&rec_index=N03444).
I also play another organ in Peterborough whichit would be good to have a record of: (http://npor.emma.cam.ac.uk/cgi-bin/Rsearch.cgi?Fn=Rsearch&rec_index=N00845)
Stephen Barber
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For near completeness, some more portables
If anyone is thinking of bying an Edirol R0-9, note that there is a new version coming out - worth waiting for:
http://www.inquitaudio.co.uk/html/news.html
Stephen Barber
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I'd second that about the Edirol - I have just bought an R-09 and was astounded at the light weight, ease of use and fabulous quality. Transferring to computer a breeze . Have just ditched our Sony minidisk 700 something that we carted everywhere with accompanying curses - it was the hardest gadget to operate I've ever owned and the instruction manual was nearly in tatters I had to consult it so often. Never easy when working in the dark of a church nave or under pressure of time.
chirps
Jenny
I have one and it's very good except that I find that organ recordings are often very "bass-heavy", with particular low pedal notes sticking out. Has anyone else found that or am I doing something wrong? Has anyone used one with external microphones? Of course experimenting with microphone placement helps, but I bought it to make quick recordings with no fuss.
Stephen Barber
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A lot of incredibly talented musicians contribute to this forum and it occurred to me that a compilation album of tracks performed by members would not just be brilliant, but might also be important.
If you were invited to contribute a track of your choice to such an album, what would you play, on which organ, and why?
Best wishes
J
Bach or Franck (but I decline to say why!). On St Bavo, Haarlem (Bach) or Amiens Cathedral (Franck) as it's the only biggish French organ I've played - I don't get out much.
Stephen Barber
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The problem with Vierne Symphonies is their inconsistencies. Many of them have one or two superb movements, that just are not matched by the rest of the symphony (E.G. the 1st, 2nd and last movemnts of the 1st, 1+2 of the 2nd and 1 of the 3rd, finale of the 5th)
Great music though? sadly not
I reckon that No 3 is pretty good throughout.
Stephen Barber
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I'll try and find other links, but after downloading and listening to the Piano Toccata by Klement Slavicky (Cz) (somewhere well down the page), I think you will remember his name in future.
If you're going to write Toccatas, this is how to do it.
Yes, it's an effective piece.
Here a linkl to the Slavicky "Ecce Homo" from our good friends in the Netherlands. (Super organ!)http://www.orgelconcerten.ncrv.nl/ncrv?nav...ntCsHtGAkBbCYmN
It's too much like improvising for me.
With regard to Mozart's K608, would anyone please tell me if they can find BETTER counterpoint than this anywhere in the organ literature?Well I should have thought, any mature Bach fugue (purely as counterpoint - I'm not discussing the relative merits of the pieces as successful music).
It's interesting that Reubke is dismissed so easily, considering that he was "fast tracked" at about age 21, by Hans von Bulow, and pushed towards his tutor and mentor Liszt. Liszt was never one to give compliments, but he certainly did on the death of Reubke: age just 24.That's the Liszt who said that Franck's 6 pieces were worthy to stand beside the masterpieces of Bach? (Not the masterpieces of Bach and Reubke.)
As for Reger, I've never understood why it is that English organists tend to dismiss him and then proceed to rave about Howells, when his music is taken very seriously in America, the Netherlands, Germany and elsewhere. In almost all genres, he was a major romantic composer with a vast output of music.Of course, the best organists always did and DO take Reger's music seriously, and play it regularly.
I asked about NON-ORGANISTS! Of course organists play and appreciate Reger.
What about the other great composers who wrote for organ? Pachalbel, Buxtehude, Froberger, Frescobaldi and Brahms for example.Pachelbel a "great" composer? A good one, of course, with some beautiful music (the F minor Ciacona is hard to beat). Brahms is certainly, in my view, a very great composer but his organ music is not among his geatest music, though I'd hate to be without the chorale preludes.
I still say that Franck's music far surpasses the rest. His Piano Quintet, Violin Sonata & Symphony are in the mainstream classical repertoire and his best organ music is al least on the same level. What lifts it above Reger for me is that it has such satisfying structures - although he was famed as an improviser his music never sounds like improvising. In my view, too much organ music meanders and no amount of complex textures and huge numbers of notes makes up for that.
Stephen Barber
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I really must weigh-in on this one.....cor blimey!
"Great" music must surely fulfill certain criteria. It has to be as well crafted as other great music, it must have impact and it must wear well on the ear.
On that basis, let me suggest a few truly GREAT organ works:-
1. Alain - Litanies
2. Reubke - Sonata 94th psalm (possibly the greatest of all organ works after Bach)
3. Reger - "Hallelujah! Gott zu loben!" (So thoroughly balanced and concise for a major work)
4. Reger - Introduction & Passacaglia (the shorter one), which is just stunningly effective.
5. Reger - BACH (A truly exciting work, which few can pull off effectively)
6. Durufle - Suite Op.5
7. Bruhns - E minor and G major
8. Klement Slavicky - Ecce Homo
9. Mozart - Both the K608 F minor, and the Major/minor thingy
The list could go on, but it would certainly include music by Pachelbel, Brahms, Froberger, possibly the Widor 6th and concertos by Handel and Jongen.
I'm sure that I've missed a lot out, (especially by Reger), but those listed are works which do it for me.
Liszt, I'm afraid, leaves me quite cold by and large.
MM
By “great” I mean organ music which reaches the level of the best works of those regarded as “Great composers”, not just music which is great in terms of organ music. I wouldn’t, myself, put the Mozart clock pieces on a par with his best music (much as I love K608) and I wonder how highly non-organists rate Reger. Personally I’d trade all the organ music of Reger, Reubke and Liszt for the B minor and A minor Chorales of Franck. I’ve never heard of Slavicky, I must admit.
Stephen Barber
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Doen't one just arrange it one's self as one goes along (and ditto the Vierne)? I'm supposed to be doing the Vierne in a couple of months so I guess I'll find out...
There is an arrangement of the Vierne for one organ, though I've only ever used the 2 organ score and.
The Widor is pretty straightforward to do on one organ.
Stephen Barber
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Please may I add, in terms of 'great' music, Mozart K594 and K608, Brahms Fugue in A flat minor, Mendelssohn's Sonatas and much of Rhinberger and Reger? And what of Buxtehude?
Nay, the term 'great' cannot be applied so narrowly, for we must include Hindemith and Leighton, even, perhaps, early Howells, (though not his choral works please!) Karg-Elert wrote terrific music, despite his being remembered for the simple works only. Think of the Sonatina; a fine piece by any judgement.
Not all Bach is 'great', so perhaps the discussion is pointless. But I hope we will all agree that there is little to match the Passacaglia and Fugue and, of course, the 'St Anne' Prelude and Fugue. ( I assume that the 'great' Preludes and Fugues are taken as read.)
Barry Williams
Yes, I was just being annoyingly provocative - "great" doesn't mean anything.
However as far as I am concerned:
Mozart - not organ music
Brahms - have never played it. I'll have to, now.
Mendelssohn: Much as I love the sonatas, not "great" music
Not Rheinberger or even Reger, nor Karg-Elert (don't know the Sonatina, though)
Not Hindemith (personally I don't think Hindemith's music has worn very well), definitely not Leighton, not Howells (although I think some of the choral music is very close - St Paul's Service, Coll Reg morning and evening, Requiem etc.).
I did consider Buxtehude, and I'm surprised you rate Vierne less highly than Rheinberger.
Stephen Barber
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If you haven't bought this month's BBC Music Magazine with David Brigg's CD of Vierne 3 and Widor 5 at Saint Serin, Toulouse, it comes highly recommended!! The playing is DB's usual magasterial standard (so excellent in every respect), the organ is fantastic and the recording is superb - clear and yet dramatic. I prefer DB's performance of the Vierne to the excellent Jeremy Filsell - the recording quality is much better and it's much clearer.
In addition to the 2 organ symphonies, there is an improvisation by DB on the bell chimes at St Sernin. Compositionally, it is a match for any of the movements in either of the symphonies!
Yes, wonderful playing - what a bargain!
I much enjoyed the improvisation, but I wonder what you mean by "Compositionally, it is a match for any of the movements in either of the symphonies!" Did you get a bit carried away in your enthusiasm or did you really mean that?
Stephen Barber
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It sort of holds a mirror to the Dupré B maj P&F from Op. 7. 
I seem to remember having to do it all by post!
Finding The Obscure
in The Organ
Posted
I also play quite a lot of Bédard - the Toccata from the Suite is exciting. A lot of his music is, to my mind, fairly harmless. I have twice done the "Duet Suite" for piano and organ which is very well written, works very well for the instruments and is enjoyed by an audience. No great depth to any of it, admittedly.
Stephen Barber