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Everything posted by sbarber49

  1. The Novello edition (especially the volumes edited by Emery) are fine: nicely laid out and with good page turns - as far as such a thing is possible. However this Fantasia in C minor is an exception - for some reason the Novello editors decided to strip the piece of its ornaments - a vital part of it. It's a graceful French-style piece (I've heard it played with notes inegales). Look up IMSLP if you want to play it.
  2. Channel 301 on Freeview broadcasts Red Button stuff and I was able to record the service on it and avoid the commentary. Sadly the organ music before and after was drowned by other noise.
  3. I'm interested in this. I've always preferred the harmonies on lines 1 & 2 to be repeated (as in the English Hymnal and New English Hymnal). The chromatic harmonies for lines 3 & 4 seem to be completely out of keeping with the rest of the harmony and the cadence at the end seems unnatural to me; at any rate I never play this version. I don't know what part Monk played in adapting Kocher's tune but I wonder if the altered harmonies were written by Nicholson at the same time as he wrote the descant in, for example, AMNS. Later: Just found this version of the original tune by Kocher. It seems very strange, used as we are to the Monk shortened version. http://www.hymnary.o...LG1876/page/154
  4. Horrible habit! I have very occasionally done it to a worship song/chorus thing and I always do it to At the name of Jesus to Camberwell - though i have a slightly extended interlude and go up a tone with some silly harmonies. Goes down a treat and is at least as tasteful as the tune itself. (If anyone wants a copy, PM me.) I dare say Bach would have treated Camberwell with a little freedom as well!
  5. I have just bought "12 short preludes on Old English Psalm Tunes" by W. T. Best and I think they're very good. Lots of Lenten ones, but one on Hanover which I played (badly) on Sunday. They are short to very short. There is a beautiful one on a tune by Purcell and one I intend to play this Sunday on "Southwell (Lord Jesus, think on me) - the tune being entitled "Bow down, thy gracious ear". Tunes that are still commonly sung include, as well as Southwell and Hanover, The Old Hundredth, Melcombe, Surrey, St Anne. But the others are well worth playing, I think. The point is that there is a prelude on Wareham ("Thy mercies, Lord, shall be my song"), but it is very short so may not be any use to you. However I do recommend these little preludes. They're published by Fitzjohn Music Publications (i.e. David Patrick. (http://www.impulse-m...tzjohnmusic.htm)
  6. The editor is Robert Gower and it's a very nicely produced book: not in my view as authoritative as the Ceremonial and Christmas books, but that is only my impression. The introduction gives no information on the pieces or composers - a missed opportunity?
  7. Yes, it is. Never come across it - feel a fool now! Peter Williams certainly doesn't have the same certainty about the composer as OUP. The OUP book just gives CPE Bach as the composer, not even "formerly attrib to J.S." or any hint that the authorship is in doubt. I think that's a pity. The book has no information about the pieces at all and no biographical information (other than dates). No registration, fingering or metronome suggestions: that's fine if the book is a scholarly edition, but clearly it isn't. (The initial chorale harmonization is rather smoother than the version on IMSLP. Has it been quietly doctored without a mention or is it from a different copy?) Still, I'm very pleased to be introduced to this piece.
  8. Well, I didn't mean to put anyone off buying it! It's all good music. I would prefer more austere music in Lent, but that's just a personal opinion. The very first piece in the book is super prelude on 40 Days and 40 Nights by CPE Bach. I will certainly play it on Sunday week. Nit-picking again, however, I wonder why O Mensch bewein is in the Lent section, rather than Passiontide?? Slightly surprised that Whitlock's Song 13 (Jesu, grant me this I pray) is in the Holy Week section - when there is so much wonderful Passiontide music around - all those Baroque preludes. The only prelude on the Passion Chorale is a Chorale and Variation by Mendelssohn: in the Variation only 25 of the 74 bars are by Mendelssohn, the rest is by the editor. He does a good job, of course, but I wonder if the composer didn't complete it because he felt that his initial good idea was unsustainable for the whole tune? Any opinions on the Sowerby "Were You there"? If Bednall had written his toccata on an Easter Hymn it would have been great - we need an exciting voluntary for Easter Day!
  9. My copy arrived very promptly from Allegro (I had pre-ordered it). I played the Tambling Fanfare on “Shine, Jesus, shine” on Sunday as we had that for our All-age Candlemas service. Good fun, if a little light-weight for an “Oxford Book of………” Lots of interesting pieces, but not as useful to me as I’d hoped, I must say. Some of the Lent and Holy Week preludes (the likes of Parry, Whitlock and even Jackson seem too “comfortable” to make Lent sombre enough. And much as I like the Bednall Toccata on Aberystwyth, I don’t play flashy toccatas in Lent. For Palm Sunday the 3 pieces are all are based on hymns for the Liturgy of the Palms rather than the Liturgy of the Passion which is the 2nd and main part of the service. Yet they seem more suitable for post-service voluntaries, though I certainly wouldn’t play the ebullient Prelude by Alan Bullard after a Palm Sunday service. The Hakim and Moore variations look good (especially for recital use). Not sure about the Briggs. I won’t throw away my copies of Trevor’s “Seasonal Choral Preludes” and Marsden-Thomas’s “The Church’s Year” just yet.
  10. I went to last year's event at Bloomsbury and will be going again to this one. Enough activity to make it worth the journey to London.
  11. It was a glockenspiel in 1902. I assume a mixture rather than bells
  12. I tried to "like this" but apparently I've "exceeded my quota of positive votes for today" - which is obviously none.
  13. As I heard it, the layclerks told one of their number that they would indeed shout "B*****ks" at the end, but in fact they didn't shout anything at all, leaving the poor butt of the joke to shout it on his own. This was indeed alleged to have taken place in a cathedral in Kent, but not Rochester. I like the idea of this version.
  14. Bad news about Ripon's Choir School: http://www.classical...ool-forced-shut
  15. If you send me an email for John Dexter (PM me) I will forward it to him.
  16. PM me your email address and I will do so.
  17. I don't think there's anything wrong with the New Novello. If you end up having to use the Ricordi with the chorus I can send you a list of the changes that need to be made for it to work with orchestral parts (including one complete replacement page).
  18. But there'll be a television screen. Mind you, you can turn those off!
  19. But if you play for a cathedral choir (or even a visiting choir in a cathedral) you may well have to put up with it.
  20. Having just watched the Boris Ord Carol service, I must say that I found it beautiful. Okay, the hymns are sung the way people did then - gathering notes and all. How refreshing, though, not to have a conductor flapping around in them. Why do hymns have to be conducted now? (A discreet beat at the beginning of each verse is one thing, but those conductors who conduct hymns as if they were conducting the Hallelujah Chorus rather than a congregational hymn annoy me.) Tuning seems pretty good to me but it's impossible to tell with this quavery sound. Certainly doesn't sound like King's College Chapel. I think the boys' tone is many times more lively than it became under Willcocks (much as I respect him). Plenty of drama for me - listen to A Virgin most pure. Beautiful phrasing. I don't think cathedral choirs these days (however beautiful a sense of line they may have) phrase in such a musical way. Just as, in my view, no choir has approached the Temple Church choir in musical and sensitive hymn singing. Of course, in those days, choirs sang carols rather than "carol arrangements". Seems a bit dull now, but I think the balance has swung a bit too far - although I'm probably in a minority of one. The Carols for Choirs books are great (especially No. 1) but perhaps a bit of simplicity isn't a bad thing. But what I really, really like is that it is a service, not a production staged for the benefit of television cameras. That's partly due to the minimal conducting. I think I would have been very moved if I had been there.
  21. I'd never heard of this organist. Entertaining improvisation though.
  22. I played Sortie from the Petite Suite in Blue (by J M Michel - in one of the Jazz Inspirations books) on Sunday. It was one of our "All-age" services, after which I indulge in this sort of stuff. The congregation loved it!
  23. Though sadly, Bach and Franck apart, mostly not of the same level as the greatest piano music. Certainly not of equal interest to non-organists. And we could have done with a few more decent concertos, of course.
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