sbarber49
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Posts posted by sbarber49
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I'd be grateful for a copy of that List, Stephen, if it's possible to email it.
PM me your email address and I will do so.
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Slightly off topic, but I hope I can stretch the scope of this forum to include Choral Music...
Which editions of Vivaldi's Gloria come recommended? I've used Ricordi, with the mistakes and disasterous keyboard reduction in the past - are there any better ones out there? We'll probably end up with a small band but we'll need a compatible decent vocal score with a reasonable keyboard reduction for rehearsals.
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).
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Just registered for the afternoon - it looks fun!
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I'm thinking of going to this - what's the organ like?
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Ah! Not quite!
I would say, "Don't flap your arms about, I haven't a mirror. You just follow the organ and everything will be fine."
But there'll be a television screen. Mind you, you can turn those off!
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I would NEVER allow anyone to conduct or even beat-in the verses of hymns. If an organist can't exercise proper crowd-control, they should be sacked.
My congregations wouldn't DARE step out of line!
MM
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.
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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.
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I'd never heard of this organist. Entertaining improvisation though.
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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!
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The organ probably has the biggest and oldest repertoire of all solo instruments.
MM
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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I hope Ian Bell will not mind if I re-post the message he sent to the orgue-l distribution list earlier today:
Although the petition itself doesn't seem to make the claims to which Ian Bell alluded.
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I hope this isn't a daft question, but what is the latter day ecclesiastical history of this abbey? When I was there a couple of months back, I saw historical placards both inside and outside the abbey stating that it was dissolved in 1790 and subsequently used as the town hall, but neither mentioned anything about any subsequent use as a church. Google hasn't been any more forthcoming either. There must have been some reason for providing the Cavaillé-Coll organ and completing the west front, and the chairs in the quire area would suggest that services are held at least sometimes. Is it used as a parish church?
The French Wikipedia says (courtesy of Google translate!):
In 1803, the Rouen City Hall moved into the former monks' dormitory, or "dormitorium" of the eighteenth century. The abbot's house was demolished in 1816. The church itself, after serving as a factory at the time of the French Revolution, then returned to the Catholic faith but without becoming a parish church. It is now used for exhibitions and concerts.
So, presumably it was used as an important church in the 19th century, just not a parish church.
Incidentally, Google translated the stop list of the organ pretty well, but I liked these:
Watch 8 '
Unda husbands 8 '
Bugle 4 '
Bumblebee 16 '
Clairon in racing 4 '
Voice Wind 8 '
Supply V 2 2 / 3 '
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I have a boxed set of CDs ("Historic Organs of Europe") containing:
Saorgin @ Malaucene, Bastia & Brescia
Chapuis @ Marmoutier & St Maximin
Winter @ Altenbruch & Trebel
Chapelet @ Covarrubias, Palma (St Agusti & St Geroni) & Trujillo
Paul
Are they still available?
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That is ORYX EXP 5.
Three anon faburdens and a Tiento by Peraza at Covarrubias, Spain.
Scheidt at Frederikborg Palace, Denmark.
Louis Marchand on a Cliquot at Souvigny
Purcell at Adlington Hall.
Handel on a claviorganum
Samuel Wesley at Rotherhithe,
Pachelbel at Trebel.
Buxtehude at Steinkirchen.
J S Bach at Neuenfelder.
J S Bach at Arlesheim.
Played by Chaplet, Chapuis, Jackson, Michael Thomas, Danby, Helmut Winter, Saorgin, Schonstedt, and Rogg.
It probably cost me at least £1.
Loved these recordings - I had some EPs from the series as well as one or two of the LPs. Have any of them been re-issued on CD?
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Since no-one seems able to locate a publication of the descant linked in the OP, I have spent a little time transcribing it as Nigel suggested. In a day or so I should have a pdf of it ready, and if you are interested then please PM me with your e-mail address and I will happily send it to you. For a start, you can check whether you agree with my transcribing! It will contain the descant line only, because as Nigel says (apart from a couple of minor alterations in the last line) the harmonies beneath are the 'normal' ones, i.e. those we use for verse 2 in Goss's setting.
We are due to have the hymn as our opener next week so I'm going to try it out with our Sopranos on Friday night.
It's still in copyright, of course!
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I have no hesitation in stating that it is an utterly dreadful book - with no redeeming features.
Sadly, although I agree completely with the first half of this sentence, HON does have a huge selection of hymns and songs - hence its popularity among the clergy.
Common Praise is good, but doesn't have the same range.
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I can't remember the writer of it, but without the harmonies being changed (wonderful!)
N
Though, of course, Goss has already done that for each verse!
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I well remember a rope system there that included a device to limit the speed. Somehow, I don't remember seeing it on my last visit there. It was certainly a good idea as the only route to the console from the top of the spiral staircase stairway was right through the organ. The console is still a distance from the top of the stairway(as neither has really moved in the recent work) so there would still be good reason for the rope system now.
John R
Didn't see a rope in the organ loft and no-one gave me safety instructions!
Still find it very scary to look over the organ loft.
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Weren't you at St. Pat's, Dublin at one time, Stephen? I always found that fairly scary, but at least it was spacious. How do they compare for you?
I'm hoping to try Bury when I go home on holiday at the end of August. It makes me feel old, because I was at the opening of the Nicholson and shortly after Colin Goulden and I were asked by Fred Oxley to do the demo to the Organ Club.
Yes, I was. I never found it scarey, though. Bury St Edmunds is much worse.
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I've got the opportunity to play the new H&H at St.Edmundsbury soon. The console looks to be a long way up! Anyone been up there yet, and what is that like?
CP
Going tomorrow! The old console was certainly high, and, for me, a bit frightening.
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They are perhaps better as editions to start out with, from a financial point of view, perhaps upgrading later on. The Dupre volume is perhaps the best bargain in their catalogue (compared with the French editions!).
VA
Not available here due to copyright, though. (At least I don't think so)
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This could be understood to mean "the only thing that he could do was unlock the gate" or "only he could unlock the gate".
Which meaning would occur most naturally to a child?
Perhaps children in 1848 were more intelligent! I'm sure the words would have been read over to a young child first anyway, and the stress would make the meaning clear.
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It must have been Holy Mother Church at a guess..........
"And it came to pass in those days, that there went out a decree from Caesar Augustus, that all the world should be taxed."
(King James Bible)
I repeat that there is no actual rule in English Grammar which prohibits the practice, even though in common usage, such things are rightly frowned upon.
In the right context,(especially that of prose or poetry), all sorts of unwritten rules are regularly broken.
MM
Superfluous commas?
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Nor did Cecile Francis Alexander say that. I admit that this is a difficult area. However I can't think why you pick out this hymn for its theology when there are so many others!I'm sorry if I have diverted this thread into theology rather than music, and I know and respect the fact that there are many different points of view on the subject, but the phrase does raise the questions, "Who demanded the price?" and "To whom was the price paid?"Some early theologians said that the price was paid to the devil - one of the theories of the atonement which few would accept today.
From the 39 Articles:
Article XXXI: Of the one oblation of Christ finished upon the Cross
The offering of Christ once made is the perfect redemption, propitiation, and satisfaction for all the sins of the whole world, both original and actual, and there is none other satisfaction for sin but that alone.
I think the word "price" covers that adequately. Especially since it was from a book of "Hymns for Little Children".
(I am straying out of my comfort zone here!)
C.H. Kitson 'Communion On an Irish Air'
in The Organ
Posted
If you send me an email for John Dexter (PM me) I will forward it to him.