Jonathan Lane

And Paul himself is playing a varied and interesting programme at St. Thomas-on-The Bourne, Farnham, on Sunday 25 May at 4.00 p.m., on our fine Nicholson of 1990, preceded by Cream Tea! Retiring collection for Recital, small charge for Cream Tea. Jonathan

De Grigny is a fascinating composer, but I always have had a love of the French Classical organ. Jonathan

There's a video on , for those that wish to see but not hear the organ.

Lovely console, very attractive. Jonathan

I was just suggesting that most things are possible. I agree that three and a half ranks gives a very versatile and satisfying instrument. Jonathan

Whatever people think about the Bradford system, sampling, or whatever, as Barry says, nothing beats real pipes. Even one rank of decent flute pipes is endlessly more rewarding than the largest and best digital organ. I often find I tire very quickly of the sound of electronic organs, but never of good pipework. Jonathan

I'm afraid to say, that there is no shortcut to getting good editions, I use three different editions of some of the symphonies. As mentioned, the end of Widor 5 Toccata in the Dover edition is quite a shock, and I always play this from Hamelle, however, as I think I have mentioned elsewhere, there are differences in movements in some of the symphonies. I think later editions as a rule are better, but perhaps more distant from Widor's original thoughts. And of course, then there's the Trois Nouvelle Pieces! Jonathan

I think this raises many questions, and pay and conditions are essential to finding a good organist and finding anyone 'willing' to play. Sadly, Barry is right about both these aspects, and the other references to happy-clappy churches (or perhaps mainstream churches using happy-clappy music) are increasingly plentiful. It is interesting that people still come out for good liturgy and good music, maybe not as much as previously, but there is immense disappointment when it doesn't happen. For various reasons, we had to cancel choral Evensong last Sunday (school holidays etc.), and we had two people who turned up specifically because it was choral. One stayed to the small congregational offering, the other turned round and went home again. I think the issue we have, or rather, we can address (assuming we can't persuade the church authorities to recognise the skills of trained professionals and reward them accordingly - I studied for 12 years!) is that of training and support of those who are either reluctant or inexperienced. There have been some tremendous efforts over the years, particularly from Anne Marsden Thomas and others, and there are a number of excellent diocesan training schemes, however, we even more. Many reluctant organists are reluctant because they have never had the mysteries of the organ explained to them, or partly at least. The question begs itself, how much of the decline in the number and quality of organists has contributed to the decision of churches to 'modernise' their music, again I think this is true in part. Until the day that professional trained church musicians receive pay and conditions equal to other professionals who have trained for years, i.e. doctors, lawyers, etc., we have to help those who are keeping the organs of this land playing, and perhaps that involves some work for no remuneration. Jonathan

Foyles isn't as good as it was now they've done it up, its lost all its Dickensian charm, piles of dusty music, often priced in pounds, shillings, and pence (well almost), however, it is still the most comprehensive music shop in London, plus lots of other books too, you can often spend weeks there! Jonathan

Always a better option!

My fascination for his voicing was again renewed by David Briggs superb CD on BBC Music Magazine, the organ sounds wonderful and of course the playing, as always is immaculate and entertaining. And as for the improvisation, if only I could achieve half of that I would be delighted! Jonathan

Correct, brain was asleep after a hard morning unloading organ pipes!

I'm referring to the mainstream in American voicing, running through from Arthur Harrison, to the whole gamut of organs by Austin, Möller, Wicks, etc. It is just that I don't like it, but that is also true of some continental and English voicing too. Everyone I suspect has a favourite style, and mine will always be Cavaille-Coll, but that is personal preference. On the other hand I am an enormous admirer of the American trend in actions, and also of their tremendous openness, particularly on their websites, they are keen to show what they do, and how they do it. It is also great to see some English builders following in this tradition, and grasping the advantage the the world wide web can be in promoting their work. But back to the the thread, it is really my preference, and I acknowledge there are many who do not follow in this tradition. Jonathan

This is also an interesting concept, I found it on the M. L. Bigelow & Co site, and whilst not being overly keen on American voicing, the principal seems useful. The flexibility seems endless, but would require an organ to be either fully enclosed or unenclosed to be musically integral one would think. Take a look here. Jonathan

The theatre organ tradition is very much a valid tradition in its own right, and I would hate to see it disappear, although it is not my main interest. I thing the Raiders of the Lost Ark was incredibly effective and showed what an electronic organ is capable of. The Trinity Wall Street organ is one of if not the best example of its kind anywhere, and outranks the the rest by miles. When I first heard it several months ago, I couldn't believe it was electronic, and that's the first time I have ever thought that about a digital organ. If I remember rightly it is the first instrument by the builders who made it, shows what a fresh pair of eyes and ears can do to the industry. I must away to church, Jonathan

Took a look at this website and I was struck by the fact that Carlisle is now in the North East, I didn't know they had moved it. Jonathan

I too disagree, I have always treated the voluntary as part of the service, and consequently expect to listen to, or expect others to do so when I'm playing. If we use your reasoning at Evensong, the service strictly finishes after the collects, consequently, by that criteria, we can expect the congregation to chat during the anthem, the sermon, and the prayers. You might think we're being a bit 'precious', but in my church there are a good number of people who sit and listen to the voluntary and treat it like that, even when some of the others would like it to be more like Waterloo Station. Unfortunately, the 'chatters' also like to hold their conversations before the service, during the peace, and after receiving communion. I'm afraid I will continue to consider the final voluntary part of my worship, and an important part of it as well. Jonathan

Well to add my twopennyworth. We've got in the morning: Stanford: Ye choirs of new Jerusalem Llewellyn's arrangement of This Joyful Eastertide sadly gone are the days of singing a choral setting except midweek, but Evensong is even better: Byrd: Terra Tremuit Rose Responses Dyson in D Wesley: Blessed be the God and Father Vierne: Carillon de Westminster However, we're not on holiday for another week or so, Surrey have change their school holidays! Jonathan

It is often quicker to learn to hand register even the most complicated pieces, it is amazing one one has to achieve on organs that don't have sophisticated systems, and indeed, the musicality of the instrument and performance is often improved by hand registering. Jonathan

Glad it went well, unfortunately a playing commitment got in the way. No doubt I will get to hear it before long. Does sound as if it were an exciting day however. Jonathan

I teach on a pupil's Wyvern two manual, and it is very good. But, does need the reverb. to accommodate being in a room. Jonathan

We won't, what was the episode called? Jonathan

Whilst I think the organ 'case' itself is very effective and matches the style of the church decoration, I cannot say I'm that enamoured with the design of the console, although perhaps I am too much of a traditionalist. To my mind, I would rather be comfortable in something a little more conventional than have something to continue the theme of the church, and feel really exposed, which I suspect would be the case. Jonathan

I agree Paul, and think about something like the first movement of the Elgar Sonata, where the fourth manual significantly enables the variety of tone required in some of the quieter sections. Jonathan

I think the Vierne symphonies work much better as a whole than the Widor ones. I have never played all of any of the Widor symphonies, and in most cases I wouldn't even try to, with perhaps the exception of the 5th, where I think all the movements work to a greater or lesser extent. Further to an earlier comment on this thread, I quite like the third movement. Jonathan