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How is it that I didn't know about this - Trio with Guitar and Hurford

 

A shade rushed-feeling but what a combination of sounds.

 

====================

 

 

Well, it's not just any old guitarist of course!

 

John Williams was the favourite pupil of Andreas Segovia, and Julian Bream always said that he always had the technical edge over him, and he should know!

 

Drifting slightly sideways, I stumbled across a performance by Segovia in the Alhambra Palace, Andalusia, which was barely advertised. I spent a few quid on tickets and filed in ro find a less than capacity crowd. Segovia played a lot of Bach that evening, in the most magical acoustic and setting, and I count this as one of the top half-dozen musical experiences of my life.......just magnificent.

 

The organ combines so well with so many instruments, and it is always a source of sadness to me that this is seldom exploited as an act of musical diplomacy.

 

Organ & Trumpet....superb.

Organ, Brass & Percussions ....equally superb

Organ & Violin(s) - ask Corelli & Nikolaus Bruhns

Organ & Percussion.....try "Equinox" on YouTube, with Xaver Varnus playing the organ....probably better than the original by Jean Michel Jarre.

 

Organ & Voice I think we know about.

 

MM

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  • 3 weeks later...

I don't recall that

has previously been posted. If it has, my apologies.

 

Edit later (interrupted earlier and I forgot to complete the script...)

 

It's worth a look for the marble console even if you don't like Demessieux. (I suppose that they may be someone, somewhere). :mellow:

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Heinz Wunderlich in a Reger fugue on the Berliner Dom

Sauer organ:

 

http://www.youtube.com/watch?v=RMM7x3qUm34

 

Floppy pneumatic action, muddy tones ?

Hear for yourselves ! :mellow:

 

Pierre

 

 

A comment a bit further down the same YouTube page reads:

 

"Sorry, but this was not recorded at Berlin Cathedral. It is from Wunderlichs recording session at Schwäbisch Hall (1980 Walcker-Tzschöckel, St.Michael)."

 

I agree. I was at Wunderlich's re-opening recital at the Berliner Dom in June 1993, following the marvellous restoration by Sauer, and have heard the instrument several times since. The instrument on this clip is quite different.

 

JS

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================

 

 

What wonderful organs; especially the Sauer at Berlin. What a suprise to hear Wunderlich add notes to the score towards the end of the Fugue, and to good effect it has to be said. (Most people leave notes out! :D )

 

MM

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And here a marvellous Skinner:

 

 

Pierre

 

 

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Deeply unfashionable or not, I certainly enjoyed playing an E M Skinner organ in Boston (Mass). (Church of the Advent) They have that same vintage quality I would associate with that age; on this side of the pond we had W O Bentley and Arthur Harrison and over there, they had Duesenberg and E M Skinner.

 

I was looking at other bits and pieces, and came across the monstrously large instrument at the US Naval Academy (largely Moeller), and counted an incredible EIGHTY-TWO pedal stops!!!!!!!!

 

Like the one at the Cadet Chapel, West Point, it seems to keep on growing.

 

Of course, it was inevitable that Ernest Skinner would end up being an organ builder, because he was born in Clarion, Pennsylvania.

 

It's very sad that at around 90 years of age, poor Ernest Skinner sat alone at an organist convention, and few people bothered with him, spoke to him or even knew who he was. :(

 

MM

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BWV 562 by Bernard Foccroulle at Ottobeuren -a strange french taste which fits-.

Bach copied the music of Grigny, after all....

 

 

Such colors one can get from a Joachim Wagner organ as well.

 

Pierre

Hmm. I find the registration wearisome after a short while, wonderfully colourful though it is. And if you want to 'French-it-up' it doesn't go far enough for me. Surely the descending pairs of [slurred] quavers cry out for Purcellian/Lullian Lombard rhythms (Scotch snap, to you and me)? It all sounds far too 'stiff' for the colours he's using. A bit like hearing a French menu read out in a Sächsisch accent.

 

Then again, didn't JSB once complain that French musicians were too mannered in their playing and used too many ornaments? So perhaps this is a fair and authentic compromise!

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No music here, but some interesting points???

 

 

Yes, I am genuinely grateful to you for drawing our attention to it.

He comes across as a thoroughly intelligent and perceptive man - almost frighteningly so. Certainly his technique frightens me!

I'm still happy that I revere the genuine article and take all its restrictions as part of my art. (whoops - 'pretentious, moi?')

 

The world is large enough to take diametrically opposing opinions on anything artistic, and there is no question at all, love him or hate him, Cameron Carpenter is not a player to be ignored. Mind you, he is not 'competition' to any of us while he is playing (largely) music that we don't want to play in arrangements we don't have on organs we don't care for!

 

As a side issue, am I the only one who thinks (even electronic) organs voiced in the 'American Classic' style always sound so angry when played f or ff? I put it down to those quasi French reeds with all the snarl and attack but no genuine richness of tone. I used to think it was one of the limitations of the electronic organ technology until I played the organ at Hexham Abbey and found there the pipe organ equivalent (tone for tone) of an Allen. Then I remembered, Lawrence Phelps was at one time a tonal director for Allens!

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