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ORGAN CONCERT WITH JELANI EDDINGTON

Started by ruth alexandra, May 28, 2013, 02:57:54 PM

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ruth alexandra

To celebrate the re-opening of the 4/ 32 rank Wurlitzer Theatre Organ, 
American Maestro Jelani Eddington.

National Suite
East Sussex National Golf Course
Little Horsted
Uckfield
East Sussex
TN22 5ES
United Kingdom
Sunday 2nd June at 3.00pm
(Doors open at 2.30pm)
Advanced tickets are available now
Only £8.50 per person

Refreshments
Free parking (disabled friendly - all level)

HOW TO BOOK
Call reception team on 01825 880088 or email reception@eastsussexnational.co.uk

AND stall selling sheet music and CDs in aid of Alexandra Palace Organ Fund.


David Pinnegar

Hi!

Thanks Ruth for posting details here.

What a treat it was to hear a living breathing pulsing Wurlitzer! And played by a performer of superb and crisp technique.

The East Sussex National Golf Club instrument is a no expense spared installation providing a superb venue and a great Wurlitzer experience. The swell shutters provide visual entertainment and fascination, being a sequentially opening design.

The first half of the concert gave us all of that which classical organists denigrate the cinema instrument for in terms of syrup and, whilst appreciating the spirit of the instrument, made me unsurprised of a dislike for the "unit orchestra" especially fostered by the sonic seasickness from the use of all those swell pedals used so neatly to accent notes and even in the middle of them.

This criticism, however, paled into insignificance with the delight of the unit orchestra giving the true spirit of that big band sound in deftly played dance numbers . . . but even more in an arrangement of themes from Carmen demonstrating the versatility of the instrument and of the technique of the player to the peak. Jelani Eddington's playing is crisp, of the highest standard, his hands accomplishing no movement on the keyboards beyond that necessary to reach the notes, and commanding an instrument of complexity that would dumfound mere mortals. In his soft transatlantic accent delivered in an assured but always demure manner perhaps we heard and saw a player of the nature of the spirit of Carlo Curley on the stage with the technique of Jeremy Filsell. Another musician came to mind in such a comparison but has escaped me.

The Carmen selections featured contrasts of the trumpets and horns of the instrument and it's a privilege to hear this incarnation of a Wurlitzer more versatile than most installed in cinemas and theatres with the multiplicity of its ranks. Straight without tremulants reveals a very musical instrument.

One comes away from a Wurlitzer concert somewhat bemused with that love hate relationship rightfully ascribed to Hope Jones. Significant varieties of tone among essentially unison ranks and yet . . . and perhaps one should not form an opinion on one concert on one selection of combination pistons . . . one might have expected more of sounds approaching violins and cellos out of four string ranks with celestes, reeds which blended together almost without character and those that had character that don't bite in some way, that don't send shivers down your back.

But one looks at the spec -
Viol D'Orchestre
Salicional
Gamba
Quintadena
Viol
all with accompanying Celeste versions

Tuba Horn
Clarinet
Krumet
Vox Humana
English Horn
Tuba Mirabilis
Brass Trumpet
French Horn
Musette
Orchestral Oboe
Kinura

What a choice!

Plenty in the toy cupboard too which really came to life . . .

But from these ranks, if one could get to grips with it as a classical organ, it would be fascinating to hear how this would translate into the classical repertoire.

Certainly Carmen played by Eddington showed the instrument off as organ and orchestra in a way worth having come to the concert just for the one piece. I hope the recording of that piece today will be made available on CD and possibly on the Tuesday night programme.

Thanks to Jelani for showing off a wonderful instrument and with such talent today.

Best wishes

David P






David Pinnegar

As a postscript to the previous post, a feature of the ESNG Wurly to marvel at is the sustain on the main manual. Whether by second touch or however, frequently the instrument demonstrated a "look no hands" trick where a note or notes on the second manual were left sounding whilst Jelani paid attentions to making music on other manuals . . . until he came either to touch a cancel button or another note was difficult to discern.

He did a lot of thumbing up and thumbing down into the bargain, using the four decks to the full.

Best wishes

David P