Please do post details of concerts, courses and other events into the Calendar
0 Members and 1 Guest are viewing this topic.
I haven't heard St Alban's Holborn (except on a CD, with Vaughan Williams' Vision of Aeroplanes, among others) but is it really London's loudest organ? St Paul's is very loud (and this instrument is very much worth recording). The Lewis-Willis III at Westminster Cathedral also blows your head off - an instrument of simply awesome power. Again, very much worth recording.
Croydon PC is good (I know it well from Croydon Festival organ classes) but the late-60s Harrison rebuild really mucked up the tonal scheme - it's a classic neoclassicisation, albeit done to higher standards than some. Geoffrey Shaw, who runs the organ class, opines that St Michael and All Angels, West Croydon (another Pearson pile) is better (big 3m Father Willis made even bigger by Mander in the 1960s IIRC - though not all the additions work brilliantly). What of Pearson's other London churches? Tiny but incredibly powerful 2m Lewis at St Peter's Vauxhall and a big 3m Brindley & Foster in the cavernous Catholic Apostolic church in Maida Vale...
All Hallows Gospel Oak would be very much worthy (4-manual Hill instrument of 1915), but it's had no major restoration since installation and, while it still makes an heroic noise, it's very leaky now. Then there's the famous Father Willis nearby at St Dominic's Haverstock Hill...
The Harris/Hill/Rushworth & Dreaper at St Michael's Cornhill was in fine shape when I heard it earlier today in the highly capable hands of David Liddle - there's virtually nothing this magnificent organ can't do, and it's in a lovely acoustic.
The 1912 J. W. Walker at the Sacred Heart, Edge Hill, Wimbledon, has just been used for the first time since its complete restoration by Mander - it has a very complete 3m 50-stop specification including three 32fts (Double Open Wood, Acoustic Bass and Contra Trombone) and stands on the West end gallery of a large church with a fine acoustic. I haven't heard it since its restoration but it certainly was a very fine instrument indeed - arguably one of the best of its size anywhere in the country.At the original time of writing, this organ was very much in the middle of the restoration work and, apart from not being available, I was unsure how it would sound (and play) after it was completed.Anyone here know the Anneessens/Willis III at the Immaculate Conception in Farm Street? Or the Harrison at H.A. and Jennifer Bate's church, St James's, Muswell Hill?
Also, Langham Place has a very large amount of pipework by Hunter - it's not just a Willis/H&H job. The acoustic is very dry, though.
St Barnabas, Ealing, a colossal church (see http://www.barnabites.org/), has recently replaced an small 2m with this: http://www.npor.org.uk/cgi-bin/Rsearch.cgi?Fn=Rsearch&rec_index=N01946. Haven't heard it yet but it should sound spectacular in that building - it already had a fine reputation in a confined chamber in a much smaller building with a dry acoustic.St Joseph, Highgate, has a highly-reputed 4m Hill (http://www.npor.org.uk/cgi-bin/Rsearch.cgi?Fn=Rsearch&rec_index=D03544), as does St Peter, Streatham (http://www.npor.org.uk/cgi-bin/Rsearch.cgi?Fn=Rsearch&rec_index=N17302).
Another obvious one is the H&H in the Temple Church (though it's just being dismantled for restoration). The Lewis/Willis III at St Mary's Bourne Street is said to be very fine as well, and it's recently been restored. Another Willis III - this time with Gern origins - is that at St John's Holland Road, Kensington, a fine 4m organ in a resonant acoustic - but what state is it in these days?
Two churches in close proximity, in the Earl's Court area, are St Luke's Redcliffe Gardens, with a magnificent Norman & Beard of 44 stops in a good acoustic (and, I am told, recently overhauled), and St Cuthbert's, Philbeach Gardens, which has a 4m Hunter of some renown, restored two years ago by the Shepherd brothers - there are a few stops prepared for only (according to NPOR) but there are still 48 there.
Southwark Cathedral seems to be rather under-recorded, but then the noise of the trains could make it problematic...Anyone know the Kenneth Jones 4m at St Peter's Eaton Square? I've spent many hours with it, but I was only about 3 years old then so I can't remember anything of it! Very resonant building, though - went to a piano recital there a couple of years ago where I was deafened by an over-enthusiastic pianist and a big Fazioli...
St Cyprian, Clarence Gate, also has a rather fine 3m Spurden Rutt. Fantastic Comper church with fabulous furnishings, all hard, so the acoustic is good...
Westminster Central Hall is in the closing stages of its rebuild, will be finished in mere weeks - what it will sound like I cannot say. I have to admit that some of the recent works of H&H (who're doing the rebuild) have struck me as highly competent but a bit soulless - but some have been very impressive. I won't judge it until I've heard it. The Walker at St Margaret's, just across the road, is also rather good (though it's been a few years since I've heard it).
http://www.stjamespaddington.org.uk/gallery/the-organ.html is, I am told by a source I trust, quite magnificent, and I'm prepared to believe it. Hope to go up there some time soon to hear it for myself. Anyone know what state the big Compton at St Mary Magdalene is in? Last I saw and heard, the place was rather derelict... the church website suggests things are improving, but that the organ can be troublesome. Also, what of the current Compton instrument in Southwark RC Cathedral? Any good? I know that there's a campaign to replace it, but Comptons just are unfashionable at the moment...Some food for thought, anyway.
Out of interest, do you (or any other board member) have a current stop-list for this instrument, please? The most recent NPOR survey simply states that the organ has been returned to its 1926 incarnation. I assume that this would not include the action and combination system. It would be helpful to know exactly what has been done.
Quote from: Jonathan Lane on July 19, 2011, 08:09:25 AMQuote from: barniclecompton on July 19, 2011, 03:23:17 AMSlightly off topic here, @ David Pinnegar- you keep refering to "entertainment organs", surely ANY organ can be an entertainment organ? If you hold a concert on it, that is a form of entertainment.Depends who is playing and what is being played!JonathanBut a concert/recital is a form of entertainment, no matter what and who is playing.
Quote from: barniclecompton on July 19, 2011, 03:23:17 AMSlightly off topic here, @ David Pinnegar- you keep refering to "entertainment organs", surely ANY organ can be an entertainment organ? If you hold a concert on it, that is a form of entertainment.Depends who is playing and what is being played!Jonathan
Slightly off topic here, @ David Pinnegar- you keep refering to "entertainment organs", surely ANY organ can be an entertainment organ? If you hold a concert on it, that is a form of entertainment.
I still dont see any part of this that is going to come across as "fun" in the eyes of the public.......
Quote from: Jonathan Lane on July 21, 2011, 04:48:52 PMI think from what Ive seen here, most people in the group are abit out of touch with the general public.But, as my last post said, what is the point of an organ forum but to promote the organ. Would you expect the RSC to do Eastenders?Jonathan
I think from what Ive seen here, most people in the group are abit out of touch with the general public.
I repeat an earlier suggestion, Keith Hearnshaw, superb player, very engaging, enthusiastic, the epitome of fun in the organ world!
Quote from: Jonathan Lane on July 21, 2011, 04:48:52 PMI think it will be, have you heard him play?JonathanJust watched some on youtube. Good n all that, but....its still the same. They will turn off. It IS too high brow.I think from what Ive seen here, most people in the group are abit out of touch with the general public.
I think it will be, have you heard him play?Jonathan
Hugh Potton playing Reubke is capable of having touched the soul as is demonstrated by the comment on YouTube of the video of him having done so, and it is in the organ to touch the soul that makes the instrument of even greater value.Best wishesDavid P
If you can make 50-1000 or more people clap along, sing along, enjoy the music and walk out at the end of the concert/dance/show happy, then you have touched peoples souls. There is one member on this site who does this on a DAILY basis.
Ive said his name on here before, but it seems to have been dismissed.an organ can be making people happy, making people cry-making people dance, making people sing, making people clap, making people be lost in the magic of a film, making people laugh.Imitating an orchestra, a band, a train, a bird, a car, a boat, a marching band, a whistle, a flute, a clarinet, an oboe, a swarm of violins, a fanfare of trumpets, a choir, a piano, a ship yard, animals, a cathedral organ, a fair organ, ....the list goes on.
In particular, the placement of the Voix Humaine (new, copied from Moucherel) on the Bombarde manual , where it had never been in the organ's entire history, (nor would be on any other classical French organ). Furthermore, this meant that it was not located on the same clavier as the foundation stops which were always drawn with it in classical practice (8ft. Bourdon and 4ft.' Flûte). I It is highly probable that this was due to the influence of Xavier Darasse*, who was a consultant for the restoration project. It was his custom to avoid using flue stops with solo reeds. When one American organist asked for his advice on registering a Dialogue de Voix Humaine on this instrument, "...he had me draw the lone Voix Humaine of the Bombarde and accompany it on the Grand Orgue 8ft. Montre alone - no coupler, of course". §* Xavier Darasse was born in Toulouse in 1934 and grew up in a musical family; his mother was also an organist. At the age of sixteen, he was admitted to the Conservatoire National de Paris where he won numerous awards, including first prize for Harmony and Counterpoint, Organ, Improvisation, and later first prize for Composition in the class of Olivier Messiaen. There followed a brilliant career as a performer, with concerts in Europe, Russia, the United States, Canada, and Japan. In 1966 he established the organ class at the Conservatoire de Toulouse and became the principal organiser of musical events in his city.. . . Xavier Darasse also participated for several years in the Académies d’été de Saint Maximin, where he gave master-classes and recitals. In the 1972 concert, titled The Symphonic Turning Point , he performed works by Mendelssohn, Liszt and Franck on the Isnard organ.[/font]
Opus 139: To Hear the Music is a documentary-in-progress celebrating the first 50 years of the C.B. Fisk Pipe Organ Company. The film will tell the interwoven stories of founder Charles Brenton Fisk, his unique workshop, and the collaborative enterprise of creating, installing, and voicing a new pipe organ for the magnificent Memorial Church at Harvard University. It will be a rare opportunity for viewers to see the intricate design process, attention to detail and stunning craftsmanship involved in the construction of this largest of musical instruments. In the last act, the soaring glory of the new instrument at Harvard will be heard at its inaugural concert.