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www.theorganmag.com No 356 Published since 1921 May July 2011 £ 6.00
Lichfield Cathedral The Barony Hall Organ St Petri Dom, Dresden
PLUS All the latest news, views, reviews and previews The Organ Spring 2011.e$S:Layout 1 9/5/11 15:26 Page 3
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Volume 90 No 356 May – July 2011
www.theorganmag.com
14 Cathedral Organs of England IV : The Hill Organ of Lichfield Cathedral Martin Rawles
22 The Barony Hall Organ and its wider context Terence Charlston
28 Oxbridge Organs I : New College and Keble College Curtis Rogers
32 Historic Organ Certificate Scheme Paul Joslin
34 Les Passions in Strasbourg Brian Hick
37 The Nave Organ in Strasbourg Cathedral Brian Hick
42 The Organs of St Petri Dom Rhonda Sider Edgington
The Barony Organ22 St Petri Dom 42
Strasbourg 34 REGULARS 2 Editorial 4 UK Performance Calendar 3 Letters 6 UK News Cover: Lichfield 10 International News Cathedral 51 CD reviews 41 Recitals Photo: Christopher 57 Music Reviews Lockwood 62 Book Reviews
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The Organs of the St Petri Dom A Bremen Town Musician’s reflections as well as history and specifications of these instruments
Rhonda Sider Edgington
For an organist living and working in Bremen, St. Peter’s cathedral (or the Bremer the Motette concert series which take Dom, as it is called by locals) is an important center point of organ activity. place Thursday evenings at 7pm, every fourth Thursday in the month is ent it - Under the leadership of Cantor Tobias tisms that take place in the crypts. On led “The Diversity of the Dom organs” Gravenhorst and Cathedral Organist the last Thursday of each month at and is played by the resident organists, Wolf gang Baumgratz, there are regular 5pm, Herr Baumgratz plays an organ Herr Baumgratz and Herr Gravenhorst, concerts here year-round and numerous demonstration, alternating between the usually on either the Sauer organ, or the opportunities to hear the many instru - five organs, where the general public is Bach organ. In the months of July and ments housed here, played by the two invited to ask their questions about August, each Thursday’s Motette is ded - resident organists, as well as guests organ construction or playing tech niq - icated to the Organ Summer series, with artists. The organs are heard daily, during ue. The general characteristics of that guest organists from Germany and occ - the workday noontime devot ional service, specific organ are explained, and a short asionally other countries as well. the Sunday main worship service, or as programme is played, appropriate to the part of the many weddings and bap- instrument being featured. As part of
Rhonda Edgington came to Bremen, Germany in 2004 on a Fulbright Schol arship to study the organs and music of North Germany with Prof. Harald Vogel. Since then, she has performed many recitals, including on the Schnitger organs in Norden, Hamburg, and Weener, as well as on the Silbermann, Sauer, and Bach organs in the Bremer Dom. While in Bremen, she has also worked as a church musician, completed a degree at the Hoch- schule für Künste, and almost finished a project translating texts written by Prof. Vogel about the complete works of Bach and Buxtehude. She lives in Bremen with her husband and two children. More information (along with recordings and pictures of organs) can be found on her website: http://rhonda.edgington.info The Sauer Organ
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The Organs of St. Peter’s Cathedral in Bremen (St Petri Dom) The history of the large organs in St. Peter’s Cathedral
The first reports of regular organ use in work had a short life. A report from 1893 organ with an instrument with a the Bremen Cathedral date back to the found deficits in the wind chests and “modern” action. 14th century. However, the first organ the bellows, as well as advanced dam - During the comprehensive renovation about which details are known arrived age to all the wood parts from ship - work in the cathedral, the Schulze organ after the completion of the north nave worm. These deficits had mainly been was replaced by Max Salzmann in 1894 at the beginning of the 16th century. We caused by storms blowing through a with a pneumatic instrument built by know only that this organ was repaired building site on the steeple-side of the Wilhelm Sauer. The case from 1849 and in 1596 by Cornelius and Michael Siegel cathedral, where construction had begun one stop (the Contrabass 32’) were ret - from Zwolle, and again in 1630 by the in 1889. The organist at that time also ained in the new organ. organ builder from Bremen, Johann wished to replace the mechanical-action Sihorch. During the second half of the 17th century, the instrument became so damaged that it needed constant care and finally had to be replaced by a new instrument. Because there was no longer a resident organ builder in Bremen, Arp Schnitger from Hamburg was contract - ed to build a representative three man - ual instrument. It was placed on the west wall, and with its 50 stops and two 16’, as well as two 8’ Principals in the facade, it belonged to the largest and most beautiful organs in the Northern German area. Even Abbé Vogler praised it in 1800 as one of the best. In the 19th century, the Arp Schnitger organ, which had begun to need con - stant repairs, due to damages to the west end of the church building, fell victim to the tastes of the times. Wil - helm Friedrich Riem, who was organist at the cathedral from 1814-1857, had the organ renovated at the beginning of his tenure as organist, adding Romantic stops to achieve a stronger foundational sound. However, this renovation was not very successful, because there was no longer enough wind for the organ. Add- itional work done by the organ builder Otto Biesterfeld was also not partic- ularly well done. A new instrument with 61 stops, inst - alled on the newly-built west balcony, was built by the master organ builder Johann Friedrich Schulze from Paulin - zella in Thuringia in 1849. The sound of the new organ must have been stunn - ing, with four 32’ stops (two of them in the manuals), ten 16’ stops (five of them in the manual) and a Quinte 24’ in the pedal. According to the testimony of the organist Jimmerthal from Luebeck, it The Sauer Organ was “almost overwhelming”. Schulze’s
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The Sauer Organ However, the organ did not remain in added were placed partly on pneumatic The large Sauer organ and its its original state for long. In 1905, the unit chests (Taschenladen). In 1958, after restoration organ was enlarged with a fourth man- the damage from World War II, the inst- On November 10, 1893, Wilhelm Sauer ual division, the total number of stops rument underwent further significant from Frankfurt on the Oder submitted was increased to 70, and a new four- changes. It received an electrical action, his receipt for a three manual organ manual console was placed in the yet more changes to the stoplist, and an with 63 stops. On January 12 of the middle of the organ gallery. A change in unimaginative free-pipe facade in place following year, a contract was signed by the specifications took place in 1925/26, of the beautiful neo-Gothic case. The the organ’s sponsors, the consul and under the influence of the emerging structure of the case from 1849 rem - member of the parish council Johann organ reform movement (Orgel beweg - ained, but the original facade pipes dis- Anton Adami, and Wilhelm Sauer. The ung). This culminated in a major renov - appeared behind a plywood decoration. final installation of the organ, with ation of the organ in 1939, spurred on by Plans for the Sauer Organ recon st - mechanical cone-valve chests (Kegelladen) the upcoming 26th Bach Festival, to be ruction began in the early 1980’s. After and pneumatic action, was set for Nov- held in the Bremer Dom. The number of much discussion (some quite controv - ember 1, 1894. On December 2, 1894, the stops was enlarged to 98. The old pipe - ersial), the company of Christian Scheffler, cathedral organist Eduard Nößler inaug- work was preserved, although it is note- from Frankfurt on the Oder, received a urated the Wilhelm Sauer Opus 951 at worthy that almost all string voices contract for the instrument’s restor at - its dedication ceremony. were removed. The extra stops that were ion, reconstruction, and expansion. The
The room’s generous acoustic also needs to be considered when playing the Sauer organ.
The Sauer Organ (reflections) thing very important for this repertoire, While there are lovely soft sounds By far the largest instrument is the and also saves the player much prep - on this instrument – beautiful flutes Wilhelm Sauer organ from 1893/1926, aration time that would have otherwise and strings – the sound of the tutti is which sits in the rear balcony. Recently been spent registering these sections by also quite impressive – round and full, restored, this instrument offers one hand and setting pistons. but never harsh, shrill, or overbearing. the opportunity to play large-scale rep- The electro-pneumatic action was In my experience, besides the previously ertoire from the German late-Rom - not so difficult for me to control, but I stated German Romantic repertoire, antic (such as Reger and Karg-Elert) am sure this depends quite a bit on one’s French late 19th and early 20th repert - with many of the intended sound previous experiences (or lack thereof) oire can also be played fairly convin - colors, as well as registrational helps with similar actions. In the US, electro- cingly on this instrument, although that the composers knew from their pneumatic actions are fairly common, this requires quite a bit of time on the time, and would have expected to have but in modern-day Germany they are organist’s part, to find the right com - present for their works, such as a Cres - not. This means that many of the Ger - bination of sounds. cendo roller, or Walze. I, for one, had man organ students in Bremen are This organ is used for the main Sun- never encoun tered a Walze before see- uncomfortable with such an action The day worship services (playing repert - ing them here in Europe and though sound of the pallets closing is, with oire, improvisations, and accompanying was at first intimidated by the use of it, certain stops, very loud, and needs to be hymn and choral singing), as well as once one becomes comfortable with taken into consideration in very quiet the noontime devotional services that the techniq ue, a whole world of poss - sections. take place Monday through Friday, ibilities opens up. A dial in the middle The room’s generous acoustic also where repert oire and improvisations of the upper console, resembling a needs to be considered when playing are heard. It accompanies the Dom car’s speedometer and connected to the Sauer organ. Although the reverb - choir in concerts and worship services, the roller, shows the player exactly eration is not so extreme that it disturbs and is played in many of the organ where in the range of dynamics the the music, a sensitive player must listen concerts that take place in this space. roller currently is, and enables a carefully, to determine how quickly Once or twice monthly, it is heard in the precision of usage. The Walze allows passages can be played, how openly one Thursday evening Motette series, and the player to make almost seamless must articulate, and how much time is played as part of the summer organ cres cendos and decrescendos, some - needs to be taken during pauses. concert series.
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Specification The disposition Spitzfloete 8' E Mixtur 4fach R Fagott 16' R The following disposition Gedackt 8' E Trompet 8' PR Trompete 8' E gives an over view of the Salicional 8' R Oboe 8' E Clarine 4' R existing ranks (E), recon st - Octave 4' E Krummhorn 8' E Engl. Horn 4' E ructed ranks (R), or partly Fl. dolce 4' R Glocken E recon structed ranks (PR). Salicional 4' R Nachthorn 4' E Manual IV (C-a³) The movable electric Manual I (C-a³) Quinte 22/3'E Quintatön 16' PR console has the following Principal 16' R Rohrfloete 2' E Gemshorn 8' E assists: Bordun 16' E Piccolo 2' R Undamaris 8' E Normal couplers as rocker Praestant 8' R Quinte 11/3'E Rohrflöte 8' PR tablets; Super coupler Doppelfloete 8' R Siffloete 1' E Traversflöte 4' PR II/I as rocker tablet and Gamba 8' R Rauschquinte 2-rank22/3'E Fugara 4' R piston; Flüte 8' E Cornett 3-rank R Flautino 2' R Pedal couplers; Pedal Super Principal amabile 8' PR Mixtur 3-rank R Vox humana 8' E coupler and Tutti Quintatön 8' E Cymbel R Tremulant for the Vox couplers as toe studs; Gemshom 8' E Fagott 16' E humana Three preset combinations Gedackt 8' E Tuba 8' R – p, mf, f as pistons; Octave 4' E Clarinette 8' R Pedal (C-f1) Tutti, Tutti reeds, and Reeds Rohrfloete 4' E Contrabass 32'E - off as pistons; Violini 4' PR Manual III (C-a³) Schulze Manual 16’ off as piston; Gemshom 4' E Gamba 16' R Principalbass 16' E Small knobs (Zügchen) for Rohrquint 22/3'E Gedackt 16' E Violon 16' R single reeds off over the Octave 2' PR Principal 8' E Subbass 16' E fourth manual; Flachfloete 2' E Concertfloete 8' PR Salicetbass 16' E Three balanced swell Rauschquinte 22/3'E Schalmei 8' E Quintbass 102/3'PR pedals for Manual III, Cornett 3-4-rank E Zartfloete 8' PR Echobass 16' Manual IV, and the Vox Mixtur 3-5-rank E Quintatön 8' R Tranmission from Manual III Humana; Scharff 5-rank R Gedackt 8' PR Offenbass 8' E Cresendo roller (Walze); Bombarde 16' E Aeoline 8' R Cello 8' R Walze off, couplers off of Trompete 8' E Voix Celeste 8' PR Bassflöte 8' E the Walze, and visible Clarine 4' E Praestant 4' E Dulciana 8' E registrations off as Traversfloete 4' E Quinte 51/3'R pistons; Manual II (C-a³, to a4 Viola 4' R Octave 4' R 2 x 256 lockable dismantled) Nasat 22/3'E Fl. dolce 4' R combinations; Salicional 16' R Nachthorn 2' E Terz 3 1/5'R Sequencer forwards- Bordun 16' E Piccolo 2' E Mixtur 4-rank R backwards as piston, Principal 8' PR Harm. aeth. 3-rank E Posaune 32' E Sequencer forward as Floete 8' E Sesquialtera 2-rank E Posaune 16' E toe stud.
*in an email to the author, the organ’s restorer Christian activated pneumatically, through the lead pipe, following Sauer’s Scheffler, explains this term: A “Daempfungsglied” can be explained example. The rigid electrical impulse from the magnet is transformed in this way - imagine a lead pipe, which is located between the into a supple pneumatic impulse by going through the lead pipe. In electrical and the first of the pneumatic stations in the organ. Thus, this organ there is still a large amount of pneumatic action, either left the rocker magnets are not found on the wind chests, rather they are from the original, or recreated during the last restoration.
following concept was agreed upon in Glockenspiel and pedal coupler bring uator (Dämpfungsglied)*. The const ruct- 1993 – to rebuild the Sauer organ as a the total number of stops to 100. The ion of the new electrical console took four manual, electro-pneumatic instru - inner construction of the organ once into consideration both the character ment, with the reconstruction of the again was arranged in a typical Sauer- and the design of the Sauer original. The original disposition, a few expansions in style – all the pipes now stand on the neo-Gothic case from the previous the spirit of the builder, and the use of a pneumatic cone-valve chests (Kegell - organ was reconstructed over top of the few stops from the 1920’s and 30’s. The aden). The switching from electric to existing choir platform. The restoration
number of sounding stops today is 98; a pneumatic takes place with an atten - was finished in the autumn of 1996. ▼
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The Silbermann Organ original positive, a pedal division with by Julius Jahn from Dresden. two ranks, which the organ builder from Eventually, in 1939, the organ was The Gottfried Silbermann organ that Dresden, Carl Rudolph August Venkzy, again for sale, and the music director of stands in the west crypt of St. Peter’s had added in 1796. In 1902, Eduard the Bremen Cathedral, Richard Liesche, cathedral in Bremen today was probably Berger from Dresden delivered a new originally from Dresden, bought it for built during the winter of 1732-33. By organ to the church in Wallroda and the Bremen Evangelical Church, to use 1734 it stood in the old village church in took the Silbermann organ as payment. in the musical activities of the Cathed - Etzdorf (in Saxony), which we know from He used the pedal from Venkzy in his ral. The firm Wilhelm Sauer undertook a writing on the organ case by a calcant new organ for Wallroda, as well as three first restoration of the organ, before it (the bellows pumper). As the building ranks from 1733: the Rohrflöte 8’, was installed in the church for the project for a much larger church in Rohrflöte 4’, and Octava 2’. The Silber- occasion of the Bach Festival. As was Etzdorf began, the small positive organ mann organ now had, instead of eight usual for the time, the old pipes were was offered up for sale. The church ranks, only five sounding ranks left. In repaired and the original specification congregation in Wallroda (by Radeberg) this condition, the organ came into was reconstructed through additional purchased the small instrument and private hands in Dresden in 1919, and pipes in a Sauer building style. The had it installed without any changes. was then enlarged, according to the church had the instrument completely The church received, along with the tastes of the time. This work was done overhauled in 1953 and 1962, although
The Silbermann organ (reflection) ment is quite a challenge. The first use of the plenum, and plenty of Located in the East Crypt, along with a number of times I heard it, played by a practice! baptismal font from circa 1220, the variety of players, it sounded quite An interesting note in reference to small positive organ by Gottfried awful. As I got to know the organ better, the temperament of this organ is that, Silbermann, built in probably 1732-33, I realised why this was, and how chall - in the literature prepared by the Dom, looks unassuming. Many who pass it enging it is to select appropriate repert- and written in collaboration with Christ- on a daily basis, or hear it played reg - oire and registrations to showcase the ian Wegscheider, the organ is said to be ularly, do not realise its remarkable organ’s strengths. The all-stone crypt is in a modified mean tone tuning. In the history. As the only organ built by small, very live, and has a fairly low book, Die Orgeln Gottfried Silbermann, Silbermann that exists today outside ceiling. Unless packed with people, it is by Frank-Harald Gess, (published by of Saxony or Thuringa, and the original a difficult space for this organ. And the the Gesellschaft der Orgelfreunde), one organ that served as model for the organ itself is very bold. While the 8’ and of the standard references on the organs copy in the Silbermann museum in 4’ flutes are soft, shimmery, and delic- of Silbermann, it is stated that this Frauenstein, it is an important and ate, the principals, and all higher regist- organ is tuned with a well-tempered unique instrument. In 2008, the Hoch- ers, when played with unwisely chosen tuning. I suspect this is not so much a schule für Künste, in cooperation with repertoire or combinations of stops, can contradiction as two different ways of the Dom, began a student noontime be almost painful to hear. The two treble approaching the same thing. “How concert series on this organ, to raise solo stops are also a challenge to use, modified is the mean tone tuning?”, awareness of this treasure in our midst. since repertoire that explicitly calls for and “what kind of a well-tempered Under the leadership of Hans Davids- this sound has not survived from Silb- tuning?” are questions to keep in mind son (head of the organ dept) and Cath- ermann’s time. The action is perhaps when pondering these designations. At edral Organist Wolfgang Baumgratz, I the most challenging of all – very resp - any rate, the tuning definitely needs to helped organize this series for 18 onsive, but very sensitive and, unless be taken into account when choosing months. I found the general public to one has spent considerable time on the repertoire and playing the organ. be quite fascinated by the organ. Those organ, and is an adaptable player, Certain far-removed keys and chords who were familiar with Gottfried Silb- difficult to control. are fairly dissonant, and should be ermann’s works were amazed to dis - All that being said, I came to love either avoided, or properly prepared. cover that a “real Silbermann” existed playing this hidden treasure of Bremen, This organ is played for the small in Bremen, and those who knew and found that repertoire from obvious services held in this crypt, mostly nothing about organs loved how close choices such as CPE Bach and JS Bach, baptisms. Performers in the Motette one could get to this small instrument, Böhm, and Krebs to Muffat and Frob - series occasionally choose to play a and some were even interested to see erger, and even as far removed as Correa few pieces on this organ as part of an organ with no pedal, and only one de Arauxo, John Bull, and Frescobaldi all their program. The Student Noonday manual. could be made to work quite nicely, with series occurs approximately two Sat- For the player, however, this instru- judicious choices of sounds, a sparring ur days a month at 1 pm.
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the basic character of the organ was not ful, and the Bremen Cathedral could Specification preserved in a way that one would expect purchase the three missing ranks. Thus, in accordance with today’s standards. almost 75% of the Silbermann pipes in Manual (C, D – c3) In 1993, the Kristian Wegscheider the small organ were reunited. The Principal 4' workshop in Dresden began a restor - pipes underwent intricate renovations, Tin, 37 pipes in the facade, one of ation and reconstruction of the positive. and the pitch (choir tone, a1= 467 Hz), which is mute; 43 of the 49 pipes As far as it was possible, all former wind pressure (63 mm WS), and inton - are old changes were removed, and replaced ation were all brought back to their Rohrfloete 8' with appropriate Silbermann style parts. former conditions, so that the Silber - C – c˚ new wooden pipes, In order for the instrument to be able to mann sound was again made possible. the 36 metal pipes are old again rightly bear the name of Gottfried It was tuned with a very mild mean- Rohrfloete 4' Silbermann, it was necessary to reunite tone tem perament, which is oriented on Metal, the 48 pipes are old the stops still in Wallrode with the Silbermann tunings, but leaves more Octava 2' remaining pipe inventory in Bremen. room for a variety of keys. In July of Tin, the 48 pipes are old The negotiations with the church con - 1994, the instrument was again placed Siffloete 1' gregation in Wallroda and the State of in the west crypt and final intonation Tin, 24 of the 48 pipes are old 1 Sachsen regional church were success- work was done. ▼ Quinta 1 /2' Tin, 28 of the 48 pipes are old Nasat 3' Treble, c¹ to f¹ are metal As the only organ built by Silbermann that exists (Rohrflöte), beginning with f# is tin today outside of Saxony or Thuringa … it is an (cylindrical open), 22 of the 25 pipes are old 3 important and unique instrument. Sesquialtera (=Terz 1 /5 ‘) Treble, tin, 4 of the 25 pipes are old Tremulant
The Silberman Organ
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Specification
Hoofdwerk (C-g³) Borstwerk (C-g³) Prestant 16' Houtgedekt 8' (in the facade) Ged. Fluit 4' Prestant 8' Prestant 4' Roerfluit 8' Siflet 1' Octaaf 4' Tertiaan 2-rank Spitsfluit 4' Cimbel 2-rank Quint 22/3' Vox humana 8' Octaaf 2' Tremulant Mixtuur 6-8-rank 11/3' Trompet 8' Pedal (C-f¹) Prestant Rugwerk (C-g³) (Transmission) 16' Prestant 4' Subbas 16' (in the facade) Octaaf 4' Holpijp 8' Nachthoorn 2' Roerfluit 4' Mixtuur 6-rank Gernshoorn 2' Bazuin 16' Nasard 11/3' Trompet 8' Sexquialter 2-rank Schalmei 4' Scherp 4-rank Cornet 2' The Bach Organ Dulciaan 16' Kromhoorn 8' Two manual couplers (RW/HW Tremulant & BW/HW) and 3 pedal couplers. The Bach Organ
At the same time the Sauer organ was installed on the north wall of the tran - 1966, this organ was replaced by a newly- being reconstructed in 1939, the Bremen sept and also built by the Wilhelm Sauer built instrument from Gebrüder von Vul- cathedral received a three manual inst - company, was given the name “Bach pen, from Utrecht, Holl and. This inst ru- rument with slider chests (Schleifladen) organ”, due to its disposition and in hon- ment, in a massive oak case, was placed and a mechanical action, for the inter - our of the forthcoming 26th Bach Fest - on the east wall of the north nave, and pretation of Baroque music. This organ, ival, to be held in the Bremer Dom. In remains unchanged to this day.
The Bach organ (reflections) hear the Sauer organ at its An important instrument for best. In spite of this, both enabling the performance of organs can be heard large-scale works by Bach through out the cathedral. and his predecessors in St. This organ is tuned with an Peter’s cathedral, this organ equal temperament, since is used in concerts and for being unequal was un - Roydonian Works, Louies Lane, Roydon, Diss, Norfolk, IP22 4EQ playing repertoire during Sun- common at the time of its t: 01379 643599 day worship services. When installation, especially in e: [email protected] played in concerts, it is often large city cathedrals. How - www.waboggis.co.uk used in the first half of the ever, I have heard that next programme, and the aud- year, when the organ is ience enjoys sitting in the scheduled for renovated, CLASSIFIED seats of the north transept, this might be changed. The closest to this organ. After - organ has a standard NORWICH ORGANS. New custom-built digital technology wards, the artist and audience mech 2 anical action, which organs, upgrades and rebuilds. Pre-owned organs, new and move to the central nave to is fairly approachable. used organ building components. www.norwich-organs. co.uk. Contact Email: norwich.info@norwich-organs. co.uk Tel: 01603 278078.
To advertise here call Claire Madison, Advertisement Manager Tel: 07535 747967 Email: [email protected]
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and Viola da Gamba. In addition, these pipes can also be partly seen on the side of the case, where they reduce the app- earance of depth, and give the instru - ment an impression of slenderness. The organ follows the models of organ building as set forth in Sachsen in the 18th and early 19th century, and among the successors of Gottfried Silb- ermann’s school. Noteworthy is the organ’s broad, resonant plenum, and the intensive, warm sound of the single stops. The Gamba and Flute stops work very well for accompanying vocal and instrumental soloists, and expand the stylistic possibilities of the instrument, to include organ repertoire of the Rom-
antic. A well-tempered tuning is used. ▼
Specification
Manual (C- f ³) Principal 8' Bordun 16' The Wegscheider Organ Viola da Gamba 8' Gedackt 8' Octava 4' The Wegscheider Organ husband, the coffee merchant Walther Rohrfloete 4' J. Jacobs, the church congregation could Nasat 3' An adequate instrument was made finally implement its long-desired plans Superoctava 2' avail able in 2002 for the musical acc - to build an organ for the high choir. The Mixtur 3-rank 11/3' ompaniment of the many weddings, organ builder Kristian Wegscheider from Eucharistic services, and other events Dresden built the one-manual instru- Pedal (C-d¹) that take place in the high choir. The ment with pedal that was dedicated in Subbass 16' organs in the west balcony and north February of 2002. nave could not sufficiently cover con greg- The placement on the northern choir The Subass is an either/or trans - ational needs in the high choir, since the wall, near the alter, has proved to be an mission (Wechselschleife) with the Sauer organ is almost 100 meters away, appropriate decision, both practically Bourdon 16’. and the Bach organ is difficult to hear and aurally. The arches within the case’s The Pedal coupler is a tracker from its position in the north nave. After facade decorations pick up on the Rom - coupler. Mrs. Ingeborg Jacobs promised a generous antic architecture of the high choir, and Tremulant endowment in memory of her deceased frame the large pipes of the Principal
The Wegscheider organ (reflections) Wegscheider, the restorer of the Silber - ance to modern. The disposition is quite The High Choir is used frequently for mann organ, built this innovative inst - large for a one-manual organ – with a weddings, Eucharistic worship services, rument for the Dom, after it was financed 16’ manual stop on an either/or trans- and also for chamber music concerts. by a generous donor. Although in some mission with the pedal’s one stop – a A new feature of the Motette series are ways small, with only one manual, this Subbass 16’. The multiple numbers of regular concerts entitled “Chamber organ is quite versatile. It can accomp - 8’ stops (a Principal, a String, and a music in the High Choir”, which take any hymn singing in the high choir, as Flute) allow the performer to accomp - place in this intimate space. Kristian well as chamber music from Renaiss- any wide ranges of styles and periods.
SPRING 2011 | THE ORGAN | No 356 49 The Organ Spring 2011.e$S:Layout 1 9/5/11 15:31 Page 52
The Klop Organ built in 1991 by Gerit Klop from Garderen, Holland as an ”Organo di legno”, in In April of 2001, the St. Peter’s Cathedral Italian Renaissance style. The pipes are congregation could remedy a deeply-felt made exclusively of wood, and convey shortcoming of the East Crypt. Until this an intimate, mild sound approp riate for point, this space, with its far-reaching chamber music. The instru ment has a cultural history and intensive theol og - mean tone temperament. The openings The Klop Organ ical atmosphere, had not had an adeq - in the façade correspond with the arches uate instrument. A private buyer from in the Romanesque-style room. As is the Bremen purchased a small instru ment case in many Rom anesque churches, in Köln and then made it available for the organ stands to the left of the altar. Specification all worship services and concert activ- In this way, it symbolizes the connection ities in the East Crypt. The organ was between theology and music. ■ Manual I (CDE to d³) Principale 8' Ottava 4' The Klop organ (reflections) ent and previous organs of the St. Petri Decimaquinta 2' The beautiful West Crypt is used for Cathedral, which are available on their Vigesimaseconda 1' chamber music concerts, small devot - website – www.stpetridom.de – as well Flauto 4' ional services, lectures, and sometimes as in a small booklet that is for sale in Decimanona 11/3' also for children’s worship services. the cathedral bookstore (Die Orgeln im Vigesimaseta 2/3' This small organ is tuned in a mean St. Petri Dom zu Bremen), were written Voce umana 8' tone temperament and as such, is by Prof Wolfgang Baumgratz, with help (from c#¹) most appropriate for early music. The from Christian Sch effler, Kristian Wegs - Tremulant disposition makes the Italian influence cheider, Hartmut Schütz, and Uwe Pape. Nachtigall quite clear, and a second manual with In preparing my translations, I had only an 8’ Regal stop can be used for assistance from Elizabeth Harrison, Manual II solo passages. Mar garet Hunter, Bernard Wayne (CDE to d³) The German texts about the pres - Sanders, and Christoph Wahl. Regal 8'
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PLUS All the latest news, views, reviews and previews at Glyndebourne 2009. Photo Bill Cooper 2009. Glyndebourne at Rusalka Unique analysis Contentious articles Respected Fascinating Information Call Shirley Hawke on of new works from those in the know writers archives revisited you need +44 (0)1424 855544 or email subscriptions@ My New Music What’s so great Amis-cellany My Work and Mission – part I Inside the Record Business The third in our series in which British composers are invited to write ‘write an opera’, ‘com - allowing for the free (and studios and workshops for arts and crafts. They about their latest work. about Dartington? posing for keyboard’ and excellent) food, it’s a package also started Dartington Hall School as an More Bread and Jam, Conductors, and Menahem Richard Wagner (Musical Opinion, September 1, 1879) (inevitably perhaps) a just about com parable with experiment in progressive mixed-sex residential 3 – The Musician and the Microphone musicalopinion.com fifth week to fit them all what, in the fantasy life of education (yes, that Dartington Hall School: Joseph Phibbs in. And not only is there a economic statisticians, is the the one where Clement Freud learned to drink s I said last time, á propos the very end of Two days later came Pierre Monteux. Again, chord came, nobody played, there was dead lot going on, but you’re ‘average graduate starting and gamble – though to be honest, I think he’d Athe Liebestod, the orchestra has the jam nothing was said to the orchestra beyond ‘Good silence. With the shock of giving a huge beat f we look back into the remote past of our forth especially, to the amazement of it seemed that the mighty strength The distinguished pianist Leslie Howard, who has recorded over 130 expected to work at it. salary’ – and quite a bit less have picked it all up anyhow – and which finally whilst Isolde has to be content with the bread. morning’ and the indication that he would start for the chord and nobody playing, poor Claudio Ipeople, we shall see how precisely those Teut - the world, in the domain of Art – of our great artists was about to CDs, describes working in the studio from the viewpoint of the artist. Clarinet Concerto I’m not kidding. Early – than you can expect to get imploded in 1987 after a succession of scandals What about the standard of Wagnerian sing - with the César Franck Symphony. Upbeat, literally fell over. As he picked himself up from onic races which broke away from the soil of that art which otherwise has awaken and lead to great very early – on my first for a week spent driving an and a tabloid feeding-frenzy). To run the Estate ing? Rarely does a singer nowadays have down beat –clonk. Every strand of the music the floor, he said to the leader ‘How long did it their own land, and emigrated beyond its gained in Germany so small a results. Wider and wider for a sample copy morning, Stephen Jackson is HGV (don’t ask how I on a day-to-day basis and ensure that the good anything like the beauty of sound that a flute, a was audible from the flutes on top down to the take you to rehearse that?’ borders into strange countries, were the ones to footing. Think of the line of spread before my eyes the he first thing you have to remember is that in a Eugene Ormandy CBS recording of have wanted to write a clarinet concerto for a Brahms with Gershwin), and willingness to focused, yet never intrusive – and the still, conducting a choir rehearsal know). And in the four work was continued in perpetuity, the Elmhirsts cello or a horn has. Singers now so rarely sing basses, unmistakably a French sound, the display most powerfully the incomparable mighty German poets and heterogeneous web of a Ta recording session is not the same as a Sibelius’s Symphony No 1 where you can hear son Inumber of years, and I was therefore delighted exp lore new challenges for the instrument. Sarah unwavering centre to its sound, lending it a in the Great Hall. Turning Gavin Hender days I was there, I didn’t also set up a Trust which – devoted to ‘arts, in the middle of a note: they wobble, they Monteux sound. strength and greatness of the Teutonic family, musicians! Though they lived civilisation entirely foreign concert, and the trouble is that, in your the telephone ring during the slow movement. when, last year, the young clarinettist Sarah has already done much to extend the clarinet coolness and stability, at times almost like an his attention back to the hear a word of complaint. sustainability and social justice’ – is still in bulge, they are shrill, unlovely. If an instrument At the end of the week, A.N. Other came to in unexampled conquests, brilliant and daring all their lives as strangers amid to the German race – a web expectation when you hear the recording – after The conductor didn’t pick it up and nor did Williamson approached me with the idea of repertoire, commissioning new and complex organ. I am also intrigued by its ability to tenors and basses, he asks If you think all this charge today. made the ugly sounds that Wagnerian singers direct a recording of overtures. I don’t mention deeds, and all-important results. the hostility of their country - that glittered with two the long process of how the record is made – anybody else. But if you happen to record, as I writing her a concerto, my first work in this works from composers such as Philip Grange, change musical personality suddenly, lend ing them to stand; they rise looks like something that might be the model But, funnily enough, they didn’t set up the make, they would get the sack, wouldn’t they? his name because I have happily forgotten it, At this day the two great civilised nations of men, it was they, nevertheless, changing colours, the sallow what you want to hear is something which did, many times in that marvellous old church has to come from what take to avoid those genre. I had the good fortune of writing Sarah whose dazzlingly virtuosic concerto I heard itself equally well to music which is humour- slowly, looking sudd enly very tired. “Come on!”, for an ideal society, then you’d have some Summer School. This actually grew from an Sometimes my colleagues think I’m old- but he was a nonentity. We thought he must be England and France, and (in the three great through whom the German mind hue of the Restoration (in the resembles, as closely as you can manage, a true- in Petersham, if the planes were taking off from blemishes or any other thing – and you have to a chamber piece for a recital at Wigmore Hall Sarah perform under Phillip Scott last year. I ous, flippant, or grotesque in character, as to a he shouts. They jump to attention – and I interesting people on your side. Leonard idea that Artur Schnabel had in 1947 – when fashioned. OK, I am; because the fashion I got a friend of one of EMI’s directors. His down - Latin regions of Europe) the provinces of exercised an influence beyond the old French sense of an oligarchy to-life concert performance. The only difficulty Heathrow towards the east, you were interrupt - trust that, too. But at some point you have to last year, and knew the facets of her playing felt therefore in the privileged position of particular type of melancholic lyricism, which suddenly realise how far we’ve got into the 90- Knight Elmhirst (1893-1974), for instance – a the venerable old pianist got to the Edinburgh used to years ago was one where singers sang in beat brought a sound as if the LSO was a rather Normandy, Lombardy and Andalusia, bear boundaries of their own land. Even of petty rulers) and the red hue of being that in true-to-life concert performances ed every 90 seconds, and that would go on for listen to the first edits and this for me is the well: her technical brilliance, wide stylistic range feeling able to write exactly what I wished for the speaks with a unique poignancy on the clarinet. minute session with out even a momentary reforming trans-con tinental agronomist and Festival and couldn’t find any teaching. With the middle of the note – Flagstad, Windgassen, bad school orchestra. How can that be exp - names derived from the first German immig - there, in the outside world, it could act Revolution (in the new and equally there are occasional blemishes that happen half of your day. To try and deliver perform - least attractive part of the entire business of (effortlessly combining repertoire such as instrument. In common with some of my recent works, break in the concen trat ion. friend and sec ret ary to Rabindranath Tagore, Schnabel’s former pupil William Glock (not yet Baker, Shirley-Quirk, Teyte. Why should I be lained? No words spoken, yet a totally different rants – the Vandals, Lombards, Normans and upon that old strain of German blood which French sense of ‘liberty’). The interweaving which in a concert do not matter at all, but on ances of even – as frequently turned out – short recording, because although I very frequently The clarinet’s this new concerto could be regarded loosely as “Why should they work less hard than the Bengali educ at ion alist and philosopher- a BBC nabob) as the Director – and our own content with out-of-tuneness and wobbles? Of sound produced from the same players. Anglo-Saxons. The Anglo-Saxons especially, and runs through all the nations. The ideal strength and arr angement of these two textures seemed a recording they may well become extremely bursts of two pages of music at a time in order say on the recording tape or recording disc in wide range, agil - a depiction of ‘light in sound’: the slow passage Mark Doran reports… professionals?” is Jackson’s rhetorical response poet. In the USA after WWI, Elmhirst met the John Amis as Administrator – it began as the course, there are singers today who sing in tune: Another time, a similar sort of thing beyond all others, succeeded in founding, upon of the Germanic spirit shows continually that it to me to be undertaken by a third foreign irritating to listen to. to cover the bits that had been ruined by aero - the sessions ‘This went very well, please use ity, and broad of light through the course of a day; an evoc- when I mention this at lunch. And he has a stup en dously wealthy and recently widowed three-week ‘Bryanston Summer School’, held at mostly in Baroque or earlier music – singers happened. It was in Holland, rehearsals for the the wonderful Celtic islands which they con - is a strength not national, but inter-national; constituent of our national life – that Jewish For example, one of the reasons why, for planes in previous takes, to keep those perform - that as much as possible’, or ‘That’s the best I’ve Commissioned by the Orchestra of the Swan, and dedicated to Sarah Williamson TRANSPOSED SCORE Concerto dynamic capab - ation of different qualities of light and the speed point: the choir – the un-auditoned ‘Main Choir’ Dorothy Straight (1887-1968) – born Dorothy the distinctly palatial boarding school in like Emma Kirkby, Sansom and a few others. inaugural concert of the Youth Orchestra of quered, a really Germanic civilisation. Even now and it preserves for the great mother-stem of elem ent whose influence was continually on quite a long time, people under-rated the play - ances sounding like live performances is a real done’, sometimes for one reason or another you I JOSEPH PHIBBS Largo = c. 56 il ities make it a at which these change; and the atmosphere and t is 8am. You’ve been in bed for four hours; that means you can sign up for the next Summer courses – as well as 100 concerts and recitals – and a group from Trinity College of Music – Payne Whitney (of the New York Whitneys, Blandford, Dorset. Only in 1953 did it change Ich grolle. Europe in which Claudio Abbado was to direct this civilisation shows itself as the true devel - the race the esteem and honour of the countries the increase. How different had been the future ing of Alfred Cortot was because his recordings trial. Recording further into the country, didn’t hear something or they couldn’t use it Clarinet in B legato e espress. I Menahem people let all notes ring on wonderfully vers- mood that certain periods of the day (e.g. and as you hit the snooze button the thought School before you’ve even left this one. going on in rooms and buildings around the have to put the Symphony of Psalms together in don’tcha know), and herself an adven turous its location and its name; the rest is history. But that doesn’t mean that I doubt for a Mahler’s Symphony No 6. The young players opment of the English , though the of the world. of German culture as Young Germany might were very like his concert performances. If he especially in churches, you do have farm noises, because there was a click, and you suddenly Harp atile instrument dawn) might suggest. occurs that you would happily give a kidney in As for identifying the source of this magic, courtyard or dotted about the estate; by the less than a week. liberal philanthropist, social activist and A history, moreover, filled with some of the moment that Wagner was a towering genius. made a fine sound. The concert at the end of The Beaux Arts Trio was one of the Gallicised Norman nobility have ruled for But those peaceful German world-conquerors have imagined it at the period at which I was missed the bass notes in a Chopin Waltz – well, you do have perennial problems with birds in find that what comes back on the first edit are sempre molto legato sempre III III IV to compose for. The work is in three separate movements. return for another 60 minutes of shut-eye. though – well, that’s a tougher nut to crack. end, some 2000 people have had their spirits With everyone thrown into such a whirl wind reformer. Small wonder that before long the biggest names in music. Among the first year’s The prelude to Lohengrin is a miracle of beauty the week was the contain the Mastersingers glories of chamber music during the nearly a thousand years over the Saxon race of who have migrated from Europe to the land born!… they stayed missed – and he didn’t play them the roofs of churches – this is before you get to minor things that have been missed. I don’t Violin I Together with The first features a simple duet in which the Below your window, a girl hurrying to breakfast Just what is the ‘secret ingredient’ that makes revived in this Devonian demi-paradise. of activity, it’s probably not surprising that two of them were not only married but also tutors were Nadia Boulanger, Hindemith and, and totally innovative. Those leitmotifs in The overture conducted by our Prime Minister of second half of the 20ht-century. Haydn, England. Certainly it is a true Germanic race beyond the sea to found there a new civilis at - In the year of my birth (1813) the spirit of again and again until he got them right, he just almost losing things by being interrupted by mean that is has been technically badly edited,
molto legato sempre Kate Mount All photos: III these technical clarinet plays a slow countermelody above a takes a deep breath and – with that discon cert - the DISS the phenomenon that it is? I don’t And the courses themselves comprise – well, social and professional barriers very quickly immersed in a massively ambitious experiment unsurprisingly, Schnabel himself; later visitors Ring really dig deep into a magic world, the the time, Edward Heath, so he had some along Mozart, Beet hoven, Schubert and down to that has gone forth from its English home, and, ion, and to labour for its development, they at the German race fought the great battle of nations took the one he thought was the best perform - somebody who, despite whatever sign you put but you feel sure that there was a better take of Violin II strengths I have gently rising line in the strings and harp (see ing thoughtlessness that seems second-nature think it’s a question that can be dodged – whether everything really. You’ll find vocal coaching, start to dissolve, and divisions and pretensions in rural regeneration – as they sought to realise and staff members have included Stravinsky, shadowy territory of the subconscious. At that day to have a preliminary rehearsal. Abbado Ravel and Shost akovich they were the continually recruited by emigrants from the least can find their noble prototypes in the great that occurred near my birthplace, Leipzig. It ance and that was the one which was issued. outside the church, wanders in and wants to bar 337 in which that note there didn’t sound
II molto legato sempre always been att - example). I conceived this movement as a type to all singers – lets out a sudden fragment of the we’re thinking of setting up a ‘Dartington’ of choir workshops of every size and historical are put aside for the sake of the music that is a utopian vision of comm unity life on the vast Barenboim, Copland, Enescu, Brendel, du Pré, Glynde bourne this last August I was as usual stopped the Mahler when Heath arrived and tops. The personnel changed in the last mother country of Germany, is working out the masters in their native country, who fought fought to sustain German rulers, who had hith - When you hear the same performance twice talk to the vicar or a lady who’s come in because like you chopped two notes with one fingernail Viola molto legato sempre racted to the of dawnscape, the blurred unfolding of the Symphony of Psalms: “Lau(au)–da(a)–te(e) E- our own, or whether our priority is simply to orientation, orchestral workshops, various types everyone’s reason for being here. Where else, I and desperately run-down Dartington estate the Amadeus Quartet, Tippett, Fischer-Dieskau, thrilled to the depths of my being by the first briefly introduced him, who mounted the two decades but the pianist was always future for America. It shows in this its old habit their way successfully, amid evils and obstacles erto only misunderstood and tyrannised over it. – which is impossible in life, you just cannot do she has to do the flowers and it’s Friday. You or whatever, and you have to listen very, very sheer sonority of melodic strands analogous perhaps to the slow um…”. make sure that what we already have is kept of chamber music, conducting, musicianship ask myself, would international double bass that they bought in 1925. and more besides. Legend has it that Boulez entrance of Tristan, the prelude of the opera, podium and gave a downbeat. The fine sound Menahem Pressler. This little man was a – it shows itself in its true strength and of every kind, to that ideal freedom in which And now it stood – it, the misconceived and it – in a recording, that’s the way it works. just have to deal with all that. carefully and mark up a list of things that you poco gliss. e cresc. Violoncello molto legato sempre the inst rument: but inexorable rise of the sun and the eventual And for the first time in your life, your alive in a cultural and economic climate that’s skills, composition, accompaniment. And not virtuoso Corrado Canonici be prepared to With Dorothy’s fortune providing each year visited too (though he apparently claims he the lead up to the love duet, the brooding had disappeared and instead a dreadful first joy, a consummate artist in every kind of greatness on a foreign soil, thrown upon its only the genius of the Germanic race can be oppressed – suddenly revealed again as a power When you hear Cortot play that wrong note in Some people are more regimented in rec - want them to look at. These things are usually its clear tone – blossoming of the morning. The movement react ion is not to groan (or shout) “Who the getting more hostile by the day. merely the ‘usual’ courses for piano, woodwind, spend an orchestral rehearsal squeezed up a sum of money equivalent to £43 million at never did); and everywhere you go there are darkness and shimmering light of the Act III Wagner chord, a weak, blatant noise that would music, a true musician as well as being a own activity and energy, and compelled to fully revealed. In this sense, a Goethe and a in the world; greater than the mighty con queror, the bass again, you have to steel yourself for it. ord ing sessions possibly than I am, I’m not fixed after one attempt, and it is very rare that rounded and gradually gathers pace, breaking out into a hell is singing at this time in the morning?”. Of course, driving down to the 1200-acre brass, strings – but also (deep breath…) harpsi - against a wall? And where else would the today’s prices (I’m not making this up, you people who share their stories about Imogen prelude – curiously enough, all passages with - have done no credit to a bunch of school kids. virtuoso. His eyes were very prominent build up a new self-sustaining community. On Beethoven should seem to the reverential gaze nobler than the civilisation which at that day It’s not as if he’ll get it right the next time. So sure. I have prepared an awful lot of repertoire you have to listen to a third edit of the piece – Double Bass Instead, you find yourself thinking: “You know, Dartington estate – just outside Totnes, and set chord, organ, mandolin, accordion, theorbo, renowned Raphael Wallfisch be happy – or, at know), the Elmhirsts took on 1000 workers; Holst (affectionately remembered as ‘Imo’) and out any voices! Jurowski, the conductor, I The performance later was just as bad. ‘A and they constantly sought the eyes of his the other hand, that part of the race which has of the young Teutonic peoples, far away in the ruled the nations, and which had its highest in order to avoid error, people very frequently for recording over the years – not counting for when the second edits come back you really 5 detaching the notes in that way really does help in stereotypically rolling hills above the river recorder, saxophone, baroque guitar, early any rate, not too obviously unhappy – to eat his rescued the estate’s decrepit buildings (includ - the great music-analyst Hans Keller (affect ion - thought marvellous even if there was so much mysterious craft’, indeed. colleagues – he reminded me of a goldfish remained in Germany – that part which bore New World, like the figures of their national type in that victorious emperor. It was the same produce records that actually come out pretty radio recordings of course, but purely comm er - hope that barring two or three small things the Cl. Recent and future projects for Joseph Phibbs: a Percussion define the quavers…”. Dart – you may fancy you’ve hit upon part of brass, baroque woodwind, baroque strings, lunch next to a pestering nuisance like me? ing the mediaeval hall – by the 1920s a roof less, ately remembered as a ferocious player of ping- emotion in the prelude that it was almost a case A strange incident occurred that week. Abbado wooing its mates. the special, distinctive name of Germans, and gods and heroes, to remind them that they must spirit which, through our great masters, had dead in the water, because they’ve been so cial gramophone records of which I have made performance will probably be in good shape. più cresc. Concerto for Dame Evelyn Glennie (date to be confirmed, Only then do you realise: the Dartington the recipe: take a mixture of music festival and continuo, baroque orchestra, baroque dance, Quite what would happen if someone derelict ruin); put up new structures (some of pong). And, not least, there was Britten – whose of premature whatsit. had had to miss one day of the preparations, his One day on tour in the States he went even in the old days stayed quietly at home – never fail to let the immortal spirit of these men already wonderfully aroused the youth of that careful. over 130. I am not one who likes to go back I find recording a stressful thing to do. With Hp. but hopefully in 2011-12). A large scale setting for choir and magic has changed you. You’re no longer the summer school, pour it into a traditional viols singly and in consorts, lute with and arrived and proved incapable of ‘mucking in’ them startlingly modernist); developed the first chamber opera The Rape of Lucretia was place taken by James Judd. Abbado came back to try the piano in their new venue. He has always represented the peculiar type of the work with them in the necessary ideal com - people which had for so long forgotten it, and The job is to prepare as if you were giving a and listen with the producers and engineers to the first take I usually feel alright, except that I
Conductors orchestra of Psalm 98 was premiered in September in person you were. Or, rather, you’ve become the holiday location, and add a magnificent without voice. And this is just the classical and just doesn’t bear thinking about – although it estate with forestry and farming, and created even written to be performed in Dartington’s for the final rehearsal on the day of the concert was acc omp anied by the local chair - German ‘Philistine’. He lets himself be ham - pletion of the civilisation they are building up. had inspired them for the great deed of lib er - concert performance and to try and deal with what I have done, partly because I would never am a little frightened of being too careful. When Vln. I 0 poco Stuttgart and Berlin as part of the Mendelssohn Bicentenary, person you always have been, but ordinarily mediaeval courtyard and spectacular landscape pre-classical stuff... does seem to have happened. Stories circulate Barn Theatre (though it actually ‘Conducting is a mysterious craft’, I heard Sir which was to be in Amsterdam in the Con - person, no doubt fur-coated and with pered and hemmed in on every side; and lives Whoever has given any attention to my own ating their country, frowned upon and opposed the fact that you have to play things more than be satisfied with every bar, but as far as the you do the first take, especially of the first piece
II Vln. II comm issioned by the Bachakademie in Stuttgart. He will be can’t be. Your bent and battered spirit has gardens… If there’s anything in Britain whose prog - of an ego or two (names withheld for obvious went to Glynde bourne), and who Thomas Beecham say several times when I was certgebouw. During the James Judd rehearsal purple hair. Menahem sat down and played out his long tale of little woes in pettiness and career, and has gathered from my occasional by those about them. Upon this strong foun - once or twice. One of the irritants for recording sound goes, so long as I hear just once that the on the record, you can still pretend you are II composer-in-residence at the Presteigne Festival in 2011, for uncurled. But if you assume from this that Dartington ramme compares with Dartington’s in scale or reasons) that never quite got the point that composed the Five Flower Songs to working for him. This was borne on me partic - the orchestra decided to play a joke on Abbado. but one note was sticking. The lady in the wretchedness, amid continual bickerings with writings some idea of my character and its dation of Germanism, the German rulers could artists these days is simply that although we sound that is coming out bears some resem - really giving a concert performance, even if div. Vla. which he has been commissioned to write a new work for It’s surely this restorative experience – and might be a good place to unwind through a few scope, then I don’t know of it. And while the you don’t come to Dartington to be treated mark the Elm hirsts’s silver wedd - ularly one week when I was (later) working for In the last minute of the Mahler a loud chord fur coat hastened to assure him that their neighbours like himself. development, will easily understand that I was build their thrones as strongly and safely as have many places for recording which are acoust- blance to the sound I think I’m making, then I most of the five-member audience is in a con - string orchestra, and he is currently working to develop ideas wonderful tuner would fix it, she would everything that goes with it – that gives the days of vaguely cultural indolence – a nice Summer School from its earliest days was always like a star. The results, apparently, were horrific. ing anniv ersary. the London Symphony Orchestra. On Monday, crashes into a soft passage. The joke was to be But there is one growth that has come again precisely the one, among my German country - though they built for all eternity; for it had the ically splendid, almost none of them is entirely just trust them. Over the years I’ve had some trol room and you don’t see any of them, apart for a chamber opera with Opera Genesis (Royal Opera Dartington International Summer School its lecture, tea on the lawn, and a concert in the ambitious, the programme’s current richness “They just couldn’t see that it’s all about the And perhaps this legacy of Stokowski had a rehearsal after an absence of that nobody would play that chord. It took tell him and everything would be all right and again from this marvellous mother race; men, who must have felt most vehemently the strength of absolute loyalty – of the true sound-proof. You frequently have to play things fantastic engineers and producers so you’ve got from the page-turner. With regard to having a Vc. House). His main commissions for 2010 are, a 25 minute work drawing power: people come back, year after evening – then you won’t know what’s hit you. owes much to the 25-year reign of Gavin Hen - music”, explains my informant. great talents plays its part in two or three years. He said ‘Good morning’ and quite a time to get it right – somebody would in the evening. But when Menahem got to which has sprung from it like some mighty longing for a new birth of German civilisation, Germanic love of the people for its princes – a again, not because you didn’t play them well, to let them do their job. page-turner, I am very happy to have the music indiv- I combining a professional choir with schools choirs in year, with their families, with their friends. I’m For hidden away within that tranquil splendour derson, CBE, who since his arrival as Director Certainly it’s not all about the money. A flat helping to generate the magic indicated that he would start with Borodin. crash in, or a trumpet player would play a the Hall in the evening, there was a note miraculous birth; and that is, the great somewhere and at some time. The longer I love which needs no mediators. but because of aeroplanes, ambulances, cars, Where you do have to exercise some control on the desk even if I know the piece from Db. idual Great Man © Copyright Joseph Phibbs 2009 Suffolk, to be premiered at Snape Maltings in the autumn reliably informed that there are some who even is a quite astonishing amount of eminently in 1985 has continually added items to the fee of £500 for a week’s work is accepted by that everyone feels. “You sense The very first chord was a thick sound, sat - paradiddle, but finally that managed it. Abbado from the tuner: ‘Sorry, cannot fix that note German, the , standing alone lived, the more I saw the fading away of that kids, birds – all manner of things – which I is in editing, because during the sessions no- memory, as I pretty well always do, but it’s of 2010, and a string quartet. take the same room every time – making use, practical activity. In each of the Summer musical menu – including the light music orch - people who would routinely ask – and get – you’re in touch with something urated sound, unmistakably his sound, no returned and on the morning of the concert – just try not to use it.’ I in strange, majestic isolation, as only Germany vivid memory of our true German culture, Part II of Wagner’s article will appear in the should think people who listen to records don’t one has time, except the producer, to put good for two reasons: One is that the fear of
no doubt, of a ‘priority early booking’ system School’s five-week seasons there are around 200 estra, theatre orchestra, ‘songs from the shows’, several times that amount for a single gig. Even precious”, a woman tells me, M strands, just one mass of sound. they played through Mahler 6. When the crash has given him being – as she has brought him which, at the beginning of this [19th-] century, January-February 2010 issue. expect to hear on the disc. There is an instance together the kind of ‘wants list’ of which bar forgetting is something you just cannot ignore
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50 No 356 | THE ORGAN | SPRING 2011