OK, not strictly an organ topic, but you organistas might have some input.

I have just ordered the SATB version for a local quire to sing. I like the orchestral accompaniment, but need to try and transfer some of that excitement into the organ realisation. Do you have any tips?...

Thanks

Yeah: Practise it!

Hmm.

Have you played it recently?

Yes. The last time was about 2 years ago on an organ with a detached console and very slow action. That was an experience and a half!

So, HG; did your realisation set them all a-tremble and are they speaking of it still?

I'm assuming this piece is arranged for organ and choir (or quire). A prole like me would just follow the directions on the packet (simplifying if anything) but then I can't ever see myself being able to summon the resources available to you or Confutatis.

I always use the usual vocal score. There is an arrangement, I think by Francis jackson that someone sent me to play from, but I didn't enjoy it, perhaps not familiar with the layout.

Depending how good your pedal technique is, and how good and responsive the action is, are the factors I look at for the opening, and the same material when it returns. The last time I played it, the Great had a really good 16' on the manuals, and its pretty convincing to play the quavers in the left hand, and then poke in a pedla note at the start of the bar, and on important chords.

With the hemiola bars, I always detatch with a good sniff in between, that's quite effective, even in dull and unresponsive acoustics.

The bit in the middle where it goes quieter and changes key, the manual parts don't stand up as they are in the vocal score, they need a sustained pedal note in some phrases, otherwise the chords don't sound correct.

Hope that's helpful.

But of course!


That's a very good cheat. I might *almost* have done that myself on a certain occasion mentioned above....

If I remember aright (and I'm sure I do) the Francis Jackson arrangement is the one with a sustained pedal bottom D throughout the introduction that completely saps the music of its energy and excitement. Avoid! (Apologies to the good doctor, whose taste is normally impeccable.)

I use the Stainer & Bell vocal score. If you want to wow your audience there is really no option but to pedal at least some of those quavers. Given a large organ and playing aids, my plan tends to be as follows:

First A on the pedals, then manuals only (softish Gt + Full Swell closed). Crescendo to the forte, maybe adding as you go, depeding on what you selected in the first place. At the forte, increase Gt to 15th and reinforce the first D in the LH with the pedals (make it a long quaver or even a crotchet) - same in the next bar. Then pedal the descending four-note scales. At the ff, increase Gt to Mixture and keep pedalling.

When the choir come in, reduce Gt to 8' Diap no.2 (Sw still coupled; maybe reduce that to Mixtures if you want); keep pedalling.

At the piano before "The church with psalms" I move to Ch + Sw, manuals only. Gt for the two forte bars and back to Ch again.

Where the basses enter forte, Gt 8' + Full Swell shut and start pedalling again. Open the box where the crescendo is marked and then close it again, reducing Gt to 8' flute. Move to Ch for the pp and engineer a cresc and return to Gt in time for the fortissimo. At the final fortissimo, pedal the top D, not the lower one, so that the pedal part plummets through that last phrase.

But obviously it all depends on the organ. For example, it might not always be advisable to use the Sw reeds as liberally as suggested above. Depends on how big the choir is too!

Excellent advice all, thanks.

I would be mighty impressed to see/hear anyone play this on the organ.

I sussed out a local organ (no 16' on manuals, pedal stop just about quick enough of action and speech)where this was going to be the wedding anthem. When I asked a choir member how it went she said 'I think they did it as a duet'.