Perhaps I had ambitions to be an MP - or an undertaker!

Tuesday, March 30, 2010

 
This photo was taken some time in the mid-1950s. I’m at the old pipe organ in Lenzie Union Church.


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This second photo taken around 1978 shows me at the electronic instrument I had in those days.

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EIGHTY PLUS first appeared on Tuesday 3rd July 2008, and today’s post is No 92. During that time I’ve enjoyed showing favourite paintings and I see that they included three by the Dutch artist Jan Vermeer. Perhaps he’s the painter whose work appeals to me most of all, and so I was pleased when just recently I came across this selection of his pictures.




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I've been looking back at my choice of poems in the blog, and this was my favourite. “Things”, written by Joan Dixon an octogenarian from Dorset, was quoted in a letter to the Evergreen Magazine.

So many things
Everywhere things,
My things, your things,
On-the-shelves and in-drawers things,
Old things, new things,
Useful and trivial things,
Pretty and ugly things,
Treasured and forgotten things,
Not-need-now things,
One day come-in-handy things,
Will keep-for-grandchildren things,
Hate-to-throw-away things, Oh! Too many things, Time to shed the blooming things.

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As you know, I’m very keen on the popular music of the 1930s and have tried to include items that would be of general appeal.

The name Billy Thorburn will probably have been forgotten, but at one time he was well-known for his broadcasts “The Organ, the Dance Band and Me.” Here he is on piano with his band in a song which they recorded in 1937 “Don’t Ever Change.” The singer is Helen Raymond. I know the music sounds very old-fashioned, but I must tell you that semi-professional dance bands were still playing in that style 20 years later.




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And now, a reminder that Wise Men Say continues daily at -
http://wise-men-say.blogspot.com
and John’s Quiet Corner every week at -
http://john-quietcorner.blogspot.com

The new blog begins on Wednesday 7th April at -
http://80plus4.blogspot.com
You’ll have noticed that the sub-title of the blog is “An octogenarian looks back.” But would you trust an octogenarian’s memory? Do you forget what day it is? What you’re doing in the hall cupboard? Why you’ve just put on your outdoor shoes? Wonder what you’re doing with scissors in you hand?

The first post in the new blog will be of no help to you whatsoever!

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Finally, I’m looking back to the late 1950s  and remembering a TV show called “Oh Boy,“ in which the South African born organist Cherry Wainer often appeared. Here she is with drummer Don Storer playing “Red, River Valley.” This clip was filmed in 1966.




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Tuesday, March 23, 2010

















I can’t remember who sent me this picture.

During the last few weeks we’ve seen three young deer in the field behind our house and this week one of them has been visiting our back garden. My efforts at trying to get a decent photo haven’t been successful but I’ll keep trying.

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When I used to entertain at old folk’s homes, one of the voluntary care workers often helped with sing-songs and he could usually be persuaded to contribute a solo. One of his party pieces was a parody of “The Road and the Miles to Dundee,” and here it is -

 Cauld winter wis howlin’ around Queen Street station,
The snow lay quite deep on Platform Three,
When Ah tapped on the windae o’ the wee Bookin’ Office
Tae purchase a ticket tae gang tae Dundee.

But though Ah kept knockin’, the windae widnae open,
The train gaed a whistle and ‘twis quite plain tae see,
If Ah waited much longer, the train wid be leavin’,
An’ Ah widnae be goin’ that day tae Dundee.

Jist then a wee fella pushed in afore me
Tae the heid o’ the queue that wis waitin’ wi’ me,
Sez Ah tae masel’ “Ye cheeky wee nyaff, ye,
Ye’ll no’ get awa’ wi’ that nonsense wi’ me!”

So Ah took aff ma jaiket and threw doon ma bunnet,
Gaed him one wi’ the heid and twa wi’ the knee,
And, as he lay doon there, sae stupid and glaikit,
Ah lifted ma fit and blacked oot his e’e.

“That’ll teach ye some manners, ye cheekie wee bachle,
Tae wait in the queue that wis waitin’ wi’ me,”
And, just as Ah said it, the train gied a whistle
And steamed oot the station tae Bonnie Dundee.

As he picked himsel’ up frae the cauld snowy platform,
He sez “Ach, ye should nae hae’ done that tae me.
Ah only cam’ here for tae open the windae
Tae sell ye a ticket for Bonnie Dundee.” 

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When the BBC Dance Orchestra is mentioned, people of my generation usually think of Henry Hall, and forget that it was Jack Payne’s band who became the first BBC Dance Orchestra, a position they held from 1928 till 1932.

Here they are with  a number they recorded in 1932. It’s Jack Payne himself who does the vocal.



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Now, a piece of news! EIGHTY PLUS is changing. In fact it will have a new look, a new style, a new name and a new address. Next week will be the last one in its present form.

Then from Wednesday 7th April its title will be
“EIGHTY PLUS FOUR - an octogenarian looks back” with the address - http://80plus4.blogspot.com

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Finally, a really NICE slide show - you’ll love it!!!



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Tuesday, March 16, 2010

























“A Young Girl Reading” by the French painter Jean-HonorĂ© Fragonard (1732-1806)

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Among my favourite books there is one to which I keep returning - John Betjeman’s verse autobiography “Summoned by Bells.” The edition I have is superbly illustrated by Hugh Casson.

There’s something about John Betjeman’s writings that really appeals to me and I admire someone who could say "I don't think I am any good. If I thought I was any good, I wouldn't be."

The first verse of his poem “How to get on in Society” is wonderful -

Phone for the fish knives, Norman
As cook is a little unnerved;
You kiddies have crumpled the serviettes
And I must have things daintily served.

And I love “In Westminster Abbey” where the second verse runs -

Gracious Lord, oh bomb the Germans,
Spare their women for Thy Sake,
And if that is not too easy
We will pardon Thy Mistake.
But, gracious Lord, whate'er shall be,
Don't let anyone bomb me.

One of my favourites is “Myfanwy” and here it is, read by Tom O’Bedlam.



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There’s another “Myfanwy” - a song which is popular with Welsh male voice choirs. The words were written by Richard Davies (1833-1877) and it’s thought that the subject matter is based on a 14th century tale about the daughter of the Norman Earl of Arundel and a young poet called Hywel ab Einion.

I liked the words and thought it worth while to include them here.

Why is it anger, O Myfanwy,
That fills your eyes so dark and clear?
Your gentle cheeks, O sweet Myfanwy,
Why blush they not when I draw near?

Where is the smile that once most tender
Kindled my love so fond, so true?
Where is the sound of your sweet words,
That drew my heart to follow you?

What have I done, O my Myfanwy,
To earn your frown? What is my blame?
Was it just play, my sweet Myfanwy,
To set your poet's love aflame?

You truly once to me were promised,
Is it too much to keep your part?
I wish no more your hand, Myfanwy,
If I no longer have your heart.

Myfanwy, may you spend your lifetime
Beneath the midday sunshine's glow,
And on your cheeks O may the roses
Dance for a hundred years or so.

Forget now all the words of promise
You made to one who loved you well,
Give me your hand, my sweet Myfanwy,
But one last time, to say "farewell".

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There’s absolutely no connection with the above and what follows, but this clip is a lot of fun. I give it full marks. The music is “Kalinka” which means snowball tree or Guelder rose. I couldn’t find any information about the musicians.



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Tuesday, March 9, 2010















This is a photograph of the organ in Bristol Cathedral, taken in April 2005 by Adrian Pingstone.

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During the time I was a church organist (probably around 40 years, though not continuously), there were only 3 or 4 times when I played at a funeral service in church. Nowadays it appears to be the custom to have a church service before going on to the cemetery or crematorium, and non-church members too seem to like the idea.

There was one occasion when I officiated at a crematorium, having been given 2 minutes notice. It was a very big funeral and Jean and I found ourselves in the crowd who were unable to get in. And then our daughter Lesley emerged looking for me. There was no organist and would I oblige? I did, but that was the only time I ever played an organ in public without having had a practice on it.

Pipe organs are not all the same and a diapason stop on one can sound quite different from one on another. And with electronic instruments, there are now so many manufacturers all creating their own specifications. So it’s always wise for an organist not only to check out an unfamiliar instrument, but also an unfamiliar church. This is especially important at weddings, when the organist must keep watching for the sign that the bride is ready to enter.

Now here’s story. I might call it “How I astonished myself at my brilliant musicianship!”

I was engaged to play for a wedding in St. Silas Church in Glasgow. The organ gallery is at the back of the building, and the organist needs to turn round occasionally to look down and watch for the important signal. When this was eventually given, I at once belted out the chosen entry music “Trumpet Tune” by Purcell. Of course I had to keep looking down so that I would stop when the bride had walked up the aisle.

The trouble was that she didn’t appear!

I played the tune again - and again, and that was when panic set in!

I decided to vary the tune a bit - using quieter stops, and adding little embellishments here and there.

Still no bride! (Perhaps she had changed her mind and gone home?)

It was then I really excelled. I couldn’t possibly keep playing the same tune over and over, so I began to improvise - the tune was still there somewhere, but now my variations soared, gradually building up the excitement (my excitement) until -

The bride appeared below! And I put Purcell back together again.

I didn’t ever find out what had detained the bride!

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Now you can listen to that piece of music, played on the organ of Canterbury Cathedral.



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(To be sung to the hymn tune AURELIA)

Our organ's firm foundations
Are diapasons fat,
Installed in nineteen twenty,
From that day since they've sat.
From Boston, Mass., we sought it,
The object of our pride.
For fifteen grand we bought it
When our old tracker* "died."

Elect from every family
Of pipes that give a toot,
Its great specification,
One string, one reed, one flute,
And leathered diapasons
At sixteen, eight, and four,
And sub and super couplers;
How could one ask for more?

Yet with a scornful wonder,
Men hear it sore oppressed
By ciphers rent asunder,
By windline leaks distressed.
Yet choirboys are listening;
Their cry goes up: "How long,
Before this hoot and hissing
Cease drowning out our song?"

Yet still we oil the swellshades
Each month with Three-in-One,
And grease the motor bearings
To quiet down its run.
O, miserable contraption!
Lord, grant us funds that we
May junk it for a tracker*
With pressures under three. (Source unknown)

*Tracker action was a form of mechanics which was once used in pipe organs

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Verse 3 mentions the problem of ciphers. This is where a fault causes a pipe to sound continuously without a key on the console having been pressed. It’s something that can happen with pipe organs, but not with electronic ones.

I remember an occasion when I was faced with this problem during a service. At the end of every hymn I had to switch off the power and the offending sound gradually faded away.

The particular pipe at fault was not a loud one, but I realised the choir would be in trouble with that sound going on during the anthem. I decided that we could sing the item unaccompanied and that, as soon as it was announced, I would play the opening chord, switch off the power and come out in front to conduct.

Unfortunately I couldn’t have pressed the off-switch properly, for, after we had sung a good few bars, that intruding sound was still droning on. And it continued through the whole anthem. Full marks to the choir for coming out on top!

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Finally, more organ music. This time it’s the Wurlitzer in the Tower Blackpool.



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Tuesday, March 2, 2010

 
PETTICOAT DAN
My parents used to talk about the Kirkintilloch man who wore women’s clothing. Dan Cooper 1835-1913 was a mentally-handicapped odd-job man who kept himself busy going around the town shovelling and stacking coal which had been delivered to householders.

Dressed in a man’s jacket and a women’s skirt right down to his heels, he had to endure a lot of teasing from children. I’m told that there used to be many stories showing that he was much more intelligent than he appeared to be, but it’s on record that one local man who knew him well claimed that there was no truth in those tales.

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Most communities at one time or another had men or women just like Petticoat Dan, and around them stories were born and multiplied.

In the 19th century the town of Maybole had its worthy - Johnnie Stuffie, and apparently both children and adults often made his life a misery. After his death, the local minister Roderick Lawson wrote the following poem.

A queer wee man, wi’ a simple air,
Was Johnnie Stuffie.
Weel-kent alike by rich and poor
Was Johnnie Stuffie.
The water-carrier o’ the town,
The messenger to a’ around’,
And the butt o’ every idle loon
Was Johnnie Stuffie.

Nae common bonnet crowned the heid
O’ Johnnie Stuffie.
But an auld lum-hat was there instead
On Johnnie Stuffie.
A lang greatcoat, aince thocht genteel
Aye wrapt him roun’ frae neck tae heel,
Which only did the feet reveal
O’ Johnnie Stuffie.

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The engraving “Houseless and Hungry” is the work of the English painter Luke Fildes (1843-1927).

It made a great impression on the Pre-Raphaelite John Everett Millais, who told Charles Dickens about it. When the author saw the picture, he immediately engaged Fildes to do the illustrations for “The Mystery of Edwin Drood.”

Some time later Fildes reproduced the engraving as a painting, giving it the title “Applicants to a Casual Word.”

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I’m showing 3 videos this week. The first one was sent to me by a friend and I’m sure you’ll like it. (Thanks very much, Anne.)



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This next clip refers to a time I remember very well - the beginning of World War 2. The town where we lived was considered to be in a safe area, and it was chosen as the place to which many Clydebank children were evacuated. A family of 3, a girl and her brothers, were billeted with us. However, after a week their parents came and took them home, and I believe that this was a common occurrence. I wonder what happened to all those children when the German bombers targetted Clydebank.


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Finally, here's a really cheerful tune from Johann Sebastian!!!


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