Quarter-comma Meantone with split sharps Simon Lloyd 2018-06-06 | Recorded on the 1565 Antegnati Organ in Santa Barbara, Mantua. A short video showing the split sharps in action. iPhone recording, so the sound isn't the best.Beyond the remarkable archicembalo videos (youtube.com/channel/UCFG2Y__ODlxuIwcdzMM5zrQ) there don't seem to be videos showing 'normal' split sharps and their function. They're confusing to play at first and then rather addictive!In meantone temperament the black notes are disposed C#-Eb-F#-G#-Bb; providing keys for D# and Ab (which are added at the back) allows a larger number of tonalities to be used. Other organs additionally provide a split key for A#. The closer to equal the temperament becomes, the less need there is for split sharps as one key can function enharmonically for both the sharp and flat.
Simon Lloyd: Improvisation Partially Pentatonic Simon Lloyd 2024-05-03 | The improvisation that closed a recital at Westminster Cathedral in July 2022. Most of my improvisations focus on melody, either using a plainchant theme or a short motif. This one is harmonically-driven, with my intention to link A minor (the key of the previous piece) and C major (the starting key of the recital) to bring the whole recital full circle. At various key points it becomes pentatonic (a scale using only 5 notes), leading to the retrospective title.The Grand Organ was built in stages between 1922 and 1932. During a recital in 1924, Louis Vierne improvised what would become his Carillon de Westminster. The same year, Marcel Dupré gave the première of his own Symphonie-Passion for which the Pedal 32' Contre Bombarde was added. For more information about the Grand Organ, seewestminstercathedral.org.uk/music/about-our-organssimon-lloyd.com
The 12 Keys of Christmas 2022 Simon Lloyd 2023-01-22 | A compilation of some daily 1/4 comma meantone nonsense: The 12 Keys of Christmas. 12 days, 12 different keys, some pure and harmonious, others raucous and wild when played in 1/4 comma meantone. Follow along to see whether your favourite carols will be ruined and learn a little bit about the effect that temperament has on keys.This series appeared day by day on social media - watch out for the next instalment!Details of the instruments heard:simon-lloyd.com/instruments
Peter Philips: Veni Sancte Spiritus Simon Lloyd 2022-06-05 | Peter Philips's setting of the Pentecost Sequence, Veni Sancte Spiritus. All 10 verses are set which suggests, unusually, that the fairly standard 'alternatim' method of performance (where instrumental verses alternate with sung verses) was not intended. While a fairly driven performance might match the virginal-like writing of the piece, I have chosen to be more spacious in my performance, both to enjoy the generous acoustic of the Carmelite Priory and to give the stops of the Great organ time to speak fully. The stops used for the verses are given in the video.Further information about the 1965 Downes/Walker organ of the Carmelite Priory, London can be found here:carmelitechoir.com/organAlthough modest in size and somewhat quirky, the scheme is exceptionally cohesive and, helped by the Priory's wonderful acoustic, gives the impression of a much larger instrument.Recorded with Oktava MK 012 omni microphones and a Zoom Q8.simon-lloyd.com
Lemmens: Fanfare in D - Grand Organ, Westminster Cathedral Simon Lloyd 2021-07-14 | Jacques-Nicolas Lemmens' Fanfare in D from École d’Orgue (1862) recorded on the Henry Willis III Grand Organ of Westminster Cathedral, London.The Grand Organ was built in stages between 1922 and 1932. During a recital in 1924, Louis Vierne improvised what would become his Carillon de Westminster. The same year, Marcel Dupré gave the première of his own Symphonie-Passion for which the Pedal 32' Contre Bombarde was added. For more information about the Grand Organ, seewestminstercathedral.org.uk/organs.phpsimon-lloyd.com
Handel: Suite No. 5 Harmonious Blacksmith + temperament explanation Simon Lloyd 2021-06-06 | Handel's fifth keyboard suite in E major HWV 430 played by Simon Lloyd. Included after the suite (14:50) is a short explanation of the temperament used for the recording.0:00 - Prelude2:20 - Allemande7:24 - Courante9:35 - Air & Variations "The Harmonious Blacksmith"14:50 - Temperament discussionHandel published eight keyboard suites in 1720 because, as he explained, 'surrepticious and incorrect Copies of them had got Abroad.' The origin of the nickname "The Harmonious Blacksmith" given to the last movement, Air & Variations, is unknown and a number of popular explanations have been disproved; certainly it is not a title given by Handel himself.In the following temperament explanation I intentionally try to keep matters accessible; I know that I'm simplifying things quite considerably! For people who were perhaps unaware that different temperaments/tuning systems existed, I wanted to show briefly why some sort of temperament is needed and to illustrate some of the choices one could make. My temperament base for the suite was 1/6 comma meantone with adjusted accidentals. Where possible, I prefer to arrive at a tuning from meantone than use a more circulating temperament such as the ubiquitous Valotti; there's no match for pure thirds!The harpsichord used is a double-manual harpsichord after Mietke by Alan Gotto (2015). Further information available on my website. Alan's website is also linked below.simon-lloyd.comhttp://www.dsn.co.uk/agotto
Liszt: Prelude & Fugue on B.A.C.H. - Grand Organ, Westminster Cathedral Simon Lloyd 2021-05-02 | Franz Liszt's monumental Prelude & Fugue on B.A.C.H. (1870) recorded on the Henry Willis III Grand Organ of Westminster Cathedral, London.The Grand Organ was built in stages between 1922 and 1932. During a recital in 1924, Louis Vierne improvised what would become his Carillon de Westminster. The same year, Marcel Dupré gave the première of his own Symphonie-Passion for which the Pedal 32' Contre Bombarde was added. For more information about the Grand Organ, see westminstercathedral.org.uk/organs.phpsimon-lloyd.com
Brahms: O Welt, ich muss dich lassen (Simon Lloyd) Simon Lloyd 2021-04-02 | Recording from a recital given at St James's, Spanish Place in London.The organ was built by Hunter in 1922 (54 III/P) and is sited in the triforium above the sanctuary on the Epistle side. It is regarded as the finest example of Hunter's craftsmanship. The console faces the choir pipework, with swell, great and pedal in adjacent bays to the player's left.Further information about the organ:npor.org.uk/NPORView.html?RI=N08089simon-lloyd.com
Philips Pavana & Galiarda Dolorosa (Simon Lloyd, Harpsichord) Simon Lloyd 2021-01-01 | Pavana & Galiarda Dolorosa by Peter Philips (1560/1-1628) from the Fitzwilliam Virginal Book. (Galiarda 08:11)The Pavana is titled 'Doloroso. Treg[ian]', an apparent dedication to Francis Tregian the Younger, the longer-assumed copyist of the FVB. The Galiarda is titled 'Dolorosa', the form more commonly seen. Each piece is in three sections complete with written out repeats. They each follow the same harmonic structure, with short octave gymnastics appearing in the 3rd strain of both. A short octave was a convenient way of extending the renaissance F-compass keyboard down a 4th to C while only extending the length of the keyboard by one note. On such a keyboard, bottom E, F# and G# actually sound the notes C, D and E. This means that one can sound alternating 10ths while actually just playing octaves; it is this quirk that Philips exploits here. Philips also includes low G# which require a broken octave (as here), where the F# and G# keys are split to provide those notes in addition to low D and E.Recorded at home in my music room on an Italian harpsichord after Pisaurensis, 1533 made by Colin Booth in 2009. This single-strung instrument has a short and broken octave and is tuned in quarter-comma meantone.The harpsichord in the background is a double manual after Mietke built by Alan Gotto in 2015. Details of both instruments are on my website:simon-lloyd.com
Byrd Pavana Ph. Tr. & Galiarda (Simon Lloyd, Harpsichord) Simon Lloyd 2020-12-22 | Pavana Ph. Tr. & Galiarda by William Byrd (c1540-1623) from the Fitzwilliam Virginal Book. (Galiarda 06:04)The mysterious 'Ph. Tr.' might refer to Philippa Tregian, the sister of Francis Tregian the Younger who was for a long time considered the copyist of the FVB manuscript. The sustained slow-burn lyricism of the Pavana is wonderfully contrasted with the fiery Galiarda.Recorded at home in my music room on an Italian harpsichord after Pisaurensis, 1533 made by Colin Booth in 2009. This single-strung instrument has a short and broken octave and is tuned in quarter-comma meantone.The harpsichord in the background is a double manual after Mietke built by Alan Gotto in 2015. Details of both instruments are on my website:simon-lloyd.com
Reger: Introduction & Passacaglia in D minor (Simon Lloyd) Simon Lloyd 2020-08-29 | Recording from a recital given at St James's, Spanish Place in London.The organ was built by Hunter in 1922 (54 III/P) and is sited in the triforium above the sanctuary on the Epistle side. It is regarded as the finest example of Hunter's craftsmanship. The console faces the choir pipework, with swell, great and pedal in adjacent bays to the player's left.Further information about the organ:npor.org.uk/NPORView.html?RI=N08089simon-lloyd.com
Simon Lloyd: Improvisation on Victimae paschali laudes Simon Lloyd 2020-04-13 | Recorded live in concert at Westminster Cathedral on Low Sunday, 11 April 2010.The Cathedral remains open during organ recitals, hence there are various extraneous noises throughout the recording. The improvisation is based on the Easter Sequence, Victimæ paschali laudes. Where the chant is heard unaltered, it is shown on screen.For information about the Henry Willis III Grand Organ, see http://www.westminstercathedral.org.uk/organs.phpFull console photograph © Charles Cole; all other photographs © Simon Lloydsimon-lloyd.com
Oh Covid, Covid (Britney ...Baby One More Time parody) Simon Lloyd 2020-04-09 | The song is originally Britney Spears' (here's the original youtube.com/watch?v=C-u5WLJ9Yk4). The lyrics are (mostly) mine. Recorded from scratch in Logic Pro X; video edited with Final Cut Pro.
Silent Night: an improvised meditation (in 5/8) Simon Lloyd 2019-12-27 | An improvised meditation on Silent Night recorded, appropriately, after the church had closed on Christmas Eve. The melody is normally in 6/8; here it is given a slightly irregular lilt in 5/8.Registration:Sw: 8' Viola, 8' Celeste (+ 8' Gedackt)Gt: 8' RohrflutePed: 16' Sub Bass (+ 8' Gedackt)Sw/Gt, Sw/PedFurther information about the 1965 Downes/Walker organ of the Carmelite Priory, London can be found here:carmelitechoir.com/organAlthough modest in size and somewhat quirky, the scheme is exceptionally cohesive and, helped by the Priory's wonderful acoustic, gives the impression of a much larger instrument.Recorded with Oktava MK 012 omni microphones and a Zoom Q8.http://www.simon-lloyd.com
Jacob Colliers Twelve note chord Simon Lloyd 2019-12-24 | Jacob Collier's chord that uses all the notes of the scale, taken from June Lee's Theory interview with Jacob (part 2) youtu.be/b78NoobJNEo?t=1773Played first in his voicing. To make that work, the LH plays Swell at 8'+4' and Great at 4'+2'. The Pedal is coupled to the Great for its four notes. The loud version adjusts the voicing slightly in order to play all the notes (the different octaves trick employed before isn't available with full organ). Enjoy!Further information about the 1965 Downes/Walker organ of the Carmelite Priory, London can be found here:carmelitechoir.com/organAlthough modest in size and somewhat quirky, the scheme is exceptionally cohesive and, helped by the Priory's wonderful acoustic, gives the impression of a much larger instrument.Recorded with Oktava MK 012 omni microphones and a Zoom Q8.http://www.simon-lloyd.com
Simon Lloyd - Two-minute improvisation #10: Mostly 11/16 Simon Lloyd 2019-11-02 | One of the ways I practise improvisation is by creating short, complete pieces which are under two minutes long. No timer is running; the aim is to judge the time as well as the musical material to create the piece within the time limit. This forces you to communicate your ideas directly; you don't have 5 minutes for vague development. It is an exercise in brevity.Themes are thought of on the spur of the moment; this improvisation is mostly in 11/16 which gives a fun, slightly wonky 3/4 feel. The Carmelite Priory is on a main road in London and external noises are often a problem when recording - the siren at the end is an excellent example!Further information about the 1965 Downes/Walker organ of the Carmelite Priory, London can be found here:carmelitechoir.com/organAlthough modest in size and somewhat quirky, the scheme is exceptionally cohesive and, helped by the Priory's wonderful acoustic, gives the impression of a much larger instrument.Recorded with Oktava MK 012 omni microphones and a Zoom Q8.http://www.simon-lloyd.com
Jeanne Demessieux: Te Deum - Simon Lloyd plays the Grand Organ of Westminster Cathedral Simon Lloyd 2018-12-02 | Jeanne Demessieux's Te Deum recorded on the Henry Willis III Grand Organ of Westminster Cathedral, London.(If audio/video appear out of sync on your mobile device please try using a desktop browser)The Grand Organ was built in stages between 1922 and 1932. During a recital in 1924, Louis Vierne improvised what would become his Carillon de Westminster. The same year, Marcel Dupré gave the première of his own Symphonie-Passion for which the Pedal 32' Contre Bombarde was added. Demessieux herself gave her UK debut at Westminster Cathedral in 1947.For more information about the Grand Organ, see http://www.westminstercathedralchoir.com/grand-organ.phphttp://www.simon-lloyd.com
Simon Lloyd: Improvisation on the Te Deum Simon Lloyd 2018-11-29 | Recorded live in concert at Westminster Cathedral, 25 November 2018This improvisation is based on the intonation from the tonus simplex Te Deum, but uses a few other snippets of the chant as well, most prominently 'Te æternum Patrem' which forms the basis of the 7/8 sections.For information about the Henry Willis III Grand Organ, see http://www.westminstercathedralchoir.com/grand-organ.phphttp://www.simon-lloyd.com
Recording Pipe Organ: DPA 4006A vs Oktava MK 012 Simon Lloyd 2018-10-24 | A short video comparing two pairs of omnidirectional microphones - DPA 4006A and Oktava MK 012. Simon Lloyd improvises on the organ of the Carmelite Priory, London. There didn't seem to be a comparison like this on YouTube, so I made one in case it's of interest to anyone else! The organ is divided between two cases in a gallery at the liturgical west end of the church (see final picture). The Swell is in the left case, the Great in the right, and the pedal divided between the two on the upper level. The microphones were set about 6m away from the organ, about 6m high and about 60cm apart (slightly angled AB configuration). The only adjustment was to match the output volumes of the two pairs (the DPAs require less gain to achieve the same output as the Oktavas).The higher frequencies are more deftly handled by the DPAs, most noticeable on the Rohrflute example, and other stops have greater mid-range presence. While there are clear differences, the Oktavas stand up well to mics that are around 10x as expensive.Further information about the 1965 Downes/Walker organ of the Carmelite Priory, London can be found here:carmelitechoir.com/organAlthough modest in size and somewhat quirky, the scheme is exceptionally cohesive and, helped by the Priory's wonderful acoustic, gives the impression of a much larger instrument.http://www.simon-lloyd.com
Simon Lloyd - Two-minute improvisation #9: Descent Simon Lloyd 2018-10-04 | One of the ways I practise improvisation is by creating short, complete pieces which are under two minutes long. No timer is running; the aim is to judge the time as well as the musical material to create the piece within the time limit. This forces you to communicate your ideas directly; you don't have 5 minutes for vague development. It is an exercise in brevity.Themes are thought of on the spur of the moment; in this improvisation a descent to the lowest notes of the organ supports the frenetic spiralling in the manuals.Further information about the 1965 Downes/Walker organ of the Carmelite Priory, London can be found here:carmelitechoir.com/organAlthough modest in size and somewhat quirky, the scheme is exceptionally cohesive and, helped by the Priory's wonderful acoustic, gives the impression of a much larger instrument.Recorded with B&K 4006 omni microphones and a Zoom Q8.http://www.simon-lloyd.com
Simon Lloyd - Two-minute improvisation #8: Elegy Simon Lloyd 2018-09-07 | Best with headphones as the 16' is a bit quiet!One of the ways I practise improvisation is by creating short, complete pieces which are under two minutes long. No timer is running; the aim is to judge the time as well as the musical material to create the piece within the time limit. This forces you to communicate your ideas directly; you don't have 5 minutes for vague development. It is an exercise in brevity.Themes are thought of on the spur of the moment; here a three-note motif forms the foundation of a gentle, melancholic melody. The registration is:Sw - 4' Venetian FlutePed - 16' Sub BassFurther information about the 1965 Downes/Walker organ of the Carmelite Priory, London can be found here:carmelitechoir.com/organAlthough modest in size and somewhat quirky, the scheme is exceptionally cohesive and, helped by the Priory's wonderful acoustic, gives the impression of a much larger instrument.Recorded with Oktava MK 012 omni microphones and a Zoom Q8.http://www.simon-lloyd.com
Simon Lloyd (Organ) - Two-minute improvisation #7: Torrential Thirds Simon Lloyd 2018-08-10 | One of the ways I practise improvisation is by creating short, complete pieces which are under two minutes long. No timer is running; the aim is to judge the time as well as the musical material to create the piece within the time limit. This forces you to communicate your ideas directly; you don't have 5 minutes for vague development. It is an exercise in brevity. This one is actually 2'07" but I like its relentless drive and unforgiving directness.Themes are thought of on the spur of the moment; this improvisation is based on oscillating thirds.Further information about the 1965 Downes/Walker organ of the Carmelite Priory, London can be found here:carmelitechoir.com/organAlthough modest in size and somewhat quirky, the scheme is exceptionally cohesive and, helped by the Priory's wonderful acoustic, gives the impression of a much larger instrument.Recorded with Oktava MK 012 omni microphones and a Zoom Q8.http://www.simon-lloyd.com
Simon Lloyd (Organ) - Two-minute improvisation #6: Crescendo Simon Lloyd 2018-05-17 | One of the ways I practise improvisation is by creating short, complete pieces which are under two minutes long. No timer is running; the aim is to judge the time as well as the musical material to create the piece within the time limit. This forces you to communicate your ideas directly; you don't have 5 minutes for vague development. It is an exercise in brevity.Themes are thought of on the spur of the moment; this improvisation uses lilting 3rds to drive a crescendo from the 8' flutes to full organ.Further information about the 1965 Downes/Walker organ of the Carmelite Priory, London can be found here:carmelitechoir.com/organAlthough modest in size and somewhat quirky, the scheme is exceptionally cohesive and, helped by the Priory's wonderful acoustic, gives the impression of a much larger instrument.Recorded with Oktava MK 012 omni microphones and a Zoom Q8.http://www.simon-lloyd.com
Simon Lloyd (Organ) - Two-minute improvisation #5: Hommage à Jehan Alain Simon Lloyd 2018-05-11 | One of the ways I practise improvisation is by creating short, complete pieces which are under two minutes long. No timer is running; the aim is to judge the time as well as the musical material to create the piece within the time limit. This forces you to communicate your ideas directly; you don't have 5 minutes for vague development. It is an exercise in brevity.This improvisation was inspired by the difference in pitch between the celeste (sharp) and the Great flute. In equal temperament, only octaves are pure intervals; major 3rds are sharp and minor 3rds are flat. Using the celeste for the root and fifth, the flute provides a closer to pure major 3rd; the celeste provides the minor 3rd when playing the root and fifth on the flute. For me, the meditative simplicity of these purer triads evoked the music of Jehan Alain. The registration is:Gt - 8' RohrfluteSw - 8' CelesteFurther information about the 1965 Downes/Walker organ of the Carmelite Priory, London can be found here:carmelitechoir.com/organAlthough modest in size and somewhat quirky, the scheme is exceptionally cohesive and, helped by the Priory's wonderful acoustic, gives the impression of a much larger instrument.Recorded with Oktava MK 012 omni microphones and a Zoom Q8.http://www.simon-lloyd.com
Simon Lloyd (Organ) - Two-minute improvisation #4: Perpetuum mobile Simon Lloyd 2018-05-01 | One of the ways I practise improvisation is by creating short, complete pieces which are under two minutes long (this one is just within the time limit). No timer is running; the aim is to judge the time as well as the musical material to create the piece within the time limit. This forces you to communicate your ideas directly; you don't have 5 minutes for vague development. It is an exercise in brevity.Themes are thought of on the spur of the moment; built on a repeating pattern heard in the pedal, this improvisation is constantly in motion. The registration is:Gt - 8' Open Diapason, 4' Octave, 2' BlockfluteSw - 8' Gedackt, 8' Viola, 4' Venetian FlutePed - 16' Sub Bass, 8' OctaveCouplersFurther information about the 1965 Downes/Walker organ of the Carmelite Priory, London can be found here:carmelitechoir.com/organAlthough modest in size and somewhat quirky, the scheme is exceptionally cohesive and, helped by the Priory's wonderful acoustic, gives the impression of a much larger instrument.Recorded with Oktava MK 012 omni microphones and a Zoom Q8.http://www.simon-lloyd.com
Simon Lloyd (Organ) - Two-minute improvisation #3: Flutes Simon Lloyd 2018-04-06 | One of the ways I practise improvisation is by creating short, complete pieces which are under two minutes long. No timer is running; the aim is to judge the time as well as the musical material to create the piece within the time limit. This forces you to communicate your ideas directly; you don't have 5 minutes for vague development. It is an exercise in brevity.Themes are thought of on the spur of the moment; this improvisation highlights the 8' flutes. The registration is:Gt - 8' RohrfluteSw - 8' GedacktPed - 8' GedacktFurther information about the 1965 Downes/Walker organ of the Carmelite Priory, London can be found here:carmelitechoir.com/organAlthough modest in size and somewhat quirky, the scheme is exceptionally cohesive and, helped by the Priory's wonderful acoustic, gives the impression of a much larger instrument.Recorded with Oktava MK 012 omni microphones and a Zoom Q8.http://www.simon-lloyd.com
Simon Lloyd (Organ) - Two-minute improvisation #2: Reeds Simon Lloyd 2018-04-06 | One of the ways I practise improvisation is by creating short, complete pieces which are under two minutes long. No timer is running; the aim is to judge the time as well as the musical material to create the piece within the time limit. This forces you to communicate your ideas directly; you don't have 5 minutes for vague development. It is an exercise in brevity.Themes are thought of on the spur of the moment; this improvisation features the reeds. The registration is:Gt - 8' Trompete, 4' OctaveSw - 8' Cremona, 4' Venetian FlutePed - 16' Fagotto, 8' OctaveCouplersFurther information about the 1965 Downes/Walker organ of the Carmelite Priory, London can be found here:carmelitechoir.com/organAlthough modest in size and somewhat quirky, the scheme is exceptionally cohesive and, helped by the Priory's wonderful acoustic, gives the impression of a much larger instrument.Recorded with Oktava MK 012 omni microphones and a Zoom Q8.http://www.simon-lloyd.com
Simon Lloyd (Organ) - Two-minute improvisation #1: Triads Simon Lloyd 2018-04-06 | One of the ways I practise improvisation is by creating short, complete pieces which are under two minutes long. No timer is running; the aim is to judge the time as well as the musical material to create the piece within the time limit. This forces you to communicate your ideas directly; you don't have 5 minutes for vague development. It is an exercise in brevity.Themes are thought of on the spur of the moment; this one is triadic. The registration is:Gt - 4' Stopped Flute (+ 2' Blockflute)Sw - 4' Venetian FlutePed - 4' SpitzfluteFurther information about the 1965 Downes/Walker organ of the Carmelite Priory, London can be found here:carmelitechoir.com/organAlthough modest in size and somewhat quirky, the scheme is exceptionally cohesive and, helped by the Priory's wonderful acoustic, gives the impression of a much larger instrument.Recorded with Oktava MK 012 omni microphones and a Zoom Q8.http://www.simon-lloyd.com
Simon Lloyd (Organ) - Improvisation: Ite missa est alleluia Simon Lloyd 2018-04-03 | An improvisation on the Easter dismissal 'Ite, missa est, alleluia' played on the 1965 Downes/Walker organ of the Carmelite Priory, London. Recorded with Oktava MK 012 omni microphones and a Zoom Q8.Details of the organ: http://www.carmelitechoir.com/organAlthough modest in size and somewhat quirky, the scheme is exceptionally cohesive and, helped by the Priory's wonderful acoustic, gives the impression of a much larger instrument.http://www.simon-lloyd.com
Simon Lloyd (organ) - Improvisation: We Three Kings Simon Lloyd 2018-01-06 | An improvisation on We Three Kings played on the 1965 Downes/Walker organ of the Carmelite Priory, London. Recorded with Oktava MK 012 omni microphones with a Zoom Q8.Details of the organ: http://www.carmelitechoir.com/organAlthough modest in size and somewhat quirky, the scheme is exceptionally cohesive and, helped by the Priory's wonderful acoustic, gives the impression of a much larger instrument. The organ's reed stops are particularly characteristic and feature prominently in this improvisation.http://www.simon-lloyd.com
Simon Lloyd (Organ) - Improvisation Sortie: Veni Creator Spiritus Simon Lloyd 2017-05-30 | An improvised sortie on the plainchant Veni Creator Spiritus played on the 1965 Downes/Walker organ of the Carmelite Priory, London while testing a pair of Oktava MK 012 omni microphones with a Zoom Q8. Best heard through headphones.Details of the organ are here: http://www.carmelitechoir.com/organAlthough modest in size, the scheme is exceptionally cohesive and, helped by the Priory's wonderful acoustic, gives the impression of a much larger instrument.http://www.simon-lloyd.com
Buxtehude: Komm Heiliger Geist, Herre Gott BuxWV 199 Simon Lloyd 2017-05-30 | Dietrich Buxtehude (1637-1707)Played by Simon Lloyd on the 1965 Downes/Walker organ at the Carmelite Priory, London.Details of the organ: http://www.carmelitechoir.com/organhttp://www.simon-lloyd.com
Bach: Kyrie, Gott Heiliger Geist BWV 671 Simon Lloyd 2017-05-30 | From the Clavier-Übung IIIPlayed by Simon Lloyd on the 1965 Downes/Walker organ at the Carmelite Priory in London. Details and specification are here: http://www.carmelitechoir.com/organhttp://www.simon-lloyd.com
Simon Lloyd - Free improvisation, perpetuum mobile Simon Lloyd 2017-05-30 | A perpetuum mobile-type improvisation played on the 1965 Downes/Walker organ of the Carmelite Priory, London while testing a pair of Oktava MK 012 omni microphones with a Zoom Q8. Best heard through headphones.Details of the organ are here: http://www.carmelitechoir.com/organAlthough modest in size, the scheme is exceptionally cohesive and, helped by the Priory's wonderful acoustic, gives the impression of a much larger instrument.http://www.simon-lloyd.com
