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Simon Lloyd
United Kingdom
Приєднався 19 кві 2013
High Definition organ performances and improvisations from Simon Lloyd, Organist & Director of Music at the Carmelite Priory in London.
www.simon-lloyd.com
www.simon-lloyd.com
Simon Lloyd - Two-minute improvisation #12: Skipping Shawm
One of the ways I practise improvisation is by creating short, complete pieces which are around 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 focused on the 4' pedal reed - the Shawm - set against high-pitched manual registrations.
Further information about the 1965 Downes/Walker organ of the Carmelite Priory, London can be found here:
www.carmelitechoir.com/organ/
Although 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.
Registration:
Gt - 4' Stopped Flute + 2' Blockflute
Sw - 4' Venetian Flute + 2' Principal
Pd - 4' Shawm
Recorded with Oktava MK 012 omni microphones and a Zoom Q8.
www.simon-lloyd.com
Themes are thought of on the spur of the moment; this improvisation is focused on the 4' pedal reed - the Shawm - set against high-pitched manual registrations.
Further information about the 1965 Downes/Walker organ of the Carmelite Priory, London can be found here:
www.carmelitechoir.com/organ/
Although 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.
Registration:
Gt - 4' Stopped Flute + 2' Blockflute
Sw - 4' Venetian Flute + 2' Principal
Pd - 4' Shawm
Recorded with Oktava MK 012 omni microphones and a Zoom Q8.
www.simon-lloyd.com
Переглядів: 89
Відео
Simon Lloyd - Two-minute improvisation #11: Appoggiature
Переглядів 1193 місяці тому
One of the ways I practise improvisation is by creating short, complete pieces which are around 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...
Simon Lloyd: Improvisation 'Partially Pentatonic'
Переглядів 2495 місяців тому
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 pentato...
The 12 Keys of Christmas 2022
Переглядів 339Рік тому
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 th...
Peter Philips: Veni Sancte Spiritus
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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, bot...
Lemmens: Fanfare in D - Grand Organ, Westminster Cathedral
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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'...
Handel: Suite No. 5 "Harmonious Blacksmith" + temperament explanation
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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 - Prelude 2:20 - Allemande 7:24 - Courante 9:35 - Air & Variations "The Harmonious Blacksmith" 14:50 - Temperament discussion Handel published eight keyboard suites in 1720 because, as he explained, 'surrepticious and inc...
Liszt: Prelude & Fugue on B.A.C.H. - Grand Organ, Westminster Cathedral
Переглядів 3,2 тис.3 роки тому
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' Con...
Brahms: O Welt, ich muss dich lassen (Simon Lloyd)
Переглядів 5433 роки тому
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: ...
Philips Pavana & Galiarda Dolorosa (Simon Lloyd, Harpsichord)
Переглядів 2,3 тис.3 роки тому
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 ...
Byrd Pavana Ph. Tr. & Galiarda (Simon Lloyd, Harpsichord)
Переглядів 2 тис.3 роки тому
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 m...
Reger: Introduction & Passacaglia in D minor (Simon Lloyd)
Переглядів 2 тис.4 роки тому
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: ...
Simon Lloyd: Improvisation on Victimae paschali laudes
Переглядів 1,1 тис.4 роки тому
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 www....
Oh Covid, Covid (Britney ...Baby One More Time parody)
Переглядів 6 тис.4 роки тому
The song is originally Britney Spears' (here's the original ua-cam.com/video/C-u5WLJ9Yk4/v-deo.html). 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)
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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' Rohrflute Ped: 16' Sub Bass ( 8' Gedackt) Sw/Gt, Sw/Ped Further information about the 1965 Downes/Walker organ of the Carmelite Priory, London ...
Simon Lloyd - Two-minute improvisation #10: Mostly 11/16
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Simon Lloyd - Two-minute improvisation #10: Mostly 11/16
Jeanne Demessieux: Te Deum - Simon Lloyd plays the Grand Organ of Westminster Cathedral
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Jeanne Demessieux: Te Deum - Simon Lloyd plays the Grand Organ of Westminster Cathedral
Simon Lloyd: Improvisation on the Te Deum
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Simon Lloyd: Improvisation on the Te Deum
Recording Pipe Organ: DPA 4006A vs Oktava MK 012
Переглядів 4,2 тис.6 років тому
Recording Pipe Organ: DPA 4006A vs Oktava MK 012
Simon Lloyd - Two-minute improvisation #9: Descent
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Simon Lloyd - Two-minute improvisation #9: Descent
Simon Lloyd - Two-minute improvisation #8: Elegy
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Simon Lloyd - Two-minute improvisation #8: Elegy
Simon Lloyd (Organ) - Two-minute improvisation #7: Torrential Thirds
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Simon Lloyd (Organ) - Two-minute improvisation #7: Torrential Thirds
Quarter-comma Meantone with split sharps
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Quarter-comma Meantone with split sharps
Simon Lloyd (Organ) - Two-minute improvisation #6: Crescendo
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Simon Lloyd (Organ) - Two-minute improvisation #6: Crescendo
Simon Lloyd (Organ) - Two-minute improvisation #5: Hommage à Jehan Alain
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Simon Lloyd (Organ) - Two-minute improvisation #5: Hommage à Jehan Alain
Simon Lloyd (Organ) - Two-minute improvisation #4: Perpetuum mobile
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Simon Lloyd (Organ) - Two-minute improvisation #4: Perpetuum mobile
Simon Lloyd (Organ) - Two-minute improvisation #3: Flutes
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Simon Lloyd (Organ) - Two-minute improvisation #3: Flutes
Simon Lloyd (Organ) - Two-minute improvisation #2: Reeds
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Simon Lloyd (Organ) - Two-minute improvisation #2: Reeds
Simon Lloyd (Organ) - Two-minute improvisation #1: Triads
Переглядів 3,3 тис.6 років тому
Simon Lloyd (Organ) - Two-minute improvisation #1: Triads
Hi Mr Lloyd! Do you remember putting up no Fortnite dancing pictures in the PAC?
Bravo!
Wait until we get the 64000 tone chromatic scale.
❤️🎹🎼
My favorite note is the A flat
Excellent! And what a self critical analysis by the Master. Perfection in performance can be a real problem for all of us. Well done Simon, you channel is an inspiration.
This is cool and proves that meantone is the way music was meant to sound, equal may make things convenient but at the cost of the richness and fullness of sound. This is beautiful.
Great sound - true Brahms!
Most obvious question: why is D# at the top but G# at the bottom of the key?!
usless
@@TentacleTerrorMusic ok tank yu for explaning
Favourite bits: 1. You can see how early and late some decisions are made by when the feet move, like 1:42 2. The registration fail at 4:19 (Gt/Ped weren't combined) 3. The 'meh' head tilt at the end
Why is D♯ above E♭ but G♯ below A♭ on the keyboard? I expect that they would have consistent directions.
It doesn't have to do with the direction, but rather with what was standard. On keyboard instruments with 12 keys per octave, they would at that time typically have tuned the instrument to have Bb, Eb, F#, C# and G#, as those were the most commonly needed accidentals. When you add extra keys, those are usually placed on the back, because they are less often needed. And so you have D# and Ab on the back.
Why are only two black keys split and other black keys not split?
That would require a lot of extra pipes, which were (and still are) very expensive, and also take up space. In the modal language of the time, you very rarely would have a need for Db, Gb or A#, so it would be wasteful. There were however instruments made with A#, or even all the black keys, or even 24 or 31 notes per octave. But they were rare.
you'd think there would be more midi keyboards out there with split key inputs.
It's amazing how different the D# and Eb sound. We're all so used to equal temperament where everything is fudged a bit that it's easy to forget how other systems work.
What a great improvisation! Lovely work, Simon. Glad to be a new subscriber here.
But why is D sharp on the top and then G sharp is on the bottom? that would mess me up.
It's indeed confusing and counterintuitive if we're not used to meantone tuning, but for musicians who are used to the tuning, it is very logical. The "standard" way to tune a keyboard in meantone is with two flats (Bb and Eb) and three sharps (F#, C# and G#). Those are the notes most frequently needed. When keys were added and further notes made available, they were usually placed behind the basic "standard" ones. This way the front of the keyboard maintains the same layout as usual, and the less-frequently needed notes are assigned to the keys that are less ergonomic to play. So D# is placed behind Eb, but Ab is placed behind G#.
its amazing how much color do they add
Thank you so much ❤!!!
Perfect tempo and well-played.
This is so cool!! Is this instrument just available to play, or did you need special permissions?
I love this. Thank you!!
I love this video, Mr Simon Richard Lloyd
Very good video, Mr. Secondary Rag Lloyd
Genial y hermoso y un Órgano muy ronco , como un señor mayor, felicitaciones.
jazz
jazz
Great video Simon
Man that instrument looks fun to play!!
YES PLEASE
It actually sounds really good
Wait, A=466 Hz? The highest A used by humans is A=455 Hz. Also, Quarter-comma Meantone was used in Baroque period, and people used A=415 Hz. Almost one semitone lower than our standard A=440 Hz. Don't talk about A=432 Hz, the "scientific" pitch (real scientific pitch is A=421,39 Hz with a ugly decimal), it's like homeopathy in music theory and there's lot to try like A=435, A=438, A=453, A=455, etc. Actually, it doesn't matter because if you dont't have a perfect pitch, you don't perceive absolute frequencies, you perceive consonance and dissonance of intervals, that is RATIO of frequencies.
No, meantone was used since the Renaissance era and described by Pietro Aron.
Where did you learn that the highest A is 455? A can be defined as any frequency you like, and has varied immensely historically. "People" didn't use 415 in the baroque era, they used a wide variety of pitches in different places and times. 415 and 466 are both modern standards exactly one semitone below and above 440 to approximate the historically lower and higher pitches in certain regions and time periods. In the 17th and 18th century, there is also a long period where both the lower and higher pitches were used in the same place, one tone apart, with the lower pitch used by the strings and woodwinds, and the higher pitch used by brass, organ and choirs. a=466 is actually a bit low for that region and time period. Several historical organs in the north of Italy are around 475-480, and some as high as a=490 (i.e. another semitone higher). Also in North Germany, very typical to find historical instruments around 475 Meantone was common since at least the early 16th century, so a while before the Baroque. This organ is from 1565, so definitely pre-baroque, in meantone, and was probably originally even higher than 466 (it was tuned to 466 during restoration)
Love this! You play it so brilliantly!
O.K. perfect
all of which goes to show that mathematics can be helpful sometimes...
Exquisitely done, Mr. Lloyd. I was last there in the mid-70s and the Monsignor let me play a few notes on that grand console and go up and look at the other smaller console, but it wasn't in service at the time. Is there still a wooden 32' rank on the back wall?
*Promo SM* 🤔
Sublime!
MOM!! THERE IS A DIFFERENCE BETWEEN ACCIDENTALS! I KNEW IT!
Step wise it sounds way smoother.
I love this performance. Especially how you linger on that cross-relation at 1:14.
god damn i wish i could play in all the keys like this
Amazing! But my ears hurt.
👍🏻 very interesting
Good stuff, Simon. Thanks for the mentions.
Wow! Love this! You perform this exquisitely!
I want a keyboard like that for synths
@@TentacleTerrorMusic yeah lumatone is the only actual option because I can already only reach an octave per hand and it's unacceptable to go below that
People will be sampling this a ton
That sort of prolonged 4-3 suspension at around 0:47 was really cool! But does it not put you off that the organ is almost a semitone sharp of concert pitch?
Better than Bachs Equal Tuning,5 Years Alcatraz for his Cent tollerance Work!He ist the Undertaker From Pythagoran Tuning,Clean Minor and Major,i 💖Other Tunings😂😂😂🐒😎👏👏👏🎹🎻👻👻👻
Very well played Simon. Encore!