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pcnd5584

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  1. Apparently, HWIII wasn't entirely enamoured of his own work in this instance, either. However, this was more because of the dreadful acoustic ambiance of this hall, which is utterly 'dead', and devoid of any resonance, or even 'bloom' whatsoever.
  2. I believe that the identity behind 'Deadsheepstew' was the late David Coram, who was certainly greatly interested in various types of unequal temperament tuning. (I have no idea why the passage which I quoted has appeared twice. Neither am I able to remove the duplicate.)
  3. I think that in my case, it would be best to avoid such a device. During my twenty-six years as Minster Organist in Wimborne, I believe that the church had to be re-consecrated on at least three occasions, following an intemperate outburst from myself....
  4. I wonder what fate will befall the HWIII instrument in this church? I note that this is an HTB plant: one thing I do know, is that at their 'home' church of Holy Trinity, Brompton, not only is the large pipe organ regularly maintained, but I understand that it has had recent work, in addition to regular maintenance. This does at least sound as if the instrument is still in regular use there.
  5. This latter point is good to read. I have had the privilege, on a number of occasions, of being in the tribune at Nötre-Dame de Paris for the three Sunday morning Masses. On two occasions, Léfébvre was on duty. His playing on both days was nothing short of stunning. All of the music was improvised, most effectively, in a variety of styles, and enhanced the liturgy in a most moving manner.
  6. This is an interesting point. Sumner made no secret of his admiration of the work of Willis, but I do find that hs un-stinting praise, and almost entire lack of any criticism, even of a constructive nature, to be bordering on sycophancy - and it is certainly un-helpful to anyone wishing to acquire a balanced view of the work of Willis - particularly that of HWIII.
  7. For the record - apparently, as originally built, FHW didn't put a builder's name-plate on his instrument in the Royal Albert Hall, either.* The same point was made at the time of Harrisons' drastic transformation in 1933. (At least, that was when the rebuild was finally completed.) And, yes - tonally, according to well-known (and in several cases, highly influential) commentators at the time of Harrisons' rebuild, the organ, as it emerged, was un-recognisable. There are one or two illuminating articles in back-issues of The Organ (perhaps the most notable being by Gilbert Benham), which shed some light on the controversy prevalent at the time. However, it is in the Letters to the Editor section where it is possible to glean much interesting information - and to gain some idea of how high feelings ran with regard to the Harrison rebuild, in the musical establishment of that day. * Presumably he felt that his work was well-known enough not to require a name-plate.
  8. This sounds like Edward Higginbottom, late of New College, Oxford. Apparently, it was not unknown for him to 'request' that the outgoing voluntary was transposed, in addition to canticles, or an anthem.
  9. I particularly like the Durham edition. James Lancelot appears entirely at ease on-camera, and he clearly delights in giving what is one of the best 'sound tours' of an organ in the entire series. One or two musical (but not familiar with organ construction) friends watched it, and found it to be both interesting and informative.
  10. Colin - if you do produce this (which, I realise, would be a somewhat monumental undertaking), I would be most interested in purchasing a copy. (One could hardly expect you to spend the time required for such a project without remuneration.) There have been many occasions when I know that I have seen a particular article, or review, but the idea of searching through thirty years' back-issues isn't that appealing, partly since many are stored in the loft of my house, and it is rather hot up there, at this time of year.
  11. I believe it is true to say that Liszt was no virtuoso as far as pedal technique was concerned. (Unlike his keyboard technique which, as can be deduced from his piano compositions, was technically demanding.) As you have implied, the pedal parts of his organ works are generally much easier than the clavier parts. I haven't seen the Straube edition, so I cannot comment objectively; I must try to track this down, and have a look.
  12. Does anyone know whether there is a link to a photograph of the new console loft at Canterbury Cathedral, please? I have tried an Internet search, but nothing useful has cropped-up, so far. It would be interesting to see what it looks like in the North Quire Aisle. The new console is certainly a handsome piece of work; and the walnut (?) is a refreshing change from the more usual oak.
  13. Yes, indeed - the video links featuring the Canterbury Cathedral organ are very interesting. It sounds as if it is going to be an exciting and versatile instrument by the time that it is completed. Thank you for posting these links, Martin.
  14. Is this definitely the case, though? It is clear that the console is covered in the same dry dust-like substance which also covers most of the organ, but I think that I read somewhere that the electrical components were largely in good condition because they were contained in small boxes, or protected with some type of hard covering. If this is the case, the keys, draw-stops, pedals, etc, could perhaps be cleaned. Does anyone have any further information, please?
  15. Martin - thank you for your kind words. I have the rest of the evening off, and suddenly remembered the Mander board, and my friends here. I am hoping to find the topic on the York Minster organ, and to read Robert Sharpe's rationale - so I shall now have a look at the other parts of this forum.
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