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swalmsley

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About swalmsley

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  1. IMO, the later wooden 32' extension to the CC Bombarde 16' is no great loss. I think it sat at the sides of the main case, which space is now to be opened up in the return to the original layout. 32' reeds on CC organs were pretty rare beasts, especially on mid-sized instruments such as MTH, so from a "faithful restoration" point of view it's hard to argue. On the other hand, a CC chorus underpinned by a CC-style 32' is perhaps one of the most spectacular sounds achieved in organbuilding, and one which vanished from this country when the Sheffield organ burnt. There are a mere two po
  2. I think that's being a little harsh. I interpret the spec as being that of the foundation of a straight concert organ on a very grand scale, with liberal use of extension in the (many) secondary divisions, for solo, imitative, cinematic, and special effects. In this it is quite different from a normal "theatre" style instrument. Notwithstanding this, it is also fair to say that extension is used rather more heavily in the pedal divisions than is normally the case for a concert organ.
  3. Having been fortunate to see inside it, I feel it cannot be described as anything other than a great - even monumental - feat of organbuilding. The grand excesses of the tonal scheme will not be to the personal taste of everyone, but I find they make a lot of sense within the context, which is - to say the least - unusual. Dare I even suggest it, but to my ears the 64' makes a definite musical contribution to several of the tracks of the 1998 CD.
  4. The spec is visible under the "Adopt a Pipe" page. https://www.svatovitskevarhany.com/en/pipe-adoption
  5. I have heard that claim before, from multiple sources. It irritates me because it is, by whatever measure is chosen, plainly wrong. http://die-orgelsite.de/ The number of three manual organs, in Europe, which have a greater number of ranks, stretches well into double figures. There even exists one three manual organ which, by the same measure, is over 40% larger.
  6. The BBC R3 recording of the inaugural recital is available at http://www.bbc.co.uk/programmes/b095qhsk I'll resist the temptation to opine based only on a recording, made in a rather challenging acoustic. However, most interesting is what TT says - or, indeed, does not say - during the interview.
  7. Tangential, maybe, but for me hearing the Wanamaker organ in the building offered no extra insight into its tonal qualities or grandeur over that evident on the fabulous and readily available Keith Chapman/Peter Conte recordings. In short - the lavish sweeping orchestral, string and crescendo effects are remarkable - if not unique - but there the distinction ends. Looking closer to home, however, there is the much smaller organ, of a similar vintage, in a school chapel in Suffolk, which for me offers a more compelling illustration of the possibilities of "blank cheque" organbuilding. The q
  8. I imagine that even at today's prices this buys quite a lot of organ: http://www.manchestereveningnews.co.uk/news/greater-manchester-news/manchester-cathedral-church-celebrating-25-7200728
  9. Just to pick up on a couple of points here, one with my AP hat on and one without. I don't believe Stephen Smith posts in this forum (or even reads it), but for one I'm glad to see that organrecitals.com is appreciated. I've been pleased to be able to provide some of the technology behind it as a way of "giving a little back" to the community which has given me much interest and pleasure over the years. Stephen puts in a tremendous amount of time keeping the site up-to-date and it's important to me that the technology allows him to make the most efficient use of his time. In common wit
  10. By sheer coincidence, I listened to this CD from start to finish just a few days ago, and the effect of these old recordings caught me quite by surprise. I think it's about time that a snippet of the other scorching Dupre performance - the first movement of the Widor VI - found its way to that page, and it has... There are many wonderful moments here, but one of my personal favourites is Goss-Custard's build-up to full swell in "AD1620" which is still awe-inspiring no matter how many times one listens to it!
  11. The most recent discussions between the Appeal and the Palace Management regarding our wish to tender the contract took place some six months ago. Note, however, that in keeping with our constitution we can only express a wish and can not mandate The Palace to take any particular course of action in this matter. Amongst those present were an external advisor to The Palace from the firm managing the proposed leasing process for the complex. After a wide-ranging discussion of all the possible options, it was the view of The Palace representatives that whilst a tendering process had consider
  12. John Sayer asks some thoughtful questions, many of which have not escaped consideration by various people involved with this project over the years. Whilst it may be true to state, in the strictest sense, that the future of the building is uncertain, this has been very much the case over its entire history and actually the current (i.e. 2005) climate for the building is much more positive than in the past. This is regularly demonstrated to me in direct fashion as I find it increasingly difficult to gain informal access due to constant commercial hirings of the Great Hall. Those who would '
  13. Those interested in the Ally Pally Organ may like to know that The Appeal has just published 11 new sound samples from a live concert played by David Dunnett in April 2004. They comprise a couple of minutes selected from each piece. We very much hope you enjoy listening to them. http://www.allypallyorgan.org.uk/recordings2004.php Stephen Walmsley APOA
  14. According to Elvin, who wrote an "Organ Notes" article in The Choir, for which I don't have a date, "The action was Barker Lever, with a clever system of pneumatic to the drawstops and pistons...". In the Musical Standard, 28 October 1899, an article in the "Organs of Great Britain" series states "The pneumatic lever for the manual key action is of the most approved design, and the Pedal Organ has Willis's Patent Tubular action. The drawstop and piston action is also pneumatic with "vacuum exhaust" on a system patented by the builder." In The Rotunda, March 1930, Willis III wote "Pedal
  15. The distinctive 32' front was indeed one of the many things which made the instrument remarkable. Its eventual recreation and reinstatement has been on the agenda from day one; in fact never even questioned to my knowledge. So to Mark's statement that "Any future creation must replicate this, otherwise it will disappoint.", I say "Amen!", along with the rest of the 1929 organ! My understanding of why It hasn't been done so far is that (as one might expect) the case and display pipes will be expensive to recreate. Both were tragically vapourised in the 1980 fire. I'm reliably informed that
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