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David Drinkell

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About David Drinkell

  • Rank
    Advanced Member
  • Birthday 10/12/55

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  • Gender
    Male
  • Location
    Fredericton Cathedral, New Brunswick
  • Interests
    Choral and organ music, food, wine and restaurants, architecture (especially old churches and Charles Rennie Macintosh), the Romney, Hythe and Dymchurch Railway....

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  1. Denis Bedard

    Fantasy on "O Canada", Cat Suite (very good and not at all serious!), Suite du deuxieme ton. There's lots more that I want to play, when I get round to learning them....
  2. Denis Bedard

    Garth Edmundson's Toccata-Prelude on Vom Himmel hoch? Hollywood meets J.S.Bach. Our mutual friends Ian Sadler introduced me to it - he said it was a favourite of Harry Gabb's at St. Paul's.
  3. Holy Trinity Coventry

    In the Stafford case, the Harrison was replaced in 1974 by a new Hill, Norman & Beard west-end organ (one of John Norman's clever instruments which save space by sharing basses) fronted by the old case (which had been bolted onto the Double Open Wood of the Harrison), but the Harrison was retained and used, although not restored. Although a magnificent instrument - and in a style which is probably more appreciated today than in the 70s - it suffers from entombment and is not heard at its best in the nave, where the liturgical action happens. I suppose that, after 43 years, the HNB organ must be due for an overhaul, too.....
  4. Saving the Walcker in Birmingham's Central Methodist Hall

    It may not count, as I don't think it was also an hotel, but the Plough at Great Munden, Hertfordshire, had a splendid Compton theatre organ, installed by the licensee, Gerald Carrington, who had worked for Comptons (he did the finishing at St. Olave, Hart Street, according to John Mee who was organist there). Gerald made some improvements, including substituting a Wurlitzer wooden Tibia for the Compton metal one (sweeter sound) and adding a grand piano. Alas, the pub is now a private house and the organ was taken into store.
  5. Happy Birthday, Francis

    I'm not on Facebook - I would waste too much time on it if I were - but my wife is and there's a group called the Francis Jackson Appreciation Society and the pictures appeared there. There are some more today, including a picture of a four manual birthday cake and Francis (looking a good deal less than 100) surrounded by his family.
  6. Happy Birthday, Francis

    There were pictures of Francis on Facebook yesterday attending a special Evensong of his music at York, entering through a guard of honour of ex-choristers and looking a good deal less than 100. So many people, myself included, have been the recipients of his kindness and have been inspired by him. I wish him a very happy birthday.
  7. The Lewis At Teddington

    Yup - and a 32' reed! It really was one heck of a lot of organ for a small church, but it fitted like a glove.
  8. The Lewis At Teddington

    I played at St. Jude's, Thornton Heath in the late seventies. As mentioned above, by then it was in dire need of a restoration, but what a superb instrument it was! I can hear it in my mind's ear still.....
  9. Phantom of the Opera

    I'm doing a "Phantom" accompaniment, too - on October 30th at St. Paul's United Church, Fredericton, New Brunswick. This is a first for me, so it will be an interesting experience. I remember playing the old organ at St. Oswald's, Durham. Alarmingly, this must have been over 40 years ago!
  10. Nicholson Organs website

    I got straight in just now. As for US Immigration, it seems to us living in Canada that there are more Americans trying to get out than others trying to get in. The Trump hath sounded.....
  11. Where is better for a manual 16' flue?

    Yes - that's a handy device. Holy Trinity, Winchmore Hill, London, had a very decent Speechley (destroyed by fire many years ago), which had no Swell 16' reed, but a Contra Fagotto on the (enclosed) Choir. One could do a lot of things with that set-up.
  12. Buckfast Abbey

    It looks like a typically ornate North American console from the first half of the twentieth century to me - no criticism intended by that, just an observation. I look forward to hearing opinions of the instruments when they are completed - with luck I might even hear or play them myself!
  13. Where is better for a manual 16' flue?

    The Fredericton Cathedral organ, my present steed, is an example of North American practice at the time when it was built (early twentieth century, new console in the fifties but no tonal changes). The absence of a 16' Swell reed is a severe piece of gormlessness, but that's the way they thought in those days. The Echo Organ was apparently originally meant to go at the west end, although the building isn't of a size to require antiphonal effects or a nave organ (if anyone knows Snettisham Church in Norfolk, ours is a copy, but with the chancel east of the crossing - Snettisham lost theirs after the Reformation). So the Echo is on the west wall of the Lady Chapel, almost above the player's head, and does virtually nothing that can't be achieved in the main organ, which fills the north transept. We really need a Tuba! I have been dropping heavy hints ever since I arrived. As I have mentioned before in this forum, I have preferred a full set of couplers operated by rocking tablets above the top manual ever since I was in charge of the Willis at Kirkwall Cathedral. Fredericton is an example, the norm with Casavant at the time, where the inter-departmental couplers are tabs above the top manual but the Octaves and Subs are by drawstop with their respective departments. I don't care for this, although it means that they can be operated by the capture system for their respective departments. Also, there are no Unison Off couplers, which I also miss. There is no doubt, in my experience, that a complete set of octaves, subs and unison offs gives a vastly increased palette, doubles included - which brings us by a somewhat roundabout route back to the original topic.
  14. Where is better for a manual 16' flue?

    I've always found that a 16' reed in the Swell is the best and most useful stop as a first double. There's a lot of repertoire which calls for it, it makes the best full swell effects and can be useful coupled to the Pedal. If it can be done (as it usually can in North America with a full set of couplers), the Swell principal chorus with 16' reed coupled to the Great at 4' pitch and to the Pedal at unison pitch is a very useful device. On the Great, a 16' Geigen is versatile. I've never cared for manual bourdons, quintatons, etc, although I know they are supposed to be right for certain things - the effect just doesn't appeal to me....
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