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Goldsmith's Achievements


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  1. I used to play this instrument as a student in Leeds about 16 years ago; St Mark's had just been re-opened, after a period of closure made necessary by the occasional chunk of falling masonry. Gorgeous instrument in a lovely church/acoustic. I also used to deputize at All Souls. Here, it was told that the organ had been used by A&S as a 'demonstration' instrument, thanks to it's close proximity to the A&S factory. The pipework of the Great mixture had been removed, apparently when the lady donor had left the parish in a fit of pique! Another glorious building with a small but dedicated community, which had just been re-founded as a 'plant' from St Michael, Headingley, following some serious difficulties. My 'everyday' practice instrument was at St Augustine, Wrangthorn. Another beautifully voiced A&S of great character - and a versatility not obvious from its spec - though in poor shape. Cheers, G
  2. From where I sat in the Grand Tier, the balance was perfect; stunning perfomances all round. I think I've come to realize that contrary to what's often said, the organ is really NOT best heard from the Circle: the big reeds and mixtures are almost unbearable and the sound is top-heavy. From where I sat, the organ provided perfect support (and again in Bluebeard's Castle last night). After all, the RAH isn't the only building where a great instrument is at the mercy of the acoustic in a big space. The Westminster Cathedral organ, for example, sounds similarly unbearable in the rear quarter of the nave, but completely puny from the Apse.
  3. No, my tutoring was not so long ago; I may sound 100, but many organists do... I'm a PG law student, tho' not in the area of Torts, so am by no means an expert on Defamation (my partner, who is a Senior Lecturer in Criminal Law isn't much help here either). You're quite right about the burden of proof, but a claimant would be very unwise to pursue an action in Defamation if the statement were true... I don't wish to argue tho', and to be honest I have not followed this thread properly. We're very grateful to you as hosts; the discussion is always lively. Very happy to abide by your rules! Cheers.
  4. :angry: I shall resist elaboration of this thought...
  5. Is there a book?! Crikey. I suppose a book might be easier to contradict than the real thing...
  6. A distinguished and influential lady teacher working from the Barbican area of the city of London strictly advocates NO ties whatsoever. Legato in all parts, except for repeated notes. And between verses, strictly two beats' rest, with preceding chords lengthened/shortened accordingly.
  7. According to imdb, it's the Reuter factory in Lawrence, Kansas: http://www.imdb.com/title/tt0055830/locations Wish I'd seen it!
  8. I'm pretty certain it's an error on the disc: compare it with the opening of the Scherzo... See!
  9. 'One good reason for having pseudonyms is that contributors will not find their less well-judged postings called up by anyone who chooses to google their names (which has now become a routine way of checking out people).' Quite. It's also worth noticing that many of the fruitier posts are made rather late in the day; the sun is certainly well over the yard arm and one may detect the influence of the waning Rioja bottle...
  10. I must express sympathy with the frustration imputed to PL. The continual refusal to think seriously about the instrument in different historical and cultural manifestations (expressed, for example, in the constant sniping at the poor old Tromba) is pretty depressing. Apologies if this sounds humorless, but these sort of remarks don't encourage discussion of any sort.
  11. Please don't stop 'pontificating', Paul! Your insights, anecdotes, wisdom etc. are a highlight of the board. I'll stop crawling now. All best wishes, Matthew
  12. Despite the other recommendations, I'd go for Christopher Herrick's Organ Dreans II on the lovely Harrison at Ripon. A real gem on Hyperion. http://www.hyperion-records.co.uk/
  13. I was particularly fond of the ESSO (?) advert which used the nachtmusik from Mahler's Seventh Symphony... Fab!
  14. 'an instrument that is supposed to be about subtlety of nuance and colour' Really? According to whom? The Downside Compton is a treasure. And what a great piece! Who wrote it?
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