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john carter

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Everything posted by john carter

  1. David Elliott, who is a contributor to this board, is based at the Anglican Church in Lausanne. I would suggest you contact him. JC
  2. Of course, not every organ of note is in a Church or Cathedral. In my opinion, the Royal Festival Hall organ is just as historically important as some of the quaint examples on the HOCS list, yet it does not seem to have been afforded any protection. JC
  3. And Derby Cathedral if I remember correctly. I grew up with instruments using Compton illuminated stopheads and have always been comfortable with them. JC
  4. And if it was my choice, it would be the first source for small but significant savings. I am prepared to be corrected, but I am unaware of anything worthwhile that English Heritage has achieved to date. As to your quote about Dutch hospitals being the best in Europe, I have no doubt they are good, but I would be keen to know the basis on which you make the sweeping claim that they are the best. JC
  5. In case you had not noticed, the government does not have any money - only taxpayers provide money. I hardly think many of them would be happy to have a quango of organ advisors splashing their money around whilst people are dying from cancer for lack of drugs. I am afraid if people really want to preserve organs of genuine value, they will have to be prepared to find the money themselves. JC
  6. I have tried to compose a reply, but words fail me. It's probably just as well.
  7. Sorry, I am quietly screaming now. I can't help thinking that if the ISM represented tube drivers, they would expect them to be paid according to the number of passengers on the train. Surely one "equitable" all-in fee for the job is the more sensible approach rather than this quaint belief that you somehow "own" a performance and have to be rewarded in dribs and drabs whenever it is used, with all the costly overheads and bureaucracy that entails?
  8. Oh, please don't do that. Let's discuss something uncontroversial like Bach's preferred composition of mixtures instead. JC
  9. If, in perhaps half of root canal procedures, filming for and by family and friends was normal practice, I would expect him to get on and do his job without complaint or extra charge.
  10. I think you misunderstand what I am saying. My dentist charges £250 an hour, so I see no problem with a professional organist charging a similar amount for a wedding. Both require skill, training and preparation to perform their job and should be appropriately rewarded. I just think it is silly to distinguish between video and non video. Yes, I do think a wedding photographer is different from a wedding singer and, like the organist, I think a realistic professional fee should be charged. I take the point about long periods of inconceivable tedium in television - it just happens to be the time when other professionals are doing their bit. I am pleased to see the resurgence of live bands but still regret the absence of orchestras from our screens. I am long retired from the business, so things may have changed in recent times.
  11. I am indeed ignoring performance rights because I do not think they are relevant in the case of weddings and funerals. If the resulting tapes were to be exhibited to a paying audience, there might be some justification for a share of the ticket revenue, but we are not talking of celebrity weddings here are we? I think the case for authors and photographers is different. They are manufacturing a product for commercial sale, not providing a service for which they receive a fee. In television I worked in a range of operational posts in studio production before moving into management. In both capacities, I was frustrated by the intransigence of some musicians. In the end, producers could no longer be bothered to employ them.
  12. I am not a professional musician and I don't wish to cause offence, but what additional work is being done that justifies a higher fee? There should be an hourly rate that reflects the number of hours of effort required. As a former broadcaster, I saw a sharp decline in the employment of musicians as a result of unreasonable demands. I'm sorry, double fees just for a video, in this day and age, put me in mind of duck houses and moat maintenance! Take care not to talk yourselves out of a job. JC
  13. But my reading of the text is that Bach liked the vibrancy and tone of Silbermann organs and this comment came after two hours playing on one new instrument. At some time, all of us have sat down at a new instrument and have commented on the voicing. I am sure, even at Worcester, some of our number might have criticised the sound - some might even have felt nostalgia for its predecessor! Taking this comment to suggest Bach criticised all Silbermann mixtures is unreasonable. It also says that Bach admired the powerful organs of Arp Schitger in Northern Germany - what young organist wouldn't? It doesn't tell us what he would have chosen to live with from day to day. JC
  14. This is a very precise statement. Please can you tell me where I can find documentary evidence for this claim? Are they Bach's actual words - or are they, perhaps, the words of an organ builder who was trying to claim some celebrity endorsement and criticise his competitor? A marketing technique not totally unknown even today... JC
  15. But does it become clearer every day that he actually liked them or used them? JC
  16. I think the Walcha recordings are a repackaged version of a set I have had for a few years. They are from the original "Archiv" recordings issued in the 1950s on LP which were responsible for teaching me a great deal about the music when I was in my teens. They are very scholarly and precise and I still find them a good point of reference. The recording quality is fine on my copies, and stand the test of time very well considering that they are 60 years old. I am glad you raised the point about the short pauses, or hesitations, which equally make me feel uncomfortable.
  17. Not too fast for me! Just right and a very pleasing sound. The lack of continuity in the video editing was strange, but that isn't what matters here. JC
  18. Congregational Praise lists three alternative tunes: Wilmington (Erik Routley), Liverpool (John Roberts) and Horbury (J B Dykes). Please let me have your e-mail address if you would like a scan of the relevant pages. JC
  19. Next time you speak to David, you can say that I still listen to that recording and it gives me much pleasure 28 years on, not least because of my links with the Katarina Church. However, I would be interested to learn whether he would approach it in the same way today. But much as I admire David's recording, I still go back to Fernando Germani, who first introduced me to Franck, as my point of reference.
  20. Would you expect Marks and Spencer to pay for an advertisement by Waitrose?
  21. If money and space are limited, why not go for a decent piano, as we have in my own Church. Low running costs, low energy, total reliability and, hopefully, extremely long life.
  22. I know, I know! I'm not a Polish plumber, but I am capable of working it out. It doesn't stop me thinking it is pretentious. Even though I happen to use the Korean language sometimes doesn't mean I would ever expect a car or TV from that country to have controls labelled in Korean script. Now then, an organ with Korean stop names, that would be a challenge for you... 존카터
  23. Why on earth do we need to have unrecognisable stop names on an organ in the UK, especially somewhere as down to earth as Huddersfield? I thought Konicasta Flavta was one of the professionals in "Strictly Come Dancing". Perhaps it is just a case of my Pozavna is louder than yours? JC
  24. Thanks, Pierre. I am familiar with that recording and it is always a pleasure to hear the distinctive tones of the Anneessens organ. It is many years since I was last at Ieper Cathedral and I would love to hear some Howells on it. JC
  25. Or, perhaps, The Queen of all drawstops! JC
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