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john carter

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Everything posted by john carter

  1. Oh Yes! I'm sure Howells would sound good at Ieper. If you have any links to recordings, I would be interested to hear them. JC
  2. Having been away from the forum over the summer, it is a delight to come back and find pcnd5584 at his most incisive, MM back with us and already arguing with Vox and Pierre about Howells. It's a nice feeling to be back home! JC
  3. If DaXXX WaXXX is reading this, I would refer him/her to the first five verses of Matthew 7. I am appalled. JC
  4. Index number N11998 worked when I looked earlier today. JC
  5. I have never commissioned an organ, but prior to retirement I was responsible for some very large projects using public funds. I think Colin has hit the nail on the head here; the relationship with the contractor is the most important factor - more important even than cost. To be able to work with someone over a period of months it is important that each party trusts the other's judgment and that they share common objectives. I always preferred the contractor who took the trouble to listen to me, understand my requirements and share my enthusiasm for the project, rather than one who just wished to make his life easy and offer a standard solution. JC
  6. I completely agree with you, Paul. You have expressed it much better than I did in the heat of the moment. I believe strong, sometimes opposing, views and witty banter are part of the success of this forum, but not personal animosity. JC
  7. Am I the only one here who is sick and tired of this bickering? It is most discourteous to Manders who so generously host this forum. Kindly settle your differences elswhere rather than making the rest of us feel uncomfortable. JC
  8. Now why didn't I think of that...? Another guilty admission, yes I am an addict. I wonder if there is a César Franck Anonymous group somewhere! JC
  9. I'm afraid you have lost this old codger there. Cold Fusion? Cystic Fibrosis? I hope it isn't too unkind! JC
  10. Just to stoke up the controversy, I would also mention the last section of Grand Pièce Symphonique as a piece that can outstay its welcome, though I love the remainder of the work. I rather wish I hadn't read the recommended tempi for Pastorale and Prélude, Fugue and Variation. I will guiltily admit that I prefer the outer sections of both works to be gentle, contrasting a more energetic approach to the quasi allegretto and fugue respectively. JC
  11. Further amendments: I have listened to Marchal, Langlais, M-C Alain, Sanger, Pincemaille and Lebrun. All the players take the last few pages faster than the opening. Having re-read Paul Walton's quote from Rollin Smith, three short passages starting at bar 306 are indeed taken at 160 by Langlais and 180 by Marchal, easing back slightly at bar 336. David Sanger makes quite a brisk 134-ish start increasing to 144-ish at the end, a speed at which Pierre Pincemaille starts! My favourite remains Langlais, but then his was the first performance of this work that I ever heard, so it made quite an impression. JC
  12. I have just tried it and the link from NPOR definitely isn't working. JC
  13. To me, the sound is reminiscent of the 1898 C-C organ at Sta. Maria, Azkoitia in Spain. JC
  14. According to the website it was changed to EP in 1955 and updated again in 1983. JC
  15. Somehow, I don't think Mander Forum readers will be reminiscing about the Diane Bish recording in 79 years time! Even considering the poor recording quality, the registration seems to follow neither the spirit nor the letter of the composer's indications. The Dupré is superb and the recording is amazing given its age. JC
  16. We have a video demonstration of this instrument by our (greatly missed) contributor, Nigel Allcoat, in the "Baroque Organ Tone" thread in this forum. JC
  17. I found this a fascinating and surprising performance. Dark and sombre, evoking much more the price of heroism than its triumph; the few moments of optimism trampled by marching armies. I would love to know what was in Harold Darke's mind when he first worked on this piece. JC
  18. And thank you from me, Brian. I was convinced that it was by Eric Coates or Haydn Wood and I spent ages ploughing through dozens of their works, becoming increasingly frustrated at my lack of success. The ear-worm has now been satisfied and I am no longer going round the house humming the tune. JC
  19. If that is what the congregation find helpful in their worship, I am happy for them to interpret the music in that way. But I'm sorry to say that I found no inspiration in it. While listening, I thought of the words of Prince Charles "Like a carbuncle on the face of an old friend". JC
  20. I wonder, Pierre, if you meant to write "awesome" rather than "awful*"? It sounds very fine to me both in the tone colours and the performance. * The word has two different, but opposite, meanings in English, but is most commonly used to mean something bad. JC
  21. Thanks, that is a helpful insight. JC
  22. I have not been to Warwick for many years. Please could contributors explain what it is that makes the present organ unpleasant or incredible? JC
  23. Yes, your edition is certainly different from mine. I have just listened to two recordings I have - David Sanger uses a céleste at that point whereas Colin Walsh does not. I do not know which is correct, but having tried Céleste on its own and Flûtes 8,4 plus trem, I find either satisfactory. The fact that my edition reads Voix Celeste and tremulant makes me suspect it is an error. Confusing isn't it? JC
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