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Colin Goulden

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About Colin Goulden

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  1. I have been interested in the various comments about humidifiers as I have just had a DAC case (no names!) passed to me where the Vicar has asked for advice concerning a humidifier dispute at his normal Sunday heated church that has been going on for some six months!. Their well known blower supplier has described terrible things that will happen if the humidifier is switched off and the organ tuner has described all the horrible things that might happen if they don't turn the humidifier off. The Vicar has asked for a definitive answer as to who is right so he can make a decision and stic
  2. Colin Goulden


    Some of the answers re the GTB recording have already been made by Martin Stanley. The items on the Vista LP that were recorded at ASLP were made at the same time as he recorded the Reubke and I turned the pages for this recording. GTB was reluctant to record solo organ LP's, certainly in his later years and Michael Smythe took the opportunity to record the additional items whilst he had the opportunity. The Reubke was played straight through with just a short break before the fugue which was of course eliminated on the LP. Otherwise, as mentioned, there were no retakes or editing. Quite a f
  3. Well said Paul, I quite agree with all you say.
  4. Having just returned from Marlborough College, on behalf of my guest (Chris) and myself, may I thank our hosts, the two Ian's, for their hospitality and allowing us to see, hear and play their magnificent new Beckereth organ. It is an instrument of quality which already has its own personilty and character, something often lacking in new instruments these days despite the fine quality of the workmanship. Having also attended the Inaugural Service and Recital, I found that it was well able to produce the right tone colours for a variety of different periods of organ music, both for the volu
  5. I am delighted to endorse the above comments Adrian. I used to play the old organ when David Willcocks was Organist and look forward to hearing the new instrument in due course. All best wshes Colin
  6. Thanks for this - it is a bit more imaginative than I had in mind! I think the Coventry Cathedral spec is more to my liking for a new British cathedral organ and copes with a lot of repertoire very successfully without forfeiting its integrity. It is also a splendid instrument for accompanying the services. However, to get back to the subject, what is your opinion on the Marlborough organ so far? Although of course a proper comment cannot be made until it is heard! Colin
  7. I do not know the Brussels instrument but was thinking of St Eustache which I have heard in the building, and Les Alpe d'huit which I have heard on a CD. Both specs are imaginative (IMHO). Of course we have wonderful organs here and I think it is splendid you are promoting British organs in Belgium and for an imaginative specification and voicing I have a special regard for Coventry Cthedral' H&H. Regards Colin PS I always enjoy your contributions to this board!
  8. I totally agree with Paul and John Sayer. Does it really matter what the stops are called apart from the interest for collecters of specifications - (maybe it does - another thread perhaps?) The sound is of course what matters which largely depends on the skill of the voicer. We must have all drawn stops called one thing and that sound like something completely different. The Marlborough specification is certainly different from some recent standard (boring looking?) specifications and should provide great interest for the scholars. I for one am certainly looking forward to hearin
  9. Ajj is correct. It is The Duchess of Kent we have to thank for the popularity of the Widor at Weddings and the wedding was at York Minster - although I guess organists with a 1 manual and no pedals might not be so thankful! The Duchess is an organist and used to practice on the Chapel Royal organ at St James's Palace - then conveniently next door to her appartments. I would guess that Francis Jackson suggested that the Widor would be a good exit voluntary - and so it would have been at York. At the time, a breath of fresh air. CRG
  10. I first met Germani when, as a schoolboy, I turned the pages for his recording of all the Bach organ works at All Souls, Langham Place. Only one LP (which I have) was issued and the Bach was then re-recorded at Alkmaar as a more authentic sound was required. I subsequently stayed with Germani and his family in Rome and we all went on various holidays to the south of Italy - sometimes visiting organs which he had designed but usually relaxing by the sea and visiting the now well known tourist sites - Vesuvius, Pompeii etc. I also practised on his 2 manual pipe organ in the Rome house. I ha
  11. [size=7] I had the pleasure of making this recording at St Pauls when Fernando Germani was staying with me as he did on many occasions during his visits to England. I recorded it on an MSS machine - English made and similar to a Revox and using a single mono microphone - if only I had had a modern digital recorder! Germani recorded the Franck chorale at my request as well as the Grand Piece Symphonique and Finale - all without rehearsal or any retakes and from memory. John Dykes Bower was with me and was impressed with his management of the organ and use of the Dome chorus. A memorable eveni
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