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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 stick with it! Any ideas or suggestions would be appreciated as I must confess I am at a loss to know what to do or reccomend about this problem!! Many thanks in advance! CRG
  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 feat for anyone and especially remarkable in view of his age especially as the recording was made late in the evening to avoid extraneous traffic noises. GTB was a prodigious sight reader and an outstanding pianist and his practice mainly consisted of anotating his copy with the required piston changes and stop additions which were always meticuously planned and nothing was left to chance. He was always well rehearsed but often used to like to say to me that he had had very little time to practice! The only time I remember things not going quite to plan was at his RAH recital - although his powers of recovery were such that I doubt if many - or indeed if any - members of the audience would have noticed anything untoward. He remarked that something always went wrong for him at the RAH. I always remember GTB telling me that if you made a mistake with the registration, you should continue with it until there was a suitable opportunity to change - people might think the choice of stops unusual but not be certain you hadn't planned it! When playing arrangements, GTB had no hesitation in changing or augmenting the written copy if he thought it would improve the result for the audience. He virtually stopped playing Bach because of the change in fashion but his way of registering would today be once again appreciated. He had a dislike of organ recitals then in vogue, featuring early music played throughout on the same stop and was of course renown for his colourful accompaniements. GTB would not improvise in public and his interludes and fill-in moments at the Temple were always written out including the minute or so at the end of the Broadcast Daily Service - these were later published and are useful minatures for every church organist. I agree with MStanley that GTB was always great company and full of anecdotes. He looked slightly austere and unapproachable but nothing could have bee further from the truth. He was a charming and delightful gentleman who always had time for you and was very encouraging to anyone who showed interest in the organ. I count it a privelege to have known him, initially through his playing for the BBC Daily Services then broadcast live from my church. CRG
  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 voluntaries and in recital use as well as accompanying the excellent choir and leading the full congregation. I know the eclectic specification and the use of some old stops has been criticised and of course everyone is entitled to and will have their own opinion, but I feel that the voicer has been able to bring all these elements together and has produced a unified and versatile instrument. It was a delightful idea to bring together many members of the board and good to meet old and new friends and we also enjoyed some fine playing! Perhaps more such visits could be arranged from time to time? Best wishes Colin I see I should have said Tim and Ian Apologies!
  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 hearing this insrument in the building and well remember the previous rather disappointing organ. Perhaps we need new ideas for organs in England rather than just copies of previous instruments with slightly different specifications - you may not like Jean Guillou's specifications but the instruments are never dull or bland. This is a very interesting and enjoyable site - with many thanks again to John Mander.
  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 have many letters, photos and recordings of those times and in fact at Nicolas Kynaston's suggestion I wrote some of my memories of Germani in an article for the Journal of The Organ Club. I am very pleased to hear that my original tapes of Germani at St Pauls are still being enjoyed! Best wishes Colin
  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 evening. I subsequently transferred these recordings onto cassette and more recently to CD. The original tapes went to a friend of mine and then to Martin Monkman. I arranged many recitals for Germani through his agent, Ibbs & Tillett, including All Souls, Langham Place, Woburn PC, Alll Saints, Margaret Street, Kings Cambridge etc. and recorded many of these recitals. I hope this information is of interest Nigel! Best regards C
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