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Anthony Poole

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About Anthony Poole

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    Advanced Member
  • Birthday 12/04/1965

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  • Location
    New York City, New York
  • Interests
    Music of almost all types, plus musical instruments. I am a very keen cyclist who would love to race, but has to balance family life with the many hours required for training. But I like to do long rides in excess of 100 miles a day, and get a great thrill of descending hills above 35 mph, when conditions allow.
  1. Unfortunately, I cannot attempt to answer all of your questions, because I simply do not know enough of the history. However, I understand from all accounts I have read that the Altar division you referred to was inaudible. Why spend the money to restore it, or worst still, why spend the money on trying to make the division audible, which could have proved to be an exercise in futility and, therefore, a waste of money? I believe the pipework is still there and the soundboard, just disconnected. I don't believe Williss III made any attempt to pass off the diapason chorus in the southeast qu
  2. A comment like this is just crass and uninformed, especially when one considers that Mander restored the RAH organ (adding one additional stop) tonally as it had been left by Harrisons in the 1920s, which was radically different from the organ originally built by Father Willis. And in any case, HW IV retired some time ago. Regardless of whatever the reputation of Henry Willis & Sons was under HW IV, it should have no bearing on its reputation today. To question the professional reputation of another company in writing in a public forum like this is libellous if people take your remark
  3. This console looks very similar to the console at St Matthew's. I've not seen another one like it.
  4. The three manual instrument you mention at St Matthew's in London was in Ealing in west London for what was then a new church, built on Ealing Common. I am a native of Ealing, grew up there, but have since been transplanted to New York. But I know the church well and the organ, having played it many times. Unfortunately, it is not in its original condition. I believe it was originally a two manual instrument with pneumatic action, with the console detached from the instrument and placed opposite in the choir stalls. The organ was enlarged in 1912 by Brindley & Foster to three manua
  5. I've not looked at the news section on the website for a long time and I had no idea about the new organ in St Alban's. At last a significant new instrument in Britain for you, rather than having to export. Let's hope this is a turning point in the choice of organ builders for new organ requirements in Britain. How would you describe the style of this instrument, given that it obviously has a liturgical role to play first and foremost, in addition to being a competition/recital instrument? The disposition looks interesting from the drawing. Where does the Great sit in relation to the Swell and
  6. Not only was an organ not envisaged at the Barbican, but I don't think music was given much consideration. To my mind, the only satisfacgtory solution to the Barbican Hall is several thousand pounds of high explosives and start all over again. Use the opportunity to build a world class concert hall with accoustics to match and with all the modern staging and lighting facilities that a modern concert hall demands, crowned with an outstanding pipe organ by a British builder. If we can get orchestral and organ playing accepted as an Olympic sport, then maybe London could have just such a conc
  7. I think the most useful feature of the Klais at St John's Smith Sq is the 'off' switch. And I prefer Westminster Cathedral's grand Willis III to St Paul's Cathedral, but that's just my personal opinion. But, on a more serious note, as a capital city, London is found wanting when it comes to the provision of concert halls. John Mander is right on the mark here. Of course, had it not have been for the Luftwaffe, we would still have the Queen's Hall in London, said to be an accoustic marvel and one of the finest condert hall accoustics in Europe. It is a shame that one of the London o
  8. I only ever heard the GD&B at New College on Peter Hurfor'ds Bach recordings, which I've not listened to for at least 20 years. I remember it coming over as being in a fairly dead accoustic and it crying out for something warmer and more sympathetic. I have only encountered two GD&B instruments in the flesh: St Paul's Girls School, Hammersmith; and St Mary's South Woodford. I remember being very impressed with the St Paul's Girl's School instrument, more so than the Mander in St Paul's Boy's School, which was in a tiny room and had a lot of organ for such a small chapel. But I
  9. This is a somewhat tongue-in-cheek post, but I've wondered for some time where the term organ voluntary comes from? A church where I occasionally stood in for the organist when he was on holiday had another standby organist who used to describe his playing of organ voluntaries as "organ compulsories". Was it simply something that the organist volunteered at the end of a service, or does it have another origin? Posting this also reminds me of an organ voluntary nightmare. I once played a voluntary on an instrument in need of some real tender loving care, cipher upon cipher ensued, but I man
  10. This is truly a sad and sorry tale of spectacular incompetence and negligence. I hope the accounts of the fund stand up to scrutiny, quite apart from anything else. But this almost sounds like the plot of a movie. If somebody could get a film studio interested in making the film, as part of the process they would need an organ to film and might pay for it to be rebuilt, with a competent committee, consultant and the whole thing put out to competitive and artistic tender.
  11. I don't know the organ at Ste Clothilde, either in its present form, or what it was like in Fanck's day, so I can't do a comparison. All I can say is that at St Ignatius, you are right in that the solo qualities of the Bassoon-Hautbois/Trompette combination are certainly exploited, especially with a foundation. And the reeds of the Petit Récit do also work well with the foundations on the Grande Orgue. The Director of Music, Kent Tritle, makes reference to using the combination of Hautbois/Trompette on this division in a recording that features Frank, among other composers. Of course,
  12. The more I think about this, the less I'm able to get my brain around it. Looking again at Cavaillé-Coll's original drawing, I can see some logic to the layout you describe. I thought his drawing was merely referring to the disposition of the stops and not just the manual keyboards. Although if you look at what the drawing is called, it does say clearly that it shows the disposition of the manual keyboards and stops. I must have mis-read what CC described in his drawing. But having the Récit such a long way from the Grande Orgue and the Grande Choeur must have presented a challenge. So if
  13. The manual layout of Cavaillé-Coll's grande orgue at St Sulpice could still be the subject of some debate. On the organ's website, there are some detailed drawings of vertical elevations of the organ and a detailed layout drawing of the disposition stops on the console, dated 29th April, 1862, but the resolution is not good enough to determine which manual connects with what. Moreover, the location of soundboards for a particular manual is not clear or labelled. One can take a guess as to what they are. The only things that are obvious are the 16ft and 32ft Pedal reed pipes, the fake 'en chema
  14. It is difficult to suggest the direction for a possible solution without knowing all the facts. Are we talking about what were once two distinct instruments at either end of the church? Or was there one large organ origianally, that was split and altered? Is there an organ loft at the west end of the church where the 'west end' organ is sited. Did the choir once sing from that loft? If so, that might explain why the choir division is in the west end of the church, rather than the east end. Was the east end division added because the church preferred to bring the focus of the musical li
  15. Another thing to consider is the use of the Grande Oruge 8ft foundations without the Montre 8. Messiean calls for it in one of the variations in the second movement of L'Ascension Suite, starting with just the Gambe, then he asks for the Bourdon to be added and then the Flûte Harmonique. The effect is very interesting when played on an organ with these foundations that are voiced along the lines I described. I think a more accurate composition of a not untypical Cavaillé-Coll G.O. Bourdon 8ft stop is the one described by Barry Jordan, with wooden stopped basses in the bottom octave, a teno
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