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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. That's as maybe, but it is the high price of metals that are likely to attract the thieves and, while they may not make as much as they thought, in today's high-priced environment, they could still stand to gain considerably. Prices are at a level where it is substantially worth the cost of recovering lead from alloys. And I read a report yesterday, which was forecasting average tin prices at $8,500/tonne for the rest of this year and $9,000/tonne for the whole of 2007. I shudder to think what today's metals prices are doing to organ builders' margins these days, or the cost of organ build
  2. I've wanted to post this for a while, but was reluctant to do so as I did not want to give anyone ideas. However, with metals prices at, or close to record levels, including tin and lead on the London Metal Exchange, I strongly urge organists to make sure their churches beef up their security. It would be a tragedy to hear of organ pipes diesappearing to thieves intent on melting them down to make a quick, small fortune on the scrap market, but it is a sad and real possibility in today's environment of staggeringly high metals and commodity prices. Primary copper is worth well over $7,000 a to
  3. In no particular order: Laurencekirk, Alkmaar (tonally, it has been lovingly untouched over the years) St Ouen, Rouen Westminster Cathedral (the big one) St Ignatuis Loyola, New York St Sernin, Toulouse A very nice Ken Tickell 3 stop continuo organ I saw used at St John's Smith Square once. Good for portability and adjustable pitch, including an extra pipe to allow a bottom C when working at A=415. I wouldn't mind also playing the Wurlitzer at the Winter Garden in Blackpool. St Ignatius happens to be my local parish church, so I get to hear it frequently.
  4. I think the 8ft flute on the swell, with seven ranks would be just as costly to build as seven individual stops, although you mention it would be an extended rank. That would give you some tuing issues, as for a mutation stop, you would want perfect fifths, or whatever the intervals are, as opposed to the unperfect fifths necessary for the 8ft stop to be in tune with itself at equal temperament, or other temperaments. That aside, I think a more useful stop than the Pedal 8ft Octave Wood would be an 8ft Open Diapason on the Swell, giving you two really independent choruses on the manual
  5. Try listening to Test Match Special during the cricket season, with headphones. Failing that, keep an eye on the time and after 15 minutes, draw the 'Open Pullpit Trapdoor' stop.
  6. Given the shameful record of one well-known French music publiser, it is perfectly possible that there are inaccuracies in Louis Vierne's published symphonies. The only way of telling for sure is to go back to the manuscripts. Even then, you have to bear in mind that Vierne was blind for most of his adult life and, therefore, probably relied on dictating his compositions, which could have created the opportunity for the introduction of errors to his scores as they were being committed to paper. If you take some of the published works of Widor and Fauré by Hamelle, it is not hard to find sc
  7. 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
  8. I am loathe to judge an instrument purely on the basis of a single hearing of a recorded performance over the web. I listened to it over headphones and the bass is huge, just as I found with the Pipedreams webcast of the new Mander in Atlanta. I guess headphones over the web really pushes the bass. But my computer is not wired up to good speakers, just the built-in laptop speakers, which are like a small, transistor radio type speaker. That said, from what I heard, this organ does not strke me as a true neo-classical organ, as Pierre described it, in the full sense of what I understand the
  9. I'm guessing that it was the microphone placements, as I have been told by an organist who played there that the room is pretty good.
  10. This is an interesting response. I never said the piece was well-written, only that it was fun to do. But I disagree with your view that it is a badly written piece. But this is subjective. If you look, or listen to the choral writing, it makes no attempt at minimalism, there is too much material for it to be minimalist in the Glass or Adams school. And the other movements are not strictly minimalist either. I'm not a great fan of the minimalist school but, personally, I believe John Adams has had something to say where others have failed, but, again, this is subjective. I only see
  11. I listened to a large part of this programme yesterday, but wished I'd heard the radio broadcast, because I am sure the sound would have been much better. Nevertheless, the organ sounded good. But the pedal foundation tone sounded very strong and thick, and that could be to do with the webcast as well. The accoustic sounded on the dry side, although I am reliably informed by an eminent organist who gave one of the early recitals that the room is actually pretty good. The strings reminded me of St Ignatius, sometimes, which is not surprising given that it is the same builder, although somebody
  12. It all looks spectacular to me, including the console. The case is a real architectural gem and fits in well with the older architecture of the church. This looks like really imaginative and inspired work and visually, at least, it all looks like a breath of fresh air. The case designer has been very bold in doing something, which is not the norn, not a cliché or a piece of pastiche. I fear that all too often, new instruments look like pastiche reworkings of classic old 18th century cases and this looks like a refreshing change to me and a product of our own times. I look forward to hearing th
  13. 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
  14. From what I've read about new organs built by Mander in challenging buildings, the company has done its best to design the internal layout to maximise the egress of sound into the building. The new organ built in St Louis, Missouri, a couple of years ago was one such example, but the good work of the builders and voicers has reportedly been destroyed by the subsequent installation of carpeting. In some churches, where a lack of height forces the swell to be placed behind the great, some organ builders put the bigger reeds on separate chests and voice them on higher pressures and make them
  15. I think you are right that what people consider to be good accoustics is subjective. Personally, I think the Royal Festival Hall has a far worse accoustic than the Royal Albert Hall, despite the latter's faults. The RAH does at least have some warmth to it. That said, piano recitals work pretty well in the RFH. I've not heard the Marcussen at Bridgewater Hall, Manchester, so I cannot comment. I have heard orchestras play there and the accoustic is nothing like that of Symphony Hall, Birmingham. However, I would not say that it is a bad accoustic. Speaking of Symphony Hall, despite the
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