PAUL GOODMAN
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Posts posted by PAUL GOODMAN
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I agree with Vox Humana, although I don't think one CC has any bearing on what another CC might do, and they are totally different in what they do.
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I have heard this organ played live several times, and to my mind the only person who really uses it's mighty resources properly is Peter Conte. For many years the organ did not have a reliable combination action, but it now has this and many of the departments and stops which did not function for years now work properly. The acoustic of the building has also been improved radically in recent years, and the tuning has always been very good when I have heard it.
The sound of many, many layers of shimmering strings being added is utterly magical and totally unique.
Apparently there is some clause in place that whoever runs the store has to maintain the organ. The only drawback is that it is usually played during shopping hours when there is a high background noise. There are one or two special recitals in a closed building, and they must be something very special.
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When I was a cheeky young boy of about 12 I remember bouncing up to AW when he emerged from the organ screen steps at Canterbury, and asking if I could see the organ. I imagine he was thinking of getting away and having a nice quiet drink, but charmingly and enthusiastically invited me up to the (then 4 manual) console. Pressing a "full" general piston, he said "let's give the tourists a fright" and played a huge and horrific few chords of some Ridout work with a gleam in his eyes.
He then jumped off and said - have a go then. I had nothing with me so proceeded to play the tune to Eternal Father strong to save. Allan stood on the screen singing in full voice. An experience I will never forget.
He left me thinking that maybe Cathedral organists could be fun and were not all grumpy and dusty!
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Stephen Hicks, from Roros Norway (past pupil of Dupre, Marchal, and Boulanger) gives a recital at Bloomsbury Central Baptist Church 4pm Saturday 27th February followed by a buffet tea. Free entry.
Stephen has a stunning technique coupled with mature musicianship, and will include Variations on a Noel and Deux Esquisses by Dupre in his programme. Organ is the recently upgraded instrument featuring Binns pipework.
Stephen will also give a recital at St Alphage Burnt Oak on March 2nd at 7.30pm
Stephen rarely plays in the UK and so please come if you can.
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I have an Allen, so am biased towards them, but I think it depends on how much you are going to spend. If we are talking sub £10,000 then I would look at Allen Protege series - don't go for the Chapel series as they use inferior keyboards etc. Otherwise Viscount offer very good value for money. Also beware because the cheapest models of both use non standard size pedalboards etc.
Personally I would go the secondhand route, as I do not think the latest small Allen Organs are nearly as the MDS range, which was in production until about 1998.
Whilst the Hauptwerk option is a good one tonally, it always leaves very important factors to people who generally don't know about things such as speakers, amps, keyboards etc. At best they look like glorified Midi keyboards, and I like something tactice like a stop knob or tab, rather than a computer touch screen. Is there any company who custom build hauptwerk consoles/sound systems?
Hope this helps
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The main reason is the instruments, and the restrictions they impose on what Cameron would like to do. When he has not seen or played a particular instrument he is reluctant to put down a set programme. There are other factors which would also cause him to change what he might play.
Whatever he plays, be assured it will be an amazing experience for all who part with £15!
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Members of the forum may be interested to know that Stephen Hicks; who now lives and works in Norway - a well known name in the UK in the 70's and 80's is giving some recitals at the end of February in the UK. It is rare for him to play in the country now, and being in the winter I'm sure he could do with our support!
Link to Stephen Smith's Organ recitals.com:
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I have tried Marshall & Ogletree digital organ in Middle Collegiate Church NYC where Cameron Carpenter designed the organ. It has stops at 128 and 64 pitch driven by Thigpen Rotary Subwoofers. These devices are like aircraft propellers and can deliver unlimited volume levels down to 2hz. The sound of Sine Wave stops is very strange thud, giving a feeling similar to being punched in the stomach....not entirely musical.
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Quick link of an example of Nathan's playing
http://www.nathanlaube.com/index.php?p=aud...vid=RbcfsXsLD4U
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The tour for Nathan was an exercise in picking up the pieces left by Cameron not coming - so that determined the venues and dates. I'm sure Nathan would love to return to Durham (my favourite Cathedral organ) and give a concert.
Paul
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There has been some discussion here about Cameron Carpenter and the UK tour which was planned for summer of 2009. I can speak with a little authority as I planned and arranged all the tour venues. There were 11 in all and it is true that the whole thing has been cancelled by Cameron and his new Manager Richard Torrence.
This has caused me and a great number of people a great deal of stress and in some cases anger. While I can still see some reason for the cancellation - Cameron has the opportunity to make a second recording for Telarc, I can also agree with those who think it is very poor judgement by Cameron's management to break "contracts" with these important venues.
I have got to know Cameron quite well over the past year and wish to keep him as a friend so will not damn him as others have.
The GOOD NEWS OUT OF THIS IS THAT ANOTHER BRILLIANT AMERICAN ORGANIST CALLED NATHAN LAUBE IS TAKING OVER 7 OUT OF THE 11 VENUES ORIGINALLY BOOKED FOR CAMERON.
I would ask members to have a look at Nathan's webisite at www.nathanlaube.com as this gives information about the tour and his playing - which is stunning, but the tour dates are as follows:
Monday 17th August - All Souls Langham Place - 7.30pm
Wednesday 19th August - Exeter Cathedral - 8pm
Friday 21st August - Great Torrington Parish Church Devon - 7.30pm
Saturday 22nd August - Truro Cathedral - 7.30pm
Wednesday 26th August - Christchurch Priory - 7.30pm
Saturday 29th August - Canterbury Cathedral - 7.30pm
Saturday 5th September - Nichols Nymet House, North Tawton Devon - 7pm
Further details also at organrecitals.com
There may even be time to squeeze in one or two other engagements and if anyone is interested they should contact me here or at
paulsgoodman@hotmail.com
I do hope people will support Nathan and give him the recognition he deserves in the UK.
Paul Goodman
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Anyone who has visited Blenheim Palace will know that there is a 4 manual Father Willis organ in the Grand Library with a tin front going part way down the 32' octave of the Pedal Contra Violone. The pipes are still very bright considering they have been there since the 1890's. I presume the atmosphere in the room is much cleaner tha RAH and that they may have been cleaned.
I think they represent a good colour tone for what could be done at RAH, as they are not glaring in their effect, but look fresh and clean.
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The organ does not have a pipes/digital regulator, and I think they are of little use, because the problem is the pipes out of tune with themselves.
I would love to have a pipes only organ (although I see little point in real flue 16' basses when space is short in a house) - and I do have space for an organ chamber behind the music room with a hole cut in the wall. The only problem is I don't have the money!!!!
If I did it would be detached console electric action and some extension/duplication - would Mander build it??????????????
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I was upset to hear that the grand organ of Holy Trinity Hull has fallen into a bad state. I remember hearing it in the 1970's along with the City Hall being very impressed. This is not the only large Compton organ to be in trouble. There is a large instrument in Paddington that is only kept going by a dedicated organ builder and several helpers, and I am sure others.
It is a great pity that there is not a central single fund other than the lottery where large amounts of money can be allocated to historic organs. I do not wish to pay more tax, but I think this corner of the arts is underfunded by central government compared with a great many European countries. I wonder what the situation in USA is?
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I own a combination organ which is mainly digital with a pipe section consisting of Open Diapason, and Trumpet 8 extended down to give a 16 Trombone.
The organ is housed in a room interconnected to another with a good space for the organ to breathe - (about 32' square plus another 22' square connecting.)
My problem is that on a late September evening I have a concert being given by an illustrious organist and I want the pipes to sound their best, but it is hard to guess the temperature with the influx of 75 people. Should I tune without any heat, and then open the windows and hope the temp does not exceed what we tuned at, or should I turn some heating on tune at a higher temp and hope the peoples body heat proves equal the central heating???
Does anyone have a calculation as to how much the rise would be with +75 people?
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Following on from the interesting discussion on Open Diapason/ Principal stops I would like to put forward a conjectural specification for a new two manual 20 stop organ with mechanical action. It will be interesting to see what others consider an ideal 20 stops!! I am sure my lack of mutations will horrify many..........
My design is unashamedly conservative, and would be turned out with late Victorian low pressure voicing, perhaps in the style of a Hill organ of the period.
Great
Open Diapason 8
Claribel Flute 8 (Open metal down to tenor C then stopped)
Viola 8 (Mild string but broader tone than Dulciana)
Principal 4
Stopped Flute 4 (Metal)
Twelfth 22/3
Fifteenth 2
Mixture (19,22,26)III
Swell
Open Diapason 8
Stopped Diap 8 (Wood)
Salicional 8
Celeste 8
Gemshorn 4
Flageolet 2 (Flutey in bass/fifteenth in treble)
Sesquialtera (17,19,22)
Contra Fagotto 16 (half length bottom octave)
Cornopean 8
Pedal
Subbass 16
Principal 8 (with Violone quality)
Trombone 16(Metal)
If I could add two more stops, they would be a softer 16' on the pedal (making the subbass big scale) and a Trumpet 8 to the Great. That would then be a very satisfactory organ for general and liturgurgical use.
What do you think??
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I have always associated Open Diapason stops with a more rounded smooth tone and Principal (8ft) with a more classical edgy sound, but this is not always the case.
I am actually in favour of multiple Open Diapasons on the Great of a large organ.
My personal favourite - Durham Cathedral has 4 on the Great and 2 on the Swell. Anyone who has heard this organ will know that it is far from muddy, and the additional Diapasons are generally used for quieter sounds or special solo effects, with perhaps two together being used in the chorus build up. Sometimes in Skinner organs there is a large Open on the Solo as well.
I think many large organs were ruined in the 1960s and 1970s when large Diapasons (often part of original schemes) were thrown out in favour of Sharp Mixtures. A particular case in point is York, where they threw away several unison stops and replaced them with numerous mixture ranks, and whilst this organ still makes a spelndid sound the Great chorus does to my ears sound top heavy.
Finally I would like to mourn the almost total dissapearance of the Swell Open Diapason from small - medium new organs. This often results in unsatisfactory chorus building based on a Gedact or something similar. If I were in the fortunate position of ordering a new 20 stop pipe organ, I would make sure my Swell department was furnished with a full length 8' Open Diapason.
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This is great news about the acoustical improvement. I found the organ in it's pre 1984 state to be a bit dull and muddy, and after the rebuild a little agressive and harsh in full organ combinations. I am sure the improvements to the acoustic will have made it an easier organ to listen to.
It would be interesting to know the projected timescale of the organ restoration, and when it might be heard again
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I have been waiting to say CONGRATULATIONS for a long time, and now thanks to the new discussion board it is possible.
Thank you, to all concerned, for the splendid end result, of a long, and I am sure difficult restoration at the RAH. I am convinced that the organ has never sounded as good as it now does, and given it's layout and not exactly flattering acoustic it is fantastic. Looking at the big screen at the re-opening concert it also looks a joy to play, being extremely responsive, something it has not been for many years.
My only tiny criticism is that with all the big manual reeds coupled in a grand tutti the 32' Double Ophicleide is a little less prominent than it used to be and could do with loudening (although I understand the pipes are giving as much power as they can.) If you get close up though it is "totally awesome", and as one of the reviewers in a UK newspaper recently commented - the organ is now capable of keeping up with or indeed totally obliterating a full symphony orchestra!!
Let us fervently hope that apart from the Prom's season serious music lovers will have more opportunities to hear this great instrument in a SOLO capacity before too long.
Wanamaker Organ
in The Organ
Posted
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