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The organ


AdamSmith
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As an early adolescent, I had a mad crush on E. Power Biggs - he was sort of a refined, suave silver daddy.

Macavity, Macavity, there's no one like Macavity,

There never was a Cat of such deceitfulness and suavity.

He always has an alibi, and one or two to spare:

At whatever time the deed took place—MACAVITY WASN'T THERE !

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Side note: Organ builders make their money on the undemanding small and medium-size instruments that make up the bulk of their commissions.

 

But on the prestige constructions, such as the Duke Chapel instrument whose unending design changes far into fabrication I detailed above, they routinely expect to lose money. They accede to it for the PR benefit, and also (for most) the contribution they can make to the stream of art.

 

One shudders to think what financial losses the Flentrop shop had to absorb on the Duke project, even though they were paid $550,000 in 1977 dollars.

 

Fenner said as much. And the shop's owner/manager Dirk Flentrop ate the losses, for his aesthetic devotions to the same ends.

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Even with Bach's quite insignificant 'Jig Fugue' in G major, BWV 577 (of at least disputed if not indeed quite dubious provenance), Biggs croaks out what sounds like a convincing performance until one hears what (who else :rolleyes: ) Chapuis can turn this 'cobbler's patch' (Beethoven's word for Diabelli's jingle https://en.m.wikipedia.org/wiki/Diabelli_Variations) into.

 

 

https://www.youtube.com/watch?v=GKrRXQvWUhw

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Biographical digression. Age 18 I was an organ enthusiast but autodidact & naive.

 

Then one Randy Foy (today: https://www.ncsu.edu/student_center/music/bios/foy.html), whose organ performance degree from Oberlin was under (previously slightly :rolleyes: remarked Fenner Douglass), mildly suggested to me, 'Well, you might like Michel Chapuis.'

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