tag:blogger.com,1999:blog-5226099004777391197.post2474312142525484169..comments2007-11-21T20:05:25.357-06:00wunellehttp://www.blogger.com/profile/12447198404608861357noreply@blogger.comBlogger3125tag:blogger.com,1999:blog-5226099004777391197.post-44570364390924613732007-11-21T20:05:00.000-06:002007-11-21T20:05:00.000-06:00Agree with everything you wrote.<BR/>Mercifully, what we know of C-C's output on a monumental scale is NOT in sepulchral preaching halls.<BR/>It's anyone's guess what his organs might have sounded like, had he done all his work in Boston, Mass or Paducah, KY.<BR/>It's moot really, is what I'm trying to say.davidnoreply@blogger.comtag:blogger.com,1999:blog-5226099004777391197.post-71788868077323050492007-11-21T19:33:00.000-06:002007-11-21T19:33:00.000-06:00I think you're quite right here.<BR/><BR/>But this leads to a couple follow-on questions: what would C-C have done with a room like this? And would it have sounded like the instruments we know and love, but translated to the dead acoustic, or would he have gone off in a totally different direction? Surely his brilliance is not acoustic-related. But what would he have done for a dead hall? Fascinating question!<BR/><BR/>In the absence of evidence, Fisk would have been charged with making choices they <I>thought</I> C-C would have made--a dicey proposition. Instead, they seemed to have just plunked a fair copy of a generic C-C into a very uncharacteristic room. This maybe makes for too many variables to judge the results, except on its own merits.<BR/><BR/>I actually think the acoustics are so dead in the hall at Oberlin that I would have questioned putting any organ in there, let alone a copy of one designed to fill an immense space.<BR/><BR/>I have a post above about the 2000 North German instrument from GOArt, and it turns out they've done their own C-C imitation in Goteborg, and I have that CD on order. I'm very curious to see how their experiment comes off!wunellehttp://www.blogger.com/profile/12447198404608861357noreply@blogger.comtag:blogger.com,1999:blog-5226099004777391197.post-73378758802167533712007-11-21T19:16:00.000-06:002007-11-21T19:16:00.000-06:00"However much I'm coming to love the sound of the instrument, I'm still not quite fooled into thinking it's the work of Cavaillé-Coll, and I'd love to figure out why not."<BR/><BR/>I think we discussed this about a month ago. In building an instrument of this size, C-C would have never encountered a room such as this former Protestant preaching hall. If he had encountered such a meager and challenging acoustic, I dare say what would have emerged would probably not be what we hear in a St. Ouen, St. Sernin, or St. Sulpice.<BR/>The aesthetic of these places and Oberlin are at completely opposite ends of the spectrum.<BR/>My 2 cents!<BR/>Daviddavid dunklenoreply@blogger.com