Tony Plays Duo
Tony plays the Piano and the Capri Theater Organ, Goodwood, S.A.
Tony Plays Duo
Tony plays the Piano and the Capri Theater Organ, Goodwood,
S.A.
1. Tribute to Gershwin
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George Gershwin | 9:38 |
| 2. I'll Follow My Secret Heart | Noel Coward | 3:20 |
| 3. Please Don't Ask Me | Graham Goble | 3:25 |
4. Carmen
Suite Selection
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George Bizet | |
| 5. Skylark | J. Mercer, H. Carmichael | 3:44 |
| 6. Body and Soul | John Green | 4:17 |
| 7. Beatles Rhapsody | J. Lennon, P. McCartney | 5:42 |
| 8. What'll I Do | Irving Berlin | 3:46 |
| 9. Un Sospiro (Etude in D flat) - Piano Solo | Franz Liszt | 6:02 |
| 10. Somewhere in Time | John Barry | 4:15 |
| 11. Ronda Alla Turca | W. A. Mozart | 3:40 |
| 12. You needed Me | Randy Goodrum | 4:52 |
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For details about his CD, see what follows...
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THE MUSIC It was inevitable that the underlying reason for the choice and format of selections on this album would stem from my love of playing piano with symphony orchestra. When the opportunity arose to be both soloist and orchestra. who could blame me for embarking on such a project? After all the theatre organ was originally referred to as a "unit orchestra," but I sometimes wonder whether Hope Jones himself. the genius behind the Wurlitzer, could ever have envisaged the limitless musical possibilities of his invention. Just what would he have achieved with Devtronix and Midi? The Capri organ may just be such an example. The organ takes on the sound of a Pops Orchestra to herald the introduction of the overture on this album, a Tribute to Gershwin. I had the great pleasure of performing this piece in 1994 with the Australian Pops Orchestra. and just had to play it again! This arrangement is largely influenced by the genius of arranger Gordon Langford and the pianistic artistry of the late Robert Docker from the UK a greatly respected musician and composer with whom I had the privilege of performing together with the Pops Orchestra. My long time admiration of the orchestral magic of Buddy Cole's arrangements prompted my reading of Buddy's setting of I'll Follow My Secret Heart. Please Don't Ask Me, a popular hit here in Australia in the early 80's. was recorded by our own John Farnham. and has since become one of his classics. As listeners to this album are probably unlikely to appreciate my singing. I therefore offer this as an instrumental number. featuring the piano in the styling of the original hit. The Carmen Suite provides an excellent opportunity to interpret Bizet's music through the unique orchestral tapestry of the theatre organ. Here we discover flute duets. bassoons. clarinets and string ensembles. trumpet and posthorn fanfares. as well as the contrast of lyrical woodwind and reed themes with the majesty' of the full "unit orchestra", Skylark, Hoagy Carmichael's timeless standard. has always been one of my' favourites, particularly since its revival by Linda Ronstadt with Nelson Riddle's haunting orchestral accompaniments, which. in no small way. influenced this arrangement. I first heard Body and Soul many' years ago recorded by the great English saxophonist Freddy Gardiner. and have never ceased to marvel at the unique sound of pure velvet that he conjured from his golden saxophone. How would this number have sounded with Freddy here at the Capri? The Beatles Rhapsody features t\\;O of Lennon and McCarmey's greatest compositions, and I make |
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no apologies for the finale being pure Rachmaninoff. my favourite composer. Another Linda Ronstadt revival, What'll I Do, sets the scene for a further change in style. Liszt's Etude in D flat (Un Sospiro), is probably my wife Nola's favourite piano classic, so its inclusion is very special to me. While we're still in classical mode, you will recognize Rachmaninoff's 2nd Piano Concerto adorning the haunting theme from the fantasy movie Somewhere in Time. You will no doubt understand why I couldn't resist this interpretation. I guess the inspiration behind Rondo Alia Turca came from George Wright's "Crazy Rondd' track from the old HI FI record label many years ago. It was one of the first pieces I ever heard Mr. Wright play and could hardly wait for the Devtronix to be invented so I could try it out too! The Randy Goodrum ballad, You Needed Me, takes us back to the melodic hits of the seventies. Remember those songs with a melody and words which you could actually understand? At the conclusion of this arrangement, a subtle farewell from Hoagy Carmichael spreads some "Stardust" on this program of some of my concert favourites.
THE ORGAN The Capri Theatre Organ is currently a 4 manual instrument of 25 ranks with basically a Wurlitzer ensemble. Its origin was a 217 Wurlitzer Op. 748 from the Brisbane Wintergarden Theatre. In 1940 it was moved to the Plaza Theatre, Sydney and a set of Tibias were added. It was bought by organist Penn Hughes in the '50s who added ranks from two Christie theatre organs, the PalatiaL Burwood and Empire. Dunedin, NZ. Other Wurlitzer ranks plus a Conacher English Horn were added plus the slave console from the 4/21 Model 270 Wurlitzer from the State Theatre. Melbourne. making it a 4/16 hybrid. The instrument spent some time in Darwin. N.T. where it was never successfully installed. TOSA (SA) bought the instrument in 1974 and removed it to Adelaide 4 weeks before Cyclone Tracy devastated Darwin and levelled the organ's former home. Restoration and rebuilding of the organ took a further eight years. |
The organ was opened at the Capri Theatre in April 1983 by Tony Fenelon, John Atwell and Ray Thornley with 13 of the 16 ranks playing. Since then, major milestones which have been achieved include: installation of the Devtronix Computer relay, addition of pipe ranks and swapping of others to gain a more harmonious ensemble and major tonal finishing and regulation by Ed Zollman Jr. and Walt Strony in 1991.
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Ranks are as follows: Main: Open Diapason, Flute, Tuba Horn, (Wurlitzer), Gamba, Salicional, Vox Humana, Flute Celeste (Christie), Tibia Minor (Dodd) and Musette (Trivo), String Celeste (Unknown) Solo: Tibia Clausa, Vox Humana, Harmonic Tuba, String Celeste, Kinura (Wurlitzer), English Post Horn, Orchestral Oboe, Saxophone (Trivo), Stopped Flute (Wangerin), Solo String, Quintadena, Trumpet (Stephens), Oboe Horn (Unknown). There is an unenclosed Wurlitzer 16' Pedal Wood Diaphone, plus Marimba Harp, Chrysoglott, Glockenspiel, Xylophone, Chimes and Piano, plus the usual non tonal percussions and effects. A Horn Diapason (Meyer), Gamba Celeste, VD.O. and Celeste (Wurlitzer) and Pedal Clarabella (Kimball) are still to be added to complete the specification. The vision of those who have striven for excellence over the years is greatly appreciated, particularly by all organists who visit and play the organ in the Capri Theatre. |
Tony Fenelon almost certainly inherited his love of the theatre organ from his father. Reg Fenelon, who used to spend many a Saturday afternoon playing and listening to the small Wurlitzer from Melbourne's old Majestic Theatre installed in the home of his lifelong friend Geoff Avery. A few years later. Tony commenced classical piano lessons at the age of 7, and any involvement with theatre organ remained very much in the background until the early 60's when he found himself caught up (quite willingly) in the resurgence of theatre organ in this country. Since 1965. when he became the last resident organist at Melbourne's Regent Theatre, (soon to be restored and graced with one of the world's most magnificent Wurlitzers). Tony's "dual career" has been divided between biomedical engineering and music. He has traveled overseas on many occasions as a concert artist both on piano and organ, as well as performing here. in Australia. as a solo artist on organ. and in regular appearances as a solo pianist with the Australian Pops Orchestra. He has also enjoyed playing numerous piano/organ duo concerts throughout Australia with his longtime friend. John Atwell. It is little wonder then. that Tony should produce an album incorporating so many aspects of his music, from solo classical piano and duos. both popular and light classical. to orchestral and traditional theatre organ solos.
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ACKNOWLEDGEMENTS Theatre Organ Society of Australia (SA) for provision of the organ, organ crew and unconditional use of the Capri Theatre. Capri organ recording Graham Ward Digital consultant and Devtronix programmer: Wayne Bertram Piano recording and mixing: Tony Fenelon Digital master preparation: Neville Clark. Disk-Edits Organ tuning: George Stephens Photography: John Thiele Cover concepts: Nola Fenelon Cover artwork assembly: John Atwell DAT recorders for piano recording and mixing: Maurice Austin Roland HP 2800® piano: Michael Chin. Roland Corporation, Sydney. My "home" in Adelaide: Malcolm and Margaret Patterson Recorded: February, 1995 ALL RIGHTS RESERVED ©Tony Fenelon, 1995. Unauthorized duplication is a violation of Copyright Law |