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    • There were two firms in Huddersfield, stemming from Peter's initial foray in 1854 (initially with another partner), however brother James duly became a partner. This partnership was dissolved about 1879/1880, with a court case "Conacher v Conacher" well-covered in Musical Opinion & Trade Review at that time. James set up on his own, and in 1881 dismantled an 1860's Father Willis in Newport's Albert Hall and re-erected in the newly-completed Huddersfield Town Hall - and therein may lie the basis of the split, as Peter Conacher was by this time a Town Councillor and could not tender for the Town Hall project (which would undoubtedly been a worthy project to have bagged). Herbert (son of James) worked with his Father before forming a partnership in the Birmingham area with P H Sheffield, sometime just before WWI I believe. In terms of the "average-to-bad" epitaph, I simply don't recognise this in the number of Victorian instruments which I have encountered and worked on (by both brothers) constructed as they are with uniformly excellent materials, and most of them working with admirable efficiency in circumstances where the custodianship has been frugal. I accept that certain tonal characteristics of these instruments may not appeal to all.....
    • There was a move, largely successful, by the Cathedral Organists Association some years ago, to bring organists' salaries into line with those paid to residentiary canons.  I don't know if the same principle still applies.  Of course, the two posts are not completely comparable, as clergy tend to have a lot of perks and expenses which organists don't, whereas organists may make a nice little extra sum from concerts and pupils. One cathedral, while raising the organist's salary to that of a residentiary canon, stopped paying him fees for weddings and funerals. However, the assistant did get paid for such of these services as he accompanied, so he ended up doing all of them....
    • Ten out of ten for flagging up the Elbphilharmonie! I think they've done an amazing job of blending the organ in with the building's architecture.  You get to see both consoles as well! You can get up, close and personal with the Bridgewater Hall Marcussen as well, though sadly the console is shut up.  You can also get fairly close to the Hill in Sydney Town Hall, and the Elton John organ at the RAM Otherwise I can only find organs which are easily accessible from the floor of the building they stand in, like the RC shrine in Walsingham If we're allowed to include 3rd-party panoramas from other street-view users (as opposed to real street-view captures then I can give you a nice view of the two organs at Douai Abbey, and the Woodstock at Fotheringhay,. the Letourneau at Pembroke college Oxford  and the Kenneth Jones at Great St Mary's in Cambridge. Across the north see you can get a good look at the Koororgel in the Bovenkerk in Kampen
    • The trouble with Conacher's is that they were not just one firm but several, so you can't really ask how good 'a Conacher organ' is (or not) as this topic heading does, without saying which of the various forenames is on its nameplate and when it was built.  David Drinkell's earlier summary is useful to help sort their pedigree out.  Laurence Elvin in 'Pipes and Actions' also goes into it.  He mentions Peter, James, James & Sons, Joseph and Philip - to name but some - and draws out to some extent how they were intertwined.  It's some time since I last read the book so I can't summarise it here from memory, but will try to do so if requested by those who might not have it to hand. As well as their average-to-bad work which previous posters have described, there were also some apparently well-regarded examples left by Peter at least, if contemporary accounts are to be believed.  I think it was the firm of that name which built four large 4 manual 22 rank cinema organs - correct me if I've got the wrong branch of the dynasty somebody.  One was in the Odeon (formerly the Ritz) in Nottingham.  It was a terrific thing and highly regarded by W L Sumner in the mid-20th century, and I had the privilege of a private play on it as a schoolboy thanks to the kindness of Gerald Shaw.  This was not long before bits of the organ were dispersed to the four winds just prior to the cinema being bulldozed. CEP