Tony Newnham
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Posts posted by Tony Newnham
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Dear Sir,
I did not read the comment as if it were decrying a particular type of worship.
However, my experience has been, sadly, quite the opposite. I have noticed extreme intolerance from those who favour the more evangelical and charismatic type of worship. I am often given the feeling that I am in a 'lower class' of worship and really, choruses are much better.
On a practical point, based on years of experience with many different types of worship, the organ is often the most suitable instrument with which to accompany massed voices. (Unless, of course, you can only see merit in the 'Spring Harvest' type of band, with electrically-amplified guitars and drums.)
Perhaps one day, we will all get to the point where we can worship in churches which stick to their own particular styles of worship, without attempting to ape that of another church - often on the pretext of 'making it more attractive to the young people'. Again, my experience has been that this pleases no-one and can occasionally achieve the opposite - and empty a church. Surely this is not glorifying to God - I think that it is dishonest. Sorry, I am probably not explaining this well - but it is 01h01 - I am tired!!
Hi
I quite agree that intolerance of other forms of worship is totally wrong - and I think it's the reason for the antipathy that there is between traditional and contemporary worship styles. Old and new can mix and work well together - given the right congregation - and not necessarilly younger people. We use quite a wide range of musical styles in my small church, where I'm currently the youngest in the congregation at 53!
I also agree that the organ is effective at leading singing - and I also firmly believe that it has a place in Contemporary Christian Music, given that the organist needs to have some knowledge of the genre, and realises that, with other instruments, he doesn't have to "do it all" - nor necessarilly play all the time.
Even the "Spring Harvest" type bands have their place - although not many local churches can boast the quality of musicianship that makes it work at large events.
As far as I'm concerned, the bottom line is that we need to worship God "in spirit and in truth", and that our worship, whatever "style" we use, needs to be done as well as we are capable of.
Every Blessing
Tony
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Yes, perhaps the drawback with Compton patent luminous stopheads was the intrusion of strong sunlight and bulb failure, but there were ways of overcoming the sunlight problem. However with the advent of light-emitting diodes (LED's), the longevity of the light source is now not a problem. And by the use of coloured LED's - e.g. blue for flues, red for reeds and green for couplers - sunlight is also not a problem. Furthermore Compton luminous stopheads are quiet in operation and a single action can draw a stop and cancel another (or others) in a single movement.
Hi
Some of the digital organs that use illuminated stop controls have the same problem with strong sunlight - e.g. a Bradford organ that I sometimes play - there's a south-facing window directly behind the console!
The double-touch cancelling feature is also found on COmpton stop-keys and drawstops (as, for example, the Hill rebuilt by Compton at All Saints, Ilkley, which has double-touch cancelling drawstops - and very useful they are too!) Rushworth & Dreaper also used double-touch cancelling stop keys on at least one organ (a Baptist church in Hastings), but in their incarnation, the 2nd touch springs were not strong enough - and cancel extended to things like Gt Mixture & Sw-Gt coupler. It's embarassing to try and add the mixture and cancel everything else on the Great!
Must try and get to Beverley sometime, and try to arrange a play on the organ.
Every Blessing
Tony
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Hi
I've had an enquiry from a musician friend who is looking to borrow (preferably) a portative organ (the Medieval type) for a recording session - probably in Spetember.
Does anyone have one available/know of the whereabouts of one. He's based in Yorkshire.
Thanks in advance
Every Blessing
Tony
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...but you see that kind of "My way's best & everything else is wrong" statement is exactly the type of intolerance we're talking about!
Please read what I've said a little more carefully! If you had quoted accurately you would have seen that I said "but the reality for many ..." NOT for all.
I suspect that I've written more than enough on this subject on this list - we've got way off topic!
Every Blessing
Tony
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This is an interesting concept.
I would not necessarily agree that a mixture of musical styles can be very challenging.
Reply: To do it well can be challenging for the musicians who need to be proficient in a number of styles and musical genres.
I further find it hard to accept (personally) a mixture of worship styles. Many people often do not, in many other areas of society, welcome the juxtaposition of diversity.
Reply: The church is by its very nature a diverse body.
The point of this is, I get quite weary of clergy injecting unusual/unsuitable/badly thought-out styles of worship in my own church, purely because they think that it is 'a good idea' or because of the young people.
Reply: I thoroughly agree. Whatever we do in church needs to be done to the best of our ability - and that means thinking it through and planning thoroughly!
I also have some reservations about trying to use forms of worship to attract people to church - most of our evangelism should be done outside of the church service context.
Yes, of course we need to attract people of all ages to our services. I just do not think that serving up the ecclesiastical equivalent of kippers and custard is necessarily the best use of our resources. There is still the problem of lack of tolerance - from both camps. If you doubt this, I suggest you try going to your local charismatic church and suggesting that they offer a monthly High Mass with Benediction, in order that by all means some [Anglo-Catholics] might be saved....
Reply: I would hope that practising Anglo-Catholics don't need to be saved!
I would suggest not that one style is better than the other, but that they do not mix effectively - in some places where it has been tried regularly, it merely created two quite separate congregations -which preferred not to socialise together.
Reply: That's why I prefer blended worship to different services in different styles.
Anyway, why not do whatever we all do best, and do it with all our strength unto God - that way, we may even stop bickering with each other!
Amen!
All I can say is that some of us who have seriously tried blended worship have found that it works in some churches. I still hold to my opinion that it's probably the way ahead for most (but not all) church fellowships - especially as Local Ecumenical Projects and shared buildings become more common.
Actually I find it interesting that some of the charismatic groups are not only re-discovering hymns, there is also a growing interest in Taize, and Iona community and other "Celtic" influenced worship patterns.
Every Blessing
Tony
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Whilst Rev. Newnham has reminded us that there is no one way in which to worship God, I would ask him to remember that some of us are definitely not happy in 'both types of worship' (paraphrased).
All I ask is a little tolerance in return from those who look down on myself and others who prefer a fully choral 'cathedral' style of worship. Let us not forget due reverence and genuine awe of the Creator of all things in our worship - not merely be a clanging gong or a jangling cymbal. (I know that this is a somewhat mangled quote, but it is now 01h28 and I was at school by 08h01 this morning.... yawn!)
Hi
I'm all for toleration of others preferences. I have no problem with, for example, our local Anglican church which still has a choir - and a pretty competent one at that - and I enjoy the times when I get to preach there. If a church can genuinely fill a "niche" market with one form of worship, then well and good, but the reality for many in these days of shrinking congregations is a more blended form of worship - which incidentally can be very challenging for the musicians! - is the way to go. After all, worship is (or at least should be) an attitude of mind. We come to church to worship Almighty God, not to be entertained by the beautiul (or otherwise) music. (Although if we are "entertained", so much the better).
I am quite happy to worship any any context - High Anglican, Charasmatic, or anything "in between".
Every Blessing
Tony
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I do agree that anything (even a digital) is better than the 'electric guitars and drum kits', but I think that is probably a desperate attempt by the Church to attract young people rather than a musical statement.
Hi
Sorry, but no way can I agree with this sort of statement. Who said chuerch music MUST only be accompanied by the organ? What right have we to tell people that their form of worship is not acceptable?
Yes, there is a place for the organ in churches in the 21st century - but it is not the only valid musical instrument - and "traditional" worship (whatever that phrase means) is not the only sort of worship that's acceptable to God.
This is the sort of intollerant comment that's caused much of the anti-organ feeling in some churches.
Every Blessing
Tony
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Hi Tony, that little organ sounds a proper little gem, and good for you being so careful with it. My home chamber organ (1807) is 8 and 4 flutes, 8 and 4 principals, and a 2 ft flageolet. It would be good to have a 8 flute, but I'd be wary even of a Keraulophon, unless you had the original, in which case you might even apply for a grant?
All best
Richard
Hi
It is a gem - although probably not as flexible as your chamber organ. Details are on NPOR at E00285 - and the history that we know is traceable by following the links. We have the original Keraulophon pipes (except one that's gone missing!) in storage - now in the organ, beneath the reservoir, after we rescued them from a box in the cellar. I shall be trying for grants as soon as I get time to sort out who to ask and get the relevant paperwork. Unfortunately, the organ has been altered too much to merit an Historic Organ Certificate. The casework is also very attractive (see picture on NPOR) in Walnut veneer, with some elaborate carving.
I think the organ may possibly be an early example of JohnLaycock's work - the console is very similar to that on the organ at Cowling Hill Baptist Church - but there is no evidence one way or the other - not even inside the windchest (I'm told).
Once the action has been overhauled, reservoir either patched or re-leathered, and the pipework cleaned and regulated, it will be a very nice - and useable - organ.
Every Blessing
Tony
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Then, according to the long compass, we must see the bass Stopped Diapason as
a kind of 16' Subbass if we were with german compasses.
This organ seems to be rather ancient, from a time when keen "strings" did not exist yet.
The question of stops choices is a matter of style, which does not matter at all when we deal with preservation; indeed, if today we wish, say, a full Diapason chorus to "lead the song", in the 19th century people wanted foundation stops for exactly that use, with their "noble and religious" tone. I have a letter copy here from the 1840's where a belgian builder told a dean "You need to have enough 8' to fill the church with them alone in order to accompany the singing with dignity".
So you have several options:
-Keep te organ as it is
-Have the Keraulophon back
-Ditto plus a Stopped Diapason treble
The two last options imply of course to renounce to one or the two
added stops.
But anyway, from a conservative point of view, none of these options would be wrong.
They would not render more difficult a torough reconstitution later if this becomed
the aim.
Best wishes,
Pierre Lauwers.
Hi
Yes - it's insteresting trying to balance the pros and cons of the various options.
We date the organ as c.1850 - the stop list is certainly not typical of older English chamber organs. The long compass began to be superceeded in the mid.1850's - the pedal board is C-compass (although it's possible this was a later addition or replacement) The extra 1/2-octave in the bass does add considerable depth to the sound - especially as the pedals operate at 16ft pitch down to the lowG,(then jump back an octave).
We will not be re-instating the Stopped Diapason - but I do hope to be able to get the Keraulophon back in - I've still got to convince my organist - but since I play the organ more often than he does these days, I think my views will prevail!
Now all we need is the money - and a couple more quotes from organ builders for the work! Any donations gratefully received!!!!
Every Blessing
Tony
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Dear Mr Newnham,
In such cases, you won't do anything "wrong" having the organ just
"repaired" as it is. This way, no further alterations would be done, while
the organ itself would be preserved for X-tents years farther.
Second option: we have an original Keraulophon, a mysterious stop that seems
to have originated in England, and arrived later on the continent, but under another form
-and quite variable to say the least-.
As far as I understand the disposition, we have two 8' (Dulciana and O. Diapason) that share a common bass (Stopped Diapason).
If the Keraulophon was complete, that is, covered the complete compass, it would certainly be better to have it back in the organ; moreover, these original pipes would be better protected inside than outside the instrument.
A second Stopped Diapason 8' would be unlikely in such an organ, or was it the treble only? Possible.
Now wheter the 4' Flute or the 15th should go in order to place the Keraulophon back, this is a question an organ builder has to answer "in situ", according to the origin and quality of the pipes, and the acoustic requirements of that peculiar church.
The original pitch can often be find, in that the alteration to the pipes can often be traced -save if the pipes have been sawn back of course, but even then this can be adressed-, but this could well be least priority. Leaving the pitch as it is if it's better suited to today's requirements would not harm, suffice to let the things as they are
without, once more, adding "one step more away from the origin".
About the wind pressure, any professional voicer can find the original back by trying several pipes from several stops on a voicing chest with different pressures.
Good luck,
Pierre Lauwers.
Hi Pierre
The Keraulophom is treble only. It's actually unusual to find a British organ of this age that doesn't have a Stopped Diapason (or perhaps a Clarabella) throughout the compass, along with an Open Diap and a softer rank. (Indeed, in Early English music, Stopped and Open Diapasons 8ft together is a very common registration).
I'm not too worried about wind pressure - I know this can be sorted and the pipes re-voiced accordingly - but my point is that, whatever we do, there is no sure way of determining from the organ as it now stands just what the original pressure was. An organ builder could make an educated guess from the pipework cut-ups, etc - but there is no actual proof.
The question of stop replacements is also an issue. Neither myself, nor our organist would want to remove the fifteenth (althoguh it does need re-voicing to blend better with the rest of the pipework), but he likes the 4ft Flute (indeed, hed removed the Keraulophon pipes and inserted the flute) whereas I find it a very poor stop (it came from an organ on a much higher wind pressure - it has a huge cut-up) and rarely use it, whereas, because when I play, it's usually with the music group, a string-toned rank would be very useful. Even if we wanted to add another stop, there's no room in the case, nor space for another stop knob on the console - and anyway, I think that we shouldn't be making alterations for the sake of it.
I sometimes wonder about restoration as it's practiced - when, as at Reading Town Hall, the pitch was raised, making it difficult to use the organ with a modern symphony orchestra!
The whole area is fraught with problems! I would love to see our organ fully restored to its original state,as a historic excercise it would be very interesting, - it won't happen though, because we couldn't house it, and nor would it fulfill some of the requirements we have for it.
Every Blessing
Tony
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You are welcome!
I think here we are to the point; we need to recognize there are contradictions between differing interests , and we shall not manage this situation with simple "suffice to do this and that" would-be "solutions".
A path could lay here: Does the "heritage" need to be a museum, a dead thing?
Or can it be used as a living thing? How?
I know of an example near here (Gerpinnes, near Charleroi), where a 17th century
organ has been recently restored with its original 17th century pipes.
The organ-builder could reconstitute the original temperament by removing the alterations that had been made to the pipes, and which were visible.
So the organ has now a mesotonic temperament, not the ideal one -so it was deemed- for the accompaniment of the choir (this church has one!).
After contemptating the purchase of an electronic organ, the church was advised by
a friend of mine there were true pipe organs available for not that many money.
They bought a used six-stops positive organ that took place not far from the altar in the nave.
Now there are two happy organists that attend every service there, alternating solo and accompanimental organs.
This is just an example, one could think of many other possible combinations.
Best wishes,
Pierre Lauwers.
Hi
I'm very pleased to hear that this church was able to reconcile heritage issues with their current needs - that's fine if it works.
SOmetimes it's not so easy. In my own church, we have a c.1850 chamber organ - unknown builder, but with a long-compass manual (down to GG), 30 note straight, flat pedalboard CC-f1 (set-up as a return coupler).
Some of the pipework has been replaced over the years - including one complete rank (a Keraulophon) which is now a 4ft Flute (the only flute on the instrument). We also suspect that the 15th displaced something else, possibly a Stopped Diapason, somewhen during the instrument's history, also someone has added a tremulant and electric blowing. The pitch has been lowered to A=440, and the case cut down to get the instrument into the present building.
The question of how far we go in terms of restoration (as oppossed to just overhaul/repair) is far from straightforward. For example, do we revert to the higher pitch (and if so, how do we determine what it was from altered/replaced pipework)? If we do that (which would be correct restoration practice) we then have an organ which cannot easily be used with other instruments - something that we do most Sundays.
Do we, speculatively, remove the 15th and replace it with a Stopped Diapason? If we do this, the organ would not have the clarity to lead congregational singing without significant revoicing of the Principal 4ft. Do we retain the 4ft Flute (which is not really suitable, pipe-work wise), or do we repace it with a better rank? Or do we re-instate the Keraulophon (we have all but one of the pipes - recsued from a box in the cellar?
Should we re-instate the foot blower - this would mean re-making some parts? What do we do about wind pressure (the bellows weights are unlikely to be the originals). What about the tremulant - at present controlled by an extremely Heath-Robinson method?
What about the pipes that have been replaced? Do we retain what's there, or replace them with new that better matches in scale the existing?
And that's without even thinking about the case - there's no way it can be returned to its original height in the present room anyway!
These are all practical questions that we need to answer in the next few months, as fundraising has started for a much-needed overhaul.
This is the reality of the heritage dichotomy in a church with ever-changing requirements.
At least I think I've persuaded the treasurer away from suggesting an electronic replacement - although even that has some attractions in terms of a more flexible instrument (but not in terms of ultimate sound, or life expectancy)! The, of course, there's the issues of cost - a major problem for a small church.
The organ's stop list is:-
Stopped Diapason Bass (GG-
Dulciana 8 (treble)
Open Diapason 8 (Treble)
Principal 4 (throughout)
Fifteenth 2 (throughout)
Flute 4 (Treble - on the Keraulophon slide)
Every Blessing
Tony
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Dear Mr Newnham,
My aim was certainly not to hurt, and I want to apologize for that.
I realize we see that matter from very different points of view. I am just a collector of facts, numbers, names and dates,nothing else, besides a deep interest for the organ and its music.
Fact, is, a vast majority of these instruments obtains in churches -this is even more the case in continental Europe-; I agree in such places the worship has to have the very first priority, no doubt nor discussion.
The question is to know if we must understand art as a kind of prayer or not; to my view, but maybe this is a sin, musicians like Standford, Howells, Wesley(father and son), Tournemire (etc not to forget Bach) and the builders of a vast majority of the organs we see in churches today did all what they did as an act of Faith. Have they been "right or wrong" is another debate I won't enter into.
So now we sit down on a huge heritage that our ancestors passed to us.
If "to like" things like that is a "personnal taste", this means other musics,other instruments, whose roots are elsewhere (I don't mean from a geographic point of view only of course) should be considered pieces of Art and as well suited to worship.
There is then no "hierarchy", no dedicate place for each "cultural product" that obtains on earth.
Best wishes,
Pierre Lauwers.
Hi Pierre
Sorry if you thought I was "getting at " you - my comments were general.
I have mixed feelings about the heritage issues. I agree that it's important to retain our heritage - but on the other hand, the Church is not a museum, it's a living, changing organisation. This leads to all sorts of dicotomies!
Every Blessing
Tony
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Dare I say the english "traditionnal" church music is extremely highly regarded
my side of the Channel?
Would we have something like that! go on the french forum to read the
guys talking about absolute nightmares (so-) called "modern church songs"
like Akepsimas and the like.
There are some islands (Taïze, etc) in this ocean of "pop-music".
Maybe it's better to have children accustomed to good music (from 4 years old not more) than to try to run behind bad tastes.
If we place Drums and guitars and Standford at the same level, we have a problem!
And maybe discussing about details of organ's styles ( Would a Voix céleste better suit
a Pink Floyd's lover taste than a Tierce) could really end up with guitars everywhere while we should still be discussing about the matter.
And we should protect historic organs at the same time. Well, a big job!
Best wishes,
Pierre Lauwers.
Hi
I think we are in danger of missing the point! HOW we worship God isn't really that important - it's the fact that we worship - and the attitude of the worshippers that really matter. Given the will to be open minded, God can be worshipped equally well in a Choral Evensong and a contemporary, full-on "Praise and Worship" setting! (And I'm happy to worship in either). There are grave dangers in trying to insist that our own personal taste is the only appropriate worship music!
Every Blessing
Tony
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Church choristers, whether children or adults, normally commit much more time week in week out to their church than almost any other group from the congregation. In return for this they do like, and deserve, to feel appreciated. They do not take kindly to being told that "an anthem is not needed this morning" for example, if the trying-to-be-trendy (but usually failing) vicar wants to try something different. When Rev. Newnham says "If I had a choir, I would use them - but not all the time!" it seems not surprising that he doesnt have a choir.
Hi
For your information, we don't have a choir because this is a very small church, and there aren't enough singers t form one! There was a "singing group" at my previous church, who sang at various special occaisions during the year (the situation I inherited) and I made good use of them.
I try to encourage the musicians in my church - even though for some of them, their technical ability is limited - they are working to improve - and I certainly appreciate their ministry. I certainly would not "dump" something that the choir had prepared - if an anthem (or anything else in the service) is the norm, and there's a particular reason for not doing it, then I talk to the people concerned in advance.
Every Blessing
Tony
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I'm very lucky in having a very level headed Priest, but basically my own feelings are these. ....
Hi
If I had a choir, I would use them - but not all the time! With care, some contemporary music can work chorally - other pieces are more suited to solo singers leading.
Mixed services do work - given care in planning, and an open-minded congregation. As I said before, I have limited experience of traditional liturgical worship, but I have heard contemporary music used well.
The main reason that music groups are anti-organ, in my experience, is the intransigent attitude of many organists!
The danger of seperate services is that you end up with effectively 2 groups that have nothing incommon, except using the same building - and I don't think that's helpful in the Body of Christ - but we're straying into theology rather than organ matters!
Every Blessing
Tony
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''It's not necessarily the musical style that gives an act of worship its integrity.''
Yes but sometimes the more so called 'contemporary' music is decidedly trite - I hope I'm not a musical snob and indeed in my other job in charge of a secondary school music dept. I necessarily have to have a broad approach including working with some very accomplished and serious rock musicians but some so called music groups and their repertoire make my toes curl!
AJJ
Hi
I agree - but then some hymns are pretty trite as well! Look at any old hymnbook - and see what's fallen by the wayside. There are some very well-written and challenging worship songs out there - and they are the ones that will survive. The dross will, eventually, fall by the wayside (but, most likely be replaced by another mix of good and bad!)
Also, as you're obviously aware, stylistic criteria is different for different musical genres.
Every Blessing
Tony
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Absolutely, but does a worship song (like, say, Make me a channel of your peace) in a BCP choral evensong sit comfortably in that format? And is it a satisfying experience for the worshipper who chose to come to a cathedral evensong?
Hi
It can fit - if the context is right - and it's hardly "contemporary" any more! OTOH, if it's just put in to try and be trendy, it won't work.
In my service planning, I sometimes find that, to fit with the theme, readings, etc., I've chosen all traditional hymns - sometimes it'll be all contemporary - but most times it's a mix of both.
Liturgical services are a different matter - and much will depend on the expectations of the congregation. As I see it, choral evensong is based in a very traditional mould - and I would expect mainly traditional Anglican music - just as our "traditional" communion service at Heaton Baptist Church uses probably 95% hymns from the hymn book.
Every Blessing
Tony
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The same could be said to occur at parish level where if I am not careful my Rector (whose musical taste is generally beyond reproach) could have me leaping up and down between the organ in the chancel and a keyboard at the head of the nave depending on the musical leanings of particular parts of the service. Anything that involves the 'auto rhythm backing' he plays himself however!!
AJJ
Hi
In my experience, if the music is fully intergrated into the service, the whole act of worship has a unity - and varying styles work well together. In some ways, it's no different to combining plainsong with, say, an anthem by William Matthias. I still play for services quite frequently - these days usually with our "music group" - and I will use whatever (keyboard) instrument best suits the particular item, in the context of the particular service - sometimes organ, sometimes piano or electronic keyboards.
It's not necessarily the musical style that gives an act of worship its integrity.
Every Blessing
Tony
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Dear Reverend,
Of course this is another debate. I understand the churches want to "go towards the people the way they are", not the reverse.
This was tried in the belgian RC church in the seventies, and ended up as a disaster.
For the organ, but for the church too.
The young people finished by preffering the dancings, while the senior people stayed at home since long.
Now the churches are emptier than ever.
Be sure I never pass before an english church without enter!
Best wishes,
Pierre Lauwers.
I do not advocate scrapping the old and replacing with the new - it seems to me that the better way - for most churches anyway - is a blending of styles. The real challenge is that whatever we do needs to be done well. In my view, the organ still has a very real role to play, both for traditional elements, and also as part of musical ensembles for leading more contemporary worship styles.
Every Blessing
Tony
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I wanted to ask other Organists and Choirmasters their opinions on the subject of modern cathedral musical requirements. .... I feel there is a need for our cathedrals to encompass everything they possibly can. I am happy to keep my choir and organ in a "golden age", and the choir love it. But really, there is also so much room for variety in our country, both in singing styles, and also in organs. ...
And also (dare I say it on this list?) encompassing other non-traditional styles of music.
EVery Blessing
Tony
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Worshippers must Suffer!
Clergy....oops........sorry, I'll stop there!.......
sorry!
So I should hope! There's no need for worshippers to suffer - and I hope that we clergy have a role!
Every Blessing
Tony
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A new four manuel organ is to be built in the quire by Kenneth Tickell. Work is to start in 2007. It is expected that the new organ will be ready for the 2008 Three Chiors Festival.
Alan
SHould be interesting. Are there any more details/plans yet?
Every Blessing
Tony
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Don't we sometimes wish
Oh dear - I'd better watch out for abductors!!
Every Blessing
Tony (Baptist Minister)
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Thanks Bill - I'll keep it in mind. At present I'm not likely to be down that way until Nov/Dec/Jan depending on when we do our Christmas visit to Mum & Dad.
Every Blessing
Tony
Adding Digital Stops To Existing Instrument..
in Nuts and bolts
Posted
Of course, adding a whole new digital manual would be another matter, but that hasn't been done at Blackburn.
MM
<{POST_SNAPBACK}>
But it has been done at Bradford - actually replacing a pipe Nave division with Bradford computer electronics. I've only heard and played it once, and the digital voices aren't the best (although a more up-to-date system would undoubtedly sound better). As the hybrid organ at Addingham Parish Church shows, digital and pipes can work well together - and where space is limited, may be the only way to go. Having said that, from preference, give me pipes any time!
Every Blessing
Tony