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father-willis

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Posts posted by father-willis

  1. Happy New Year to all members, old and, hopefully, new!!

    New Year: New Thoughts.

    Organ (building) news announced and "BANG!" we all pile in/on and criticise, negatively and positively, some putting thoughts into print. It would be interesting to read about members' own thoughts and reasoning. How about we highlight instruments that we would Restore - to its original state/a particular time in its history/leave alone, merely cleaning etc. and those that we consider worthy of Replacement - those instruments we consider beyond redemption. Lists are OK but it makes much more interesting reading if we include our reasoning behind our opinions. And, of course, let's keep it nice and respect everyone else's views.

    I'll make a couple of suggestions:

    Restore:

    St Michael's Mount, Cornwall. https://npor.org.uk/survey/D05198  Investigate space for Gt Trumpet; provide new tracker action.

    Holy Trinity, Ashton-Under-Lyne. https://npor.org.uk/survey/N10959  Clean and restore as is. Two stops prepared for completed with appropriate period pipework or new made to appropriate specifications.

    Replace:
    Well,I was going to add this https://npor.org.uk/survey/N05657  but I see that it has already gone! The console was horrid, the action noisy and the Cornopean could be heard in nearby Tewkesbury. It is some time since I played it but I do not remember much, if anything, that was pleasant about it. It was not a joy.

     

  2. Can anyone help with information concerning George William PRICE ? He was an organ builder who emigrated and set up business in Grahamstown in the Eastern Cape, South Africa  c1880. He is listed as an organ builder, piano tuner and dealer and general music supplier. What we do know is that he was born c1846 in England and died 30th January 1924 in Cape Town. He had married Anne (Tapp) presumably before leaving England. She was born c1844 in England and died in Cape Town 21st December 1925.

    Price appears to have been quite prolific in re/building instruments throughout his carrier all over South Africa. It would be very good to know where he trained. There are recorded two people (married) of the same name in Plymouth but both with birth years given as 1844 and 1842 respectively. That seems like too much of a coincidence . George is listed here as a wood worker.

    Did he travel to SA as an agent or to oversea the construction of a particular instrument? we don't know. Anyone have any insights?

  3. Well I'm going to have a go.  This is but one solution which attempts to right all wrongs of previous instruments in one(!!)

    The old cases will contain what will be called the "Harris Great" and will use all of the remaining case pipes.

    Although the case is to remain where it is there will be no "Grand Chorus" or "Nave Great" etc within it destroying its integrity.

    The "Restoration Chaire" case to remain with a light tracker action to allow for sensitive playing.

    On the south side of the Quire, behind the canopied stalls will sit the ""Willis Cathedral Great". Uncased with bare zinc bases (again for authenticity) this is voiced to be able to fulfill the needs of choir accompaniment (essential) and can, with ease, be used in recital filling the cathedral with sound - if the stops are carefully and tastefully selected.

    It being considered that the backwards protrusion of a beige painted swell box (colour selected to blend with the surrounding stone) into the south transept would be ungainly, the "Anglican Accompanimental (Specialist Psalm) Swell" will be placed as close as convenient to the player in the south quire triforium. The artful voicing of this division, though not large, will allow for the registering of many schools of music if stop combinations are chosen with care. It can also play and accompany choral music of other denominations. It has been suggested that this division be renamed the "Ecumenical Swell".

    In the north quire triforium will be placed the "Ethereal Solo & I Set The Pace Chorus" together with the bulk of the pedal.

    The Harris Great and Restoration Chaire to be played from a console en fenetre to the main case with chaire behind. Great on direct electric action to energise the speach by explosive attack to each pipe (and the whole division) overcoming any defects/alterations of/to these pipes, and in the large acoustic sound nice and "baroque".

     

    Harris Great, CCC ie 16' - F in alt.  Wind pressure 2 1/2" wg- Diapasons, East Diapason, West Diapason, Stopt Diapason, Principall, Principall, Twelfth, Fifteenth, Tierce, Furniture, Cimball, Trumpet, Clarion.

    Restoration Chaire, CC ie 8' - F in alt. (2 1/2") - Stopt Diapason, Principall, Nason, Fifteenth, Two and Twenty, Cremona

    Willis Cathedral Great (Flues & 16' reed: 4", 8' & 4' reeds 7") - Double Open Diapason 16, Cathedral Filling Diapason 8, Open Diapason 8, Open Diapason 8, Claribel 8, Cathedral Principal 4, Principal, Flute Harmonique 4, Twelfth 2 2/3, Piccolo 2, Fifteenth 2, Fourniture III, Mixture III, Trombone 16, Tromba 4, Clarion4.

    Anglican Accompanimental (Specialist Psalm) Swell Stops marked with * enclosed within a secondary inner swell box - Lieblich Bourdon 16, **Contra Salicional 16, Open Diapason, Geigen Diapason, Lieblich Gedackt 8, *Hohl Flute 8, Salicional 8, Vox Angelica 8, Geigen Principal 4, *Gemshorn 4, Lieblich Flute 4, Flageolet 2, Sesquialtera III, *Contra Oboe 16, Double Trumpet 16, Cornopean 8, *Horn 8, Hautboy 8, *Vox Humana 8, Clarion 4.    

    Ethereal Solo (enclosed, facing south) & I Set The Pace Chorus (unenclosed, facing west) - Quintaton 16, Contra Dulciana 16, Flute Harmonique 8, Doppelzauber Flute Triangulaire 8, Bearded Gamba 8, Shaven Celeste 8 (2rks, keen), Flute 4, Praetorius Rankett 16, Orchestral Clarinet 8, Saxophone 8, Unenclosed - Diapason Phonon 8, Large Prinicpal 4, Nazard, Harmonic Piccolo 2, Tierce 1 3/5, Larigot 1 1/3, Pace Chorus XXVI rks, Bombarde 16, Trompette Harmonique 8, Ecclesial Tuba Magnificenta Superba 8

    Pedal (North Trforium) - Sequoiadendron Giganteum 32 -  (Wood, One hollowed out Giant Redwood), Open Wood I (Oak) 16, Open Wood II (Chipboard) 16, Violone 16(metal, keenly voiced to allow transmission of tone southwards to be a bass to south divisions), Echo Harmonic Stopped Doppel Pentabourdon (five sided) 16, Violoncello 8, Bass Flute 8, Fifteenth 4, Harmonic Twig 2, Contra Saxophone 32 (enclosed), Lieblich Bombard 32, Trombone 16,

    Console detached and set in a convenient place among the choir stalls. All divisions except the Restoraion Chaire controlled from this console.

    This is not, perhaps, the ideal or perfect solution to Gloucester's organic woes but I believe it to solves many of the criticisms that have bedevilled this place for some time.

    Please comment 😁

  4. 2 hours ago, S_L said:

    I'm sorry - and I expect to be shouted down for this - and, irrespective of it supposed to being a game, I am totally fed up of hearing and reading about speculation for the new organ at Gloucester. The Cathedral and the builders have made it very clear that the scheme will not be revealed until well after the open recital. 

    I don't find words, and that is all it is, on a piece of paper (or on the back of a fag packet!) instructive, helpful or amusing. We are better than this! This kind of clap-trap belongs on another board - and, even there, I bet it wouldn't survive the moderators.

    Sorry 'father-willis'!!!

    Well that's a shame. An amusement this was meant to be not necessarily instructive and certainly not prophecy. So, no, we will not know what Gloucester is until it is: I think it was clear that I understood that. Of course, if you do not wish to read any more about that particular job - don't! and, indeed, what we find amusing individually is just that.

     

    I will postpone anything further myself and see if others may respond/take part. If not I will close/remove the thread.

     

    It does seem rather a pity especially following on so soon from Martin's plea to get involved, and here's part of what he said from the thread. "Are we dying on our feet"

    Please feel that anyone can raise any topic about organs or organ music regardless of how basic it sounds or how inexperienced you feel. Nobody here is going to knock you back or reply in critical or disbelieving tones so if you come across an interesting organ, or you wonder why some pistons are square and others are round, or you want to identify or get hold of a copy of a piece of music you have heard, ask away. And we're not even fierce if you go off-topic - but it's great to start new threads even if they spring from current or old ones. And, ok, you feel a bit of a duffer if no-one replies to a thread - as happens to me quite frequently, but no need to be discouraged.

     

  5. I thought I would start a new thread so that the other Gloucester Rebuild conversation doesn't get totally clogged up.

    Firstly THIS IS MEANT TO BE A GAME! "We" are known to be armchair experts devising schemes that to us are perfect and loving to disparage others' proposed and newly completed builds before ever experiencing them personally.

    Having got that out of the way who would like to join me in drawing up schemes for the new Gloucester organ?! It can, and should, range from the bizarre and comical to the serious, and hopefully we will all sit back in our armchairs with smoking hats on (not to soil the antimacassars) take aim and fire!

    I'll come up with a suggestion when I get back later ; )
     

  6. Not a Forster and Andrews example but I do know of one example of fan trumpets. Unfortunately it no longer exists in its original home.
    In 1867 the new Pubic Buildings were completed and opened in Penzance, Cornwall. In the main hall, known as St John's Hall, there was a newly built organ by Messers  Bryceson & Co to the design of W T Best who gave the opening recital. There is quite a thorough report on the organ in the local press comparing it to some other notable organs in the country in terms of size and completeness. It was, at the time, the largest organ in Cornwall - predating Truro Cathedral by some twenty years - and was Cornwall's only civic organ.
    The instrument was cleaned and restored by Norman & Beard in 1904 when the trumpets were removed from the top of the case and set vertically inside. By the time of the 1939-45 war it was in a poor state and little used. I seem to remember being told that it had been dismantled and stored in the cellars of the hall. Mr Hugh Branwell, organist of Chapel Street Wesleyan Methodist Chapel in Pz, and a man of private means, bought the instrument and in 1952 it was combined with the Walker organ in the said chapel by the Sweetland organ builders of Bath into a very large three manual organ becoming, in a similar way as before, the largest organ in Cornwall.
    I am not sure that all of the fan trumpets were speaking pipes but some certainly were and they can be seen inside their present home with some of the decoration still on them in the following photos.
    ADCreHfC2e-rgJRcsimUhHEWqCMAFTOj7AMqPG7WuPKyu1nPMF_mBPwKHeVaxMemISpFSIiWjyc0rM3knX07_50IYSoBg_z7ZFo8w5GX7uc5GATCK1KaWT55vnQJ9Ioj46gj55rmWrJDE0LzwQfhyOM1TwJJAc_5TPfJ8eR6zsAajEfFeOENKlr591bDpMYHdO7cXl4HDfNyIcbeq9YSPYJcR0OMLRRceKNeHJ3rfOIJkzfTUjGRIgDr0U4Wl0V4WqsbZeEh_WWWq0kHylH69RvRCH92k--ENOeyAj7ON8HBKSjeFlmal0yUH6Mv36hOErDQ49060bJa5ToTuyrNiyMbcaQG0cIuXxo1CWDUoikTuwd8kLh1Y1Zf7pkGbWeLnI9XJUYANEtvO64zP5C3-yhI4V51iA8c9pr9wRstcs0sJ30Fb-iXtf_e4NY2Gyvn46tJ4rG9RHc6ppdO6JneUpB2I98TiXi8PQWItsNfZUlTwmaHOsgqqLEIWZWtZGMoxOJ0f0BDmnswk6VhU8oqBicAoc6fWqljct0m3GeH9h-e7s1ONRsww6ZEdU8xFd9b_dz9hzprSDTOSa5Hed9szNH-xqV3RgUqQ4YuU9lS0zqcN2BDeOKBE4yw_ZaxvSF7Jo3S5JOSVbhf1ZXLRIiN4ZKsH_tb2emXggomB7WEjRUxExgB4FgE7vLX4vsga9VzLUB7nmG5zvdHxhwgEznCf_CH0fbAfGbVKmCCmh5TuCZkcYcwYI0iJ3YErzayf0RYXDW-wGUX5pKiPM5w5bZQS0Ys4BYQQwBbwWQGx7kxTY7HWamk21JGYkrgiJisq6wckFVoC1TvLPiOWRx2AQ1jRBEdULN3zAiwJSBl97VoKpSrARqndnht-e7u1Y1BIaNc6cxqp_vZfnd-2TYc6-aSsYtAowgvpOo=w469-h606-s-no?authuser=0
     

     

  7. I don't suppose anyone out there in the great wide organ world might have a copy of C H Lloyd's, Organ Sonata and be willing to supply me with a, replacement, copy?

    It has three movements, in D minor and is dedicated to Henry Willis, Organ Builder. I played it a few years ago at one of the lunchtime concerts in Oxford Town Hall but my copy seems to have flown the nest!

  8. Happy New Year!
    Does anyone have any insight as to why, especially it seems, British composers for organ used the title, "Benedictus" for movements? A. Rowley wrote two such entitled, Stanford in his Third Organ Sonata ("Britannica") subtitles the second movement, "Benedictus" and there must be many more: why?
     
    [Reger used the title but these, I suppose, are linked to other pieces in a series, "Kyrie", "Gloria in excelsis" etc. Is there any Gregorian chant link in these, in particular? And in these instances I am assuming the Benedictus to be that of the Mass.]
  9. There used to be the "Penwith Music Shop" just off the Greenmarket and "H M James" music shop in Market Jew Street, both in Penzance, Cornwall. Both long since closed, they were certainly trading into the 1980s. The PMusSh was a pretty small premises which, as I remember, sold mainly records and tapes (there could have been some sheet music on sale and if not orders could be placed). H M James was, I believe, the only authorised HMV outlet in Cornwall. Records and tapes, including all the latest 'pop' music, sheet music which included organ music, pianos, electric organs and other instruments were available. My grandfather bought my mother an upright, "Evestaff" piano from Marshall James when she was a girl: we still have it at home.

  10. On 05/09/2020 at 15:11, Philip J Wells said:

    Martin Renshaw in his 2018 book the 'ABC of a medieval church' has a paragraph on 'Acoustic jars' in his section on chancel acoustics.  Apparently in some places large acoustic clay jars were placed either under the choir stalls or in side walls high above the singers.  Examples cited include Lyddington in Rutland, St Clement's in Sandwich and Leeds in Kent near a priory and a royal castle.  Their purpose has been much discussed but they are found in buildings 'where there would have been proficient  , sophisticated and sensitive musician-singers'.   

    In a slightly vague response this occurance of choir pits got me thinking. I have certainly come across choir stalls in chancels of earlier buildings rebuilt/restored in the 19th cent or indeed of wholly new 19th cent buildings where from a solid/tiled floor immediately on entering the choir stalls one stands on floor boards with what would seem like a void underneath. I never really gave it a thought except that there might be some heating pipes underneath. Now I wonder... (Apologies - I can't give you a specific place at the moment, the memory fails!!)

  11. 20 hours ago, S_L said:

     

    I can see half a dozen interesting discussions going on. Perhaps let us have your thoughts on the Hurford 'Laudate Dominum' or on 'Organ music from the Proms'. Have you played at 'Downside' or seen the work Nicholson's are doing at St. Laurence's in York. Martin Cooke is looking for help with Kenneth Blackwell and we'd love to know what is in your 'Room 101'.

    The forum isn't as lively as it used to be but at least we don't have members, and I can think of two of days gone by in particular, making silly or unnecessary comments every five minutes!!

    One thought:  now that continuity seems to be guaranteed and this forum will continue do you think those that left to join another forum might be tempted back? Could we inform/encourage them?

  12. Swell boxes: opinions, experiences and any factual information please. In particular,

    a) the real or apparent effect of the Hill style box (cottage roof or Dog Kennel) in contrast to a large rectangular box,

    b) construction - mainly the substance and interior - painted, lined with paper, reflective paint, plain wood etc.,

    c) Number of shutters in proportion to the frontage and thickness thereof,

    d) How far they should open and in which direction ie an organ on the north side - should they open eastwards, westwards, upwards or downwards, and how much difference does that make? 

  13. On 11/12/2018 at 19:08, DHM said:

    Martin Cooke's first response (above) mentioned Parry's "Blest Pair of Sirens".

    This was written for a Diocesan Choirs' Festival (in Salisbury, if I remember correctly), and there is a substantial semi-chorus part (presumably written for the resident cathedral choir) which could be taken by a group of more competent choristers, or even a solo quartet.

    Was this not, 'Hear my Words ye people' ?

  14. Image result for all saints church cheltenham, organ

    Image result for all saints church cheltenham, organ

    All Saints' Church, Cheltenham, Glos.

    Hill organ, 1887. Above shows the main case on the east wall of the north transept (containing the Great) designed by Dr A Hill. Below is the chancel great case designed by H. Prothero (successor to A. Middleton, the architect of the church - 1868).

    A question: Does anyone know of any other Hill organ cases with integral statuary, or is this unique?

  15. When dealing with undulating ranks, where should the de-tuned rank be placed?

    I have read that the unison and sharp/flat rank should be separated by (at least?) one other rank. On the other hand there are compound two-rank celestes stops which must have both sets of pipes on the same slide, together. Does it matter? Advice please.

  16. 16 hours ago, Lausanne said:

    Although this is listed as H, N & B 1928 at which time quite a few organ builders were experimenting with individual mutatation ranks, even my Tschannun of 1924 here in Lausanne had separate Nasard and Tierce in the Swell.

    In 1909 we know that Dixon was influencing Norman's work, but if separate tierces were being considered, I would expect them to have been in the largest instruments they were building at the time such as Johannesburg and Wellington and the only tierce ranks these organs originally had were as part of the Harmonics mixture. I might speculate that the historic records being quoted may have referred to 'Harmonics -Tierce' meaning a mixture with 17ths in it, and this was misinterpreted as a separate rank.

    Granted, the specification cited is unusual but it might just have been a 'one-off'. Also, to be noted is that the NPOR cannot, unfortunately, be totally relied upon; there are many errors and a good deal of it is not up-to-date.

    I understand what you say about the 'Harmonics' and the designation 'Tierce' but I have never seen a even a note made in this way. If it was a 17,19,22 or 17,19,b21,22 mixture then the usual nomenclature is merely 'Harmonics' or if on the pedal and by Compton, 'Harmonics of 32'. The use of 'Harmonic Piccolo 2' is quite a usual label so the noting of stops would be inconsistent - but not impossible!

    Does anyone know this instrument?

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