Barry Oakley

There is, of course, a hark back to former liturgical language in the proposed new liturgy as in "and with thy spirit". To my mind (and to others) the criticism of the present liturgy is that it is somewhat banal. To say, "and also with you" is a bit akin to someone saying "have a nice day" to which often comes the reply, "and the same to you." One must not forget also that at the holy Mass the celebrant is Persona Christi and it is therefore fitting that the spirit of Christ is manifest throughout. But just as the last revision of the Mass was criticised, don't expect things to change when we eventually have the new missal. I'm just grateful that at the monastery where I attend for Mass there's still a great deal of Latin used.

Have to agree wholeheartedly. The legacy of enormous instruments will become an even greater headache than it is now. Little did the benefactors who paid for these organs and when it took 10 men to carry the collection plate to the altar, realise that in the 21st century these churches would have minimal congregations and simply not have the financial clout to easily maintain organs. Has Liverpool tried contacting Sir Fred Goodwin, late of RBS?

The Ampleforth Trompetta Argentea was also made by Boosey and Hawkes. It is of course not strictly a chamade reed, but in a way I am glad. Without its construction as is, we could never have called it 'The daffodils'. This remains one of my favourite instruments, early neo baroque JWW without the Downsian oberton, and IMO a perfect marriage of instrument and acoustic. I think it represents a more natural example of the genre developed by the builders without the overbearing influence of a consultant, and is all the better for it. I have a recording of the Dupre Stations of the Cross played by Simon Wright, a really lovely man, I hasten to add, which is simply stunning. AJS I thought Dom Ambrose Wright was the consultant for Ampleforth's organ (and Liverpool's RC Cathedral) Does any know what part he actually played in designing or advising on the construction of these instruments? I The Ampleforth organ is also one of my favourites as is the abbey and its surroundings. I've experienced it on many occasions when attending mass and have never found it's timbre less than inspirational. My word, have we not digressed from the topic of Grant, Degens and Bradbeer!

Do you mean they are now in a league comparable to the Blue Square Premier?

I was talking to an abbot recently at a monastic occasion (not at his own abbey) who enquired if the abbey where we were was where I usually attended for mass. I explained that it was as I could not stand the plummeting and banal standards of parish masses. His reply, "I know what you mean."

If you look on the George Sixsmith & Son Ltd website I believe there are some suggestions with regard to potential sources for grants.

Nicholsons made a great play for CAD when they built the new quire organ at Southwell. That must be probably over 10 years ago, too. Using conventional drafting must surely be a painstaking procedure for a builder putting up a scheme, particularly having to draw pipes. I assume that AutoCad comes complete with a library of pipe styles - metal flues, wooden flues and similarly for reeds.

I wholeheartedly agree with you. Whilst it was great to hear the organ in the opening piece of the opening Prom, I thought Wayne Marshall's performance did an injustice to Messian's composition. As usual, too fast and in some passages, too laboriously slow. I don't think it did anything to endear potential converts to organ music. I wonder if Marshall is trying to emulate Virgil Fox? If so, he has much still to learn.

I happen to be spending some time in Hull and yesterday went to the City Hall to hear an excellent recital given by Julian McNamara, son of former Labour MP and minister, Kevin McNamara. I was sitting in the audience with “Cynic” and we both agreed that Julian had given a first-class performance of works by J S Bach, Haydn, Lang, Mendelssohn, Widor, Bridge and Elgar. He is currently Director of Music at Woodcote Oratory School. I have to admit that until this recital the name of Julian McNamara would have passed me by. He seems to have no further recitals booked (pity), but if ever he does it would be well worth the time to go and listen to him.

I can only assume, Paul, it was before you found the excellent "Chez Montanna" at a nearby seaside resort.

I managed to find a sound track on the web of the FTH organ played cinema style. I was essentially interested to hear classical voices one would associate with a concert/church organ. Unfortunately the track that I was able to access was typical of cinema registrations and with an ever-present tremulant.

Thanks, Tony. I'll be interested to know of any responses. It will also be interesting to learn if the original stops have been retained even though they may have been digitised in the meantime.

I wholeheartedly endorse Peter Allison’s comments about Matthew Martin’s excellent recital at Holy Trinity, Hull, last Saturday. I thought all his registrations were first-class and he played with all the distinct clarity and flair that are certainly a hallmarks of one of his former teachers. Hull, (IMHO) is such a Sodom and Gomorah when it comes to culture that it was hardly surprising there was such a small audience. But those of us who experienced Matthew’s recital went away more than satisfied and further sustained by the free refreshments. If there is anyone out there reading this posting and who lives within striking distance of Hull, I can tell you that, given it’s sometimes audible snake pit, the organ at Holy Trinity is one of the nation’s gems. It needs all the support it can muster to enable its eventual and undeniable costly restoration. Here is a list of recitals that are taking place from now until mid October: Wednesday 18 June – Fay Adamson, St Mary’s, Mold Saturday 12 July – Scott Farrell, Newcastle Cathedral (Newly appointed to Rochester Cathedral) Wednesday 16 July – Simon Walker, St Mary’s, Edinburgh Saturday 9 August – Richard Moore, Southwell Minster Wednesday 20 August – Alex Berry, Holy Trinity, Stratford on Avon Saturday 13 September – Mark Keith, Holy Trinity, Hull Wednesday 17 September – Julian Savory, St Mary’s, Cottingham Saturday 11 October – Thomas Leech, Ripon Cathedral Wednesday 15 October – Simon Earl, Newcastle Cathedral Wednesday recitals commence at 1.00pm and Saturday recitals commence at 7.30pm.

Earlier today I was having a face-to-face chat with Cynic and I asked of him if he knew if there had ever been a recording made of the Compton electronic, the forerunner to the Downes-inspired Harrison pipe organ that's now resident in the building? "I don't know" came his reply, "but it could be a topic to raise on the Mander Forum."

It's kind of you to ask, John. I tried to log on several weeks ago and the system would not accept my usual password and so I contacted Rachel, the forum moderator. I'm not sure if someone had objected to one of my postings and sought my removal (we are all entitled to our opinions), but according to Rachel someone else by the name of Barry was to be removed from the list of members and there was a mix-up with identities. I'm not a prolific contributor to the forum but have been a member since before 2004. Regards, Barry

Yes, indeed, Alastair. My big problem is I'm not a French linguist.

One of the reasons why some civic authorities are disinclined to pay for large-scale organ renovations is a lack of support for recitals. I can’t speak for Liverpool SGH, but I suppose the two cathedrals now tend to have a more stronger pull. Two recitals I attended in Liverpool last September – Paul Derret at the Met and the brilliant young James Norrey at the Anglican Cathedral – were quite well attended, particularly the recital at the Anglican Cathedral. The situation in Sheffield is that the 1932 Willis III is not in all that bad a state, thanks largely to local enthusiasts in spite of it not having undergone a major overhaul for countless years. But it is hardly ever regularly played these days by recognised recitalists or others. It might get winded-up once in a while for use in conjunction with a visiting symphony orchestra. But on a more serious note I am led to understand that there is some concern at Hanley, Stoke on Trent, over the decline in numbers at the Victoria Hall. It’s not many years ago that David Wells did a lot of work on the Willis III and not many years before that it was rebuilt by HN&B. and so it’s not in bad nick. I'm told it may even mean an end to the regular organ proms because there is little, if any, subsidy from the council.