Barry Oakley

Sounds as though the Sheffield City Hall organ is no different to many other civic organs and I wonder if the Wolverhampton demise will be repeated elsewhere. When I lived in Sheffield the local ex Willis man used to perform running repairs although it was the handymen of the local organists association who kept it in tune. It's interesting to learn that water has got in and damaged the 32 Double Open Wood. I thought the building would have been in a good state of repair. Around, I suppose 25 years ago, I arranged for the late Peter Goodman, former City Organist at Hull, to have access to the hall and play the organ. Although not good, hearing the organ played in an empty hall was a vast improvement to when a mass audience was present. But I was told at one time that the hall was essentially designed for oratory, music was really a secondary consideration. What a shame, as visually the hall is pleasing to the eye.

Up until 20 years ago I lived in Sheffield and regularly attended orchestral concerts there. I was also a member of Sheffield Philharmonic Chorus during the 1980’s and it was very noticeable how dead the City Hall was in terms of any acoustic. The Willis organ there, it has a good typical specification on paper, remains largely unused on a regular basis. In more recent years the hall has undergone some internal work, partly to improve its dry acoustic but I cannot comment on any success other than a friend’s report that it is marginally improved.

I believe the Willis/Mander went several years ago, rumoured to have headed to Willis, Liverpool.

I wonder how many pipe organs are being “skipped” these days instead of being found new homes? Sheffield Cathedral has been without a main pipe organ for over 20 years, a toaster replacing it. The Cathedral’s website no longer carries any news of progress in either sourcing a brand new pipe organ or a good used replacement. Meanwhile I guess that rumours are still doing the rounds in local circles that at one time included interest in the Parr Hall instrument and a new creation from Swiss builder, Kuhn. Wolverhampton’s former Compton could well have been an ideal solution.

I firmly believe that after the organ is fully restored it will be more than a treat. Apart from Hull citizens, few have heard the Minster organ as it has never been commercially recorded in either vinyl or CD format. I hope that will be rectified eventually. And given the promising new acoustic it could eclipse the City Hall. Living as I now do some 130 miles away from Hull, attending recitals there is, sadly, hardly a practical consideration. Many years ago I quite regularly attended first-class recitals given by Peter Goodman, then City Organist. But I suppose the most memorable of them all was the 1951 opening recital given by Norman Strafford and Fernando Germani.

I admit to being quite fanatical about the work of Compton in Hull, particularly at the City Hall where as a young boy I was privileged to see (and hear) some of the work taking place in 1950 under Jimmy Taylor’s direction and who I got to know. But from a sentimental aspect I am particularly fond of the lovely organ in what is now Hull Minster and where I became a boy chorister in 1949. This organ was completed just before the outbreak of WWII. The Minster organ, I understand, was a project on which John Compton himself actually worked. It was much the brainchild of Norman Strafford, then organist and master of choristers and also consultant for the City Hall masterpiece in 1950-1951. Slightly earlier, 1948, Strafford also had a hand in the Compton rebuild at Bridlington Priory. Eighty years have now passed since the Minster organ was completed. Apart from periodic tunings and some repairs, the organ has essentially remained untouched, simply gathering the grime of time and understandable wear and tear having taken place. In recent years much has been happening at Hull Minster. Gone are its substantial oak pews forming the seating in the central nave; a new stone nave floor has been laid and gone too is the presence of any nave carpeting. Already there is evidence of an exciting acoustic into which the eventually restored organ will speak. At now just turned 82, I hope I’m still around to once again witness the glorious sound of this beautiful F&A/Compton.

Beverley Minster is dedicated to St John of Beverley. St Mary's is further into the town and near Beverley Bar, an ancient entrance gate into the town. It has a fine 4-manual organ, a mixture of T C Lewis and Forster & Andrews workmanship.

It’s the best news I’ve received for a long time. I believe there will be some very minor tonal changes and perhaps some duplexing. But the fully restored result will be much as it is today. The full console restoration will incorporate a computer-based control system, replacing the 80-year-old Compton system and possibly LED’s replacing the tungsten bulbs in the Compton illuminated stopheads. It will also be placed on a moveable platform. I’ve often thought that Hull and venues in its immediate surrounding townships, Beverley and Bridlington, could form the basis for an international or European organ festival. With regard to Beverley, I think you mean St Mary’s, MM?

It is now reliably reported that quotations are being sought for the complete restoration of the Hull Minster Forster & Andrews/John Compton organ, requests having gone to the "UK's three main organ builders."

Only ever heard Thalben-Ball via broadcasts and 78's, but I know that one of his pupils, the late Peter Goodman, was a wonderful improvisor. Wonder who perhaps taught him?

I believe few knew of Jimmy Taylor's accomplished ability as an organist and an improvisor. In the final stages of the completion of the Compton rebuild of the Hull City Hall organ, as a young boy I can still remember him playing the instrument to both improvise and play excerpts from classical pieces. He could be quite brilliant.

The Notre Dame topic, like many topics on this forum, is somewhat a victim of digression. I hold my hand up. But I had previously referenced the late Norman Strafford who was from 1929 to 1951 Peter Goodman’s predecessor both as Organist & Master of Choristers at what is now Hull Minster and also the City Organist. Strafford was a charismatic figure, particularly as a fine choir trainer, building a huge reputation as Chorus Master of the Hull Choral Union and was also no mean organist. He acted in a consultancy capacity for the rebuild and enlargement of the Minster’s magnificent organ in 1938, the Hull City Hall organ in 1950 and, I believe, the 1948 rebuild by Compton of the instrument at Bridlington Priory. Hailing from Leeds, he was a onetime music master at Woodhouse Grove School and had an association with the Leeds Festival Chorus where he was, I also believe, either Chorus Master or accompanist. Strangely, there is no mention of him amongst their notable musicians. Strafford had amongst his musical friends the likes of Stanford and Beecham.

I well remember my days as a boy chorister at Holy Trinity, Hull, (Hull Minster), and watching in awe the late and great Norman Strafford, also City Organist, hand register even though he had a plethora of pistons. He was Masterful. But I’m reminded of a YouTube video of the brilliant Thomas Ospital playing the organ at St Eustache, Paris, and making great use of a sequencer. I just don’t know how he could have played such a piece without the availability of the facility.

If you look at the NPOR entry for Bridlington Priory you will come across a photograph of the diaphone. I've been in the organ chamber and it's definitely from the Compton stable. The tuba also shouts out that it's definitely Compton, lovely and fat.

Another example of a very effective polyphone is at Bridlington Priory, a building with excellent acoustics. The NPOR entry covering the last rebuild by Nicholsons, attributes the 32ft Sub-Bass (Soubasse) to Anneesens. I feel with some measure of confidence that it is the work of John Compton who installed it when he rebuilt the Priory organ in 1948-1949 and also added further ranks that have not been attributed to him.

The Compton polyphone at Hull Minster (32ft Sub-Bass), speaks with beautiful effect, especially with Swell strings. It’s a wonderful stop, one that you don’t so much hear but feel. It’s as if the ground is gently shaking.

Hull Minster's Compton transmission system has lasted 80 years although it is showing signs of failing and is to be replaced by modern, up-to-date technology.

Of course in different ways both buildings suffered war damage, the City Hall more so than Holy Trinity. The City Hall suffered war roof damage that affected the organ and resulted in Compton’s work in 1950-1951. At Holy Trinity there was damage to the quire clerestory windows that allowed sparrows to roost in the building, mostly on the south organ case and where many perished at the bottom of Dulciana pipes.

I had seen this picture before but no date applied and so I wrongly assumed it may have been WWII. The site replacement is what was once referred to as the "Labour Exchange." Interesting to realise that Compton had not yet worked his magic on the Holy Trinity (now Hull Minster) organ at the time this picture was taken.

It’s likely you’ll find venturing into software specific for producing printed publications somewhat baffling. Microsoft, particularly Publisher, does not have a high reputation in the printing trade who tend to use costly and more complicated solutions from Adobe. I set out life many, many, decades ago as a letterpress printer, now virtually unheard of. And so when I looked at finding software at an affordable price that would allow me to continue to use the many skills I had learned, I opted for a package known as PagePlus. Whilst the software has been discontinued in terms of continuous development, It is freely downloadable in its last version, PagePlus X9. Finished output can be converted to a PDF version which is acceptable to commercial printers. You might like to take a look.

I'm wondering what software you are using, Colin?

As you can well imagine, David, there are a goodly number of examples of Keates’ work in and around the Sheffield area and beyond. I’ve not come across one that matches the size of the Uppingham example but of those I’ve heard, the Upper Chapel in Sheffield’s Norfolk Street (37 stops) contains a lovely piece of his work. It later received work by Henry Willis and is a delight on the ear. Of course, Keates received his initial training from no lesser Sheffield-based firm than Brindley & Foster as did the great John Compton.

Some words from Olivier Latry: Dear all, In these tragic times for the Cathedral, you have been extremely numerous to send me words of support, more moving than the others res, either by e-mail, SMS, FaceBook, Instagram or by calling. I will never thank you for that. I would have liked to be able to respond personally to each of you, but given the urgency of the situation, it is unfortunately not possible for me, at least for the moment. I hope you will not hold me against it. Our Lady, who had resisted revolutions and wars, went up in smoke in a few moments. 855 years missing in four hours ... Like you, I feel an enormous sadness, anger contained, a total dejection. The images that are given to us to see are atrocious. How not to believe in a bad dream? Reality catches us unfortunately hard. Despite all the damage to the Cathedral, the organ miraculously escaped the flames, and also the water supposed to extinguish them. It is very dusty, but can continue to move us as soon as its case has regained its magnificence. When? No one knows it today. "Destroy this temple and in three days I will raise it. Is it said in the Gospel of St. John. It will surely take more time in Notre-Dame, but I have confidence and hope. With all my friendly thoughts. Olivier Latry