Barry Oakley
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Posts posted by Barry Oakley
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I've just had a look and found a press release (from October last year) which mentions a £496,00 HLF award for the restoration of the Sheffield Lewis. It will be interesting to discover, in due course, who has been entrusted with this project.
Pre the early 1990's and for several years the Sheffield RC Cathedral's organ was looked after by a rather dubious outfit based south of the city. After them, the reputable Wakefield-based organ builder, Andrew Carter, did what he could on a limited (inadequate) budget to keep it going. I remember the late George Sixsmith casting his experienced eye over the instrument and pronouncing it the worst T C Lewis organ he'd ever clapped eyes on.
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I've just read a FB comment regarding an 'un-named' Cathedral where the 2-manual Victorian organ has been replaced (but not removed - it is still played) by a 3-manual electronic. The author did not want to name the said Cathedral. Apparently the electronic is not too successful. Does anyone know where this is ? Nothing springs to mind, but it could be an RC Cathedral, which tend to be less well-known. It could be overseas, of course, but the author is UK-based.
I know that Sheffield's RC cathedral is now without its inadequate and historically lamentably maintained T C Lewis three-manual, pending funds for restoration. The said cathedral is presently using a digital substitute and this could well be the place in question.
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Is there possibly some confusion with St Wulstans, an Anglican church in Wolstanton, not a million miles from Tunstall?
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Several photos of the rather splendid old Doncaster five manual console in its new home can be found here:
I can only see the former Tewkesbury console which I well remember from several visits to Paul's East Yorkshire barn. The other console he had there, and I guess it's still hooked up to the organ he has so far assembled, is the former console from Cheltenham Ladies College. It's unfortunate that Paul is no longer able to contribute to these pages otherwise I'm sure he would enlighten us.
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But which, Barry? 64' stops, music desks on 5+manual instruments, the Atlantic City organ, Ruffatti?
I thought the topic was Buckfast Abbey and not five-manual instruments or Atlantic City organ or 64ft stops.
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Should not the last few posts be under a new topic?
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Now that it is pretty well known that Buckfast Abbey is to have a new organ, it really is time for the abbey to make an official detailed announcement.
And to those who have raised their eyebrows at the substantial cost, Buckfast is not without a substantial amount of financial clout according to some figures I saw a year or two back.
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Assuming that one will be roughly in its former position in the quire, I wonder where the other will be. If it's down in the nave and at, or moveable to, the entrance to the quire, that would be very handy for concerts.
I don't know where the consoles are to be sited, one may be on the west gallery where part of the organ is to be installed. My guess is that the other console will be movable, making it available either in the quire or nave,the latter position for recitals.
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BUCKFAST: Ruffatti; 100 Speaking Stops; Two consoles; Two-year project; Cost: £2.5 million; Non English voicing.
Simply what I've heard and I would not question the source.
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The EFTA/EEC/EU began long before the 20th century. We exported Dallams to France and imported Bernhardt Schmidt, for instance. Fair exchange, non/nein ?
This will be the first Ruffatti in the UK, will it not ? They have an established international footprint and have built successfully in places with a problematic layout. They have some huge 5-manuals in the States.
In any case, a builder with half a brain could hardly go wrong in that glorious acoustic; the proposal seems eminently sensible, too. If money is no object, that is up to them. Is honey that profitable, by the way ? Or, do they have other sources (sauces ?) of income ?
I’m sure Michael Farley will make good use of the ‘Downes pipes’, if he is now their custodian. I know some of his work and respect it.
As for ‘how many consoles’ ? Ruffatti has provided some with a Dalek-like persuasion in other places and have a penchant (rather, inclinazione) for the orizzontali (chamade). There is certainly a strong case (sorry, unintentional !) for a west end battería, as at St Paul’s, and such eastward fizzing fanfaronades could be sensational.
Every couple of years, I find myself in Devon. I hope that I’ll be able to hear a masterpiece there, possibly with the slightest of Italian accents, in the nearish future.
Is it definitely to be a Ruffatti? Has an official announcement been made?
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"Picked up from Facebook this week. Ian Bell has been engaged as Consultant here. The Downes/ Walker organ has gone in a skip. Fratelli Ruffatti are to build the new organ(s). No timescale given.
I can not see an official announcement on any websites yet so we await details with interest."
I note your accuracy warning, but is it to be believed that there's now no Downes/Walker at Buckfast? I always felt that the Downes conceived instrument rather stringy in tone, but perhaps this was influenced by the monastic essence of the place. If the Fratelli Ruffatti rumour is to be gospel, they have built some fine-sounding jobs in America. But can no English builder be found?
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I've always thought that organ builders who use 'luminous touches' of whatever sort (and that includes most of the - ahem - other sort of organ) are not very heedful of the needs of the visually challenged.
CEP
It never seemed to be a problem for David Liddle when he played the Hull City Hall organ with its former Compton stop heads.
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The topic of console lights (or lights on the console) has got me thinking about the Compton consoles with luminous stop heads. They used small tungsten bulbs with a long, thin spindle-like conductor that went deep into the stop unit. There can’t be many of these consoles around now – Downside, Derby Cathedral and Holy Trinity, Hull – and I wonder how these places go on for replacement bulbs. Are they relying on salvaged bulbs from redundant Compton jambs (like Hull City Hall) or is there still a ready supply available from an enterprising manufacturer?
I've always thought that organ builders who use 'luminous touches' of whatever sort (and that includes most of the - ahem - other sort of organ) are not very heedful of the needs of the visually challenged.
CEP
I know what you mean. This was a problem in the early days of the Compton console at Holy Trinity, Hull (soon to be renamed Hull Minster). It was overcome by creating a template and cutting a brown paper disc(s) that is then inserted behind the actual stop head. This successfully creates a reddish/brown glow that contrasts with white light or daylight. Something like 130 discs were required for the full compliment of stops and I guess that Downside would require a similar number.
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I do believe that LEDs are the future of lighting, or will be when prices come down a bit.
The topic of console lights (or lights on the console) has got me thinking about the Compton consoles with luminous stop heads. They used small tungsten bulbs with a long, thin spindle-like conductor that went deep into the stop unit. There can’t be many of these consoles around now – Downside, Derby Cathedral and Holy Trinity, Hull – and I wonder how these places go on for replacement bulbs. Are they relying on salvaged bulbs from redundant Compton jambs (like Hull City Hall) or is there still a ready supply available from an enterprising manufacturer?
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Forgive me for a non-organ related topic, but some of you also may have to move pianos for a choir practice and I'd welcome your advice.
Before choir practice, I need to move our church upright (fairly modern so not as heavy as some) piano across a stone floor on to a carpeted surface where our Nave altar lives. (Ideally I would like to move it down- yes, down- one step into the chancel as well but I think that's a bridge too far as the step is too big for a ramp) It has fairly decent standard school type casters on it. Upto now, this has been a reasonably straightforward task to undertake singlehanded.The carpet was recently replaced, and now when I move the piano, the metal carpet edging strip buckles and the piano is three times as heavy to push on the carpet, as the pile is slightly thicker, at least until this carpet has had lots of use.Any advice? Are there clever devices out there that some of you might have to assist with piano moving on different surfaces? (Yes I know the obvious answer would be to dispense with the carpet!)We are looking to get a much stronger brass strip that doesn't buckle, but the extra friction on the carpet is making things rather harder. (And if any of you need to move a piano between two levels, it would be good to know if methods other than a ramp or lots of strong choir members are involved!)It might be worth considering getting hold of some large sheets of MDF or plywood, laying them on the carpet and rolling the piano over the hard surface to its required position.
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But Stanford taught Howells composition, not organ. Howells's organ teachers were Herbert Brewer (at Gloucester Cathedral) and Walter Parratt (at the RCM). I'm not sure Howells had any organ pupils.
I think an erstwhile contributor to this forum, "Cynic," received organ tuition from Howells.
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Like many here I have given up on Radio 3, totally lost its way. It seems that Classic FM also comes in for some stick, maybe justified but I like to listen to the radio when I go to bed at about 11 to 12 - have you heard the appalling noises on Radio 3 at that time? Not to mention the rubbish on Radio 4. However I find that Classic FM at that time is ideal, nothing too heavy and not just the "popular" classics; I've heard some unfamiliar music at that time. Recommended.
Like you, Jim, I also like (or did like) to retire to bed and listen to Radio3. In the past, Late Junction often broadcast some acceptable, fairly melodious and harmonious music. Nowadays the programme's output is akin to standing in the middle of a printer's machine room, bombarded with monotonous, repetitive sounds. As you say, "appalling noises." I'll have to give Classic FM a whirl although I do get irritated when some of their presenters are unable to correctly pronounce the names of even well-known composers.
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I am surprised you're taking a somewhat pessimistic view of how others view the organ?
In particular, and with regard to 'second-stream composers', I would have thought the contribution of J.S. Bach was mainstream enough?
The re-installed organ will hopefully change some of the attitudes of those 'mainstream musicians' who view the organ as a 'geeky niche interest'. I would suggest though, (and having performed with some 'mainstream musicians' myself), most appear to display traits of 'geekiness' in their own personalities. I hardly think this is a stable platform to judge the musical merits and contribution The organ, good on paper, still sounds lousy in spite of the enormous sum spent on its renovation thanks to the RFH’s abysmal acoustic. Meanwhile good organs in good acoustic surrounds in other parts of the country are crying out for funds. It is another example of the continuous focus aimed on London and the SE. of the organ.
The organ, good on paper, still sounds lousy in spite of the enormous sum spent on its renovation thanks to the RFH’s abysmal acoustic. Meanwhile good organs in good acoustic surrounds in other parts of the country are crying out for funds. It is another example of the continuous focus aimed on London and the SE.
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Members will be sad to learn that Dr Alan Spedding, for many years organist/director of music at Beverley Minster, and a great influence for good in the music of that area, died yesterday evening.
Malcolm
It’s easy to lose track of time, and as a former resident of the East Riding of Yorkshire I remember Alan Spedding’s appointment as Beverley Minster’s organist. I can’t believe it was as long ago as 1967. His retirement from that post in 2009 (it seems like yesterday), made him one of the Minster’s longest serving organists since John Snetzler installed the original organ there in the 18th century.
He contributed much to the musical life of the East Riding away from the organ and was closely connected with the University of Hull. He will be greatly missed. Personally, I shall remember him more from listening to several of his fine compositions, particularly for organ, than I shall from his recitals.
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Golly! Robert Quinney didn't stay long at Peterborough, did he?! Good luck to him.
Dave
Precisely my thoughts, too. Make a date in your diary for 12 months hence to see if he's moved on again.
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Santa gave me a copy of this book the other day, which I have now begun to read. I'm just at the chapter about his army service in the war, and the impression is that not only does he seem to have led a very interesting and productive life but that he is quite a down to earth person with no pretensions of superiority. What a nice chap.
I'd firmly recommend this book.
I remember turning for him when he gave a recital at Holy Trinity, Hull, in the 1950's. You're absolutely right, John - down to earth and a nice man!
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For those who do not Steve Dunk's mailings I have taken the liberty of cutting and pasting his latest:
JOHN COMPTON PLAQUE UNVEILING MONDAY 20 MAY 2013
An Ealing Civic Society green plaque commemorating John Compton will be unveiled by his adopted granddaughter, Suzy Perkins, at his former home at 37 Audley Road on Monday 20th May at 11am. Compton was the owner of the Compton Organ company, with its factory in Chase Road, Park Royal, which built organs for cinemas, churches and even a few cathedrals. The unveiling will be followed by talks on John Compton and his company, a short recital on the 1947 electronic Compton Organ and refreshments at the Church of the Ascension, Beaufort Road W5. His most famous cinema organ is the 5 manual instrument at the Odeon Leicester Square, with its multi-coloured illuminated console, still used for film premieres and special recitals. Those wishing to attend the unveiling celebrations should contact info@ealingcivicsociety.org by 12 May. The John Compton Organ Company Limited is best known for the 270 cinema organs built during the 1920s and 30s. But the company was established in 1920 to build, repair and tune traditional church organs and continued to do so until its demise in 1964. Notable examples are at Downside Abbey, Derby Cathedral and St Georges RC Cathedral, Southwark. Another important aspect of Compton’s success was the development of electronic organs. We are fortunate to have a 1947 Electrone still in remarkably good working order in the Church of the Ascension, Hanger Hill, Ealing, close to Compton’s former home which will be played by well-known organ virtuoso and Compton enthusiast Richard Hills at the unveiling celebrations on May 20th. The organs were manufactured in a purpose-built factory in North Acton opened in 1930 to cope with the boom in demand for theatre organs. This one-storey building was bombed in October 1940 but rebuilt soon after with a two storey frontage which still stands in Chase Road in Park Royal, now occupied by a firm of fashion wholesalers. The versatile workforce was employed during WWII in building Mosquito planes. Compton himself spent part of the war in Italy as a prisoner of war, having been stranded there at the beginning of the war where he was able to serve the local community as organist and repairer of local organs. The company failed to survive long after its founder’s death in 1957 but this should not detract from its achievements over 40 years: it was the largest organ builder in the country employing 250 workers at its height. John Compton has been described as an “inventive genius”: more patents were applied for by his company than by any other organ builder.
A longer article about the John Compton Organ Company Limited can be found in the May 2012 edition of the Acton Historian, published by the Acton History Group.
Please contact: kelvinmeredith@ntlworld.com
Compton Organs in the London Borough of Ealing Church of All Hallows, Greenford has the only Compton pipe organ in the Borough, a 2 manual, 5 rank instrument. It started its life in 1923 as a standard model Compton Kinestra in the Hippodrome, Woolwich. Church of the Ascension, Beaufort Road, W5 3EB: 2 manual 1947 Electrone, still in use in situ Forum (opposite Ealing Town Hall, 1934): 3 manual 9 rank. It is now in the chapel of Wormwood Scrubs Prison in good condition and played regularly. The Lido (1928, previously the Kinema, West Ealing, demolished 2001): 2 manual, 5 rank now believed to be in private hands in the London area. Savoy, East Acton, (1931 demolished in 1996), 2 manual, presumably scrapped. St Benedict’s Priory (now Ealing Abbey) 3 manual (1935), destroyed during the Blitz in 1940.
This is the first time I have come across this posting. I feel that, again, mention has not been made of the 1938 Compton rebuild and enlargement of the organ in Holy Trinity Parish Church, Hull, reputed to be the largest parish church organ in the UK. And there's no mention either of the fine concert organ rebuilt by Compton in the city's City Hall in 1950/51, one of the UK's largest concert hall organs behind the RAH.
Perplexing that there has not been any contributions on Compton for some time from MusingMuso?
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This topic does tend to remind me of ice cream vans.
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i don't think that it's necessarily that the people don't want Choral Evensong - or any other Evensong - but that the clergy are so wedded to the Parish Communion idea that everything else is less than secondary. This is unfortunate. The Eucharist is, by its nature, something for the established congregation. It involves a fair amount of doing things. There are many people around who have spiritual needs but can be frightened off by so much "doing", especially the mateyness of many modern Eucharists. Evensong allows one to absorb the Faith without having to stand up and be counted - or, worse still, shake hands with anyone or watch while everyone else hugs each other. Most of the English Cathedrals do very well at Evensong. It's a pity that more parishes don't recognise that the Eucharist isn't the be all and end all, and that Evensong can be a valuable form of outreach to the uncommitted and a valuable teaching ministry to those that are already in.
I think in terms of choral evensong at parish churches there are now so many distractions in modern society that have caused the demise of what was once a regular weekly occasion in even the most modest of village churches. Many sporting occasions now take place on Sundays and the growth of car ownership has provided an opportunity to get out and about at weekends. But as a boy chorister in the late 40’s and early 50’s, choral evensong was always a joy and something to look forward to.
It’s unfortunate that Anglicanism has largely forsaken the BCP and the English Missal when it comes to the service of Holy Eucharist. When done correctly they always provided for a spectacle accompanied by sounds, sights and smells as well as a strong spiritual dimension.
Whilst modern Eucharistic liturgies have been couched in banal language and over-manipulated scriptures, it has become a farce with mass walkabouts and love-ins during the peace.
It’s caused no end of controversy and discontent in the Catholic Church and even the development of factions. But in the case of the old Latin mass, does one really want to sit through the service whilst for the most part the celebrant, deacon and sub-deacon all inaudibly mumble away at the altar with little audible participation by the congregation?
Buckfast Abbey
in The Organ
Posted
Buckfast is stinking rich. Pass the "Buckie" please.