pcnd5584

Thank you. However, it appears to have been quiet on this score for a few years, now. Perhaps the current recession has encouraged a re-think.

Granted. However, this simply exposes a further inherent weakness, since it would have been impractical to expect performers to limit the instrument to this repertoire.

Thank you for this information. Barry. I shall certainly try to contact Serena if I am in that area.

I should like to hear this sound - on the first registration you mention. On the second - um, no. Joking aside, I am convinced that David Blott (or, for once, the voicer) made an error of judgement on this stop. It simply does not work in single notes (for example, to play a melody line in such pieces as Cocker's Tuba Tune). On the other hand, this must have been Blott's intention, since, as far as I know, the lowest twelve notes were omitted, not on grounds of cost, but in order to discourage its use in combination - or in the tutti. To be honest, these last two are the only acceptable uses of this thin stop in this dry acoustic. Arguably, Ralph Downes made a similar (but far greater) error when designing the organ of the RFH. However, the problem was rather more complex, there. For a start, he specified the reeds to be voiced in the style of Cliquot.† If he had to have French reeds, those by Cavaillé-Coll would have been more suitable - at least for the Pedal Organ, G.O., Swell and Solo organs. In any case, he appeared not to realise that the reeds of which he was so fond were, in their natural environment, in a resonant stone-vaulted cathedral. Surely a little exercise of imagination would have at least given him pause to wonder of their effect and usefulness in such a 'dead' acoustic as that originally possessed by the RFH?* Furthermore, classical French reeds require a classical French chorus. Attempting to marry such reeds with North German-Dutch style flue-work was a little like giving a child a considerable sum of money, then putting him in a sweet shop and saying 'buy whatever you want, boy.' The end result was never going to be satisfactory. it will be interesting to see how the completed instrument will sound in its altered acoustic environment, next year. † In any case, opinions differ as to the quality of the voicing (by Louis-Eugène Rochesson). * Some years later, the acoustician Hope Bagenal admitted that he had made errors in his calculations; consequently, the hall was rather more 'dry' than had been intended.

Alastair, thank you. In which case, someone should have thought to change it. Such a composition (with three quint ranks - and a uncovered quint at the top), is unsatisfactory - and historically inaccurate. Surely the slight re-casting of this one compound stop along normal 'Arthur Harrison' lines could have been included in the enormous cost of this restoration? A more typical composition for this stop should be: C1: 15-19-22-26-29 C#26: 8-12-15-19-22 G#45: 1-5-8-12-15

This thread is beginning to resemble the hallowed intimacy of the confessional.... I am amazed that anyone should have done this. The music of Bach can survive most things but, had I been present during such a performance, I feel sure that I would have wished to become instantly proficient in the use of a crossbow.

Firstly, Canterbury Cathedral: I had heard about the plans. Am I correct in thinking that the cathedral authorities wish to rebuild the 'Quire' organ as a four-clavier instrument and also provide a new, substantial (four-clavier?) instrument, to be sited somewhere in the Nave? In any case, I have always thought this organ to be slightly odd. It is the only English cathedral organ without a case (or even a pipe-front). Furthermore, it must be one of the most difficult instruments on which to accompany services. Aside from the present real lack of sufficient quiet registers, even with the Nave Organ, it must be virtually impossible to provide enough organ sound for large Nave congregations. I am also slightly surprised that, as far as I know, no-one has yet bemoaned the loss of the Pedal 32ft. flue from this instrument - unlike that at Gloucester Cathedral. With regard to Exeter Cathedral: this is also a little strange. The organ was last rebuilt a little over ten years ago, when (apparently), it was not cleaned or overhauled - just enlarged. Now it is again dismantled and the interior layout is to be reconfigured completely - for a very large sum of money. Apparently the instrument is to have new soundboards, and, as stated, a new layout. There is no mention of upgrading the key actions, though. Neither are there to be any tonal alterations, which seems a bit of a lost opportunity. I wonder how much difference a new layout will make. Given the size (and position) of the case, there is a limit on how disparate the interior disposition of the various departments can be. There is no mention of whether the Choir and Solo organs are to swap places - which would be a sensible plan - and something which should have been done a long time ago. In any case, the Swell and G.O. soundboards will still need to run East to West. In addition, the Swell and G.O. layout will still have to be on two levels (due to restrictions in the depth of the case), as was the case until January of this year. Whilst the instrument is tightly packed inside Loosemore's superb case, it is interesting to note that, at the time of the 1891 rebuild (by FHW), the Choir Organ, G.O. and Solo Organ each had one extra slide and rank of pipes on the main soundboard. In the case of the Choir Organ, somewhat unusually, the Salicional and Vox Angelica were on the open soundboard, whilst the three orchestral reeds (which were transferred to the Solo Organ by H&H, in 1933) were enclosed in a small expression box. At this time (as was often the case with FHW), the Solo Organ was disposed on an entirely open soundboard. In addition, it was likely that the action occupied somewhat greater space than it does today. It will be interesting to see and hear the results. However, it is a great deal of money. This is an interesting point. I am still trying to comprehend the fact that (apparently) it cost £800,000 simply to restore the organ of Saint Mary, Redcliffe, Bristol. As far as I know, the only alterations were a new layout for the Swell Organ and the removal of the G.O. Mixture V to the main G.O. soundboard. In any case, this stop has a slightly un-convincing composition. It would have made more sense simply to re-cast it as a standard H&H 15-19-22-26-29 Mixture * - which was what Arthur Harrison normally provided for the G.O. of his larger instruments (in addition to the 'Harmonics' compound stop - although as built, the Redcliffe organ lacked this feature). With regard to Holy Trinity, Hull. it would be interesting to learn of the present condition of the organ. A few weeks ago, I found a link to the website of the church, where there was a further link to a video of the present organist playing a piece. However, after listening to the vicar's rather 'upbeat' introduction - and learning the title of the piece to be played - I simply could not force myself to listen to it. Perhaps one day this organ will be restored; unfortunately, at the present time, it does not seem that this is likely to happen in the near future. * It is possible that the composition of this stop (as given in the NPOR) is incorrect. In a footnote, the Bristol and District Organists' Association lists the composition as 15-19-22-26-29 at C1.

Well, quite. Although in at least one publication, both the words and the music of a number of hymns has been un-ceremoniously hacked around. In some cases, as far as I am concerned, I cannot discern any improvement in clarity - and certainly not poetry. Musically, a number of arrangers should be ashamed of themselves.

I would say that this explains my own thoughts exactly. Given the choice between Common Praise and, well, several other reasonably recent hymn books, I should choose the former - unless, of course, one of the other choices was the New English Hymnal. In fact, about ten years ago, we did have to make such a choice, but unfortunately, for various reasons, we ended up with .... .... no, I am sorry; I simply cannot bring myself to type the name of the book.

Not at all. Particularly since I did the same with David Drinkell's story about Herbert Brewer.

If you do, I would be most interested to learn how this was done, please. Apparently, Brewer used to do it at Gloucester Cathedral (on the old H&H organ), with a quick double-jab on the reversible thumb piston to the Pedal Ophicleide. In that generous acoustic (and given that the Ophicleide was on FHW's fairly standard high pressure of 375mm), this must have been quite exciting. Ah - I note that David Drinkell has already mentioned this - sorry. I thought that I had read every post from the previous page.

Indeed. I believe that it was I who posted that story. To the best of my knowledge, it was true. The verse concerned was 'My lot hath fallen upon a fair ground.' Afterwards, Michael said (apparently) 'Eehh *, ah, please don't do that again.' There are quite a number of stories regarding these two musicians at this time - one involving whiskey, another sherry - and a dead clergyman. * Which was pronounced gently, with a very wide, tight mouth shape, with the corners slightly turned down.

Out of interest, with which stop(s) do the respective organists 'smite the enemies in the hinder parts'?

Well, we may not get a congregation of between one and two hundred, but full Choral Evensong is far from dead and gone here, MM. Not only do we sing it (almost every Sunday evening in term-time), but a few miles down the road, you can hear Christchurch Priory Choir sing Evensong at least as often as we do. I believe the same happy situation obtains at the abbeys of Romsey and Sherborne. Here at the Minster, we always sing responses, psalm(s) - if the service is sung by the Gentlemen only, plainchant is used - a setting of both canticles and an anthem. In fact, we still occasionally sing composed settings of the alternative canticles for Evensong, the Cantate Domino and the Deus Misereatur. In this, we are fortunate in that we have our own chained library (which includes much choral and some organ music, some of it not existing anywhere else). We also have two gentlemen who possess (legal) copies of Sibelius - and some free time. For the coming term, we have two new works to learn: Leighton's Collegium Magdalenae Oxoniense setting of the Magnificat and the Nunc Dimittis and Britten's Rejoice in the Lamb. The last full choir Sunday Evensong usually features Stanford, in A and perhaps Stainer's I saw the Lord, or something of this nature. And before you ask, yes - I consider myself fortunate to be organist of this church, in the middle of all this glorious music. In addition, the congregation are both supportive and appreciative - as are our clergy. All we need now are a few hundred thousand pounds to rebuild and restore the organ....

This would be my understanding of the phrase, also. However, these days, one is more likely to have a setting by Thorne, Rutter or Murray, etc, than Merbecke. Sic transit gloria mundi....

This is helpful, Porthead - thank you, too. However, there is not really any department where the problem is more noticeable than in others. In some ways, the Pedal Organ is more stable than most. For some time now (a good number of years), the organ sags somewhat on fuller registrations. In addition, even quiet registrations are not exempt. Occasionally, it seems to sound far worse than other times. The, I just turn off the blower for a while, only re-starting it immediately prior to when I have to play the next hymn or choral item. Naturally, this causes havoc with the tuning. Fortunately our organ builders have good ears - and endless patience. Once two ranks have been tuned together (particularly the reeds), the addition of a third upsets things, and so it is then necessary to try to achieve a compromise, carefully balancing the addition of each new rank with what has already been tuned. I take your point about a methodical approach. However, since there is ample documentation that Walker compensators from this period were (and are) of, shall we say, uneven performance, I am fairly certain that this is where the problem lies. However, I am no expert on the winding side. If you still think that it is worth checking every other component, please do not hesitate to tell me.

Andrew - thank you indeed for your detailed and helpful reply. I appreciate the time you have taken to do so.

Andrew - thank you for this. Could I ask one further question which has worried me: is this method absolutely dependable, or can any type of Schwimmer/compensator, etc, be unpredictable? (For example, with a traditional system of single- or double-rise reservoirs, the result is usually steady wind. However, I have noticed other instruments which use various types of compensator, and the results appear to be variable - some supply steady wind, others suffer from pressure drop and unsteady supply.) Thank you.

A few years ago, the organ console in Truro Cathedral (at least during the summer break) displayed a stern notice admonishing visiting organists to refrain from altering the key of subsequent verses of any hymn. I cannot recall what penalties were threatened, but I gained the impression that they would be about as desirable as being trapped in a lift with Dale Winton.... For that matter, the old (and greatly lamented) Lewis/Walker organ in Saint Peter's Church, Eaton Square had a typed notice affixed to the console music desk which stated 'After playing German Romantic organ music, please wash your hands.' This, I believe, was posted by Peter Chase, who was director of music at that time - and one of my college professors.

I think that there are two points to bear in mind, here. Firstly, I doubt that Cavaillé-Coll was thinking in terms of a contrasting chorus for Baroque music (for example). Secondly, the Salicional and Unda Maris (aside from being on an open soundboard) are not really like standard English ranks of the same name - gentle and restful (like a 'Father' Willis Salicional and Vox Angelica). They are actually quite big in effect. By this, I do not mean 'big' in the sense of a powerful, keen Solo-type string from a large Edwardian organ, but in the sense that, in combination with the Bourdon and the Flûte Harmonique (both of 8ft. pitch), a perfectly adequate foundation, able to support the upper work, will result. However, as no doubt you are aware, it was a somewhat different sound to that which we would expect in England. Having said this, it is interesting to note that, in 1928, Vierne proposed certain changes (which were not carried out in his lifetime). Amongst these, was the swapping of two ranks between the Positif and the Grand-Chœur. The latter department was to gain the Principal 16ft. from the Positif which, in turn, was to receive the Principal 8ft. from the Grand Chœur, in substitution. In fact, it was not until the early 1970s (in the time of Pierre Cochereau) that the Positif gained an 8ft. Principal. However, several stop-lists omit the 8ft. Salicional at this point - which I believe to be incorrect.

Thank you. I was concerned to read the third sentence - I had heard this from other sources - although I wonder if the date might be 1965. Ours do not work at all well; however, those at Liverpool Metropolitan Cathedral (1967) appear to be fine. I hope that it might be possible to make some improvement by replacing the springs. Presumably the floating pans (if rigid - which ours are) are unlikely to need replacement, for example?

Reply by PM.

Philip - thank you. However, I believe that the picture shows a breakdown single-rise unit. I think that our problem probably lies with the concussion units - or 'Schwimmers', if you prefer. (Although I had understood that this was a trade- (or brand-) name of a particular type of unit and that other similar items could not be referred to by this name, but simply called concussion units - or is this incorrect?)

Thank you, Alastair. If I am unable to contact Adrian Gunning, I shall come back to you regarding this.

Thank you, Nigel - I had forgotten about this wonderful instrument. I shall see if I can contact Adrian next week.