pcnd5584

OK, thanks, Brian!

It is heartening to read of the two examples which you mentioned. However, the instrument in my own church already has considerable use each week. Parts of the pedal combination action are somewhat fragile and are now impossible to replace - we would have to fit new components. In addition, it is likely that the manual under-actions will, at some point in the near future, need re-leathering. Then there are the electro-mechanical couplers, which are also rather fragile and beginning to cause trouble. None of these items will benefit from even greater weekly use - trust me, here! Because we are on contract maintenance, we are limited as to what emergency repairs we can attempt without recourse to our organ-builder. He has, in any case, placed a sign inside the console, disclaiming responsibility for the state of the wiring and action, notably the drawstop solenoids and the wiring of the capture system. These were installed by a previous organ-builder and in certain instances the work is, shall we say, not of the best quality.

Well, indeed. Perhaps there is not such a paucity of good instruments south of the Watford Gap.... It is true that there are many wonderful organs in the north, but there are also many in the south, too! In addition to nfortin's list, I would also propose: Exeter Cathedral, Buckfast Abbey, St. Andrew's, Plymouth, Kilkhampton Parish Church, Okehampton Parish Church, Crediton Parish Church, Salisbury Cathedral, Romsey Abbey, Wimborne Minster, St. Peter's, Bournemouth, St. Stephen's, Bournemouth, St. Mary's. Portsea, Portsmouth Cathedral, St. Augustine's, Kilburn, St. Luke's, Chelsea, All Hallows, Barking-by-the-tower, St. Clement Danes, St. Giles', Cripplegate, St. James', Sussex Gardens, All Souls', Langham Place, St. James', Spanish Place, St. Mary's, Rotherhithe, St. Peter's, Eaton Square, Southwark Cathedral.... Well, you get the idea.

For what it is worth, I, too, offer my condolences to Mr. John Pike Mander and his family. Whilst I never met Mr. Noel Mander, I am acquainted with several of the instruments which were built or rebuilt by the firm of Mander. I have a high regard for the careful, informed and respectful way in which he treated and restored organs - particularly older instruments. May God rest his soul.

Alternatively, simply leave it as it is - with the exception of the addition of a divided pedal, of course.... It is, after all, a very wonderful instrument.* Paul, sorry to ask - I am familiar with many of the acronyms, short-hand and slang phrases currently in use on the 'net but what does IMHO mean, please? I am probably being a litle slow or dopey but the only thing which currently comes to mind is In my humble opinion - izzat what you meant? * I was going to use the epithet sexy but I had difficulty imagining that it would get past the moderator. (There will, of course be a four-letter hole in the previous sentence....) lmao

I am inclined to agree with Rev. Newnham - surely the committee must have been informed by their financial advisors as to whether or not there were sufficient funds avaiilable to effect the move? I had also understood that a contract had been (or was about to be) signed with Goll Organs for a new organ in the (new) extension. I assume that this in fact not the case. Is it possible that there has been an element of mis-management? They also seem to be very keen on collecting my subscription but rather less keen on being concerned that I actually get something for my money - which currently I do not! Not particularly through my own fault, either! Personally, I cannot help wondering whether in fact a move to Birmingham from London would be a retrograde step. Whilst there might be some difference in rent or purchase prices, there are surely many more things in London which would attract organists to visit. For one, the RFH organ (if it actually gets re-instated after the refurbishment of the hall). Then there are the rather greater number of organs of all sizes, more concert-halls, more theatres and other places of entertainment. This is to say nothing of four cathedrals (if Westminster Abbey is included) each with a superb choir. There is also the presence of four of the national music conservatoires, the British Library, numerous art galleries and thousands of restaurants, cafes and bars. Whilst Birmingham probably has a number of each of the above, I think that it is fair to say that London by its very size and nature will have a far greater choice of any and all of them.

An interesting point - I would disagree regarding electro-pneumatic actions though, Pierre. Since they involve leather and moving parts and (in the case of my own church instrument) electro-mechanical coupling - less is more, particularly if the action is in excess of, say, twenty-five to thirty years old. With the best will in he world, it is not always possible - nor even desirable to allow regular practice in certain cases. My own church is extremely busy; day-time practice is often impossible, due to services, guided tours or simply because those who work there just want some peace and quiet! I can only get in after-hours on one or two nights a week, since there also other events taking place on the intervening evenings. I have managed (wih some difficulty) to secure reasonably regular practice for those of my pupils who do not possess toasters. However, 'my' instrument has a forty-year-old electro-pneumatic action, which is beginning to cause trouble and parts of which are fragile and cannot now easily be replaced. An unfortunate corollary of this is that it does not improve with constant playing! There are, moreover, no funds to replace the action should it fail. Even if we were to charge five pounds per hour, it would take decades to raise enough money to replace the action. One solution is to obtain an organist's post somewhere - this is not intended glibly. With that will normally come the right to practise on the instrument. For those pupils who are not yet at the stage of being able to cope with a job as organist, it might reasonably be supposed that they would be able to practise on the instrument upon which they are taught. I am only too well aware that we need to encourage the next generation of organists, or indeed, anyone who is willing to serve as an organist. However, sometimes it is not a simple matter - particularly in larger churches. In addition, many churches need to be kept locked, due the risk of vandalism, theft or arson. I suspect that this is equally true whether the church is in a rural location or in the middle of a large conurbation. In such cases, it is often not possible for someone to be in attendance regularly in order to let someone practise on the organ. It is also often impossible to provide keys for anyone wishing to practise - there may be covenants within the insurance policy of the church which would preclude this course of action. Whilst it is occasionally possible to have a designated key-holder, practice-times would, of course, need to be pre-arranged. As is the case with many things in life, the solution is not always easy.

Voices can be damaged by any type of forced singing. Boys' voices are breaking earlier, I suspect, because of such things as a protein-rich diet - it is not possible to affect the age at which any given boy's voice will break simply by singing in a particular way. It depends on what is meant by 'continental' tone. Personally, I would rather hear choristers sing with a fresh, un-plummy tone. Take, for example, St. John's. Cambridge - but under Christopher Robinson. To my ears, this is as near perfection we are likely to get this side of the Jordan (or the Styx, for those who like cinema organs...) If any of our choristers began to sing as if they had a bowl of fruit in their mouths, I would probably suggest that they take up a career in show-business - or perhaps abseiling. However, each to his own. Whilst there are naturally standards and types of vocal quality to which to aspire, in a sense there is no such thing as the perfect tone, or the perfect boy's (or girl's) voice - it is purely a subjective matter.

Oh my God - we are now on page 18!!!! By now, we could have restored the Worcester organ ourselves... Even those Diaphones.... Hmmmm....

Well, Peterborough has just been restored and re-instated after fire damage, so I assume that H&H have made sure that it is in absolutely top condition - possibly not the fairest of comparisons. Incidentally, Cochereau's console was not American - it was modelled on a so-called 'Anglo-American style' (i.e., with drawstops for the speaking stops on angled jambs and the couplers as rocking tablets above the fifth clavier). The case and frame of the present console is new. That constructed for PC in 1962-3 was only chipboard with a thin veneer. The present console is rather more solidly-constructed. Insofar as the state of the console is concerned, I am puzzled. I have seen it 'up close and personal' (as it were) on a number of occasions and have also sat at it. Certainly the last time I saw it, it was in good condition. I was able to take many photographs of it, including several of Léfèbvre whilst he was improvising during a Mass. The keys probably would look a little uneven. They are from the Cochereau console (as were the thumb and toe pistons) and were made by Herrburger Brooks, Long Eaton, Nottingham; (as were those for the now-defunct toaster at Christchurch Priory, Dorset). The stop jambs are, as far as I know, straight and true. However, when the new console was being hoisted into position in 1992, it fell (not far, though) so it probably got a little shaken-up - which may account for any perceived mis-alignment. I cannot agree with Cavaille-Cool regarding the old amphitheatre-style console. It is currently in a very bad state, with missing stop-heads and inserts and some broken key ivories. In addition, Vierne had caused small lights to be fitted to the extremes of each terrace, partly spoiling its contours and appearance. Now if this console had been in the state of preservation of that at S. Sulpice, there may be cause to regret its passing. However, the parish of N.-D. has never been wealthy and the State, whilst funding much of the work on the organ(s), moves slowly and occasionally refuses to underwrite the cost of certain restorations and improvements. The sound is, as you say, superb! (Although I liked it better in its PC/Boisseau/Hermann incarnation!) As for Evreux - BLEAH!

On the subject, it is perhaps a shame that the C-C at the Parr Hall, Warrington was rebuilt with electro-pneumatic action and a conventional combination system (and, presumably, a rather altered console). At least for the sake of authenticity, I feel that it should have been restored to its original design. Having played a one or two C-C bureau-style consoles, I found them quite comfortable and relatively easy to work. Providing one does not wish to employ kaleidoscopic changes of registration throughout a recital, the C-C system of ventils (and hand-registration, of course) is perfectly adequate. Personally I find it considerably more user-friendly than an original 17th or 18th century Dutch console, with paper labels, long draws on the stops and wide, flat jambs. At least all the stops can be reached easily on a C-C console. However, that was not what you asked, David. In reply, the only one I know is that at Romsey, so I am no use whatsoever - sorry!

Well, perhaps we can agree to differ - given that the previous two movemets (and the succeeding movement) are generally quite quiet, I still think that the prescribed registration is better. If you play it quickly enough and with good articulation, it should be possible to avoid making it sound pompous.

I would not count on it! As I understand it - and as has been stated several times, the H-J/H&H/Wood & Co., is to be replaced (but with the retention of the existing 32p ranks) by two new four-clavier instruments. Since Rodgers are not primarily concerned with this aspect of the matter, it is to be assumed that they have not spent much time considering the fate of the pipe organ. Surely they were more interested in making the sale than providing factually-correct statements regarding the nature of any proposed work on the pipe organ! I may just be cynical but I would not personally put much faith in the relevant sentence in their press-release. However, I could not be more pleased if I was proved wrong. I know, I have just added yet another post to this eleven-page screed....Ah well.

Space can pose a not-inconsiderable problem. A bass reflex horn capable of reproducing the 16.355hz frequency of a CCCC pipe is not exactly compact. Ideally it should, I believe, be sited on a substantial surface such as stone or concrete. There is also the question of longevity. I think that it would be fair to say that electronic components do not last as long as pipes. Whilst there are recorded examples of electronic organs lasting several decades, most components mass-produced these days tend not to be so robust. It is worth giving time to consider the possible availability of replacement parts in several years' time. One only has to consider a PC to know how problematic this can be. My scanner was supplied by Tiny. It does not work. Tiny have gone into liquidation - therefore I have no customer support and I need a new scanner.... Furthermore, however realistic sampled 32p stops are, they do not 'move the air' in the same way that pipes do - there is no appreciable kinetic energy. The Rodgers organs used at Gloucester Cathedral while the FHW/H&H/HN&B/RD/Nicholson instrument was being restored did not 'excite' the acoustic - particularly the reverberation - in the same manner that the pipe organ does. It sounded considerably less-resonant, or at least that it were situated in a considerably less-resonant building. After a comparatively short time, I found that the sound was wearisome. For my money, a better solution is to extend a Bourdon down to the 32p octave. It will not take much room and even in a dry acoustic it can be quite effective.

Does such a thing exist?

I believe that any organist practising in the evenings at St. Peter's, Parkstone, is required to play quietly after 22h - otherwise local residents call the police! The organ is extremely exciting - and can also be very loud! For all that, it is a good and versatile instrument. The good acoustic is due, I believe, in no small measure to the fact that the architect of the church was J.L. Pearson....I wish we had lots of stone vaulting.... There is also a rather smaller example of the work of Geo. Osmond & Co., at St. Mary's, Ferndown. It is a fairly undistinguished two-clavier instrument, with a prepared-for reed on the GO. However, in my experience, whilst Osmond organs often have a strident Mixture III (19, 22, 26) on the GO, they do usually have full-length metal basses to ranks such as gambas and dulcianas - in several areas, their workmanship was rather better than some other small firms.

On a more serious note, I would like to endose the above comments made. I am happy to add my voice (well, my handwriting) to support any public protest. What an absurd reason! It could just as easily be argued that shiny new pipes - and freshly-painted casework - will help to occupy members of the audience during those boring, slow, quiet moments of certain orchestral works. In addition, they might actually be impressed. What I think no-one has so far mentioned, is that the average 'man-in-the-street' will probably not notice much difference in the sound of the organ - save that it might be a little louder. His ears will not be attuned to pick out the sparkling new Fourniture on th GO or the impressive liquid fire of the restored tuba ranks. However, if he could behold a gloriously-restored façade, with gleaming pipes and woodwork, he might actually begin to appreciate the restoration of the instrument. I do not know how the work was funded but, if any of it came from the public purse, as it were, then people generally want to see that they are getting something for their money. However, whilst as I have said, I am happy to lend my support to any official protest, I have no intention of chaining myself to railings in Kensington Gore until such time as the organ case is restored....

I must admit that I do like a tidy organ console and loft. I hate working in a mess, so I do try to dust and tidy music as often as posible. If my boss is reading this, he will probably recall the condition of my study at home and wonder if I have a split personality. The answer to that is simply - of course we do.

Thank you for those details, Paul. I also agree with you as regards diction. I have a very musical colleage who insists on substituting certain consonants when training choirs. For example: 'God' becomes 'Got[t]'. He did this type of thing when deputising for me at a few boys' practices a few years ago. Of course, the boys told me straight away on the Friday night full practice, so I had a word with him - I pointed out that I did not wish our choristers to sound as if they had recently joined the Hitler Youth movement....you get the picture. Nothing more was said! Insofar as Patrick Appleford's ecclesiastical slow rock is concerned, I personally think that it sounds pretty bad however it is sung. Notwithstanding, I would always wish our choir to sing with a good, clear (but un-fussy) diction!

Oh - so you have a sister named Helga, then.

lmao

Oh God - please tell me that you are not Jane Parker-Smith....

No - I have no trouble reaching the pedal board! I do not wish to risk starting a revival of platform-soled shoes.... My apologies, if you are indeed a lady. However, I doubt that I am alone in being confused by the extremely frank nature of your assertions with regard to your physical attributes.

Thank you, Tony! Good grief - there are loads. Now I will take all of your advice and limit the search to one county at a time....

If I thought that you were serious, I would happily respond. Unfortunately, you have given me the distinct impression that you are a male organist, who is out for a laugh....if this is not the case, perhaps you should phrase your posts more carefully. I have tried altering the height and position of the stool - it is now at the optimum position for comfort of playing . However, this will of course, not greatly affect problems of horizontal alignment or positioning of the pedal board.