pcnd5584

The reference was to the first option. No, we probably are not going to agree! However, whilst I do know that JSB liked cymbelsterns and that he particularly liked trying-out 32p reeds, I am unsure as to whether he would have liked tubular bells or a bass drum, for example. I would be interested to hear of contemporaneous examples which he would have known! Insofar as LIncoln is concerned, I thought that this was exactly what the letter was implying - so presumably we agree - I think! Whilst I take your point about the 100mm wind pressure for the Choir Organ at Liverpool, there are plenty of examples of very high wind pressures elsewhere in the instrument. Unnecessarily high, in my opinion. I have only heard it live on one occasion - and that was quite sufficient! Ian Tracey played so loudly that I had to leave the building. Now, I like loud organ music, but the operative word here is 'music'. Notwithstanding Ian Tracey's great ability and superb technique, I found the sound oppressive and distinctly un-musical. Rather, it was just so much sheer noise. Personally, I think that many of the wind pressures could be lowered to good effect - the organ will still, I am sure, be adequate for the building. ....waiting for incredulous response from Roffensis....

Probably not! I did not like the Carillon III (12, 17, 22) at S. Etienne, Caen, either! Yes, I know that this stop is a mixture and therefore not a true percussion effect! I was also rather unpleasantly surprised that the pipes were situated on the Jeux de Fonds chest, too - not on the Jeux de Combinaisons chest. As for additions, as I mentioned to Richard in another post in this thread - you may wish to keep your eyes on the nave bridge over the next few months, or so. Your comment about a nave chamade chorus may not be quite so wide of the mark....except, of course, for the reference to low pressure. I am not sure that such a thing exists on this organ.

Yes - I deliberately avoided this when specifying the order of the tracks on the final edit. At the beginning, there are three comparatively loud pieces (albeit with some variation in dynamic level and timbre). There follow three or four quieter pieces (including the whole of Widor's 2me Symphonie, the first three movements of which are largely mp to mf, or so). Whilst there are enough variations in dynamic and timbre to provide interest for the listener, I have tried to avoid the 'loud-soft' effect of track-programming which can be found on some commercial CDs. The producer/recording engineer and I experimented with compression, but in the end used only the lowest level, since I felt that any increase in this (artificial) effect was aurally dishonest! I also got to design the cover, tray insert and inner booklet - which was nice....(!)

It would be a convenient explanation if it were true - unfortunately, it is not! At some point in 1896, Henry Willis was engaged in correspondence with Dr. G. J. Bennett, then Titulaire at Lincoln. I quote from the relevant portion of the letter:- "....It would be, if not impossible, most unwise to stultify the tubas by placing them in a box. I know that there is one at Hereford, which I think spoiled. We must remember the church [Lincoln Cathedral] we are catering for is at least four times the size of Hereford." (My emphasis.) There is more information given regarding the planned rebuild at Lincoln, mostly concerning the upperwork and the sub-unison ranks of the GO and Swell organs. I have to say that I had forgotten that Hereford had an enclosed Tuba (presumably now the Tromba). This is one big Willis which I have not yet heard live - only in recordings. I really should get to hear it sometime.

I agree, up to a point. I would, however, hestiate to agree that the music of Howells is 'deeply rooted in Faith' - certainly a former Titulaire of Birmingham Cathedral took me to task some years ago for making the same statement! On reflection, I can see his point. The music of Howells was undoubtedly linked to particular buildings, their acoustic ambience and their organs. However, whilst his music (particularly the choral music) is often uplifting in effect, I do wonder whether this is as a result of any personal faith (in God) which Howells may have had, or whether it is a more emotional - possibly 'spiritual' response. Certainly, Howells endured his share of sadness and personal tragedy - not just the loss of his son Michael, at the age of nine (I visited his grave a couple of summers ago) - but also personal illness. (Howells was, I believe, for a short time, Assistant Organist of Salisbury Cathedral. During this time, he fell gravely ill and was not expected to recover. Fortunately, he was spared.) I would be interested to read any views or recollections which Paul Derrett might wish to share.

While we are (not) on the subject of Father Henry Willis's Greatest Hits, is anyone aware of the current state of the organ at St. Michael's, Tenbury? Then there is, of course, St. Bees' Priory - I know that it was altered by H&H, but it is still basically Willis. Moving down south and west, there is the Willis at Tiverton Parish Church and the Willis at Bideford Parish Church - both in Devon. Certainly, a few years ago, both instruments were good examples of surviving Willis stock, though in what state they are currently, I do not know.

My apologies if it has been mentioned before, but doe not Priory Records offer at least a limited re-issue service? It is (obviously) also worth checking-out the second-hand LP shops. I have managde to acquire virtually the entire Great Cathedral Organs series, in addition to many other fine now-deleted LPs. Even some Cochereau - YAY!!!!

Well, that is certainly interesting! Are there any extant recordings of Joe Levett playing at Rochester? (Anything - not necessarily Whitlock.) I assume that they would have to be private recordings, or possibly re-recordings. It would be most interesting to hear the old organ - particularly the 'old-world' charm. I would agree that Chichester has this in abundance and I would very much like to hear an old recording of Rochester. I would certainly concur as regards Chester - although I would like to hear an old (pre-1969) recording of that instrument. I regard Hill as one of the finest builders ever to emerge from the UK. Certainly, there was generally a much greater sense of structure and balance than either a Willis (where the reeds are everything) or a Harrison (where contrasts are the order of the day). I am aware that I am generalising - there is obviously more to a Willis organ than the chorus reeds, but, having recently again played Salisbury at night, once whilst the reeds of the Pedal, GO and Solo Tuba ranks were silent (due to re-leathering) and once when the wind supply had been restored - the difference was incredible. Without the reeds, (save those on the Swell), Salisbury is lacklustre and impotent. Now, whilst the same could be said of many other organs, Hill choruses are so utterly musical and cohesive - even exciting - that the reeds become a useful adjunct, a colouring - rather than a huge jump to a big climax. I still like Truro, Salisbury, Ripon, etc - but for different reasons!

Hmm....I remain unconvinced! In 1934, shortly after Whitlock left Rochester, ten ranks were either revoiced, re-sited or replaced with new pipework. According to the information in Paul Hale's excellent book, the rebuild of 1957 was rather more far-reaching in effect. The GO reed was revoiced and extended both ways, the Choir Organ gained several extended ranks (e.g.: the old Swell Stopped Diapason - four pitches and the Dulciana - five pitches). Several stops in the Swell were replaced, revoiced, with others prepared-for. The Pedal Ophicleide rank also dates from this time. There were subesquent alterations requested by the then Titulaire, Dr. Robert Ashfield - the Choir gained an extended Larigot, a Cymbale (29, 33, 36) - this latter was a separate rank - and a new Flûte à Cheminée . Further changes to the GO included a 4p extension of the Choir Flûte and a new Furniture (26, 29). On the Swell, the old Trumpet was re-cast as a Clarion and the Oboe replaced by a new Horn. There was also a chest swinging (in Charismatic fashion) from the roof of the Swell containing a Twelfth and an extended Nineteenth. Since, in the rebuild of 1989 the following new ranks were installed: GO - nine, Choir - eight, Swell - three, Solo - six and Pedal - two, with a new 32p octave for the reed, I am sceptical about how closely that the organ resembles the instrument on which Whitlock received lessons from Hylton Stewart. For my money, St. Stephen's is still the most suitable instrument on which to perform his works. Apart from the fact that many of his works were written (and registered for) this instrument (or that at The Pavilion), St. Stephen's has only had minor tonal alterations* since Whitlock last played it. Oh, and of course, a new console. * Including the removal of two ranks in the Swell, to aid tuning access and the possible alteration of the Swell 16p reed. For all that, Rochester is an extremely nice organ!

Yes - it does! The Choir to Pub has still not been connected as at 31-vii-2005.

So, where was the organ in the west of England?! I must agree with you, M. Lauwers. Howells did have a somewhat tragic life. In addition, whilst I think that his choral music is generally superb, I have usually avoided playing his organ compositions in recitals. I think that primarily, this is because I view it as 'mood' music. Since many of his published compositions sound like improvisations, following a similar format (I am thinking of the Psalm-Preludes, rather than the Sonata) they are excellent to open or close evensong, but I have found that they are generally less well-received as items in a recital. It is true that the Six Pieces are more suitable and that at least two of the rhapsodies would be suitable for a recital. However, to me, there seems to be some indefinable element missing - sorry, I am not explaining this well. I do understand that he deputised at St. John's, Cambridge during WWII and that apparently he improvised virtually every voluntary. Whether or not they all sounded similar, I do not know. Do not think, by this, that I am berating his music - I rate Howells as one of the finest British composers of the 20th Century. I just find that, for me, much of his organ music sits uncomfortably between two stools.

Hey Magna - welcome! Interesting gratuitous shot of scary naked organ pipes.... To be honest, I do not think that I would wish to be in the same building when Ian uses the party-horns.... The ones on my own instrument are quite enough - perhaps one day you will actually get to hear them live! The Bombarde reeds at Oxford are also quite exciting - sorry you missed them this year....grrrrr....

Firstly, I did not say that the picture was cropped, only to hint (albeit obliquely) that if one were to use a copyright picture, cropping the details of the copyright assignment would not be sufficient. Secondly, no, I do not doubt that you took the pictures. However, I was referring to those general views in which you do not appear. Quite how I am supposed to infer whether or not the building was closed from a picture is beyond my comprehension. I recently managed to take several pictures of the interiors of Christ Church Cathedral, Oxford and Coutances Cathedral (Normandy). To all intents and purposes, both buildings look deserted and could well have been closed to visitors. Notwithstanding, in both cases the buildings were open and had several visitors walking around. I hope that this improves the clarity of my original post.

Umm....you may wish to keep your eyes on the nave bridge over the next few months. Oh, and you probably should buy a hat - one with really thick ear-flaps.

Just buy him a few beers - he will be fine.... Anyway - surely the Liverpool organ is a him?!

Not, of course, forgetting the Robert Gower LP of Whitlock's music, on the organ of St. Stephen's, Bournemouth. This organ is arguably even more suitable than the present Rochester instrument (which, according to my booklet, was altered considerably). The only tonal alterations to St. Stephen's, were the GO Mixture IV, replaced with a 17, 19, 22 mixture - I do wish that had not been done! Also, the GO 4p Harmonic Flute was replaced with a Spitz Flute 4p (again, unfortunate). In addition, I and several colleague are convinced that R&D either revoiced the Choir Organ Tuba or substituted another rank of pipes in its place.

I would concur with Paul's statements. In my opinion, the Abbey organ is a fine instrument. Certainly a gifted former assistant also thought very highly of it. Just a point about the mixtures. Actually the GO mixtures, when re-cast in the 1980s, lost tierce ranks. The composition being, I believe 15, 19, 22, 26, 29 and 29, 33, 36. The H&H Harmonics was retained. Whilst the Bombarde division is powerful, used with care it can be very effective. The Abbey is reasonably large (tallest medieval vault in the UK at 102 feet) and no doubt the Bombarde section comes into its own when the State Trumpeters are cleaning their flags.... To be fair, I have to say that I prefer the Abbey Bombarde reeds to the Royal Trumpets at St. Paul's. I have at least one recording in which they sound so thin, they resemble giant harpsichords (sorry, Mr. Mander - but I do like Chichester!)

Umm....no - they do not allow visiting organists to play!

I think that this is preferable to the alternative, which would be, presumably, that all tracks are equalised so that everything comes out at the same volume. Yes, the former method does mean that it is occasionally necessary to adjust the volume. However, surely this is more likely to be a fair reflection of the effect of the instrument as heard live. In an organ recording which I have just made, the microphone was placed in one position for the entire recording (diagonally opposite the case). Whilst the microphone was raised a few feet, the resulting sound is a pretty true representation of the instrument in its surroundings. There are one or two moments on the recording where I use the softest stop on the Swell Organ with the box closed. Yes, it is very quiet - but it is also very quiet in the building. It does create a slight problem if one is listening in a car; however, that part of the track lasts only for a few seconds. At the opposite end of the scale, the disc concludes with the Choral from Vierne's Second Symphony - the tutti being employed for the last few chords. Again, it is comparatively loud on the CD (at a reasonable volume); once again, in the building the effect of the tutti is also quite shattering in various places. Some food for thought.

I see you managed to quote my post, without quoting my post, as it were! Personally, I am not a secret tuba fancier - or an overt one, for that matter.... However, it is interesting to note that these days the York Tuba Mirabilis now at least sounds even in timbre and power. This is due to the re-balancing caried out some years ago, by Phil Burbeck. As installed by H&H, the tuba was extremely uneven. This was because the tuner, in order to gain access to one side (might have been the C# side) closed all the tuning slots, because he kept getting caught on them! Phil Burbeck (with one of our choirmen holding notes) subsequently adjusted all pipes for evenness of timbre and power. He also did some other re-balancing, notably to the GO chorus, which apparently resulted in a rather better, more cohesive sound.

Whilst I would not wish in any way to detract from this excellent board, should anyone wish to discuss organ matters on-line, I recommend Yahoo Messenger. My Yahoo Identity is (un-surprisingly): pcnd5584. If I am on-line, I would be pleased to 'chat' (in the written sense!) to anyone who frequents this board. Feel free to disagree, or even agree with me - as you wish!

Hang on, there! Most 'historic' instruments in other (european) countries have also been altered, or at least, restored. For example, St. Bavokirke, Haarlem. As another contributor has mentioned, there were a number of things done in the course of the restoration of this historic instrument (1950s) which. even now, would be questionable. Whilst I realise that Rev. Newnham was probably inferring major tonal and transmission alterations, there is scarecly an organ alive (!) which is in its original state. If it was, it would in all probability be virtually un-playable.

I was interested to read your post, Richard. I would agree with you. Having made several recordings, I can also testify that there are often 'tricks' played with balance. I, too, rate Lincoln highly.

Not necessarily. The action on my 'own' church instrument is virtually instantaneous. By this I mean that there is no appreciable delay whatsoever. The repetition is also excellent. The only part of the action which is slightly weak, is that of the Pedal Organ. This is, I suspect, for two reasons. Firstly, the pipework of the Pedal ranks stands on several chests, all with separate under-actions. Secondly, after forty years' heavy wear, the pallet magnets have a problem with residual charge. That is to say that the magnets retain some of the effects of the current passed through them. Consequently, some become tardy in releasing notes. To agree with Nfortin - Gloucester has an excellent action. In my opinion, for larger instruments, with an (electro-magnetic) action as good as this, I really do not see the need for mechanical action. To return to my own church. Despite very heavy wear over forty years, the action still works perfectly. The repetition is superior to many new solid-state actions which I have tried. In addition, the repetition is considerably better than the new mechanical action at, for example, Bath Abbey. There, I was able to play repeated chords at a considerably faster rate than that with which the action could cope. Personally, I found this a hindrance, rather than being more 'in touch' with my playing. Furthermore, after spending another week at the console of the organ of Christ Church Cathedral, Oxford, I remain unconvinced that mechanical action is superior in every circumstance. Whilst it is true that this organ has an exceptionally well-designed and sensitive mechanical action, there are many flaws. The action is almost too sensitive. The distance a key needs to be depressed in order for a note to sound is barely 2mm. When pressing pistons, the utmost care needs to be exercised in odrer to avoid accidentally sounding a note. Then there is the problem of couplers (as at Chichester). There are simply not enough unison inter-clavier/pedal couplers. The Bombarde (clavier IV) can only be coupled to the GO. Therefore there is no possibility of using the Bombarde reeds 8- and 4p as a cantus firmus against the coupled choruses. (At Chichester, the absence of a Swell to Choir coupler is rather more serious and the only irritation about this otherwise excellent instrument.) Then there is the question of balance. I must disagree with Rev. Newnham, here. The problems of balance engendered by the en fenetre console at Christ Church, Oxford are difficult to overcome without constant reference to a friend walking around downstairs. (This is not always possible - none of the choir could be spared, and I saw no point in asking a busy verger.) From the console, this organ, more than many, is totally misleading. Even stops such as the GO Bourdon 16p and the 8p flute, which sound distant at the console, are quite loud and full-bodied at the console. This is also true of the Bombarde reeds which, again, at the console sound as if they are in another building, yet, in the nave, they scalp old ladies and set the altar candles aflame. Problems of balance on this organ, particularly when accompanying, are many! At the console, there is nothing to suggest that the balance of many of the individual registers will be so different in the body of the cathedral. Whilst many organists are accustomed to play 'blind', as it were; at Christ Church, the simple expedient of a detached console would make organists' (especially visiting organists') lives considerably more easy. It is worth noting that at Christ Church (as at so many other cathedrals) for obvious practical reasons, daytime practice is limited to quiet flutes and that night-time practice is generally not possible.

Yes, they are good pictures. However, without wishing to spoil your fun, I feel that I should sound a note of caution. The first picture is clearly copyright (Robert Strafford). I presume you have obtained his permission to use the photograph? Cropping the picture is not enough, incidentally - it would still be recognisable by the photographer! I mention this because DB has, on his website, used one of my pictures (a close-up of the C-C console of Ste. Sulpice, Paris). Whilst in a way this is a compliment, I am also slightly annoyed since he did not either ask my permission to use the photograph or credit me with taking and supplying the picture. Mind you, since he has been most generous in many other ways, I would not think of complaining....* Just a small point, but, in the light of Mr. Mander's comments re- preoposed sound files breaking PRS laws, I thought that it was worth mentioning. I assume, of course, that all other photographs were taken by you? They certainly look digital, as opposed to scanned. * The fact that I am patently obviously complaining via this discussion board does, of course, not count....