pcnd5584

Yes, the old nave organ was, I believe, purchased by Budleigh Salterton Parish Church Council, for use with the existing instrument there. Michael Farley has rebuilt the organ incorporating the Worcester nave organ ranks. Incidentally, the nucleus of the organ that H&H used for the Worcester nave instrument originally came from St. Basil's, Deritend.

I would concur with this sentiment. Given the difference in locations, there is bound to be a noticeable variation in the ability of the two instruments to cope with a full nave. If the 1948 transept Klais were hung above the nave arcade at triforium level, it would in all probability cope even better than the new instrument. Conversely, if the new instrument were to be placed in the transept location, it may be worse than the 1948 instrument at leading the singing of a nave full of people.

1) Yes, I know! Personally, I would find a separate 2' more useful than a mixture which contained the tierce and septième ranks. 2) Well that is a reasonable idea. 3) It is a few years since I looked at the upperboards, but I am fairly certain that the GO and Swell mixtures have only been altered once - by R&D in the major rebuild. Given the workmanship of the console, the haphazard arrangement of the veneer on the upperboard is probably the result of the one alteration, carried out within a fairly limited budget. However, I suppose we could always resort to carbon-14 testing....

Thank you! I will investigate this more fully. I am pleased to hear of the restoration of the older instrument - I have the recordings of both Dupré and Cochereau improvising at Cologne (both on Veni Creator, I believe). I will try the Klais website for further information. Regards!

It would be helpful to know the full specification, the position and use of the instrument and the acoustic properties of the building. (The original specification would also be useful.) But, as a general point, it seems as though the present situation is unmusical. Perhaps, as M. Lauwers states, a return to the previous 17, 19, 22 composition would be more desirable. At Truro, the GO and Swell mixtures both have this composition and, in addition, they both break at F#1 (to what, I cannot recall). However, as M. Lauwers also states, this is not a 'Bach' mixture! Yes, Willis did keep his trebles bright - even the fifteenth ranks; but, associated with this type of mixture, there is a distinctly reedy 'tang', which tends to counteract the usefulness of the brilliance. You do not state whether or not there is a mixture on the Swell. Furthermore, it may be possible to soften the present GO mixture - and perhaps supply the missing octave of pipes. This may be a cheaper temporary solution to what you hint is only the tip of the iceberg, as it were.

Indeed! Furthermore, the winding to the Boisseau chamades has been altered. In PC's day their speech was as steady as Gibraltar. Now there is a clearly-discernable wobble (and slight inflection) under certain circumstances. The poor thing sounds like King's, now... (Sorry, Mr. Cleobury.) Incidentally, do you have the more obscure CDs of PC? (I assume you know that there is a new release out?)

Apropos your comments concerning Cologne; as far as I know the cathedral still posesses its older four-clavier Klais, skulking in the gloom of the North Choir Aisle. It is true that when I visited a year or two ago, it was partly dismantled and encased in scaffolding, but I was given the impression that it was being overhauled, as opposed to being removed. I have a recording of the new organ but would like to hear it live. Presumably Herr Ganz does not suffer from vertigo.... For my own taste, Worcester is exciting - and it certainly fills the building. We did not have a full house for Mass, but I only needed to use a small part of the organ in order to accompany the singers. Heard from the West end, whilst the main organ is a little remote; however, the Solo Organ goes a considerable way to alleviating this problem. Certainly the organ seemed more able to cope at a distance than, for example, Salisbury or Winchester - both of which tend to lose power considerably a few bays down the nave.

I asked Philippe Lefebvre this question. His reply, in effect was, that it was felt by the four Titulaires that the Récit Fourniture and Cymbale were an unessential part of the scheme and were in any case, not original; therefore they should be omitted. I still think that this was a mistake. Yes, the blank draw-stop looks distinctly odd, as does the blank space on the Récit jamb. Their retention is even less easy to comprehend, since the console was largely new in 1992. Only the keys (Herrburger Brooks, Long Eaton, Notts.), draw-stops, thumb and foot pistons being retained. The new console became a necessary addition to the restoration when it was discovered that the Cochereau console was constructed from chipboard, with an oak (or possibly mahogany) veneer! The Tutti is still exciting and immensely powerful, but it has lost that 'crash' of brilliance, the ensemble now being very much reed-dominated. Formerly, with the Hermann/Boisseau ensemble, the bright mixtures still cut through the chamades. Listen closely to a Cochereau improvisation from the mid-1970s and you will also hear that, since the Chamades were played primarily from the Récit, PC tended to use the chorus 'underneath' the chamades. This was most effective. I use a similar (though modified) scheme of registration for the JSB De Profundis on my own instrument.

I would concur with these sentiments! I too have played the new Klais at Bath Abbey, including it must be said, only one service. It has effectively lost a department - there was formerly a Choir organ, a Positive Organ and a Solo Organ. Now the Choir and Solo appear to have been amalgamated. Yes, there were some pleasant sounds there (I think we did Stanford, in A and possibly I saw the Lord - Stainer). The instrument handled acceptably well. However, I like playing reconstructions of Cochereau's improvisations and I found, to my consternation, that I could play repeated chords on the Solo Organ rather more quickly than the tracker action could. (Incidentally, I refer to the Solo main chest action, as opposed to the Tuba, which is presumably still on electric, or electro-pneumatic action.) Personally, I could see no point in an organ of this size being controlled by mechanical action. It was heavy enough to mitigate against clear articulation in relatively fast music. I wonder if there is not a good deal of nonsense purveyed by protagonists of mechanical action? In a small to moderate two-clavier instrument it probably is quite acceptable. However, I have occasionally had colleagues say: "Look, on tracker I can do this"... a key is then depressed very slowly, emitting wind to a pipe by degrees. Naturally, the pipe then speaks with an initial transient. To which I replied "OK, but I do not play anything that slowly - it has no practical use to me. Now please articulate, for example, the Final movement of Vierne Six in the same way". Surely the mark of a good organist is that he or she will be able clearly (and musically) to articulate within a range of musical styles, at varying speeds on any reasonably responsive action? It is interesting to recall Ralph Downes, who stated that "Gloucester is the only organ on which I have been able to give a completely clear account of Dupré's Prelude and Fugue, in B major". I can testify from personal experience, that Gloucester has possibly the most responsive action on which I have played.

Well, dull is the last adjective which I would apply to Worcester. In addition to a wealth of quiet ranks there are two good diapason choruses - not, perhaps, 'good' in the classical sense; they are too round for this context. However, they work well in contrast and make quite an exciting sound. Not as clear as, say, Gloucester, but personally, I would still rather play Bach on this organ than Truro, for example. Then there are the GO reeds - bright, with a slight Gallic accent, but not by any means thin or rough. With reference to your comments re- chamade ranks, I assume that you have not heard the Solo Bombarde or Orchestral Trumpet in the cathedral? I love chamade stops (in the C-C or J-L Boisseau sense) but I did not miss them here. I can only comment on David Wells' work with respect to Coventry Cathedral. Having played it on several occasions before the Solo reeds were revoiced, I must confess that I preferred them the way they were. To my ears, the Solo Orchestral Trumpet and Clarion are now too fat and slightly dull - gone is the wonderful 'scorching' effect that these two reeds had formerly. On the evidence of this, I doubt whether he would effect an improvement to the Solo reeds at Worcester.

Yes - I think the same is also true of the GO mixture. At one point (possibly in the mid-'70s) I believe that the Swell mixture at CC began thus: 22, 26, 29, 33, 36. However, I cannot now recall where I read this.

It would be interesting to know which H&H from the early 1900s. If you are in the Bournemouth area, do you mean St. Peter's? If so, I can see no point in altering the Swell mixture - that has not changed in composition since Arthur finished it in the church. The GO mixture was altered to 19, 22, 26, 29 by R&D, but since they also revoiced the Trombi ranks as Posaunes, it actually works quite well. If anything, inserting an Harmonics on the Choir Organ is a retrograde step. It would be more beneficial to do something about the nasty GO Open No. 1, which is still fat (I assume that R&D did remove the leather from the lips?). As it stands, the GO chorus (based on Open No. 2) is quite good. The Harmonics stop has little musical use - particularly since the reeds are not that fat, now. In addition, there is already a separate Tierce rank on the GO, which, when added to the chorus, gives it a quite acceptable reedy 'tang'. Incidentally, strictly speaking, Arthur Harrison's Harmonics were always 17, 19, flat-21, 22; (never with a 15th rank). The only exception of which I know is the 1908 scheme for Ely Cathedral, which also included the 10th rank. Whilst the unenclosed section of the Choir Organ (I know it looks more like a Solo Organ on paper) has a fairly useless 4p Spitzflöte and an Acuta (19, 22), the Principal 8p is useful - particularly in French music, when used with the Harmonic Flute 8p and the Viola da Gamba 8p. I cannot see either a practical or a musical reason for inserting an Harmonics. That, along with an 8p extension of a Pedal Open Wood are stops we are probably better off without.

Indeed - but remembering that the Plein Jeu consists solely of quint and unison ranks. As far as I know, the Pédale mutations at N-D were not altered in any way at the last restoration. Certainly, when I heard them a year or so ago, they sounded as good as ever. However, it must be stated that Philippe Lefebvre tends not to use them much, instead preferring the Principal 32p.

Yes, the plans for the Worcester organ(s) have been public for some time, now. I must be more cynical - I am not at all convinced that, in the case of the Worcester instrument, the incumbent organist(s) really do know best. It seems strange to me that a few of us have played it at various times and not only liked it and found it an excellent instrument for accompaniment but also were unable to find much wrong with it. I played it during the summer - the time of year when organs often play up; the tuning slips, the woodwork of the soundboards and sliders dry out, ciphers abound - that sort of incident. Interestingly, I experienced no evidence of any such malfunction. As I stated, Worcester Cathedral appears to possess one of the healthiest supposedly 'worn-out' organs I have ever played. I would gladly play it daily. If it does need some work on the wind system and action, then I cannot imagine that this would cost anything like as much as two new four-clavier pipe organs.

Now this is also a good idea. It could be sited in the nave triforium and be particularly useful when the Three Choirs' Festival comes to Worcester. That way, the H-J/H&H/Wood&W could be restored and used daily for services in the quire.

I concur heartily - the wonderful achievements of C-C in this respect are stunning. I recommend a good recording of S. Etienne, Caen - C-C's last big instrument. If it is not now deleted Marie-Claire Alain, doing Vierne 1 - 4 is very good. Listen closely to the organ. There is real fire and brilliance, even in the Récit, which has no chorus mixture. I have had the privilege of playing this instrument on three occasions. Each time I have been struck by the completeness of the scheme. The tutti is majestic, yet clear. The reeds are not harsh - just totally alive. They are, incidentally, usually in good intonation, too! The only odd sound, for which I was not quite prepared, was the Positif Carillon (12, 17, 22), which sounded strident and bizarre. The fact that it was placed with the fonds and not with the jeux de combinaisons also took me somewhat by surprise. However, (to quote Laurence Elvin) the quiet effects of etherial beauty are almsot endless. (I know he was referring to the magnificent H&H at Coventry, but the description applies here, too.)

Now that would probably have been the Organist (still in-post) - Roy Dinshaw, who, aside from being a personal friend, is a very good jazz pianist and can also play the organ whilst peeling an orange.... Yes, I have played the Cocker Tuba Tune on the Bude organ - it works reasonably well, if you do not mind tying-up the GO. I have also had to tune the Fog-horn - sorry, Trumpet, on a few occasions. Close-up, its effect is even more devastating!

Well, yes. People often forget that C-C usually placed the Hautbois (or Basson-Hautbois) on the flue-chest, so it was often included with the Fonds 8p. Presumably at Ste. Clothilde, the comparatively small box in which the Récit was placed also has some bearing on the effect of this stop.

This is most interesting. At N-D, Paris on the present instrument there is the option of having the GO Cymbale (II-V) with, or without the tierce rank. (I think I may have mentioned this before.) I think that it is useful to have the choice. I really do not like the tierce mixtures at Truro, for example. I find the reedy tang wearisome after a short time. Presumably the cornet was included in order to assist in keeping up power in the treble, where French reeds tend to taper off? I know that C-C to some extent alleviated this problem by the expedient of placing the trebles on a separate chest at higher pressure. (Or was it the same chest, but with separately-winded trebles?)

With regard to Geo. Osmond & Co., they did a great deal of work in the West Country. There are still many examples to be found, often in the condition in which they were left (in the sense of not being subsequently altered). There is a two-manual in Holsworthy Methodist Church, North Devon, for example and a slightly larger two-manual in the Anglo-Catholic Parish Church of St. Michael and all Angels, Bude Haven, North Cornwall (about ten miles from Holsworthy). St. Michael's is actually quite an interesting instrument. It has been restored in the last ten years by Lance Foy, of Truro. The only alteration to the specification was the substitution of the GO Dulciana for a Tierce. However, this stop has turned out to be of diapason scaling. In addition to quite a good extended reed (16p - 8p) on the Swell, there is a huge Trumpet (read 'Tromba') on the GO. Given the coastal position of this edifice, I suspect that this stop was either donated or voiced by the Merchant Navy.... Whilst Osmonds were not particularly known for excellent voicing and it is also true that they often produced slightly cheap-looking stop-key consoles, they did do things such as give Gambas and Dulcianas full-length metal basses as a matter of course. However, their mixture-work was less happy. When included, a typical GO mixture was 19, 22, 26 at CC. The effect of these stops is perhaps best described as like 'empties being deposited in a bottle-bank'. Notwithstanding, the rest of the chorus-work was often good and in the quieter flutes and strings, there are often real gems.

Well, I think that it is fair to say that generally the English Swell Oboe is a little rounder in tone than an Hautbois by, say C-C (or another French builder). Of course, the timbre will vary from one builder to another. Having said this, the name 'Hautbois' is used occasionally by British builders, as is the older English 'Hautboy' (or is this merely an anglicisation?). With regard to a Cornopean, again the tone may vary, but generally examples of this stop tend to be less close-toned than a Horn, but more full-bodied than an Arthur Harrison Swell Trumpet, for example. (Some of these can be surprisingly fiery and bright-toned). Anyone else have any thoughts?

Well, insofar as a Harmonics (17, 19 flat-21, 22) is concerned, the only British builders I know of who used them were H&H (often) H, N&B (occasionally) and possibly R&D (not sure, but I think they did once or twice). Apart from that, Willis usually used 17, 19, 22 (or 15, 17, 19, 22 on larger instruments). Hill often used 19, 22, 26, 29 or 15, 19, 22 with a Sharp Mixture of 26, 29. (His Swell mixtures sometimes commenced at CC as 17, 19, 22, with the tierce rank giving way to a 15th in the second octave.) Lewis used 19, 22, 26, 29 (Southwark and Ripon); Walkers 15, 19, 22, generally. The tierce was not that common in chorus mixtures. The flat-21st was even less common! I think that it is unlikely that Arthur Harrison knew much about N-D, Paris! Having said this, I am not certain from where he did get that particular 'inspiration'. Perhaps Col. Dixon had visited Vierne!

As far as Christchurch goes, I think that you may be disappointed. It is now loud enough, but only because, after spending about half a million pounds on the main rebuild/re-instatement, a further £50,000 or so was spent adding 16p and 8p chorus reeds to the Nave Organ, revoicing the Tuba and revoicing the Nave Mixture (undoing what had been done in the rebuild). I believe that there have been further alterations to the GO mixture and the Choir Corno di Bassetto, amongst other ranks. I played in an orchestral/organ concert on the new organ and despite using full organ, with my page-turner filling in chords, the instrument was totally inaudible against the orchestra. I was, incidentally, present at the opening recital of the re-instated organ at the Priory. Nicolas Kynaston was the artist. He used the tracker console (upstairs) for the first half and the electro-pneumatic console (downstairs) for the second half. Interestingly, several of us thought that his articulation was actually clearer on the downstairs console. Certainly, having tried the upstairs console, I found the touch heavy. (Perhaps somewhat predictably, this console is used almost exclusively for tuning the instrument.) We further thought that Nicolas Kynaston had played the first half on the Swell Organ only - this was, apparently, not the case. Certainly from about halfway down the nave, the full power of the organ (as it was then) was decidedly unexciting. For the record, I believe that it is fair to say that Nicholsons fulfilled their brief to the letter. The standard of workmanship within the job is excellent, although the voicing of certain ranks is less happy. This may, of course, be at the behest of the designer (Nicolas Kynaston).

With this I heartily concur. Perhaps we can get together with nfortin, rent a really large lorry and go and collect it. I would happily give it a home....

Thank you for the information Hmm, looks to be a big one....