pcnd5584

Indeed they were; however, since there is a large colour photograph of Simon Preston seated at the H&H console of the Abbey organ on the record sleeve, the mistake is understandable. (Yes, I know that Hull CIty Hall organ is credited in white type in the lower r.h. corner of the sleeve...)

Well, Christ Church, Oxford is similar - a Cor Anglais 16p and a Voix Humaine at 8p. However, this is a most musical organ and it works surprisingly well. This said, the one change I would make to the specification would be to swap the VH for an Hautbois 8p, as I would personally find this more useful for accompaniment. I would also add curtains round the loft so the organist does not have to sit on the floor when eating Sunday breakfast whilst playing the first service. (Since we had to vacate our lodgings early on the Sunday morning, we had to miss breakfast in the Halls.)

I agree totally - I think that Worcester has one of the most versatile and thrilling Swell organs in the country. I loved the contrast of the two big 8p reeds, but also found the oboe delightful and most useful.

I am in complete agreement with M. Lauwers. Having played the Worcester organ - it is true, only for a few days' services last summer - I thought that it was an exciting instrument with many beautiful tone colours. There is much mis-information concerning a restoration of this instrument. I suspect that its present condition has been somewhat exaggerated, possibly in order to encourage the faithful to part with their money for the new instruments. To be honest, I found that everything (apart from the Swell Gedeckt) worked perfectly. There were no ciphers, no wind leaks, virtually everything was in good intonation and every part of the console and action worked perfectly. The appeal names the sum of £2,000,000. I do not recall if this is entirely to be spent on the organs, or whether it will also provide an endowment for the cathedral choir. If a quarter of this were spent on the existing instrument - notably the action and winding, but with a few minor tonal adjustments, I think that it is highly possible that a superb, reliable and musical instrument would emerge. Incidentally, I thought that Worcester Cathedral was quite large! I would not personally see the need for reducing the organ in size - at present it fills the building with the most glorious sound and has a good variety of softer ranks. Insofar as celebrity recitals are concerned, on the evidence of last year, I wonder if the Worcester organ is really too unreliable, or too 'wheezy' to organise a series? I used virtually every stop (not necessarily at the same time) and played several big pieces. The choral accompaniments included RV-W's Let all the World; nothing failed, there was no shortage of wind and I personally loved the sound of the full organ. I can only speculate as to whether or not there has been some attempt to 'play down' the organ, or to make it sound worse, in order to get the new instruments. Whilst I would not wish to accuse the incumbent organists at Worcester of such activities, I have to say that I thought it was one of the most robust and healthy 'worn-out' organs it has ever been my privilege to play.

Thank you! I hope that it fulfils your expectations.

I have not heard anything about that - I would be interested to know, too. I directed an RSCM course there, a few years ago, but I do not remember much about it (the organ - not the course...). I do remember thinking that the Fanfare Trumpet was not that bad, though. Possibly the most serious defect is the position of the instrument, on the South side, facing out into that huge nave, but largely placed in a kind of dog-kennel on the side of the very small, low chancel. Probably anything would sound disappointing in such a situation.

Yes, I would concur with these thoughts. I have not played New College - only heard it (a recent Organ Scholar attempting Elgar Sonata, in G (i) - not particularly edifying). Therefore, I am hardly in the best position to offer an opinion. However, from hearing broadcasts and recordings and looking at the scheme, I suspect that I may not particularly like it. Notwithstanding, I do agree that it was (and is) an important milestone in British organ building and as such, should be left well alone. Deadsheepstew, I would not worry about the None; apparently all that will happen is that the pipes are being equipped with new hessian underclothing and a new wimple....

Hanover Square is a slightly unusual organ (for a H&H). Admittedly I have not played it for several years, but whed I did, it sounded rather thin and under-powered (from the console, at any rate). Whilst it may sound different from the main axis of the building, it was somewhat unsatisfactory from the console. I do not remember anything objectionable in the tonality of the Choir Organ ranks. If I remember correctly, there is also a Positive Organ, playable from the lowest manual. Up until several years ago, there was an untouched H-J in Pilton Church, North Devon - not that far from Barnstaple. It has now been restored, with several tonal changes and additions - including some upperwork. I played it in its un-restored state and am slightly embarrassed to say that I actually quite liked it! However, I suspect that I would have become bored without some upperwork after a while.

Hmm - think I would like to do a recital there....

Thank you, I will give it a look. Has no restoration work been undertaken on this instrument since 1939?

Hmm. OK, I am assuming that this has to be the Walker organ at Wimborne Minster - Cirencester has an horizontal reed, but it does not qualify as a 1960s organ. In addition, I believe you mentioned that you used to play at a church in Bournemouth, so it has to be Wimborne. I do not know the Sub Organist, so I cannot comment on the matter of sanity; however I believe that the organ is a good one, if somewhat under-powered. I hope that it will not be spoiled by any proposed work. I would be interested to hear of any future developments with regard to this.

None taken! I would go so far as to say that tonally, Bristol is fantastic, though. It has to be said that, aside from the nuisance of the action the console is very comfortable. Which is even more reason for restoring Worcester, not scrapping it. The organ there is also very comfortable to play. But then, H&H consoles are always comfortable. The only slightly odd one is Coventry. For two reasons: 1) At some point, someone had spilt Coke on the pedals and the inner sides of the console and had not cleaned it up. 2) The console is covered in leather, so it smells as if one is playing a Jersey cow.... It does have the most comfortable pedal board ever, though. I suppose some people might like the cow thing. Such docile creatures.... Think I will still settle for Angelina Jolie.

Thank you, Jeremy. I will try to track those down - Quinney is a fine player.

Excuse me asking, but, since the contract has presumably been signed and it sounds as if work is in progress, may we know the location of the church and the identity of the builder, please? Cheers!

As you say, it sounds insane - so where is this church?

Examples of the work of Deane Organs may be found at St. Peter's, Parkstone, Dorset (large three-manual rebuild of a Compton, with extension. Consultant: Roger Fisher, for Roger Hill, Organist at the time) and the chapel of Clayesmore School, Iwerne Minster, Dorset. Fairly large three-manual/ four division organ, in chamber over 'west' porch, with the console in a small gallery perpendicular to the west wall. I think that the consultant here was Roger Hill himself. St. Peter's is (if lots of it is used) unsociably loud. The Swell reeds are 'sort-of' French, the GO reeds English and the Pedal reeds are - well, just loud. Roger Fisher did ensure that Deane Organs retained a big (harmonic?) flute on the Choir/Solo Organ- so he could play Vierne's Naiades at the opening recital which, I believe, was subsequently broadcast on BBC Radio Three. Clayesmore has some nice sounds, but the scheme has some quirks - a Choir/Solo Trumpet, which is labelled Trompette, but sounds like a smaller version of a H&H Tromba; and a GO mixture, the sound of which resembles 'empties' being deposited in a bottle-bank. I think that there is also a small amount of extension here, too. For example, the Choir Organ mutations. However, this is not to say that neither organ is incapable of making some exciting and musical sounds!

Yes, it would be good to have some new recordings of Westminster Abbey and Westminster Cathedral - the most recent CD I have of this superb instrument is David Hill's recording of Vierne (2me Symphonie and Les Angelus, I think).

No, you are not the only one! I think that it is a shame that it was altered in 1992. Since it was not in any case, a part of the 1934 scheme, surely it could have been left as it was. On a similar note, am I correct in thinking that Harry Bramma had H&H alter the GO and Swell mixtures at All Saints', Margaret Street? In particular, has the GO mixture (19, 22, 26, 29) been replaced by a new IV rank copy of an Arthur Harrison 'Harmonics' (17, 19, flat 21, 22)? If so, has the Swell mixture (19, 22, 26) been altered, too? I have not played this organ for several years, but when I did, I always enjoyed it. To my ears, the H&H quint mixtures were a welcome substitution, giving the organ some brightness and vitality which the choruses would otherwise have lacked. The 'Harmonics' does provide a brilliance of sorts, but it is an extremely anti-social brilliance. I personally cannot see any musical use for the old 'Harmonics' mixtures. Whilst it may be said that they serve to 'bind' the reeds to the flues, if the reeds are well-vioced, they should not need this. I must agree with the sentiments re- the Choir Organ at King's College. It is a joy. The sound is so clear, yet unforced. In addition, the combination of 8p, 2 2/3p and 1p flutes is delightful.

Actually, no. I merely think that it is a criminal waste of money to replace the Worcester organ. I remain unconvinced that my statement is inaccurate.... Hasn't Mr. Scudamore retired, anyway? (Or do you mean Mr. S. Jr.?) Yes, Bristol is a good instrument, but so are those at Coventry, Exeter, Truro, Salisbury, Ripon, et al. To state that it is by far the finest in the country is, in my view, stretching the point. However, if that's what makes you happy....

So, does anyone out there know where I can find the full specification of the organ at Holy Trinity, Hull, please? (I note that Paul Derrett has posted at least once on this forum - re-Canterbury Cathedral.) In addition, are there any pictures of the case/console available, please? I tried a Google search, but it was not much help. How about Christchurch Priory (as a contender for the largest parish church in the country?) How are we calculating it - floor area, volume or length (or the time it takes a bride to walk up the nave)?

See my post of 22nd January! I agree with your comments concerning the old Gloucester organ! I was surprised to learn about the ten-second reverberation at Canterbury, though. It is true that I have not heard the organ in the building when the nave has been cleared of chairs, but that seems an awfully long time for a building of that shape and size! (Oh, I thought that this post would appear on the previous page, below the post from which I was quoting.... )

So, back to my original question: what did happen th the 32p flues at Canterbury? Were they sawn up like those at Gloucester? Or are they festering in the triforium? Perhaps they were converted into panelling and adorned the walls of Allan Wicks' study? Come to that, what happened to the Willis pipework of the former Choir and Solo organs? I still think it was better before the 1978 rebuild!

Lincoln is, however, considerably larger than Truro. It has an enclosed Solo Organ (with another set of strings). All the mixtures are quint and unison ranks. The Choir Organ mixture commences at CC as 22, 26, 29. There are Pedal reeds at 32, 16 and 8p. There is also a Stopped Diapason 8p on the GO! The Choir Organ is almost double the size of the Truro organ and it includes two mutations. (I know that the Choir mixture, the mutations and one or two other ranks were added by H&H in 1960.) In addition, nowhere did I say that the Truro organ was difficult to play, or that it was unsuitable for mainstream repertoire! However, I still maintain that it lacks variety and subtlety. I also still think that it is too loud! I remember the memorial service for the late lamented David Penhaligon, MP - I think it was early January 1987. The cathedral was packed - mostly with Methodists! They practically sang their ears off (notably in the hymn 'Will your Anchor Hold?') the organ clearly 'won' with some to spare. Again, I was present at the centenary of the consecration of the cathedral, later in 1987. Again the building was full, this time largely with Anglicans, presumably! However we all sang like Methodists - and the organ still beat us. Yes, it is a nice organ to play, but I personally think that it is a little over-rated. Why, incidentally, would it be necessary to construct new chests in order to make the GO reeds available separately on the Pedal and Choir organs? I do remember (I think) that the Double Trumpet is on one flue chest at about 100mm pressure and that there is another flue chest on about 175mm pressure which carries the GO foundations 16p, 8p, 8p and 8p. However, even if the 8 and 4p reeds are also on this chest, a dual action could be provided, which would be substantially cheaper. It would also remove the (slight) risk of the timbre of the reeds being affected by being placed on a new chest. Such an expedient was carried out at a Dorset church some years ago, in order to make a Swell 16p reed available on the Pedal Organ. The arrangement still works perfectly. In any case, even the Truro organ has been slightly altered tonally, albeit with respect to only one rank. The GO Tromba 8p was slightly reduced in power and smoothed out sometime in the 1960s or '70s. Apparently, previous to this, it had a tendency to harshness. It is also interesting to note (from the same source) that the incumbent organists at the time also wished for a second quiet 8p flue on the GO. It must be remembered that the Claribel speaks on 750mm pressure - whilst it may not sound like a tibia, this is a very high pressure for the sole 8p GO flute! Incidentally, sorry to whoever started this thread - I remember that it was supposed to be about the AP organ....

To reply to John Hosking: Yes, I am aware of the fact that the Solo flutes (and the orchestral reeds, I think) have marked crescendi as one ascends the compass. However, insofar as the comment re- the Solo versus the Choir Clarinet/ CdiB are concerned, it is as well to remember that some organists who are also competent (!) do not have the luxury of four years' acquaintance with it. I think I had one and a half hours' practice for my recital and about fifteen minutes' practice for the service playing. Apart from that, there was only the odd evening or two in several years. Naturally, I forgot/did not have time to discover many of its secrets. In any case, the trick with the CdiB then ties up the Choir Organ. I would still wish to have the Solo enclosed. I, too, am reasonably adept at hand-registration. My point regarding the Tuba and the Full Organ piston, was to illustrate the apparent thoughts of the incumbent organists, that Full Organ was quite adequate without the Tuba. Certainly, I found no shortage of pistons for my recital. I am not convinced re- the Ophicleide. As the only Pedal Reed at any pitch, I can see no merit in being able to claim that it is the loudest Ophicleide in Christendom (well, the country!). The inescapable corollary being, surely, that it is also the least versatile. So St. Asaph's new organ is not very loud, then? Incidentally, it is not strictly accurate to term it a 'Hill' organ - surely it is Wood & Co's interpretation of a Hill organ? (I must admit I would have added 16p and 4p reeds to the GO, before I included a 32p reed on the Pedal.)

I would agree with Roffensis. I have not played Lincoln, but I am told by a previous assistant that it is somewhat finer (and louder) than Salisbury. Canterbury, I am less sure about, since it is now basically a large two-manual with a Tuba. Apparently the Choir Organ is little use for accompaniment. Why on earth did Allan Wicks not hang on to the Solo Organ, at least, or add a Positive Organ and also retain the Choir Organ? I know it was HW III, but at least it had some variety in the foundation work and was probably infinitely more use as an accompanimental instrument. I also agree about Hill organs - they are arguably more versatile and more musical taken as a whole. I find Willis tierce mixtures irritating and I prefer diapason choruses to culminate in a quint mixture, as opposed to a Fifteenth, however brightly voiced. However, the last time I had played it, I was less happy with Chester. This, too, is far from original (I know Hill rebuilt the original Whitely organ). The Solo has lost some of its romantic voices, as has the GO and Choir. It also existed for about twenty years or so without a GO open flue double. The Gedeckt did its best, but there was a distinct lack of gravitas. Having perused the 1910 stoplist, I think I would have preferred it if Roger Fisher had just let R&D fit a new transmission and possibly one or two of the sharp mixtures, but left the rest substantially as it was. Whilst it always sounds good on his excellent recordings (the Reger 'Hallelujah! Gott zu loben' is brilliant) it does not sound like a vintage Hill any more. At least, not to my ears.