pcnd5584

Interesting - it is not that long ago that he was appointed to the post at Saint David's Cathedral.

Ha! Indeed.

Well, OK - although I am not sure what my name appears to be.... Ha! Well, I went to Tesco the other day, since I fancied a burger. However, initially, I was unable to find them. Then a helpful young lady told me that it I walked past the dairy produce, turned left at The Booth, I would see them - directly after Becher's Brook. I dutifully did so - only to discover that Tesco had a special offer on; they were selling ready-cooked burgers at half price. So I went up and ordered a couple and, when the chap who was cooking asked me what I wanted on them, I decided to splash out and said 'Ten pounds each way, please.' Such nice, helpful people there. However, the mane thing is that they appear to be reaching the tail-end of this crisis now. I cannot tell you how relieved I am. This sort of thing can last for weeks -with people trotting out one lame excuse after another....

Ah - now this makes sense, 'M' 'M'.... (Why, pray, have I re-acquired inverted commas around my pseudonym?) I am pleased to hear that your 'own' instrument (in Saint Joseph's) was comparatively inexpensive to restore. However, I am alarmed at your admission regarding the computers. Do you mean that you physically ate them - or that you have worn them out....?

I am not sure about this, MM. Most provincial instruments would require a thorough cleaning and overhaul at least every twenty-five years.My 'own' instrument here was last cleaned around 1994-95. It is now choked with dirt - in some cases, quite literally, since the dirt and dust are now affecting the speech of many of the smaller pipes of the Positive section. I can see no reference in the post from the organist associated with Bradford Cathedral (above), to the complete renewal of the action. Rather, the console is to be upgraded (presumably with alterations and enhancements to the combination action) and there are to be a few tonal alterations. This is surely nothing more than the experience of the cathedral's incumbent musicians after living with the instrument for a number of years. I cannot see how replacing the transmission with a mechanical action would help. In any case, this would probably necessitate a re-ordering of the interior layout of the instrument and re-siting (and probably replacement) of the console.* Add that little lot up, and you can forget tonal alterations, if the budget is only £250,000. The remaking of the building frame, re-siting (and re-winding) of the various divisions, allowing room and access for the tracker runs and the action chassis, the re-planning and re-distribution of the wind system; all this will be expensive. Then there is the possibility of having to put the Pedal Organ on new slider chests. For that matter, the present soundboards may not be suitable for rebuilding with mechanical action; pallet sizes may have to be altered, for example. Of course, the G.O. extension of the secondary reed chorus will have to go.§ So - how would tracker action benefit an instrument of this size, with this disposition in this building, I wonder? * I doubt that there is any further room in this organ chamber for a new console - or room to provide safe access to it. § I am aware that there are a number of examples of extension and the derivation of ranks on instruments with mechanical action - but I regard this as an expensive and unnecessary complication.

There was - unless the following survey is inaccurate. See here http://www.npor.org....ec_index=N04825 Actually, this looks to have been a good scheme. Am I correct in thinking that it forms the nucleus of the present instrument?

Indeed - welcome to the forum. I too hope that you will enjoy your time here. I wonder if you happen to know anything of the replacement pipe organ which is (or was) to be installed in Newquay Parish Church, please? I forgot to ask Lance, when he was up for an emergency visit a couple of weeks ago.

Where in Bournemouth? If you mean the former Saint Osmond's Church *, Parkstone - no, it is not. It is in a fairly bad state. The last time I played it was a few years ago, and whole chunks of it were either not working correctly - or not functioning at all. As far as I am aware, it is now not used; nor do I believe that it receives any kind of regular maintenance. * This is now used by the Greek Orthodox Church - which has changed the dedication at least twice.

I would agree. I am not even sure he had ever played a keyboard instrument prior to this event. It sounded as if an excited small child had been let loose on this instrument.

Thank you. I shall have a good look at this information later tonight.

This sounds to be an interesting and a useful idea. Would there be any possibility of some photographs of these instruments (particularly the consoles), please?

Do not even consider trying to drug me.... I suppose a new Astra GTC or a part-share of a nice flat in the centre of Paris (or Amsterdam) might persuade me....

I had understood that it was in a fanfare - this may be why. I do not think that it was in the Bednall Toccata.

Indeed - this was useful in helping me to decide not to bother just yet. Thank you.

Are you sure....? However, the Bednall sounds interesting.I might see if any of my colleagues here have a copy which I can peruse. This way I can avoid something nasty in the organ loft. I still worry that you are all trying to lull me into a false sense of security here; and actually, on opening the book at the Tambling, there will be a large colour pop-up picture of Graham Kendrick, and the book will automatically start to perform a tinny rendition of Shine, Jesus, Shine. Or something.

Some of these sound interesting. I wonder if I can purchase this volume without the Tambling ? (Alastair's comments notwithstanding.) If David Briggs' piece requires chamades, then it must be good....

You are correct regarding the Truro Solo Tuba. It would be comparatively quick work to re-instate it in the former position. everything was left in place - well, except for the pipes, of course. The Exeter Trombone - possibly. But it is all the more useful for that. It is also worth remembering that Exeter Cathedral, whilst not being anywhere near as large as York Minster or Lincoln Cathedral, is still rather larger than Truro Cathedral - and with a much drier acoustic ambiance.

Hmmm.... as the only Pedal reed - and on a seven-stop department - I am not sure about this. As I wrote above, for historical reasons alone, it is worth keeping; but just to thrill choristers....? Of this I am less persuaded.

These clips are certainly interesting, MM. I must admit that, placed side-by-side, I prefer the organ of Saint Paul's Cathedral. However, I am slightly puzzled, since the Grand Chorus V (15-19-22-26-29) on the Great First Division (at Westminster Cathedral), is well-known. it is a powerful and bright stop which, with the rest of the diapason ranks on this division, provides a good deal of bold chorus work. Perhaps, for some reason, this stop was not used on the recording above. Or, maybe, the recording equipment used gave a different bias to the sound. I respect your fascination with - and admiration for - the work of John Compton. However, whilst I do not doubt that he produced some good instruments (for example: Saint Luke's, Chelsea - which I have played, Saint Bride's, Fleet Street and Downside Abbey), I cannot say that I have heard or played one which eclipsed a good 'straight' organ * Their quiet orchestral reeds were not always of a uniformly high quality of tone; certainly they do not really compare with those by HWII, for example. In addition, whilst Compton may have been innovative and extremely clever in his application of extension to diapason choruses, they do not, to my ears, compare with the best 'straight' choruses by builders such as Hill, Walker, Willis (with their tierce mixtures being a grey area) or even the best work of Rushworth & Dreaper (c.f. Guildford and Chester cathedrals). * I am aware that the Compton instrument in Saint Bride's, Fleet Street has rather less extension than most of their other organs.

Well - aside from my observation that he was opinionated (which would be difficult to refute), I am certainly not 'bashing' him - nor do I have an axe to grind. Although I have only heard the organ of Westminster Cathedral , I believe it to be a superb instrument, with a number of interesting tonal features. However, I would say that HWIII, whilst not allowing himself to be as constrained in outlook as Arthur Harrison*, did nevertheless show easily recognisable traits in his schemes - particularly those for three-clavier instruments. Of course, much of this can be put down to house styles. Naturally a good builder is going to have particular ideas, likes, dislikes and innovations. However, no-one is always right and I think that his strong opinions sometimes caused him to make errors of judgement - or to fail to see the potential of instruments by other builders.‡ The Courage/Lewis organ of Southwark Cathedral is perhaps the most obvious example. The HWIII rebuild of 1952 was a mistake. The alterations which Willis made to this unique instrument - and he wished to do more - were unfortunate and spoiled its character for many years. Simply reading from The Rotunda and Charles Callahan's book † , it is patently obvious that HWIII was both a craftsman and a great innovator. His consoles were arguably better-equipped than those of any other UK builder at the time. It could be said that he was, in present-day parlance 'a control freak' - but I see this as the mark of a great artist. * Compare any three or four schemes of moderate-sized three-clavier organs by H&H, between about 1912 and 1936, and you will see what I mean. † The American Classic Organ: A History in Letters. Callahan. The Organ Historical Society, Richmond, Va., USA. (1990) ‡ Perhaps somewhat ironically, the same charge may justifiably be made of Arthur Harrison's complete rebuild and enlargement of the FHW instrument in the Royal Albert Hall, London (1924-33).

I am glad that the G.O. reed was not enclosed. I would also agree about the piston setter-boards. I miss the 'neutral' option. Surely, there must be some way of incorporating it in present-day systems - even if one had to 'set' it on handfuls of stops every time one wished to use it? Ah, I see. My compete set of The Rotunda is a recent acquisition - I have not yet had time to have a really good look through them. I do know that Rushworth and Dreaper also used 'Harmonics' mixtures (with the same composition) - as did Hill, Norman & Beard. What a shame that the Violoncello and Vox Humana had gone by the time that you arrived at Kirkwall. In fact, I should rather have had the previous Choir Organ entire (as long as I could swap the Harmonic Piccolo for the Blockflöte - I hate Piccolos; they are always unsteady in their speech). I suppose that the cathedral authorities did not keep this pipe-work in a loft above the Bishop's stable or something, did they? Indeed. I have read through the various exchanges (including those of the counsel for the defence attempting to explain the vagaries of an adjustable piston action to the judge....). Verne must have been rather too sure of himself to write in this manner. No wonder Hele's were angry.Mind you, since I also possess a copy of the Callahan book (your are right - it is a good read), it appears that HWIII was rather opinionated and dogmatic. Although, when one is capable of creating such masterpieces as the Grand Organ of Westminster Cathedral, perhaps one is entitled to be thus.

Thank you, Tony. I shall also have a look at this one. All I need, is to be able to re-size images for my website; so this sounds as if it might fit the requirements.

No, Vox - I suspect that what you need is a good single malt.

Gah. Vox - I am beginning to suspect that you actually like stops such as the Tromba ranks at Crediton - or even the Choir Tuba.... I am shocked - deeply....

If you would like to buy a copy of my CD, you may be pleasantly surprised at how useful and effective this stop is - when used with care....* The thing that it does not do well (and I do not believe that it was designed to do in any case), is play a piece involving a solo melody - such as any Tuba Tune, or the Charpentier. Unfortunately, this is how most visitors to the organ attempt to use it. On the other hand, I can think of very few Tuba stops on which I should like to listen to chords. * Please do not feel obliged to do so, David; however, it may be your 'Damascus moment'.... (Now, am I joking, or not?)