pcnd5584

No wrath, David - but I wonder if time, like distance, has lent enchantment? I was at Calne again, a couple of weeks before Christmas (playing for a public school carol service). The church did not strike me as being that large. I have been in (and played the organs of) All Saints', Margaret Street and All Souls', Langham Place; I have also visited Birmingham Cathedral. Calne is certainly a different shape - but I am not sure that the cubic capacity would be much greater than any of these buildings. Again, with the Calne organ, if you have not played it since 1977, your impressions may well be different if you played it now - particularly for a big service, with several accompanied choral items. I had to disregard the four pistons each to the G.O. and Swell organs - the settings could not be altered and they were rather sluggish. In addition, whilst I doubt that the voicing has changed greatly, I find it difficult to praise almost any tonal aspect of the instrument. Perhaps the least offensive are the quiet flutes and strings. However, there really is no decent chorus anywhere. - and I was not unwise enough to expect glittering Cymbales or 1ft. Octavins; just something which imparted at least some brilliance and a little clarity. As it was, the vintage Walker at Romsey Abbey possessed more life and brightness in the Swell Mixture alone (15-19-22) than did this entire organ. The sound was stodgy, dull and downright unpleasant. (For the record, I am quite able to appreciate a variety of organ tone aside from a plethora if mixture-work; I regard the organ of Bristol Cathedral as an absolutely superb instrument and would not wish to change anything tonally.) Interesting - I am even surprised that he played it. The old Worcester organ seems to have spent a good proportion of its life with various stops out of action - usually those in Scott's huge transept case. When I played it, I am glad to report that the only stop which was silent was the Swell Gedeckt. Everything else worked - and did so perfectly. Personally, I thought that this organ sounded fabulous; it appeared to suit the building and the acoustic ambiance brilliantly.

Well, quite.

Ha - you imagine that I should squander my wondrous chamade on this....?!

Well, yes - but my point was that I can think of no other example of a 'Harmonics' stop (with a composition of 17-19-flat 21-22) by HWIII. Whilst, on paper, one or two of the mixtures at Liverpool Cathedral appear to come close. the composition of many of them was altered, either during the building of the instrument, or shortly afterwards. Goss-Custard hated tierce mixtures, apparently. With regard to the visit by George Dixon, Arthur Harrison and Carton Michell to the Schulze organ at Armley, it is interesting to note that it was Arthur Harrison who decided to treat the mixture differently at Ely Cathedral. He broke a rank each octave, thus carrying the acute pitches higher up the compass and providing a more brilliant effect. (At Armley, Schulze had made the twenty-second break back an octave at F#31.) * *c.f. p.113 The Harrison Story (Second Edition); Laurence Elvin. Elvin, 10 Almond Avenue, Swanpool, Lincoln. (1974 and 1977.)

Well, yes - I also spoke up for this stop, on a purely historic level. But I should still like to know what possible use this stop could be musically.

AAK....ARRGHHH....HAACK.......YURGHHH....YAKK....SPURGHHH.... BARF ....um....that is what pcnd thinks of the last item. Why would anyone write a fanfare on THAT? Seriously - some of the rest of the content does look slightly interesting, particularly the Bednall. But the Kendrick/Tambling....? (Are you sure that there is not a typographical error in the title, Maritn? I have an idea that one of those letters should be a 't' instead.)

Writing in The Organ* of the Willis III instrument in Hanley Town Hall, Reginald Whitworth says this: ' It was completed in 1922, just prior to [Willis'] adoption of electric action as standard.' He continues: 'The console of this organ might well be termed "Willis transitional", in that it possesses some of the features of the modern standard console of that firm. For instance, all the combination pistons are adjustable at the keyboards, but each piston has its own individual adjuster button placed above the drawstops concerned instead of one adjuster for all the pistons, as in the present Willis console.' This feature pre-dates the brief adoption of this method, which was also employed by H&H, by several years. I believe that the Harrison firm first used this facility at Westminster Abbey, in 1937. † * p. 112, The Organ. Musical Opinion. 13 Chichester Rents, London WC2. (October 1936.) † Addendum: As I typed this, I had in the back of my mind, a recollection of a photograph of an earlier H&H instrument with this feature. Certainly the Royal Albert Hall had twelve of them (for various adjustable pistons), at the tops of the divisional jamb panels. This instrument was completed in 1933. However, the console of the H&H organ in King's College Chapel, Cambridge (1934) did not have this component - it had the switchboard type, with small, three-positional 'pins', such as was still in use at Exeter Cathedral until 2002. The earliest example I can find to-date, is the console of the H&H rebuild of the Hill organ in All Saints', Margaret Street, London W1. This was built in 1911, and possessed six miniature pistons at the tops of the divisional jamb panels, to set the adjustable pistons. So, in fact, HWIII may also have copied this from Harrison organs too. That is, if we allow that his 'Harmonics' (17-19-flat 21-22) at Kirkwall Cathedral (1925) was a copy of Harrisons' recipe.

This is interesting. Do you know of any sound-clips of any of these instruments, please? I have not heard any organs by this builder.

I think that this was indeed the case. I too would like to see the embossed pipes replaced.

This makes sense - there is indeed little room behind the console to take a decent photograph. What a pity this new console did not fall from the hoist (like its predecessor), as it was being winched up to the tribune.... I still think that it is the organ equivalent of a Citroën 2CV.

Thank you indeed for this, flûte harmonique - it makes interesting, and rather sad reading. For what it is worth, I too regret the ignominy with which the console of someone as famous as Pierre Cochereau has been treated. I wonder why the keyboards were discarded - were they really worn out, after fifty or so years? They were of high-quality ivory, and originally supplied by Herrburger Brooks, of Long Eaton, Nottingham, England. Furthermore, the tonal alterations and additions seem to be rather pointless - and, in my view, take this once-grand instrument even further from its Cavaillé-Coll roots. The Resonnance division appears to me to be entirely superfluous. It certainly has little in common with any instruments by Cavaillé-Coll. Presumably, as has been suggested, this is the former Petit Pédale, completed to fifty-six notes, and made available on every clavier - including that of the Pédale Orgue. As for the chimes - what were they thinking?

This was formerly the case at Bath Abbey, after the HN&B rebuild, in 1972-73. However, I think that when Johannes Klais Orgelbau completely reconstructed the organ in 1997, this was partly discontinued.As far as I can tell, the secondary Pedal reed was new at that time. However, it also looks as if the half-length bass of the former Double Trumpet was retained for the 32ft. octave. This was, at this time, a downward extension of the G.O. Double Trumpet - which was also made playable on the Pedal Organ, at 16ft. pitch. The NPOR survey for the 1972-73 rebuild http://www.npor.org....ec_index=N05918 omits (in error) the primary Pedal Reed - a Trombone, which was an old Hill stop, of wood. For the reasons given in my post above, I would suggest that this should not be attempted in the case of the Truro instrument.

You are welcome. Regarding Lucian's beat - you are far from alone there. He once (for some reason) conducted our local orchestra - the BSO - and, during a rehearsal of a piece in twelve-eight, the leader tentatively requested that Lucian make his beat (in four) a little more clearly defined. Lucian responded, obligingly and quite seriously, 'Of course - would you like me to divide it into twelve?' Apparently, this was even less help.... I had also read something regarding this. I think that the shutter front is vertically aligned with the impost of the main case. The space between this and the reverse of the front pipes is clear space. Just the place for a six-rank Sharp Mixture and a Trompette Harmonique 8ft. .... The problem is that this is, to all intents and purposes, a tonally untouched FHW - and thus a rare survival. (Claims by Hele & Co., in The Organ, around 1926 or so, to have revoiced the reeds of the Truro organ were wildly exaggerated. A few pieces of felt were removed from the resonators of various chorus reeds several years ago.) There are still a number of people who regret the re-siting of the Tuba at the 1991 restoration, by Mander Organs. Whilst the pipes were not touched tonally, the re-siting alone has given this stop a considerably larger voice - and better projection. However, the fact remains that, for whatever reason, FHW originally sited this stop alongside the rest of the Solo Organ, in the depths of the chamber. In one sense I would agree with you - I regard this Ophicleide as just too loud and too fat; therefore, it could benefit from revoicing. However, I would also, without any qualms whatsoever, re-cast both compound stops as chorus quint mixtures - that of the Swell with a somewhat higher composition. Then I would want to enclose the Solo Organ (except for the Tuba), make various manual doubles available on the Pedal organ and add a Trompette Harmonique to the Solo unenclosed chest. it would then have lost its original identity, and could no longer provide future generations of musicians with this vital link to an instrument by a master builder at the height of his powers. So, where would one stop....?

Thank you. I shall have a look at this after church this morning.

Incidentally, can anyone recommend some good free photo editing software, please? It needs to have a re-sizing facility - with the option to constrain the proportions. I downloaded Picasa 3, on a recommendation, but having trawled through all the menus I can find, there appears to be no option to re-size images. Thank you.

Not by me, at any rate. I agree heartily, Vox. In fact, I greatly prefer my 'own' Positive Organ, here. The only drawback being, of course, that there is no Romantic Solo Organ. However, it is possible by careful (and unconventional) registration, to achieve a surprising number of very useful solo and accompanimental effects - some even under expression. For a 1960's neo-Classical instrument, the Minster organ is surprisingly versatile. I even have a faux Tuba to hand, if I so desire.* * This was realistic enough to cause my previous colleague to whip his head round in astonishment, during my play-over of the first hymn at an Evensong several years ago. After the service, he came up to me and said 'Where the hell did you get that Tuba from?' Apparently, he was almost convinced that one had appeared, as if by magic, overnight.

Your point about the Harrison 'influence' on Willis' tonal schemes is an interesting one - particularly the G.O. Harmonics (17-19-flat 21-22), which was an apparent copy of Harrisons' recipe. There was also a Tromba, on 300mm wind pressure - although this was enclosed in the Choir expression box. Aside from some differences in nomenclature, there are also a number of similarities between this Choir Organ and a standard Choir Organ scheme of a Harrison organ. The action was indeed electro-pneumatic from the outset. * Willis III was a great believer in (and promoter of) electro-pneumatic actions, together with adjustable pistons - including an array of general pistons. * p.10, The Rotunda: Volume One, Number One. Willis 'house' magazine; September 1925. I suspect that this was certainly the case with H&H. In addition, I think that it is likely that Arthur Harrison would be unwilling to risk the reputation of the firm on anything that was either untested or not thoroughly safe. He also made some unwise (and thinly-veiled) remarks in jest with regard to the workmanship of Hele & Co, Plymouth. In this case, legal action ensued. There were a number of interesting exchanges in the 'Letters to the Editor' section - as well as articles from both parties. Although it is interesting to note that the authorities at Selby Abbey elected not to re-quote with Compton after the disastrous fire of 1906, instead choosing to commission William Hill & Son to build the new instrument. They also retained the 'piano' keys for the lowest clavier. Willis often did this, although I think that it looks odd. It must have made it a little difficult to fit in the action for the Choir pistons - since these keys are not under-cut.

I agree also. I would say that the flutes are uniformly beautiful - as is almost always the case with FHW. Another possible weakness is that the Choir Organ is very quiet - almost too quiet to be effective in an accompanimental role. with regard to solo repertoire, I should say that this is definitely the case.

I possess a photograph of the west front of the Exeter case, prior to the addition of the duplicate chaire case for the Solo Organ (in 1891). Whilst it did not look particularly offensive, neither does it look so now. At the 1891 rebuild, the main case was raised and the depth increased once again*, in order to accommodate additional pipe-work. In any case, I certainly would not wish to lose the wonderful (and extremely useful) Solo Organ, simply to restore the case to its previous aspect. Would I be correct in stating that this case (in its present position) is unique? I can think of no other double-fronted case, with two chaire cases. That at Saint Paul's Cathedral would have qualified - until it was sawn in half by FHW in 1872. Therefore, surely it (Exeter) deserves to stay intact. Furthermore, the quality of the carving of the 'new' Solo case is at least as good as the original. There are two other interesting points about this case. The first is that there is no figure carving; all the decoration consists of foliage or scroll-work. Secondly, almost all the pipe-shades are engrailed. I can think of no other example where this has been carried out so consistently. * It had been made deeper by Speechley, in 1877, when the lowest pipes of Loosemore's Double Diapason were removed from the sides of the Pulpitum screen and placed inside the main case.

I would agree that the Exeter instrument is fundamentally good. In fact (notwithstanding the scheme I posted earlier), if nothing was done to it other than cleaning and restoration, it would still be one of the most comfortable and satisfying instruments to play. A glance at the stop-lists (since 1965), may answer your question regarding the exchanging of the Choir and Solo organs. (This was something which Paul Morgan also wished to see.) The Choir Organ is actually not much use for accompanying a choir. However, the Solo organ, with its three quiet orchestral reeds (including a sublime Corno di Bassetto and an equally superb Orchestral Oboe), wonderful strings (including an undulant) and beautiful orchestral flutes, is extremely useful. This division would be even more commodious if it projected directly into the Quire. Conversely, the Choir Organ would be of infinitely greater value were it to speak west - and had the 1ft. and the compound stop restored. I respect your opinion. However, I have also played the Truro organ on a number of occasions. I have to say that I found it highly over-rated. Exeter is, as far as I am concerned, a far more balanced and versatile instrument - and not merely because it is substantially larger. My argument for not needing a 32ft. reed at Truro, is that there is an enormous (and therefore almost useless*) 16ft. Ophicleide, which dominates the tutti. Extending this down to 32ft. pitch would simply provide an equally pointless, gigantic reed. It would take a very large and powerful choir to be able to stand up to this aural onslaught. However, if one provided an independent reed - perhaps in the manner of the slender Contra Posaune at Salisbury Cathedral, I am not sure that this would be satisfactory, either. That at Salisbury is somewhat disappointing - and not just from the console. It is well known that FHW abhorred big 'blurty' 32ft. reed effects. but I think that it could be said that at Salisbury, he went too far in the other direction. Another reason that I dislike Truro (aside from the wretched tierce mixtures), is the fact that the Solo Organ is not enclosed. I recall John Hosking posting to the effect that he would play a melodic line on the Solo Clarinet, and then transfer to the Choir Corno di Bassetto (which is quieter), in order to give the effect of a decrescendo. However, in practice, it does not really do this - the melody suddenly becomes softer. The subtle nuances of expression which this type of stop needs (in order to be really useful) are only available with an enclosed division. I cannot imagine why FHW did not enclose this department; there is enough room for a box and, whilst I understand that the organ was not made any larger due to a shortage of funds, a box would not have been that much more expensive. In any case, only eight years later, FHW did enclose (from new) an almost identical Solo Organ at Saint Alban's, Holborn. * Unless one also has the full organ drawn.

Ha - I suspected as much. So, nothing a svelte as a Walker 'tusk', then?

Fascinating - thank you. I shall read this again in depth after work, later today.

It is true that this organ could be said to be under-powered for this building. However, whilst the Minstrel Organ does address this shortcoming in theory - for the reasons I stated above it does not work so well in practice. Paul Morgan used it as little as possible - precisely because of the discrepancies in tuning. As soon as the weather begins to warm up, the tightly-packed tone cabinet becomes rather like an airing cupboard. The result was clearly audible both downstairs and at the console. Well, fair enough; although the news report in your link does say this: 'The cathedral said the inside layout of the organ was to be completely re-designed as it was "extremely cramped, and some sections are virtually inaccessible for maintenance".' with regard to the 32ft. reed - I could not disagree more, Vox. I think that it is a superb stop and, whilst I would suggest that Truro is one cathedral organ which does not really need a 32ft. reed, I had felt for years that Exeter was crying out for such a stop. Having not only played it countless times, but also attended many of the summer recitals, it was apparent that there was a distinct lack of gravitas - particularly with pieces in G, or higher keys. This is exacerbated by the fact that the Open Diapason (actually nothing of the sort - it is an open wood stop) is not a typical Harrison 'boomer'. In addition, I was once told that the basses of the Contra Violone and the 16ft. octave (in the South Transept) speak on only about 35-40mmmm of wind. Whilst this does seem incredibly low - and I doubt that this is entirely accurate - it is true that this is a very gentle stop. the corollary is that it is all the more useful, as a result. I do hope that, if the internal layout is to be re-configured, the positions of the Choir and Solo organs will be exchanged - even if the opportunity to make tonal alterations is not taken up.

Thank you for this, flûte harmonique. I shall have a good look through this when I have finished teaching this evening.

Ha! If you ever do get around to visiting this part of the world, you will be most welcome.