pcnd5584

So how wide is this tab, then? (Or was it engraved using a similar technique to that employed in the manufacture of microfilm?)

At Durham Cathedral, in 1905, they placed the Great and Swell organs on electro-pneumatic action. Since these divisions were situated on the North side of the Quire, it was presumably deemed expedient and desirable to do so. In 1935, the Solo Organ was also placed on the North side of the Quire (but high up, in the Triforium). The 1914 H&H rebuild* of the FHW organ in Saint Peter's Church, Bournemouth, also utilised electric action for the Choir Organ. However, I am fairly certain that this was direct electric, there being no pneumatic motor stage. * Although in most respects it was actually a new instrument.

Fair enough - I had no idea that the cathedral had formerly been known as Saint Peter's, Lancaster. You are welcome, David.

To return to the organ of Exeter Cathedral: does anyone have any further details of the work to be carried out, please? I have looked once again and can see no mention of the impending rebuild on the H&H website - which is still rather strange. One of the main reasons for undertaking this work is to re-order the interior layout. Having seen inside the instrument on a number of occasions, it is certainly cramped. However, interestingly, the 1891 organ was in some respects larger. The Choir and Solo organs lost a rank each - as did the G.O. In the latter case, I suspect that at the 1965 rebuild, H&H planted the new Mixture IV (19-22-26-29) on two slides - one formerly occupied by Open Diapason I (there were originally three Open Diapason ranks). The old Mixture (17-19-22) was re-cast as the Sharp Mixture (29-33-36). If this scheme (1891) http://www.npor.org....ec_index=D05099 is compared with the present stop-list (2002-3) http://www.npor.org....ec_index=R00458 it will be seen that the Choir and Solo organs were formerly both of ten stops. (I realise that the 1965 Solo Organ had ten stops - but this included the Trompette Militaire in the Minstrels' Gallery; the soundboard itself appears to have lost a stop.) The same goes for the Choir Organ; this, prior to 1933 also had ten stops on the soundboard - and there was room for a shutter-front, since the Salicional, Vox Angelica and Clarinet were enclosed. They remained so, until 1965, when the Choir strings were moved to the Swell Organ, replacing the Echo Gamba and Voix Céleste - although the Vox Angelica was re-named Voix Céleste. (Oddly, if this stop is drawn, it also activates [blind] the Salicional slide.) At the 1933 rebuild, a number of Choir and Solo stops exchanged places - whilst others were discarded. This made for a more sensible scheme (the 1819 Solo Organ contained four 4ft. flues - including a Gemshorn; this was possibly the only example of this stop on an English cathedral Solo Organ). In 1965, the Choir Organ was again partly re-cast; this time as a sort of flute-Positive. Whilst the balance between this and the G.O. was quite acceptable in the Quire. the Choir Organ was almost useless for Nave services and the summer recital series. Interestingly, the Pedal Fifteenth (a separate rank, added in 1965) was placed on its own chest in the west-facing Solo Organ case (itself added in 1891 as a replica chaire case) - directly behind the front pipes and in front of the Solo expression louvres. The Fifteenth was originally intended to form the lowest rank of a three-rank Mixture, but Lionel Dakers changed his mind and (sensibly) had it made available as a separate stop. With regard to the present scheme of the Pedal Organ, the latest NPOR survey has incorrectly assumed extension on the Pedal Violone rank. Whilst the 32ft. Contra Violone is extended from the 16ft. Violone, the Violoncello (8ft.) is of independent pipes throughout. The G.O. Double Open Diapason borrows its lowest eight notes from the Pedal Violone. Given a sum of £1,000,000 for this restoration and re-ordering, I wonder if this work will include any tonal alterations or additions? I hope that the cathedral authorities will take the opportunity to exchange the Choir Organ soundboard with that of the Solo Organ. My own thoughts would be thus: PEDAL ORGAN Contra Violone (Ext.) 32 Major Bass (W) 16 Violone 16 Bourdon 16 Quintadena (Swell) 16 Violoncello 8 Flute (Ext.) 8 Fifteenth 4 Flute (Ext.) 4 Mixture (22-26-29) III Contra Trombone (Ext.) 32 Trombone (M) 16 Fagotto (Swell) 16 Tromba (Ext.) 8 Choir to Pedal Great to Pedal Swell to Pedal Solo to Pedal Solo Octave to Pedal COMBINATIONS Pedal to Great Pistons Great to Pedal Pistons Pedal to Swell Pistons Generals on Swell Foot pistons CHOIR ORGAN (Now facing West) Wald Flute 8 Stopped Diapason (Old Swell) 8 Prestant 4 Nason Flute (Old Swell) 4 Nazard 2 2/3 Flageolet 2 Tierce 1 3/5 Octavin 1 Cymbale (26-29-33) III Cremona 8 Tremulant Swell to Choir Solo to Choir GREAT ORGAN Double Open Diapason 16 Open Diapason I 8 Open Diapason II 8 Stopped Diapason 8 Octave 4 Principal 4 Flûte Harmonique 4 Twelfth 2 2/3 Fifteenth 2 Mixture (19-22-26-29) IV Sharp Mixture (29-33-36) III Double Trumpet 16 Trumpet 8 Clarion 4 Great and Choir Exchange Great Reeds on Pedal Great Reeds on Choir Choir to Great Swell to Great Solo to Great SWELL ORGAN Quintadena 16 Open Diapason 8 Lieblich Gedeckt (Old Choir) 8 Salicional 8 Vox Angelica (C13) 8 Principal 4 Lieblich Flute (Old Choir) 4 Fifteenth 2 Mixture (22-26-29-33) IV Hautboy 8 Vox Humana (Old Solo) 8 Tremulant Contra Fagotto 16 Cornopean 8 Clarion 4 Sub Octave Unison Off Octave Solo to Swell SOLO ORGAN (Now facing East) (Enclosed) Viole de Gambe 8 Viole Céleste (A10) 8 Claribel Flute 8 Flûte Harmonique 4 Corno di Bassetto (70 pipes) 16 Orchestral Hautboy 8 Tremulant (Unenclosed) Tuba Magna 8 Trompette Harmonique 8 Sub Octave Unison Off Octave Great to Solo MINSTREL ORGAN PEDAL Sub Bass 16 MANUAL Open Diapason 8 Rohr Flute 8 Octave 4 Super Octave 2 Full Mixture (12-19-22-26-29) V Trompette Militaire 8 Minstrel on Pedal Minstrel on Choir Minstrel on Great Minstrel on Solo EXPLANATORY NOTES On the Pedal Organ, the 8ft. extension of the Open Diapason (W) has been discontinued. The Open Diapason has been re-named Major Bass. The Mixture has gained a rank and been re-cast at a slightly higher pitch. The Pedal Organ also gains a second (quieter) 16ft. reed, in the form of the borrowed Swell Contra Fagotto. The Choir Organ now speaks West and has been slightly enlarged (the Solo Organ has been reduced in size, in order to accommodate this). The Wald Flute replaces a rank which appeared on the old Choir Organ until 1965. Once again, there is now an 8ft. open metal flute on an open soundboard. The 8ft. and 4ft. flutes have exchanged places with those on the Swell Organ. Now the FHW Lieblich ranks are back with the old Choir strings. In any case, the Swell Stopped Diapason and [Nason] Flute 4ft. will make a better foundation for the revoiced chorus - which I intend to be brighter and stronger than previously. The Flageolet and Cymbale are new. The Larigot has been restored to 1ft. pitch and revoiced. The Cremona is new. On the G.O., the Mixture IV is composed of new pipe-work. The stop breaks one rank on each C. The old Mixture IV was unsatisfactory - it produced a very 'fifthy' sound, whilst imparting no real clarity or brilliance to the chorus. The Swell Organ flute ranks have already been mentioned. The fairly pointless Twelfth has given way to the old Solo Organ Vox Humana - where it is more useful, particularly in French music. The compound stop has been re-cast and the breaks re-arranged. It now resembles its 1965 state. The Solo Organ (as has already been mentioned) has been slightly reduced in size. The 2ft. Piccolo was unsatisfactory, tending to unsteadiness in speech. The Viole d'Orchestre has been re-named, but not re-voiced; it was not particularly acidic and so has been left alone. The Corno di Bassetto gains a new 16ft. octave (whilst retaining the old treble octave for use with the Octave and Unison Off couplers). The Tuba has been re-named only. The Trompette Harmonique is new. It is intended that this stop shall be placed horizontally on top of the Swell box and facing West. (In a similar manner to the Solo Orchestral Trumpet 8ft. at Ripon Cathedral.) I am not convinced of the usefulness of the Minstrel Organ. There are often discrepancies in tuning between this chorus and the main organ. The pipes are situated about forty-five feet above pavement level and they are partly enclosed in a tone cabinet which, whilst serving to focus the sound, also restricts air flow. However, I have left it largely as it was. The Mixture loses a Fifteenth and gains a Twelfth and the Trompette Militaire has been restored to its 1965 state. There are several new couplers and transfers. The Pedal Organ gains an independent Solo Octave to Pedal. The Pedal and G.O. Piston couplers have been separated (partly though perceived usefulness and also because I hate abbreviations on stop- and piston-heads). The G.O. gains a G.O. and Choir Exchange - thus reversing the order of the lowest two claviers - and their divisional pistons. The Solo Organ gains the useful Great to Solo coupler. The Minstrel Organ gains a Minstrel on Pedal 'transfer'. (Since it does not have its own clavier, this description is not strictly accurate.) Wind pressures have been left largely as they were. The Pedal reed unit speaks on a pressure of 375mm. The G.O. reeds and the Swell Cornopean and Clarion are voiced on a pressure of 175mm. The Solo Tuba Magna also speaks on 375mm. The Trompette Harmonique is to be voiced on 300mm of wind, the Trompette Militaire on 225mm. I think that this was the wind pressure which was employed in 1965; but I cannot now recall where I read this. (All pressures are approximate.) I cannot imagine for one moment that this is how the organ of Exeter Cathedral will look on paper, by 2014. However, I rather like this scheme; I feel (knowing this instrument well) that it addresses most of the perceived flaws of the 1965/2002-3 schemes, whilst resulting in a versatile musical instrument - and retaining its essential character.

I think that it would be worth giving the objective system another week or so , in order to prove its value. However, with reference to your post above: 1) I suspect that the only things I should like on the organ of King's College Chapel, Cambridge, are the Choir Organ, some of the flute ranks and the Swell strings. Oh - and perhaps the Swell Oboe. 2) How far are you from Calne, Wiltshire? (This instrument formerly possessed five claviers, so it can fit both categories.) 3) I recommend that you attempt to accompany a choir (and play solo repertoire) on the orgue-de-chœur in Chartres Cathedral. This instrument is so hideously awful that it can represent both clauses in this one. 4) I cannot answer this one in its entirety. I have never met any instruments by either of the first two builders. However, I have played the instrument at Holy Trinity, Brompton for service work. As far as I can recall, it was pretty much as Davidson (and Dixon) left it. It seemed quite acceptable to me.* 5) I am not sure, but I wonder if the stop-heads at Chichester Cathedral are acid engraved? Even ten or fifteen years ago, several were wearing out alarmingly. I played it again a few years ago, and one or two were approaching illegibility. They certainly do not look like normal engraving. However, I think that this instrument is superb. 6) Halifax Parish Church (H&H, 1929). The case I regard as pleasing and effective. For those who like this instrument - this is your prerogative. I happen to dislike 'vintage' Harrison organs. For me, this instrument would be a kind of reverse of a well-known and controversial female artist. (Body from Baywatch - face from Crimewatch.) Worcester Cathedral: Hope-Jones (1896). We shall never know with any certaintly. I found the acoustic ambience to be quite favourable to the organ which existed until about 2006 or so. I suspect that, like now, this instrument would tend to polarise peoples' opinions. For those who liked organs by Hope-Jones, once the novelty had worn off, it is quite possible that they would tire of the lack of upperwork and true brilliance. One can only do so much with a Quintadena. Gilbert Benham appeared from his writings to be a competent and relatively unbiased judge of organ tone - and even he did not speak particularly kindly of the four-clavier Hope-Jones organ which was formerly in the fashionable London church of Saint George, Hanover Square. On the other hand, for those who are sure that they dislike greatly instruments by this builder, they may have found on the Worcester organ, some quiet strings and flutes in which to delight. They may also have decided that, with a full congregation, perhaps there was an occasion when the use of the two G.O. Diapason Phonon stops could be considered apprporiate. However, if they were then to try the Solo Tuba Mirabilis, or the Pedal Diaphones, they may have concluded that the only possible thing to do would be to donate them to the Merchant Navy.... * Having compared the NPOR stop-lists, I am not so sure, now. I certainly prefer the latest scheme. However, there is a conundrum - both later surveys are dated 1966, although the work carried out by Percy Daniel & Co., is undated; it reads as if this work was completed more recently than 1966. Whilst there appear to have been several changes in every department, I suspect that the style of the voicing of those ranks which remain from 1945 has been left largely as it was. I would be interested to hear from any board member who is able to shed more light on this matter.

Hmmm.... I should say that you are just rather fortunate with the acoustic ambience of your church. After all, whilst a bad organ can be made better, the cost would be significantly less than were I to attempt to persuade the Minster authorites here to reconstruct the building with stone vaulting throughout, thinner pillars and no pews, etc.

Thank you, Philip. As you say - not too bad. As a practical minimum score (below which an organ could be considered 'bad'), I would suggest twelve. This seems to me to be reasonable. what do other board users think?

I do recall something about new soundboards - so you are probably correct. Perhaps there was room enough to squeeze both the Twelfth and Fifteenth on the new upperboards. I should also be interested to discover the pressure of the new G.O. 8ft. and 4ft. reeds. According to the NPOR, the choices are: 92mm or 225mm (Fanfare Trumpet). Neither sound right for the new reeds. I doubt that these days, H&H would make chorus reeds on such a low pressure for this relatively large building. Conversely, two hundred and twenty-five millimetres sounds too high. It is possible that no-one thought to include this detail in the survey, I suppose. I wonder if Andrew Lucas could shed any light on this matter?

The NPOR gives the following outrageous information: Musical Opinion, March 1970 organ apparently vandalised and destroyed when building turned over for secular use, 1972 Church Times 6th Oct. 1972 says "Having already been attacked by vandals, the organ .. was being systematically destroyed by the children under adult supervision. The tin pipes were being beaten into `interesting' shapes and the ranks of great wooden stops sawn into boxes." A supervisor is recorded as saying "It's no longer a musical instrument. It is now a different art-form. Children destroying an organ are a form of ballet." Remains of the organ facade, along with pulpit, pews etc. advertised for sale Autumn 1972 (Maintenance & Equipment News) http://www.npor.org....dex=N10844&no=1 Vandalism sanctioned by supposedly responsible adults - who should have known better. What a tragic end for such an important historic instrument. I suspect that whatever was left was scrapped.

Thank you, MM. I would endorse heartily your comments regarding Paul Morgan. I have, somewhere, a recording of a Radio Three broadcast of one of his organ recitals from Exeter Cathedral. It included a complete performance of Rheinberger's Eighth Sonata. The playing was superb - full of colour, yet well controlled. This organ always seemed to sound even better on broadcasts. The tutti (i.e., full Pedal, G.O. and Swell coupled), is a distinctive and instantly recognisable sound; and eminently satisfying - even before the addition of the Pedal 32ft. reed extension. Paul always knew how to get the best out of it. He made a number of solo recordings. One, entitled Organ Imperial, included a stunning performance of Healey Willan's Introduction, Passacaglia and Fugue; http://www.amazon.co...l/dp/B002RB3ERQ

He was certainly at Saint Peter's, Lancaster; see here: http://billingtonlan...f-dr-dixon.html I wonder how he was regarded by his fellow organists? ( I wonder too - why the ear-ring?)

Thank you - I suspected that it might have been something like that - presumably in a similar manner to that at Hereford Cathedral. (What a pity that this was changed for an actual glockenspiel.)

Yes, this is correct - had you seen the RSCM literature, or do you have a photograph of the old console? As your prize for the first correct answer, I would offer you an evening on the organ of Wimborne Minster. Unfortunately, I am unable to include the air fare to make this a practical proposition.... However, if ever you happen to find yourself in this area, you are welcome to claim your prize.

Yes - apparently the Trompeta Real at Saint John's College Chapel, Cambridge was initially audible in Trinity Street.... Exeter is indeed less brash than most cathedral organs - but with a distinctive but most satisfying tutti. The Trompette is indeed less ferocious - now. However, as firstrees has pointed-out, in its original state it could scorch and part hair at fifty paces with the best of them. Well, we also have separate Fifteenth ranks on the Swell and the G.O. - where they are indeed most useful. If you are ever around this part of the world, you are most welcome to sample our Positive chorus - I do not think that you will be disappointed with the lovely 2ft. Blockflute. Notwithstanding, the 1ft. Sifflute and 4ft. Chimney Flute, played down an octave, are even more ravishing. Well, yes - strictly it is a Willis II instrument; although, as you say, However, ‘Father’ Henry Willis planned the new organ in consultation with Sir George Martin, tthen Organist of Saint Paul’s Cathedral, London. It does sound different from a traditional FHW - you are right. There are one or two oddities in the stop-list, such as the Cornopean on the Solo Organ. This almost seems to hark back to FHW and Durham, in 1876, when I believe that the G.O. 8ft. reed was also named Cornopean - as was the 8ft. reed on the Pedal Organ of this instrument. I would be interested to learn the origin of the Sesquialtera II on the (Dublin) Solo Organ. It is not listed as a 1963 addition in any stop-list which I have consulted. It is a really good instrument, though - with the exception of my reservations on the halfway-house Choir Organ. Have you looked at the old console (which is - or was - displayed at floor level, in the North Transept.) ? There is a spelling mistake on the engraving of one of the drawstops. (It also appeared on some promotional literature from the RSCM a few years ago). I would be interested to know if anyone can tell me which stop it is and the precise details of the mistake. Perhaps I should offer a prize. I was interested to read the last part - very honest of you.... I have occasionally coupled Solo flutes down to achieve a broader sonority - although normally at their actual pitch only. Hope-Jones: hmmm.... I still have a problem with him. I would not suggest that being trained as a telephone engineer would therefore exclude the possibility of him being a good voicer. However, I have heard and played one or two Hope-Jones organs (which were largely in their original states) - and sampled one or two ranks on others which were purported to be his workanship. Subsequently, I can only regard his contribution to British organ building as one which pushed the instrument into a cul-de-sac, from which it had to retreat, some years later.

They have indeed. I wonder where they found the extra chest space for this - and the other additions to the G.O.? Perhaps this stop had originally united two slides in 1962 - although this does seem an unnecessary hindrance.

Mine too - for several years. I still visit him from time to time. He is, and has always been, a most kind and modest man; possessed of a superb technique, his psalm playng was wonderful to observe - much colour without distracion - allied to excellent taste. I must apologise for dragging this thread up from the depths - I did not see it at the time and I wished to add my own tribute to this most un-assuming of cathedral organists. Two summers ago, when my sister became terminally ill, he was very kind - at very short notice, ferrying me to and from the hospital (after I drove down from my home), providing food and drink, support and friendship. Subsequently, I visited him again, to thank him for his kindness, and spent yet another wonderful day with him and his wife at their lovely home.

Well, yes - there are a few prescribed registrations which need the Larigot. In the case of Exeter, because of what it (and the Clarinet) replaced, there is no longer a proper chorus on the Choir Organ. Furthermore, the chorus now culminates on an uncovered quint - something which I find much more undesirable than a sole 2ft. flute. No. http://www.npor.org....ec_index=R01626 I know that a few builders (for example, H&H and David Wells have, for a number of years, removed perhaps a mutation on a Choir Organ and substituted a Fifteenth; c.f. Lichfield and Carlisle cathedrals respectively). However, having played the organ of Saint Patrick's Cathedral, Dublin, where H&H did this to the Walker rebuild of the grand FHW here - and also lowered the pitch of the Choir compound stop - I am not remotely convinced of its perceived preference. This Choir Organ is now neither one thing nor the other. I should have sooner returned it to Willis' original scheme, than have the something-or-nothing department which is there now. I would certainly agree regarding the uniting of the G.O. Twelfth and Fifteenth as a Quartane - this is one detail which I do not admire at Gloucester. Generally, I find the combination of G.O. diapasons 8ft., 4ft. and 2ft. most useful. To have the Twelfth as an unwitting partner at this stage is an annoyance - the fifth is almost always too prominent without a compound stop on top. So if you admit that it can and does work....

Am I correct in thinking that this was a former organist of Saint Peter's Church, Lancaster? Was he also (perhaps for a short time) organist of Leicester Cathedral - and did he also wear an ear-ring? Or am I thinking of another organist?

I think that the work currently being carried out on the organ of Durham Cathedral is limited to piecemeal action restoration. I have a colleague whom I shall contact for further details of the Exeter rebuild. This has arrived rather sooner than I had expected; however, I can find no mention of this project on the H&H website at present - not even under forthcoming work. Given that the work is shortly to commence, this is a surprising omission. I hope that the character of this instrument is not altered substantially. I must admit that I already regard the alterations to the Choir Organ as serious errors. * * Transposing the Twenty Second as a Larigot was pointless. Aside from the fact that this is arguably the least specified mutation (in terms of registration), it is perfectly possible to achieve this effect through the use of the Lieblich Bourdon, the 8ft. and 4ft. flutes (if desired), the Nazard and the Octaves Alone (coupler). Dispensing with the Cimbel for a Clarinet may appear to be a practical solution (particularly since the Solo Organ speaks West.) However, in practice, I found the Clarinet to be a little too loud for use in the Psalms, for example (it is on an open soundboard). In addition, by removing the compound stop, the chorus on this fairly gentle department has been reduced to something rather less useful than formerly. (The argument regarding the failure of flute-toned stops to work convincingly in a chorus function was effectively nullified by Kenneth James' skillful voicing. The same situation currently obtains at Saint Albans' Abbey - where Downes envisaged the 2ft. Wald Flute to be an integral part of the chorus - and Wimborne Minster, where the 2ft and 1ft. ranks are also wide-scaled flutes, they are entirely effective in binding together the elements of the chorus - which culminates in a Cymbel III - resulting in a superbly musical and exciting sound. This chorus, aside from bringing this instrument to life in this dry building, is also a perfect foil to the G.O. chorus, in works such as Bach's 'Dorian' Toccata.)

I would agree about the organ - it is one of my favourite instruments, too. If I may expand on Martin Cooke's post: the Trompette (formerly named Trompette Militaire) was indeed installed at the same time as the last major rebuild by H&H - 1965. The only ranks to have been added since that time are: the 32ft. and 8ft. octaves to the Pedal Trombone, the Choir Larigot and Clarinet (which displaced the Twenty Second and Cimbel 26-29-33), the G.O. Octave 4ft. (which displaced a seldom-used Dulciana), the Solo Viole Céleste (C13) - this was the former Viole Octaviante, which was simply shunted up an octave and tuned sharp. (This rank, prior to the 1965 rebuild, had been the Swell Celestina 4ft.) and the Minstrel Organ (Pedal 16ft. Bourdon and a diapason chorus). The Trompette was retained and renamed. Many years ago, Lucian Nethsingha had this rank revoiced and toned down. I have a recording of it before it was tamed (and I was also allowed to use it occasionally, during my organ lessons). It was completely anti-social, very bright and brassy. Not too thin, but with a definite edge - if this helps at all. It is now more civilised - although perhaps ever so slightly more boring as a result. (It required an extra blower to be activated, for the Minstrels' Gallery. This now serves also the Minstrel Organ; both this and the main blower are operated by ignition key-style switches.) Some readers here may be surprised to note that I consider this organ to have perhaps the most musical and agreeable Tuba stop in any organ I have ever played - arguably even surpassing the two Solo Organ Tuba ranks at Salisbury Cathedral. The Exeter stop is pure trumpet tone - bright but certainly big enough. There is an old vinyl recording of Lionel Dakers playing the rebuilt organ (shortly after its 1965 re-designing). He gives good performances of a very satisfying and unusual programme of mostly lesser-known pieces. It includes a piece in which the Solo Tuba is used as a Trumpet solo - to excellent effect. When I can find the record (which was issued on the Pilgrim label: http://www.shakedown...oducts_id=70601), I shall give further details - such as the name of the composer. I can recommend this recording; he shows off the organ to good effect, with an excellent variety of pieces, including Smart's Postlude, in C and the Finale from Stanford's Sonata Celtica (on Saint Patrick's Breastplate). Aside from deciding to use the new Choir Organ Cimbel instead of the new Cornet composé, for Travers' Cornet Voluntary, the registrations are apt and interesting. There are one or two very slight blemishes in the playing - such as a clipped note in the Stanford. However, this gives me the impression that, for the most part, the works were recorded in single 'takes'. If this is so, then the level of accuracy throughout is quite impressive - and compares favourably with certain other contemporary recordings (such as that of Alwyn Surplice at Winchester Cathedral). The 'new' Trompette Militaire was used at the start of the record, in Tony Hewitt-Jones' Fanfare. (Co-incidentally, in a later recording - for Exon Audio - Paul Morgan also chose to commence his record with a Fanfare, this time by Francis Jackson, which showcased the Trompette Militaire - in its original state.) In fact, the Great Cathedral Organs series was, in a number of respects, quite ground-breaking. For one thing the instruments were well-documented - there was almost always a photograph of the console, there was occasionally also one of the player and there was a stoplist given, often with accessories listed, too. Perhaps more importantly, the repertoire was comaratively far-reaching and included a number of little-recorded works, often of considerable length; Nielsen's Commotio is a case in point. * The overall design of the set was dignified and effective. The standard of playing was, for the most part, quite high. There were a few blemishes but, given that the editing process was somewhat more exacting and time-consuming then, the end result was mostly good (particularly when it is realised that a few of the players were of advanced age - Statham, at Norwich, apparetly required occasional medical assistance during recording sessions). Out of the venues which Brian Culverhouse had intended to include, only Peterborough Cathedral remained un-recorded and un-visited in this series. * By some miracle, there was only one recording of the Bach Toccata and Fugue, in D minor (BWV565) - and none of the Widor Toccata. This alone is recommendation enough for the benefits of having one producer for an entire series.

Yes, I do. I certainly meant to type that - I think that I was distracted by preparing some lunch at the same time.... My colleague was formerly organ scholar there, and I believe that he had to accompany a performance of the Duruflé Requiem on it. Whatever style of organ one prefers, it does seem to me to be a little obtuse to have one which is apparently so inflexible and unsympathetic for choral accompaniment - particularly French twentieth century works - or, for that matter, Stanford and Howells. I wonder why this site was chosen for the Marcussen instrument? Was it the only alternative to the former site? You are probably correct about the old Walker organ - and about the idea of a screen organ with a Nave division. I would still be interested in knowing what score you would give to this instrument (using a 1-5 scale, as above).

Thank you for this, Philip. I have wondered about this instrument for a long time. I did ask David Butterworth for his views on it (in all contexts) on another discussion board, As far as I know, I have yet to receive a reply. I take your point about it not necessarily being a bad organ. Notwithstanding, the fact that it is in a (large) church and is fairly useless for choral accompaniment - and, apparently, even with its open, elevated site, does not fill the building *, leads me to suspect that I would hate it. Naturally, I realise that this would not necessarily make it a bad instrument. So, how much does it score? * After the completion of this instrument, I recall reading the odd claim (by Ralph Downes) that 'a single Gedeckt, as heard in the Nave, has the 'presence' of the old Walker Tuba'.† It looks as if this may be a personal view, not necessarily backed-up by fact. † p. 199, Baroque Tricks: Adventures with the Organ Builders; Ralph Downes. Positif Press, Oxford (1983).

Granted - but as a definition by which to judge the perceived failings of a specific pipe organ, it is a fairly devastating standard....

It may in fact prove almost impossibe to comment objectively on this thread. Perhaps one way forward might be to establish a few cirteria, by which a particular instrument could be judged. Otherwise, given the variety of tastes in styles of instruments and the types of music preferred, we could be here until the proverbial cows.... well, you know. As an illustration in perceived difficulty, take Nigel Parkin's post above. Although there are a number of examples of instruments which have been treated in this way - some more sympathetically than others - a number have been extremely successful. My own church instrument is a case in point. Apparently, in its previous incarnation, it did little more that provide a muffled, distant roar in the Nave. After its radical re-designing and partial re-siting (in 1965), it emerged with just the type of alterations and additions to which Nigel alludes. However, in this case (and despite an almost arid acoustic ambience), due to inspired voicing, excellent materials and workmanship, a superb, thoroughly musical instrument emerged. In fact, it is apparent that the voicer had a very clear sound 'picture' of the tonal effect of the entire instrument which he wished to imbue through scaling, voicing and finishing. The result is anything but 1960's 'bubble-and-squeak'. Whilst it lacks some gravitas, there are many, huge compensations. With this in mind, I suggest the following: 1) Position (Taking into account the type of music which the instrument in question will be required to play - and whether or not it is to be used to accompany a choir.) 2) Layout (With reference to the siting of each division, tonal egress and how well the sound reaches every part of the building.) 3) Winding (Is the wind supply sufficient for all reasonable requirements and is it steady? Whilst some players prefer a 'flexible' wind supply*, it would be reasonable to require it to be constant.) 4) Console and controls (Are they adequate for the music which is to be performed? Are the laid out in a logical and accessible manner? Does the position of the console permit the performer adequately to judge balance, not merely between singers and organ, but also between each division?) 5) Casework (Does this aid or hinder the tonal projection in to the main axis of the building? Is it substantial enough to prevent sympathetic vibration? Does it form tone-cabinets? If so, are they helpful in focusing the tone - or do they make it 'boxy' and tight? Is the casework of a pleasing and sympathetic design for its location?) 6) Player satisfaction (What is the overall experience of playing this instrument for the performer? Is this the same for both solo and accompanimental music?) No doubt others will think of other touchstones which I have not listed. However, I wished to keep it reasonably concise so, for whai it is worth, I have limited my selection to the six points tabled above. Perhaps a scale of points could be allotted to each benchmark (say 1 to 5, five being 'good'). Any instrument which fails to score over an agreed minimum could therefore be judged as 'bad'. * As is presently the case with the Mezler instrument at Trinity College Chapel, Cambridge.

Indeed - I concur wholeheartedly with the views expressed here. It is refreshing to note that the programme presented an entirely positive aspect - I can think of nothing detrimental to say about it. In any case, Salisbury have run a superb music department for many years, now. To have the occasional privilege of playing that wonderful organ (aside from the tierce mixtures, of course....) in that beautiful building for visiting choirs, is a truly magical experience. And what confident, intelligent choristers they had.