pcnd5584

Clearly it depends on several factors: for example, the availability of funds, the amount of floor-space (and height) which can be utilised, the usefulness and flexibility of the various ranks (particularly the extended Geigen rank), the capacity of the wind system (reservoirs or concussion units?), suitability of sound-boards for modification, console and action (is electro-pneumatic action used, or are there still electro-mechanical ladder-switches, etc?) and a host of other considerations. David's suggestion of getting the input of a reputable consultant is certainly sound advice. In addition, I would only make one or two suggestions, since I have not heard this instrument in its surroundings and so I am not in a position to judge either the effectiveness of the individual ranks, or that of the ensemble. However, speaking personally, I should wish for an Oboe (or Hautboy) on the Swell. What is the composition of the Swell Mixture at C1? If it begins at 15-19-22, it might be possible to discard the Flautina and insert an Oboe, providing of course that there is enough space on the slide to take the pipes. If the Flautina was original, this may well not be possible, since the slide is likely to be too narrow. It may be worth (as David also suggests) acquiring the services of an experienced voicer. It is possible that, with careful regulation and re-balancing of the G.O. ranks, an acceptable chorus is achieved. It might also be worth having someone in the trade look over the blower. Is it functioning correctly and at capacity? In addition, checking over the entire wind system, and the sound-boards and other wind chests, particularly that of the extended rank, might reveal a problem which could be fixed at a reasonable cost. However, if there is a clear desire for other alterations (are you the organist at this church, incidentally?), then there are a few other points which might be worth investigating. For example, the provision of a quiet flue sub-unison rank to the G.O. It is possible that making the Geigen extension available at 16ft. pitch, in addition to the other three pitches at which it appears currently, would be inadvisable. Instead, it might be possible to add a second-hand Bourdon (or even have it revoiced as a Quinatdena) to the G.O. Alternatively, if the Geigen rank is still considered to be unsatisfactory after investigation, perhaps it could be replaced from 8ft. C upwards with something more robust. (It is possible that, if this rank was originally speaking as a Salicional, it is currently being pushed past the limits of the pipe-scales.) If the organ does sound unbalanced once the reeds are drawn, again, check the winding and chests. It is also worth checking that dirt has not got into the resonators (are they hooded or vertical?) David speaks highly of Trevor Tipple's work, so it could be that the pipes simply need cleaning and re-setting on their speech. On what pressure do these pipes speak? (For that matter, what is the pressure of the G.O. flue-work and, is the extended rank winded from the same supply?) It is difficult to know whether the above is of any help without seeing the organ. However, I hope that there are at least some avenues for exploration which might bear useful fruit.

I notice (from the current issue of the Church Times) that a Director of Music and Organist is required for Saint John the Baptist, Peterborough. I further note (from the NPOR*) that this church possesses a 'vintage' Harrison organ, with its original stop-list largely intact. The only ranks missing are the Pedal Ophicleide, and the G.O. Harmonics (17-19-flat 21-22) and Octave Tromba. One minor alteration was the transposition of the former 8ft. Viole d'Orchestre on the Choir Organ to 4ft. pitch. There are a few colour photographs, two of which show the console, which looks to be quite dignified and largely unspoiled. However, I see that there is a note reading 'Specification superseded' near the top of the entry, so perhaps there have been some further alterations to this instrument. It would be interesting to know whether any contributor has played this instrument and can give an idea of its current state (and stop-list). *Incidentally, the entry as it stands is slightly incorrect: this instrument possesses (or did in 1980) three claviers and thirty-six stops, including the Swell Tremulant and the prepared-for ranks.

As am I.

Perhaps we could consider the postings with regard to Saint Woolos' Cathedral at an end now.

No - although he does admit that, largely due to the excellent acoustic properties of the abbey, the instrument 'came off' much better than it should have done.

This is (or was) indeed a beautiful instrument. The Echo Organ in particular, contained some enthralling stops of ethereal beauty. The excellent acoustic ambiance of this glorious building also added to the effect. It seems tragic that this instrument is now apparently dismantled and may not be re-instated.

Why should I? There is no automatic right for anyone outside that cathedral staff and congregation to know this. As it happens, I was told of this by my colleague, who was informed of the fact by a member of the cathedral staff. Since, in any case, this made it third-hand information, I had no intention of passing on what might have turned out to be nothing more than inaccurate gossip.

It does not have to be played on a Tuba - a reed chorus, perhaps on an open soundboard would be equally (if not more) effective. Played on the G.O. reeds at Salisbury, it would sound quite impressive, for example.

Without wishing to prolong this absurd tangent, as it happens, I have not 'taken your advice'. I have already done this on several previous occasions, for a number of other organists - all of whom were most grateful for the opportunity. I have received your PM and, notwithstanding your attitude, I shall look at the Minster diary next Monday, and see if it is free one evening next week; at which point I will contact you by PM. For the record, I know of a number of cathedrals at which it is either extremely difficult or simply not permitted for anyone other than the resident musicians or recitalists to gain access to the cathedral organ once the building is closed.

I recall JB telling me of the time that a certain lady recitalist was practising in this church some years ago. Even he grumbled that she played almost entirely on the full organ, 'adding the Tuba and octave couplers for variety'. On this instrument, the noise would have been overwhelming. Nice quiet stops on the Swell and Solo , though.

Indeed - I had also heard of his departure some months ago.

Absolutely. Unfortunately, since Blackadder appears to have, as SL states, an over-inflated view of his own self importance, I shall not bother to dignify his last condescending post with a response. It occurs to me that, in addition to organists either demanding or expecting to be able to indulge themselves in large quantities of organ tone, there may well be others in the building who may wish to pray quietly, meditate or simply soak up the atmosphere of the building, in relative peace and quiet.

Well, possibly - however, the situation was exactly as I described it.

Whilst the invitation was meant genuinely, you (and Colin) appear to have completely mis-read (or chosen to ignore) my earlier post. I quote: 'Secondly, you suggest that I make the instrument available 'after hours'. Whilst I have, on occasion been happy to do this when asked, on the particular occasion of the American gentleman's visit, as stated, I was unable to be there. I can hardly expect a colleague to make a special trip (of nearly thirty miles), in order to let in a visiting organist who simply wants to play the organ, then wait there for an hour or so, in order to let him out. (The stipulations of our insurance company would preclude the loaning of a key to the building, to a non-staff member.) In addition, you seem to imply that I should like nothing better than to give up my free time of an evening, in order to hang around in the Minster, whilst a visitor blasts away for an hour or so on our chamade. Aside from the fact that, during school terms I work for around seventy hours a week (with no day off), I am usually working each evening - often until around 21:00 or even 22:00 - and then in school the next morning at around 07:40. Frankly, I find your attitude rather insulting.' Blackadder, if you were doing your best to maintain this kind of work schedule, would you do what you are apparently demanding that I should do? Colin - I did not 'fall on my own sword' - my later post was intended to mean that, despite the rudeness of this particular contributor, I would still make him welcome if he wished to play the Minster organ. I do not regard this as falling on my own sword.

Again, your use of language suggests intransigence. Were you to be the custodian of a fairly large instrument in a very busy church, in which there are a good number of people with whom you have to work side by side, on a daily basis, you might find tit necessary to moderate your viewpoint. In any case, I have myself been quite happy to accept the stipulations of the resident staff at various cathedrals, when playing for choirs - and not just having a 'jolly' on the instrument. for example, at Chester Cathedral, last summer, I was playing for most of a week and a week-end for a visiting choir. I did all my practice on the Swell Stopped Diapason - box tightly closed - no exception, not even for a minute. Whilst this was inconvenient (and meant that I had to experiment with registration during the Psalms, for example), I was happy to do so. The result was that, at the end of our week's singing, I was thanked by both the clergy and staff, who said that it had made their jobs easier. It also meant that I received every co-operation from them with regard to assistance, information and anything else which I or the choir needed whilst we were there. Mr. B, let me assure you that, should you ever visit Wimborne and wish to play the beautiful Walker organ in the Minster, you would be given the same courtesy which I extend to any other person requesting to play the instrument. And, if at all possible, I should arrange an evening visit, in order that you were able to experience the full range of the instrument. I am, Sir, and remain Your humble servant, Baldrick

Again, read my post more carefully. I stated that I was unable to be present on the day he was visiting. My colleague was away working on an opera course and if I had to ask the verger to come in specially of an evening, either I or the American organist would have had to pay him for his time. As part of my job, from time to time, I play for visiting choirs in various cathedrals and greater churches. One such occasion was a visit to Wells Cathedral, where I was not allowed to play on anything other than the Swell flutes (box tightly closed), until the choir entered the cathedral stalls for the final rehearsal, prior to Evensong. This meant that assessing balance and selecting appropriate timbres had to be done 'on the hoof' and largely by drawing on knowledge of other Harrison instruments.(In addition, I was not permitted the use of any of the piston channels - so I had to use what was already set and hope for the best.) Personally, I think that I would find this type of thing rather less acceptable than the situation which I described at Wimborne, particularly since we were providing the cathedral with a free Evensong, of a good standard of singing. It was even harder to understand the vergers' attitudes, since they had apparently been throwing pews around the Nave for an hour or so, making a huge din.

I think that this reply says rather more about your attitude than it does mine. Firstly, you appear to ignore the fact that I had stated that we rely on the goodwill of many helpers in order to keep the building running (and open to visitors). If we lose that good will, we lose our helpers. It would be difficult to keep the building open, run the shop and attend to the many other necessary tasks each day without them. Secondly, you suggest that I make the instrument available 'after hours'. Whilst I have, on occasion been happy to do this when asked, on the particular occasion of the American gentleman's visit, as stated, I was unable to be there. I can hardly expect a colleague to make a special trip (of nearly thirty miles), in order to let in a visiting organist who simply wants to play the organ, then wait there for an hour or so, in order to let him out. (The stipulations of our insurance company would preclude the loaning of a key to the building, to a non-staff member.) In addition, you seem to imply that I should like nothing better than to give up my free time of an evening, in order to hang around in the Minster, whilst a visitor blasts away for an hour or so on our chamade. Aside from the fact that, during school terms I work for around seventy hours a week (with no day off), I am usually working each evening - often until around 21:00 or even 22:00 - and then in school the next morning at around 07:40. Frankly, I find your attitude rather insulting.

Interesting - one of the sops once inadvertently set fire to her music during a carol service, in this church. However, I do not think that she was under electro-mechanical control at that time. This typo could have been my fault - or the previous organist (now retired to Dorset) - it could also have been that of the late, and sadly missed, Phil Rogers. He was always prompt in uploading information to the NPOR which I sent him. He was very much interested in obtaining up-to-date details of the organ in Saint John's Church, Wimborne. Unfortunately, by the time I had managed to gain access to this Hele instrument*, Phil had died. * It has been partly rebuilt, with minor tonal alterations, by an unknown builder. However, I had to play for a funeral there a couple of summers ago and, from the state of it, I can see why no-one has owned up to carrying out this work. I did ask a church secretary if there were any details regarding who had undertaken the recent work on the instrument, but she said that she had no idea. With this particular church, this does not surprise me - they are very much concerned with spiritual concerns (not a criticism), and less bothered over temporal matters. This said, in a church of this size, I have to wonder why it was felt necessary to have two drum-kits - particularly when one has been largely enclosed in a home-made perspex screen (and partially roofed=in). The mixing-desk, speaker stacks and the large quantity of electrical cable untidily snaking all over the place, makes this church look rather less inviting than it otherwise might be.

Absolutely. David comes across as - to use a possibly 'old-fashioned' epithet - 'a true gentleman'. If he is ever visiting the UK - particularly the south, I should very much like to meet him and ask many questions - not least regarding the H&H instrument in Saint Anne's Cathedral, Belfast.

I would agree - to an extent. It also depends on how busy your church is generally. Our own has many visitors each year. We rely on the goodwill of a large number of helpers and guides, in order to assist in the day-to-day running of the building. A couple of summers ago, I received a request to play the Minster organ from an American gentleman, who had discovered the instrument from another board (on which we both post). I was happy to give permission and contacted our office and booked a time, as requested, also notifying the vergers of the visit. I had a prior engagement in London, so was unable to be present. On my return, I was met with several angry complaints regarding the 'row' that this gentleman had made (despite being asked to bear in mind that the building received many visitors and that there were several people on duty). Consequently, it was necessary for me to spend some time rebuilding bridges with my colleagues and other Minster workers. I was also surprised to read the American organist's own 'complaint' - apparently he was asked to play more quietly by one of the staff or helpers; at this he became - shall we say - disgruntled. I cannot say that I was impressed by this turn of events. Consequently, we now 'vet' people, before allowing them the freedom of the console. The other thing which we have done, is to have an electronic 'ventil' lock fitted, in order to isolate the Orchestral Trumpet (a chamade reed of great power and brightness). Following this afternoon's funeral, I shall remove the key to this lock - and replace it when I am next on duty.

Slightly closer to you is Budehaven - the Parish Church of Saint Michael and All Angels. The organist there was the organist at Kilkhampton for several years, until recently. He is a personal friend and I could put you in touch with him, if you wish. Saint Michael's, Budehaven has a two-clavier instrument, rebuilt by Osmonds, in 1966. Lance Foy (partly at my instigation) did further restoration work in about 1989. The instrument includes a Double Trumpet - Trumpet (16ft./8ft.) unit on the Swell (which is also available on the Pedal Organ at 16ft. pitch). The G.O. is fairly complete up to a Mixture III and a fat, loud Trumpet (which should be labelled 'Tromba'). The organ is played from a detached console at floor level, which has a reasonable supply of pistons. Kilkhampton might not be so easy to get on these days - which is partly why my colleague moved over to Saint Michael's. Let me know (via PM) if you wish to contact the organist at Saint Michael's.

The only recording of this fascinating instrument of which I am aware, is an old LP (with a monochrome photograph of the case on the front face). I have no recollection of who was playing on the recording - or what was played. None of which quite answers your question.

I am with Malcolm on this one. Around here, apparently (so a colleague informs me), organ crawls almost always consist of the same people playing the same (generally loud) pieces (generally quite badly). I think that I should almost prefer to be stuck in a lift with a dead horse.

David - not at all - I doubt that I could ever forget this instrument. However, the orgue de chœur at Chartres is far worse. In fact, infinitely worse.

Ah - so you have played this execrable 'instrument', too? I once had to play it for a concert (including a large-scale improvised set of variations). It is, without doubt, the worst organ I have ever played. and those enclosures which house the pipes (with their propped-up lids) look like nothing so much as a row of coal bunkers. This is probably the only organ which I have wanted to burn.