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Mander Organs


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About swalmsley

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  1. I think that's being a little harsh. I interpret the spec as being that of the foundation of a straight concert organ on a very grand scale, with liberal use of extension in the (many) secondary divisions, for solo, imitative, cinematic, and special effects. In this it is quite different from a normal "theatre" style instrument. Notwithstanding this, it is also fair to say that extension is used rather more heavily in the pedal divisions than is normally the case for a concert organ.
  2. Having been fortunate to see inside it, I feel it cannot be described as anything other than a great - even monumental - feat of organbuilding. The grand excesses of the tonal scheme will not be to the personal taste of everyone, but I find they make a lot of sense within the context, which is - to say the least - unusual. Dare I even suggest it, but to my ears the 64' makes a definite musical contribution to several of the tracks of the 1998 CD.
  3. The spec is visible under the "Adopt a Pipe" page. https://www.svatovitskevarhany.com/en/pipe-adoption
  4. I have heard that claim before, from multiple sources. It irritates me because it is, by whatever measure is chosen, plainly wrong. http://die-orgelsite.de/ The number of three manual organs, in Europe, which have a greater number of ranks, stretches well into double figures. There even exists one three manual organ which, by the same measure, is over 40% larger.
  5. However, the 1.4m capital figure is stated as including an endowment. Depending on whether they're planning to fund just organ maintenance or also other costs with the endowment income, and whether it's planned to be a perpetuity or a progressive withdrawal of principal, the endowment could be the greater portion of the capital. So the restoration costs, allowing for the size differential of 50 stops vs 37 stops, could be comparable with Bedford. On a related point, I found it amusing to use the effects of compound inflation to adjust the original cost of Bedford - as stated in the NPOR entry - into today's money. It came out at rather less than I expected at a little under 200k. Of course this is a gross simplification and does not account for the variation of the cost of hand craftsmanship and organ materials relative to general prices over that time period, compound inflation being of course a measure of a varying basket of consumer goods unrelated to organbuilding. But it is still an interesting benchmark.
  6. https://coventryobserver.co.uk/news/coventry-churchs-amazing-project-to-house-grade-1-listed-organ-from-manchester-in-citys-oldest-rooms/
  7. In the mid 90's Anthony Bogdan was kind enough to allow me to practice regularly on this organ. It was indeed very fine, and very loud. The Gt chorus in particular was very bright and crisp in a way that one does not usually associate with H&H of this period. The TP action was a joy to play, with immediate response, and worked perfectly, although it was attended-to by the organbuilder. http://www.npor.org.uk/NPORView.html?RI=G00085 Interestingly, the other large local parish church - Leigh St Mary - has an earlier H&H rebuild with an almost identical stoplist. However the thoroughbred St. Thomas job was always regarded locally as having much the better effect, being sited in more generous acoustics. The 32' OW was quinted below GGGG, if memory serves. The church is an immense red brick building, with a huge undercroft. A few years ago, it was found to be in need of major structural and electrical work at a seven-figure cost, presumably beyond the means of a small congregation. In the preceding years, the organ had been substantially damaged by water ingress due to a series of thefts of the lead roof above the chamber. If the suspicions are confirmed, it's wonderful news that this instrument will survive.
  8. The BBC R3 recording of the inaugural recital is available at http://www.bbc.co.uk/programmes/b095qhsk I'll resist the temptation to opine based only on a recording, made in a rather challenging acoustic. However, most interesting is what TT says - or, indeed, does not say - during the interview.
  9. Tangential, maybe, but for me hearing the Wanamaker organ in the building offered no extra insight into its tonal qualities or grandeur over that evident on the fabulous and readily available Keith Chapman/Peter Conte recordings. In short - the lavish sweeping orchestral, string and crescendo effects are remarkable - if not unique - but there the distinction ends. Looking closer to home, however, there is the much smaller organ, of a similar vintage, in a school chapel in Suffolk, which for me offers a more compelling illustration of the possibilities of "blank cheque" organbuilding. The quality of construction and tonal integrity is stunning, and it is highly effective in the - admittedly rather smaller - building. The impact on the listener of the full chorus is grand to the point of overwhelming, in a way that Wanamaker, for all its vast resources, cannot manage.
  10. Since 2006 RoHS legislation in the EU has mandated lead-free electronics with the effect that operational lifetimes are greatly reduced. Over the next few years we will likely see the impact of this in organs, both electronic and electronic-actioned, and it may well be that pre-2006 will start to be seen as a lost "golden age" where electronics service lifetimes were able to exceed 10, 15 or even 20 years. As has been pointed out, a single decade is really nothing in the context of a pipe organ - little more than the "settling-down" period, and indeed is also nothing in the context of similarly-affected satellite or military equipment. So, if reliability is important, then the future is, clearly, simple mechanical-actioned instruments, or provision for the regular replacement of electronic modules much more often than the historic rebuild interval.
  11. As to Colin Pykett's interesting question, I think the nature of the beast enables an experimental, rather than experience-based approach to "voicing" or "room integration". With a pipe organ, fundamental decisions which have to be made early in the design process cannot be easily (or economically) undone; parameters such as layout, pipe scaling, windchest planting. Later, in the voicing process, one can always shave a sliver from the lips, but not put it back. With a few exceptions, mostly at the smaller end of the spectrum, a pipe organ builder is forced to build a specific organ for a specific space. In contrast, electronic organs (even with different badges adorning the console) tend to be based around a much more generic set of building blocks which can be adjusted endlessly at little marginal cost; so, is it not more optimal to defer those adjustments until the final installation where the room parameters can be known without estimation or supposition? Or, as is possibly the case sometimes, does the fact that these crucial decisions can be deferred endlessly simply lead to them never being made properly? So my view is the necessary focus is brought to bear in a fine pipe organ installation because the medium itself demands it.
  12. Completely agree - eclipses John Scott's for me, and that's saying something! There is also the fine Reubke performance on the other side of the LP, which has the mastery of TT's later recording (on the same organ) but is more emotionally wrought, especially in the conclusion. Rather suits the work I think. The organ is of course a well-worn vehicle for large scale German romantic music but acquits itself surprisingly well in the Elgar, helped of course by the infamous acoustics; one hardly misses the massed ranks of diapasons and rounded reed tone.
  13. I imagine that even at today's prices this buys quite a lot of organ: http://www.manchestereveningnews.co.uk/news/greater-manchester-news/manchester-cathedral-church-celebrating-25-7200728
  14. I heard a recital played on the west organ roughly 3 years ago. It was disappointing, with a completely unbalanced and rather grating chorus. Not a pleasant sound at all.
  15. swalmsley

    RFH Organ

    I'm with Wolsey. I was present for both John Scott's recital and Cameron Carpenter's improvised accompaniment to the silent film "The Cabinet of Dr. Caligari" on Saturday evening. The latter concert was not broadcast but I compared the John Scott sound to a recording of the broadcast shortly after I returned. The sound in the hall is much better than the (admittedly good) broadcast sound. It is truly a wall of sound, the lateral disposition giving that unusually stereophonic effect which has always been evident. I always admired the softer flutes and clean classical choruses of the organ before it was taken out, but what has changed now is that the improved resonance in the 16ft and 32ft registers has rebalanced the sound in the hall to the extent that the tutti is now very satisfying and has become the organ's best sound, whereas before I found this somewhat grating. The blend that has been achieved with the chorus reeds and mixtures is a marked improvement. Many highly admired instruments achieve, by careful balancing, this effect of being extremely loud in a way which is not at all tiring on the listener and the rebuilt RFH organ is now in that category. I had several hairs-on-the-back of the neck moments during both performances, admittedly helped by the interpretations, but something which cannot be faked, and which I sadly find much more often on the continent than here. Particularly noticeable in the hall and less so in the broadcasts is the way in which the improved bass resonance and the slight improvements in hall acoustics are just sufficient to remove the old impression of the hall sucking the life out of the space between each note and chord. In my opinion, this is now a very, very good organ and on a somewhat selfish note I'm very pleased that it's local!
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