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Mander Organs


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Everything posted by AJJ

  1. Steeple Ashton over the border from here in Wiltshire (see NPOR) has a Bryceson Brothers & Ellis dating from 1875 and nearly as it was originally. It is a fine medium sized 3 manual in an interesting medieval church with a reasonably good acoustic. There is another slightly larger 3 man. recently restored by Geoffrey Coffin (Principal Pipe Organs) in the Temple Speech Room at Rugby School (1890). There used to be a large Bryceson (1872) in the Chapel there with an early electric action but it is now long gone. Bryceson worked with a number of other individuals during his career including Ellis, Morten and Fincham (Godmanchester - 1860 - is another good example - restored not so long ago by Peter Collins). The 2 manual for the 1885 Kensington Exhibition won a gold medal for its pioneer electric action and detached console and the company held the English concession for the 1868 Paris patented 'Barker/Peschard' electric action. Much of their work during the 1850s and 60s remained in the English tradition though later they became more experimental. They were later taken over by Kirkland in the early 1890s who in turn were taken over by Hill, Norman & Beard. AJJ
  2. AJJ

    Complete Bach

    Try Robert Clark playing Bach here on Calcante CAL CD041 (recorded in 2001) - amazing!! AJJ
  3. AJJ

    Durufle - Trois Danses

    Thanks for this AJJ
  4. Not exactly organ music (although one has been arranged for organ) - I would like a recording of Durufle's Trois Danses for orchestra - does anyone know of one? (There is a fairly old recording of the Requiem with one tacked on as a 'filler' but my reliable local CD shop has as yet been unable to source a copy). Cheers, AJJ
  5. An aside - but the 'little organ that disappeared' is now incorporated into the organ at St Peters Budleigh Salterton. AJJ
  6. AJJ

    J. Merklin

    NPOR says 'Yates & Allen' - could this have been Roger Yates? - I have not come across an association with an 'Allen' except that he knew Aubrey Thompson Allen when they were both associated with Willis early on in their careers. Thompson Allen of course later went to the USA. Or am I totally off course! AJJ
  7. I was there and thought he and Clive Driskill-Smith played really quite well. Mind you it it's interesting to compare the recorded sound of the organ now and on the old Kynaston recordings - everything feels a lot more 'tightened up' and efficient in its operation. AJJ
  8. A bit of an aside but for years I felt uneasy about the above sort of thing till my GCSE students gave me a 'cop out' for the whole pop music v classical discussion - they decided that rather than pop and classical there was just good and bad music. This allows all of us to like or dislike whatever we wish. I can now play them whatever I like and they will listen and give an opinion and the reverse for me...though not too loudly...except if it is DGW at the RAH. AJJ
  9. AJJ


    I seem to remember that he died only this year - Thierry Mechler played on the CD in question I think - perhaps he could help. http://thierry.mechler.free.fr/ AJJ
  10. This interestingly brings things back to where they started as from what I can gather, the Buzard organ in question is in a fairly dead acoustic (though not a new building) - the 'surround sound' effects of remote divisions together with a large ammount (for the building size) of fairly opulent sounding pipework seems to work very well. AJJ
  11. The Willis reconstruction at Ruthin has a rather interesting approach with a single line of 16 pistons under the lowest of the three manuals - these have multiple memories. There is also a stepper facility. I understand that this was something to do with re using an old set of keyboards - space between etc. but personally this arrangement with them as generals or with some sort of scope facility would fit the way I tend to register ideally. AJJ
  12. QUOTE(Pierre Lauwers @ Oct 24 2005, 08:26 AM) ''Were the churches in Britain today as wealthy as in the US, what would happen today?'' I would suspect that where new organs were replacing old (as opposed to rebuilds etc.) pretty much the same would happen as is happening at present - look at St Albans (Mander), Honiton (Tickell), Deptford (Drake) - there is an economy and perhaps one could say healthy leanness of design that is sometimes not present in the US. That is not to say that we skimp on details over here but even with our exports there is nothing there that doesn't need to be there. Jack Bethards of Schoenstein once wrote to me that he wished that clients would ask for smaller instruments with better economy of design. Rebuilds are a different thing but even there on the whole there seems to be more common sense around than there was - look at the work done at Sherborne - ok it has a new action etc. and remote section but the rest shows a healthy regard for what was good about the old scheme by leaving it alone. Money does have a lot to do with it though. AJJ
  13. Very succinctly put! AJJ
  14. Also interestingly the big new Mander, Harrison & Walker 3 & 4 manual jobs going to the US are often less 'lean' than the new examples over here though not as out and out 'romantic/symphonic' as some by Buzard or Schoenstein etc. over there. One can almost tell what one is going to get over here when a new project of larger proportions is announced. That is not in any sense meant as a criticism but new instruments in the pipeline from a number of builders for instance back this up (though Kenneth Jones has done some 'different' things at Rugby and Tewkesbury). Not wanting to start an old (and tired) line again - but I'll say it anyway - we wait in anticipation to see what happens at Worcester. Regardless of the pros and cons of removing the old organ - the opportunity provided by the new will I hope be taken up and exploited fully and with imagination. AJJ
  15. I agree - Redcliffe etc. are spectacular - hopefully less threatened than in the past - vis restoration work at Al Saints Margaret Street and Crediton. But in the USA it is almost like reform of the reform of the reform! AJJ
  16. Priory Records have recently recorder John Scott on a new J P Buzard organ in Atlanta Georgia (see link below). The playing and recording standards are as would be expected from player and company involved and I am assuming that the very impressive range of sounds are a representation pretty much of what one would hear in the building. The instrument is large for its 'context' with a wide array of tonal resources including a chorus of Dulcianas, extended Trombas, a H & H Harmonics, proper choruses and mutation ranks, a plethora of colour flues and reeds and two remote divisions away from the main bulk of the organ. The blurb states that this is an organ in an 'Anglican' context - presumably from a liturgical point of view and it can seemingly cope with a wide range of the repertoire as the recording shows. What I am wondering is - whether this 'type' of organ would ever be built over here in the UK or is it more an example of the sort of instrument being built by an number of companies in the USA in a kind of 'new romantic' or 'new symphonic style' almost a sort of upgraded St Mary Redcliffe. Compared to recent new organs over here there seems little similarity to me. AJJ http://www.buzardorgans.com/opus/opus29-list.htm
  17. So how do you remember what's what? - postits or something similar? AJJ
  18. Scope sounds interesting - can someone explain please? AJJ
  19. Wells Kennedy did the following at Donaghadee, Co. Down a year or two ago - John Norman was consultant. It has a rather nice quasi Victorian gothic case designed I think by Didier Grassin. GREAT Open Diapason 8 Stopped Diapason 8 Principal 4 Wald Flute 4 Fifteenth 2 Sesquialtera 1-3/5 III 17.19.22. c1 15.17.19. f18 12.15.17. c25 SWELL Gedeckt 8 Viola 8 Principal 4 Trumpet 8 PEDAL Bourdon 16 Bass Flute 8 ext. Tremulant & usual couplers Mechanical Action 3' Wind 'Looks a bit like a mixture of our 'inventions' above - apparently it sounds and plays well. AJJ
  20. I play an 1870s Vowles organ fairly frequently - 2 manuals - usual stops etc but with a fairly pungent 17.19.22. Mixture on the Gt and nothing but a 2' Piccolo to top the Sw flues. The two 8' reeds (Trumpet and Oboe are on the Sw - this division is quite recessed) Consequently for any big chorus effects the Mixture needs to be drawn. It works but sometimes one could do with something less 'clangy' and 'complex' sounding and the Gt 2' is not really 'pointed' enough tonally. I often use it with the 8' and 4' flutes as a RH solo against Sw 8' and 4' Principals. It was suggested at the last 'clean up' that a new quint mixture could be added to the Gt on the Dulciana slide - tempting - but it was decided not to mess around with things in the end. The sound is as one would expect from an organ of this type and vintage in a resonant church. I quite like it actually! AJJ
  21. Thanks! If I had been able to have more flexibility I would have had a straight 15.19.22 Mixture on the Sw and a Sesquialtera 12.17 (or even Twelfth and Tierce) on the Gt. After that a Celeste. 'Agree about the 8' Ped. AJJ PS The Sw Sub to Gt I like better than a straight Sw Sub that couples through.
  22. GREAT Open Diapason 8 Stopped Diapason 8 Principal 4 Fifteenth 2 SWELL Open Flute 8 Viola da Gamba 8 Gemshorn 4 Mixture 1-3/5 III Trumpet 8 PEDAL Bourdon 16 Sw to Gt Sw to Gt Sub Sw to Ped Gt to Ped AJJ
  23. AJJ


    ''David Briggs in Gloucester'' Now in the USA - I think. AJJ
  24. Some time ago (at least 10 years) I went to a recital at Malmesbury Abbey by a distinguished cathedral organist from the North East - the tuning was ghastly and there was a constant sound of wind escaping and general 'runnings'. I felt very sorry for the player in question and wondered quite how the instrument had got into such a state. I am not sure what it is like at present however. The stop list (at least on paper) is quite impressive for a 2 man. - 32' reed - lots of colour, tracker action etc. I think it was designed by the late Dudley Holroyd when he was at Bath Abbey. AJJ
  25. 'Too far for me at the moment but enjoy yourselves! AJJ
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