AJJ

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.

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

''David Briggs in Gloucester'' Now in the USA - I think. AJJ

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

'Too far for me at the moment but enjoy yourselves! AJJ

And then there is this one: http://www.tickell-organs.co.uk/specInfo/opus39.htm More food for thought here - I could live with this too!! AJJ

Winding back somewhat - so to speak - what about this one?: http://www.tickell-organs.co.uk/specInfo/opus54.htm Now everything bar the Open is enclosed! AJJ PS Nice to see the Clarabella back!

Dr John Rowntree the consultant for the organ wrote that the Celeste was included to provide a range of Romantic colour in the absence of a Swell - in combination with either or both the other 8's on that manual. Also that along with the colour provided by the Sesquialtera (both in solo combinations and as a chorus stop) provision could be made for sounds required in the more modern end of the repertoire - Langlais etc. The main 8' chorus does the usual duty with interestingly the 16' pedal stop being derived from one of the manual 8's for space saving reasons. The only aspect missing perhaps might be a coupler between the two manuals (or a coupler manual) - the possibilities for massed 8's or 8's + 4's even in such a small design would be interesting to consider. AJJ

And also quite often small 2 manual jobs are to all intents and purposes a large 1 manual divided in two with one half enclosed for theoretical versatility. When I encounter these (playing hymns and settings etc. as well as repertoire) I tend (maybe out of habit) to play on Sw and Gt coupled contrasting if necessary with the Sw alone but with the box open for the most part. The non balanced Sw pedals tend to move one towards this too. Often the Sw is too quiet when closed unless the choir (if there is one!) is very near etc. Frequently the balance between it and anything on the Gt can be better with the box open. As you say - Westbury works well - it is a good example of a basically Victorian organ but with modern touches that add to its versatility without taking away its identity. The Jennings organ seems to be revisiting similar ideas in a modern context. AJJ

Take a look at this new organ by Robin Jennings: http://www.jennings-organs.co.uk/pages/streatley.htm It is in a typical village church, north chancel with rather nice slim case, designed to sound out into the church as well as play for a chancel choir. It is interesting that it has two unenclosed manuals mainly due the fact that the swell shutters would have taken up the space of a rank of pipes and seemingly it was thought better to have more stops. I think I could live with this (as opposed to having a 1 manual with about the same number of stops) and would probably (in the context of this organ) not miss the swell as long as the voicing allowed for quiet enough sounds etc. It is also interesting to see the horizontal tonal design ie. variety of 8fts etc. as well as the solo and chorus structures. All in all a superbly constructed/voiced instrument with some interesting ideas for the design of an instrument in a similar small church situation. What do people think? AJJ

And maybe also incorporate some of the ideas Sarum College and the EOS. Chunks of the RCO syllabus requirements can send one running for the nearest pew to hide under whereas these establishments aim to provide practical assistance and ideas for repertoire etc. at a level that some of us at least find reassuringly friendly! AJJ (Academically OK but technically out of practice!)

''maybe a pooling of resources and some publicity for all those youngsters looking for 'safe' churches to practise their Oortmerssen trios!?'' 'Not just youngsters - I used to be lucky enough to have free use of a local (as opposed to the 1 man. that I usually play) 2 man. instrument in the evenings until insurance policy changes at the church stipulated that only a certain number of individuals could be key holders - in the past I borrowed the organist's key. Now, if I want to practice I have to have the organist (or another keyholder) present - either sitting listening or doing 'whatever' in the vestry! She is an obliging friend and has always said that she would not mind doing this if it helps me but I do not really want to impose on her time or subject her to the sound of my practice. It is getting more difficult generally. AJJ

I like the open minded rather experimental feel of all this (especially the 'wild' and 'curry' aspects) - viable new sounds and effects can always add to the art of playing organ music more effectively - hopefully the instrument will be available on CD soon so us on this side of the Atlantic can all experience its undoubtedly success for ourselves (and in my case unlikely to get to LA to hear it live in the forseeable future). Does anyone know if/when this is likely? AJJ PS Mr Tikker's CD of the Rosales organ at Claremont California (Raven OAR 670) is worth buying too!

And further over in this direction there is Downside, Bath etc. AJJ

Whatever the 'ins and outs' the reprints on sale on the above mentioned website are good music - I have the details. AJJ

All in all a brave step by anyone's standards! AJJ

But how come they go so far - new organ etc, and then found that there was a problem? AJJ

Geoffrey Morgan has just posted on Orgue-l - apparently he has heard that the RCO is not moving after all - he also queries the state of affairs therefore with the new Goll organ. Does anyone know more of this? AJJ

As a matter of interest - does anyone build new ones? - as opposed to the Fisk servo mechanism or similar newer developments. AJJ

Interestingly - I am off on Sunday evening to hear Barry Ferguson (ex Rochester Cath. and a superb composer) play at the Methodist Church in Gillingham down in deepest Dorset and quite near to me here in Somerset. According to the NPOR the organ is very much like those that I play week in week out (ie not one I would normally go out on a Sunday pm to hear a recital on) but I am really looking forward to hearing him play and I am sure it will be a treat. We are lucky with Bristol, Bath, Salisbury, Wells etc. around within reasonable 'recital distance' but I have to admit partly by inclination and partly through family responsibilities I tend to get only to those that really grab my interest. Maybe I should support more but I have been to so many where top recitalists have come and played well but with something crucial lacking in the delivery and the repertoire. By this maybe I am being too critical - but by delivery I mean that hard to describe element that puts on a really 'entertaining' programme on. (In the broadest sense - Dame Gillian, Hurford, Kynaston, Bowyer etc. as well as the two mentioned below would fit into this 'entertaining' bracket - also locals such as Peter King, Marcus Sealy also from Bath Abbey and from slightly further afield Geoffrey Morgan) Not necessarily all lighter music and transcriptions etc. but a really well thought out combination of pieces with the audience in mind. I would have liked to heard Gordon Stewart at Romsey (see one of the other strands on this site) but am unable to get there and if Paul Derrett plays down this way I would willingly employ a child minder and pack my wife off for a girls night out to get to his concert. Goodness knows how many will be at the Gillingham concert on Sunday - the seats will probably not be ASLP comfort, the organ will certainly not have any of the mod cons but I am sure those who are there will come out feeling glad that they attended. AJJ

The case at Evreux is decidedly quirky too - mind you not many builders/architects seem to take the bull by the horns as far as case design goes!! AJJ http://orgues.evreux.free.fr/photos/jacque...ecathedrale.jpg

There is also an excellent article about the Grand Rapids organ in the IBO journal 'Organ Building' for 2005 - see their website to order. AJJ http://www.ibo.co.uk/

I met Noel Mander only once as an eighteen year old - undecided as to whether it would be better to go and do a music degree at the university where I had been accepted to study or become an organbuilder. He told me most emphatically to go and study music and then come later back if I wanted to become an organbuilder - I never did but the organ bug stuck - hence writing here and a large part of life since that interview. I still remember him sitting behind his desk in the office at St Peter's Organ Works as if it were last week! His importance in the sphere of organ building both as a craftsman as well as a man of vision and determination is well known, the time he gave me then was an example of his generosity and desire to see potential achieved in someone starting out on a career path. I too would like to offer condolences to John Pike Mander and his family. AJJ

Three AJJ

Stephen Cooke has been asked to look at the instrument that I play with a view to restoring it to its 1 manual and 8 stop late nineteenth century pristine state. Not quite Westbury etc. in size but I like it. Lets hope.....! AJJ PS He's also a very competent organist.