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Everything posted by AJJ

  1. Maybe the best thing is to try the Institute of British Organbuilding and see if any creditation that either firm had still stands. Since they were set up the IBO seems to have got itself well involved in sorting the profession out somewhat. They also have a very readable website and their journal is also good bedtime fodder - if you like that sort of thing! http://www.ibo.co.uk/ AJJ
  2. Cawston Organs were at one time looking after quite a few important organs in the SW including Bath Abbey, Clifton Cathedral (I think) and also the Klais in Symphony Hall Birmingham. I am not sure if this is still the case but their reputation for this work seemed always to be good - this was a year or two ago though and I am not sure if Tony Cawston (who seemed to do much of the work then) is still in charge. AJJ
  3. There are still a number of firms doing the old 'EP plus extending' bit - usually smaller instruments by 'non-top-notch' firms in the first place, perfectly suited to their role - more in need of overhaul, cleaning and maybe judicious tonal adjustments than complete reincarnation. Frequently a large (and sometimes mobile) console appears, more pistons than stops and the whole thing then is transformed out of all recognition. The trouble is that on occasions the new work sounds tacked on - ok, impressive stop manipulation can now be achieved and on the surface the extended reed chorus L, R &
  4. Back now (alas!) but I saw a few nice instruments - St Sever (Landes region - SW France)) has an interesting CC not long restored in its west gallery and Bourges Cathedral was celebrating 25 years since the organ was rebuilt/restored. Superb case and from what I heard some nice sounds too - much old pipework. I also had a brief encounter with a rather strange looking little machine in a church in Ambroise and saw the new machine in Evreux Cathedral with its drum shaped case. Also - heard the organ in Boulogne Cathedral with its rather minimalist case. Thanks for all the suggestions AJJ
  5. I've seen it but not heard it - as the article says, it has had some things done to it that are not fully in sympathy with its origins but there seems to be enough left to get an impression of the sound as HJ intended it to be. The minimalist console is very neat! AJJ
  6. It was announced in a recent IBO communication that Daniels had been taken over by Cawston Organs - does anyone know any more about this? AJJ
  7. There are still a number of e Osmond men around the south western counties doing excellent tuning etc. on instruments in many of the villages - mine included. The large 3 manual Osmond rebuild of a Compton (late 70s/80s?) at St Peter's Parkstone in Poole has been mentioned here before - it is certainly very exciting - complete with Tuba and 32' reed. The last time I heard it (a few years ago on an Organ Club trip) the player concerned did a very respectable improvisation on plainsong themes in a very 20th Century French style - he has also been known to contribute to these discussions on occas
  8. Thanks for these - they both look rather exciting! AJJ
  9. These sound great - thanks! AJJ
  10. Westbury I presume - who's playing & when please? AJJ
  11. I am soon to be in France for two weeks holiday 'en famille' - firstly about an hour south of Bordeaux then in the Blois area of the Loire region. Can anyone suggest one or two good organs to visit? (We have daughters aged 5 and 6 so anything lengthy could be a problem - likewise my wife is usually happy to participate in such ventures but not over much so!) Cheers AJJ Ps We are going by car so are driving down from the northern ferries etc.
  12. I agree totally but in the Lincoln context as a special effect it worked. Maybe it is the acoustic - I am not sure - but the Tubas there are certainly not the obliterating type - the Chancel Tubas at St Paul's Cathedral could be used similarly. AJJ
  13. I was told frequently by my teacher at Lincoln (an ex Assistant Organist) that the 8' & 4' Tubas were intended to act almost as super Great reeds - ie in a chorus context. At some point a Great to Solo coupler was added to facilitate this. I am not sure if this is the case at Salisbury etc. though. (I did once add the Tubas to the final part of a piece being played by a friend for whom I was page turning at Salisbury - it sounded good to me but his reaction was almost such that medical help may have been needed!) AJJ
  14. And St Dominic's Priory in Hampstead/Belsize Park also. AJJ
  15. This is interesting - having 'sung against' Lincoln regularly for a number of years and also recieved organ lessons on it during this time I feel that part of its appeal is due to the space it has to speak into. (To hear Jennifer Bate play Messiaen there and in the same concert accompany the Durufle Requiem was a revelation!) Despite this, however I never had any feeling of 'lag' when playing. Salisbury I played once briefly but have largely experienced in a 'non participatory mode' - one feels much closer in to things there - the Choir Lieblichs etc. and in consequence the effect is very diff
  16. The 1906 Willis II at All Saints Lincoln - since it has had its Great 15th reinstated is well worth a visit - See NPOR for spec. (Cousans revoiced it as a Harmonic Flute 4 ! - Julian Paul, who has done so much to keep the Cathedral organ in good shape put the 2' back in the '80s) AJJ
  17. Interesting - I never noticed this - 'have not been there for a while though but did some research on Roger Yates for an article in Organists' Review back in the '80s so spent some time there with the then Rector - Ronald Watts who had been instrumental in getting the Yates work done at Kilkhampton PC. He was also an organist himself so maybe console details etc. were worked out between him and Yates. AJJ
  18. An aside.... but the Kilkhampton Willis (see above) combination pedals are very cunningly devised to allow registration easily by adding and subtracting by hand after the combinations have been set by foot. There are four pedals, each pedal draws Swell to Great, Choir to Great and Great to Pedal, plus a selection of speaking stops. Playing on the Great one gets: 1. Salcional 8, Principal 4. 2. Salcional 8. 3. Salcional 8, Hautboy 8, Flûte Harmonique 4, Principal 4. 4. All manual stops with 8ve coupler. Rather amazing if you think about the various possible permutations for recital
  19. I agree about Kilkhampton - here's the spec. for info as it's quite unsusal - 'supposedly it was originally a house organ: CHOIR: Lieblich Gedact 8, Principal 4 GREAT: Open Diapason 8, Flûte Harmonique 4 SWELL: Salcional 8, Hautboy 8 PEDALE: Bourdon 16 Tremulant (inoperative) Couplers: 3 to Pedal; Swell to Great, Choir to Great, Octave coupler to Great Trigger pedal to Swell Horse-shoe pedal for Great to Pedal reversible Four composition pedals to all the manual stops Compass: 56/30 The 1876 at Davidstow in Cornwall sounds similar to the Yorkshire example above.
  20. The above looks rather like St Aldhelm, Branksone in Poole (A really quite effective 1990s rebuild by Lance Foy of a 1920s Gray and Davison that had some 'typical of its time' work done to it by Osmond - it also has a Choir to Pub coupler!! - nice church too.) AJJ
  21. Downside in the right hands can sound pretty good in it's acoustic too - I once heard Geoffrey Morgan playing there - it was magical. AJJ
  22. And I think on the HN&B Positive at Bath Abbey which seemingly had little done to it when Klais rebuilt. AJJ
  23. Schoenstein would probably have put the Tromba rank and Ophicleide in another swell box inside one of the other two together with a couple of quiet strings/celestes.'Not sure whether we are ready for that sort of indulgence here in the UK yet!! AJJ
  24. How did the Bryceson cope with Stand by your Man.... then which I am supposing was the requested exit music? AJJ
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