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AJJ

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Everything posted by AJJ

  1. 'Rippin' of Grant, Degens and Rippin was an ex Compton man as was 'Degens' - see 'Twenty One Years of Organ-Building' by Maurice Forsyth-Grant pub. Positif Press. There is an organ in the chapel at Aldeham School near Elstree in Hertfordshire (NPOR ref D00099) - Forsyth-Grant's ex house organ - containing Michell & Thynne pipework (including some amazingly lush strings) with Compton style luminous stop console. I visited Aldenham as an impressionable teenager and was amazed by some of the sounds there including some very 'up front' voicing and an a rather bizzare sounding Cornet on the G
  2. Maybe I've got the wrong end of the stick but people seem to like Fisk doing things like this - what is the difference here? AJJ
  3. As a matter of interest - how does what could happen at Worcester differ to what did happen at Chelmsford and Southwell (stylistically different of course but broadly similar with 'nave' and 'choir' sections) and what could be happening in the future at Sheffield? Were there similar feelings to those expressed by some list subscribers when these (in my opinion at least) very worthy arrangements were created and is anyone starting to get upset about the possible demise of the Father Willis pipework at the core of the Mander at Sheffield and its replacement by something possibly from beyond thes
  4. This Worcester thread has been banging on a bit now but it would be really interesting to know what is actually being proposed! Am I the only one that doesn't? Please could someone spell it all out so that I can decide whether I want to argue on one side or the other! Thanks in anticipation AJJ PS Stoplists would be nice too!!
  5. AJJ

    House Organs

    It sounds great fun - and the one manual repertoire is amazingly large and not just confined to the expected early music. Much of the French organ or harmonium music works well - the 24 pieces by Langlais include some real gems.
  6. Quote....... Why would S.Green, England, Harris, Willis and A.Harrison be less interesting? Best wishes, Pierre Lauwers. <{POST_SNAPBACK}> Or even the Kenneth Tickell at Dulwich (see NPOR) which is modern yet sounds as Brtitish as they come and was designed in collaboration with a resident organist who also knows his stuff as far as 'sensible' organ design concerning reperoire and actual service usage is concerned. An organ with its own real identity. Maybe at Worcester.......? AJJ
  7. Interestingly also builders/designers of organs from the USA are increasingly visiting the UK to look at our organ heritage. By coincidence only last week I was in contact with the distinguished and respected proprietor of an old established organbuilding concern over there who was extolling some of our late 19th century and early 20th century instruments. More especially the ingenuity of design and construction and the standard of pipework and voicing. His admiration and enthusiasm for them and at least some of the music that would naturally 'go' with them knew no bounds. As an aside he was a
  8. Quite right! And we also need to keep the MUSIC in mind for if it were not for the need to play it on something the whole 'organ thing' would be irrelevant. AJJ 'UK wise' - Edinburgh also is worth considering perhaps.
  9. AJJ

    House Organs

    I agree with this but I suppose part of it is also the 'large two or three manual in a small room' side of things...or...'it wouldn't be possible with pipes so should one expect/desire it with electronics?' I accept with the fact that one does not have to use all the stops provided but an example I know of sounds decidedly comical with pedal opens and batteries of reeds honking around a residential sitting room all complete with the echo of Liverpool Anglican and a sort of detached feel to things as if one was playing a giant harmonium three blocks away. Likewise doesn't even the digital repre
  10. I know of part of a Trompette en Chamade 'going' - quite an effective one too - the part left behind was re aimed at the church floor! AJJ
  11. I need an instrument to practice on - local church availability is getting less frequent and less easy to arrange and the church I actually play at has a 1 manual with non standard pedals etc. I do not have room (nor funds!) for the sort of pipe organ that I would love to purchase and I am unlikely to be moving house in the near future. I would be interested in ideas regarding the design of a small (but decent) electronic that would be appropriate for the room of a reasonably spacious victorian terrace house but not in an instrument that gave the effects of a large church organ in a syntheti
  12. I agree about Westbury having played it 'in concert' a couple of times - the action is responsive and tonally there is masses of excitement if you want it or else nice individual sounds and small combinations of stops. A really versatile parish organ where the old and the new blend well. I must admit I did not know about the Sesquialtera and its switches then but a real use was a set of pistons duplicating the combination pedals (I think) on a pad connected to the console by cable that could be used by registrants/page turners etc. Back to Tierce Mixtures - a late 1800s Vowles 2 man near her
  13. You can still see the 'non Swell' side of the old Worcester nave organ complete with slatted casework and its own extended 16ft/8ft Pedal Bourdon - parked at the east end of the north aisle at Budleigh as the Positive division of the rebuilt organ. The Swell pipework has been incorporated upstairs in the triforium with the original Hele pipework and some new upperwork etc. 'An interesting sounding organ - including a Tuba Magna and 32ft/16ft Pedal Bombardes - Roger Fisher has recorded a CD on it. See NPOR for details. AJJ
  14. The entry on the NPOR gives the Redcliffe Swell a quint mixture (12.19.22.26.29.) - it was at one point re arranged at a higher pitch but I had understood that it is now back where it started from - so to speak. AJJ
  15. There was a 2 man extension job by Osmond till a few years ago at St Michael and All Angels, Andover - now replaced by a rather nasty Allen. I played it for school carol services etc. and it worked quite well for this purpose - quite bright and un-stodgy sounding on the west gallery of a fairly resonant modernish church - see the NPOR for details. AJJ
  16. Maybe ultimately one has to have faith in the needs and knowledge of the incumbent musicians - after all they use the instrument day in day out. For instance there was a great deal of fuss amongst the great and good when it was discovered that Klais had got the contract to do the work at Bath Abbey. Knowing the organ before (unreliable and really at odds with itself) and after, in my opinion one can only marvel at the versatility of the instrument as it now stands and the fortitude of Peter King and the others involved to achieve this end. (The same could probably be said for Paul Hale at Sout
  17. Another thing that seems to be that organs worked on by Osmond have name plates removed relating to builders who had previously worked on the instrument - leaving only theirs. So making it difficult to sort out a history etc. I have found this to be the case on several occasions. AJJ
  18. Or maybe something the other way round like at Lancing College with its newish 'out and out' Frobenius at the front and an almost Romantic ' old-but-completed' Walker at the back. I played New College a few years ago and it sounded very good but looked its age - rather like an elderly kitchen cabinet in places - there's a Walker of similar vintage and tonal leanings in Bristol going the same way! AJJ
  19. Re John Hosking on Truro - in many ways so Lincoln also on a larger scale - having sung 'under it' fairly regularly for a number of years (some time ago now) and had a number of organ lessons on it from the then Assistant Organist, Roger Bryan I can vouch for its versatility and surprising lack of problems to play on despite its rather far flung geographical layout . With a bit of thought and experimentation most things seemed to be possible. AJJ
  20. Try an NPOR search for Goetze and Gwynne and also William Drake's website for more examples on this subject - http://www.williamdrake.co.uk AJJ
  21. There is a 1769 Snetzler and other interesting instruments (some 'early' including a c1795 James Davis and an 1809 Gray) at the English Organ School at Milborne Port - The well known recitalist and teacher Margaret Phillips and her husband David Hunt organize a regular series of recitals and workshops there all of which are well worth attending. I heard the Snetzler there a number of years ago and it certainly has a 'lively' sound with chorus topped by tierce mixture etc. Details of the organs (including those mentioned and a couple of rather nice modern instruments by Peter Collins) at the EO
  22. Were they not taken over by Hill,Norman & Beard at some point? - ex Osmond men are working as independent tuners etc. in this area (Somerset) and Deane Organbuilders of Taunton I THINK maybe was formed from former Osmond employees also. There is a large rebuild of theirs (Osmond that is) at St Peter Parkstone, Bournemouth - Bryceson/Compton etc. which I think had Roger Fisher as consultant - this must have been one of their last large jobs in 1982/3. Not much help - but perhaps try contacting Deane etc. - they will be able to tell you more. They are at Priorswood Industrial Estate, Taunton
  23. It's very well done - with decent headphones one almost feels that one is there...BUT...isn't half the Elgar P & C March missed out in the McVicker arrangement? AJJ
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