Jump to content
Mander Organ Builders Forum

Henry Willis

  • Content Count

  • Joined

  • Last visited

Community Reputation

0 Neutral

About Henry Willis

  • Rank
    Advanced Member

Recent Profile Visitors

4,291 profile views
  1. Reputedly Sidney Campbell: When asked by the Dean of one of his Cathedrals in a heated exchange "Well Dr. Campbell, what exactly do you think the Cathedral is here for?", the retort came back "To keep the rain off the bloody organ!". DW
  2. I'm not sure that I fully understand the implication of the use of the past tense in this statement - it isn't a matter of 'did' but 'do', as we still do exactly the same at Henry Willis & Sons and nothing has changed. There are earlier Willis reeds which we have had through in the past that have (to the top of 61-note compass) 17 Flue trebles, but also others with 11 Flue Trebles. In the case of the new Tubas (Contra Tuba16ft, Tuba 8ft, Clarion 4ft) which we made, voiced and supplied for the organ at Trondheim Cathedral three years ago, the Clarion has 11 flue trebles (from C#50 i
  3. No, just pure N&B 1909. The organ has always been said to be being "Restored" and if this is the case I'm a little puzzled at the suggestion that any N&B organ of that particular period would have had an independent 17th on the Great. Personally I think that it's nonsense but am willing to be proved wrong. Thanks for the list above Colin, but H.N&B was a totally different animal I think (especially from the 1950 onwards). DW
  4. I wonder if any member of the forum is able to provide details of any organ built by the Norman & Beard firm, during any period of its existence, in which an independent Tierce (17th) appears on the Great, or which was supposed to have had one listed in the original specification but subsequently not included? I ask as I have just seen advertising material announcing that the grand old 1909 N&B Ashton Hall organ of Lancaster Town Hall has had a 17th added to the Great (apparently on a direct-electric chest high above the other Great pipework and rather haughtily referred to as "a
  5. I should perhaps also have mentioned - sticking to the Compton thread here - that we have the machines that are seen in the Compton Works film which many will no doubt have seen. These machines had passed to Rushworth & Dreaper when they took over the remains of Compton in (I think) 1963 and were included in the contents of the sale when we (Henry Willis & Sons) acquired the buildings and contents here in Liverpool some years ago. There is nothing particularly clever or innovative about any of the items but they do allow the rewinding of coils etc. and the jigs for the setting up
  6. "Properly understood" - So you say. Experts 'soi-disant' abound in the organ world - in fact careers have been founded on "experts" declaring themselves to be so. For what it's worth I do like the decryption of the word given me by a (much respected) colleague: "'X' is an unknown quantity and a Spurt is a drip under pressure" - it has fitted the case in so many instances! Those of us with any experience at all and who know what we don't know, prefer to be thought of as being knowledgeable. I've only ever met one expert, in the person of Professor Peter Plesch, now gone, unfortu
  7. I hope he will not mind me saying so, but forum member Lucien Nunes is the world's greatest living expert on this aspect, having recently restored the 80 year old systems at Southampton Guildhall on both the classical and theatre consoles. And when I say 'restored' I actually mean restored in the sense of getting it all to work again at the level of individual magnets and contacts - not just by chucking it all out and fitting a solid state capture system. CEP Actually, you may find that there are one or two 'others' who know at least as much and that this statement may be just a little
  8. Members may (or not) be interested to know that last week saw the erection of the new casework for the Willis organ in the Hooglandse Kerk. Leiden. There are pictures on the SCOL Facebook pages (I'm told) but also on our own (Willis) website at www.willis-organs.com. There is also a Twitter feed accessible from the front page of the website which provides current detail. The arrival of the casework provides the means for including the original (1891) Pedale Violone 16 - in the side front - and the new Great Double Open Diapason 16 in the front - into the specification. The final stage
  9. Jonathan............... Who? DW
  10. The original poster to this list had obviously been told by someone presumably authorised to do so, if not, then that was their problem, not the poster to this list. My own 'informant' had already discussed it with Roger Sayer - to whom hearty congratulations, by the way - and so presumably that (under your 'rules') counts as authorised publication. Frankly I'm astounded at the whole tenor of this inquisitional nonsense! And may I remind you that it was not I who alerted the world to the fact that you hadn't been told. DW
  11. There is no implication of discourtesy (the suggestion of which I might actually resent): your questioning of the original poster of this 'information' however is discourteous in its tone, presumably because you didn't get to know first judging from the above. This is a classic case of don't shoot the messenger - the information is out, like it or not, the concomitant of the digital age in which we live, n'est ce pas? You have posted to this thread previously with similar information in the "I've just heard..." vein (12th May) that implied that you thought you might be the first: did
  12. Does it matter, if they're right? And they are! DW
  13. Obviously it depends on the reliability of the source! DW
  14. Well lets just say it looks like The Temple is up for grabs now (on the early-morning grapevine, so one assumes it to be true!). DW
  15. Sorry - this is a little late I know!! For anyone in the North Lancashire area who needs something to take their mind off a dreary lenten Friday evening - Lancaster, St. Peter's Cathedral Friday 2nd March at 8.15pm Colin Walsh programme is: Grand Choeur Dialogue - Gigout Salut d'Amour - Elgar, arr. Walsh Toccata and Fugue in F Major BWV 540 - JS Bach Allegretto Grazioso (from Six Pieces) - Bridge Scherzo in G Minor - Bossi March: 'The Dambusters' - Coates, arr. Walsh Allegro Cantabile (from Symphony V) - Widor Final (from Symphony I)- Vierne
  • Create New...