Henry Willis

January 19, 2009

the gist of his advice on dealing with troublesome choir members is to take a conciliatory approach rather than a confrontational one - "Take the gentle path," as George Herbert put it!

Or to quote my late grandfather "They slip further on butter than they do on sand"!

DW

January 18, 2009

There's another way, I think:

Rehearse loads of stuff for Sunday, no-matter who is there and then DON'T DO IT ON SUNDAY - no reason given and no matter who's there!

Then:

Don't turn up to Choir practice, arbitrarily, and on Sunday morning present them with a pile of stuff they've never seen and lightly assist them to fall flat on their butts (musically speaking of course!)!

What's sauce for the goose......

Ha! :lol:

DW

January 14, 2009

And all this before we get into the very important issue of which bearings to tune to? Do we use "round the clock" for a Willis? Do we use "Willis" bearings for everything we tune as standard?

R

Certainly not! :blink:

January 10, 2009

Evening all,

I'm a bit mystified about humidifiers and would be grateful for a couple of pointers -

1) In an organ with seperate HP and normal pressure divisions, is it usual for one humidifier to breathe through the lot via a non-return valve, or for two units to take a section each? (I ask because mine has two units, of which one is turned off at the mains and the water, and the HP section of the organ is cyphering like a lunatic.)

2) Are any correspondents willing to share their experiences of the few humidifier companies in the South (by PM if necessary) to assist me in making the right choice?

To overcome the absolutely dreadful ciphering, I've whacked the humidistats up to 65% (they were down on 50). Have I done wrong?

D

As there is presumably no mixing of high and low-pressure wind in your job, there would be one unit for each: if these are W&W units - D11s or D12s - the 'non-return' is achieved by a back-flap in the boxes to which the hoses are attached.

Turning up the humidistat on the unit that's running will just make that one run permanently at the present ARH (here in Liverpool today this is 36%) so it would still be running even if set to 50.

I'd suggest finding out why the high-pressure side has been disabled, but get it running again as soon as possible.

I'm happy to give you details of the firms we use David, give me a call.

DW

December 31, 2008

I'm really not sure why they did that (the microphone placement), although they do explain it in the text. The Tuba Mirabilis sounds quite emasculated!

Because they can't resist it!

I wouldn't give a toss for their explanation: if you can't hear the organ from that position, they shouldn't have put their mics there. End of argument.

DW

December 18, 2008

Another Pearson church, double transepts and stone vaulted, very Truro, is St. Agnes, Liverepool. The pipe organ is silent, most regretably.

R

And another, although NOT in Liverpool is this: http://www.willis-organs.com/auckland_general.html

It is considered to be one of the finest church buildings (and therefore possibly one of the finest buildings per se) in New Zealand and also has the 'purpose-built' organ chamber in a triforium position, though being in the Southern Hemisphere, on the south side to avoid the sun. Difficult to get your head around, or at least it was for me!

Although designed entirely by JLP it was executed entirely by FLP after the former's death. The local stone is used, very soft and very white.

DW

November 18, 2008

John Sayer is exactly right (well, nearly: the work was done in the days when Conacher's was just a Branch Office, as it were, of Willis's). We still maintain the organ, which though not a spectacular specimen by any means, is perfectly adequate for the limited uses to which it is put these days. The High Commissioner is very fond of it apparently!

It IS such a pity that the remains of the old Gern were in such a dreadful state - we have photographs of the interiors of the building when it had been completely wrecked by vandals/squatters prior to the lease to the Jamaican HC. I'm afraid that the organ was virtually destroyed and much had gone completely.

DW

November 2, 2008

Great picture, who is conducting the work? Not Henry Willis III I'm sure!

Henry 4.

You can see some of the others at: http://www.willis-organs.com/history.htm

I'll see if I can persuade someone to put some others up this week.

DW

November 2, 2008

I am sure you are referring to the Lewis chorus binned in 1977 in favour of the new NPMander diapason chorus.

Quite - I was answering this:

The Lewis pipework was replaced in the 1977 rebuild Bazuin.

The picture, along with others, was taken in about 1953 we think.

DW

November 2, 2008

The Lewis pipework was replaced in the 1977 rebuild Bazuin. The origins of the Trompette Militaire have been much discussed on here (and elsewhere). It would be nice to hear it sometimes though, last time I heard it was ten years ago I think. Perhaps it's not there at all really, and they're just not telling us

I agree with you here Bazuin 100% I think this such an important point. The replacement of all the 1900 Father Willis manual reeds in the Dome (chorus reeds 16.8 and tubas 16.8.4) with brand new Mander stops is a good example. Certainly the character of the Dome section is now significantly different. I'm not saying it's a bad development, in fact it sounded impressive to me this Thursday, but it is very different. I would say these replacements are more 'revolutionary' than 'evolutionary' in terms of the Grand Organ's development. Whether you think such replacements of supposed historic pipework from one of our historic organ builders is a good thing or not is certainly open to question. At this rate, will anything be left of the Willis pipework by the end of this century?

Pictures of the old dome stuff here:

http://www.willis-organs.com/History/HW4.JPG

As regards:..... "Whether you think such replacements of supposed historic pipework from one of our historic organ builders is a good thing or not is certainly open to question".

We absorbed Lewis in 1919. This 'second-hand' pipework was 'gone over' by Willis Voicers of the day (Deekes, father and son). It should not be forgotten that, at that time, it was not possible to use new materials - this was only a very short time after the end of the WW2

The Trompette Militaire was purchased from Gottfried. The information is all extant in our archive.

DW

October 19, 2008

As far as I can see different hardness of metal actually changes the sound.

Jonathan

And this is exactly how I think that two seperate issues are being confused: the hardness of the metal prevents the pipes from collapsing and it is that that Terry Shires has been concerned about.

I do not believe, at all, that the hardness of the metal will change the sound to the degree reputed in the earlier posts - if AT ALL.

David Coram said it beautifully earlier: there are so many minute factors involved in the eventual sound emanating from any pipe that it should be extremely difficult for anyone armed with the proper information (usually borne out of experience) to say that the metal itself or the method of its production would have any inordinate responsibility for that eventual result.

In our organ for Florence all of the pipework, with the exception of one metal stop, is made from spotted Metal or Tin: the other stop is 'hard' plain metal (with lots of 'impurities' to harden it). you are welcome to come to see it and to examine the voicing but I can assure you that the sound is little to do with the metal - it is the scales and the voicing which are important.

There is so much mythology around this subject that the talk is not helpful to the trade - suddenly there are expert Advisers who will insist that metal be produced in a particular way - they have no real evidence that these methods are useful in any way other than being used by an earlier generation and so historically accurate (possibly). The fact is, that the skill of the Voicer IS diminished by the expert insisting that the sound is due to HIS insistence that a particular method or material be used.

If one is convinced that there is a difference then it is incumbent on one to demonstrate it rather than just passing it on, adding to the mythology.

My challenge remains - open to all.

DW

October 19, 2008

I didn't say that Terry Shires had made those assertions.

Jonathan

My point excatly - so how you draw the conclusion, as he didn't mention tone production? I'm not picking here Jonathan, I'm just interested to know how what Terry said resulted in your conclusion that there is a link between the points below?

He has also analysed in some depth the composition of some older pipe metals, and as far as I can see there is a definite mettalurgical link between tone produce and composition used.

David.

October 19, 2008

I had a long conversation with Terry Shires about this on a visit to their works, and he explained the idea that virgin tin and virgin lead as now supplied does not meet the requirements for producing good organ pipes and they add a number of impurities. He has also analysed in some depth the composition of some older pipe metals, and as far as I can see there is a definite mettalurgical link between tone produce and composition used. This doesn't decry the work of the voicer, however, this matter fascinates me, and the analysis made of the metal used at various times in history clearly is an important study. Its not just a matter of how much tin and lead you use, or indeed other principle constituents, but the so called impurities. However, I admit to being a novice in this, and definitely no mettalurgist in the more detailed sense.

Jonathan

There are two distinct issues being very badly confused here.

As far as I'm aware, Terry Shires has never made any assertions regarding tone production being affected by 'impurities, they do, however, considerably affect hardness of the metal.

I'm afraid that I can not see, at all, how any link between impurities in the metal can be made to tone production, as you say above.

This is a very valid question, and I have no doubt that the 'casting on sand' thing is a useful marketing tool for the builders that employ it. The consensus seems to be that pipe metal cast on sand cools at a different rate to being cast on a normal man-made substance and has a different crystal lattice as a consequence. It isn't surprising that the acoustical properties of the pipe are also different. Its worth experiencing some modern organs or reconstructions where this has been applied, I have been impressed in a number of locations. I'm an organist rather than a mettalurgist, but my ear tells me that this is really a breakthrough.

All bunk, I'm afraid! 1. The consensus? of whom?; 2. The freezing point of a metal isn't affected by the rate of cooling; 3. The 'Crystal lattice' - where does that idea come from? The molecules of each (constituent) metal remain as discrete molecules. What makes a metal harder or softer is the sizes of the gaps at the interstices between molecules of similar sizes - if you want to harden the metal, you must find a 'solution hardener' - i.e. a molecule small enough to fit into these gaps, to reduce the movement, as it were; 4. Your ear tells you that this is a scientific/metallurgical breakthrough? This tells ME that there has been no breakthrough at all, just the perpetuation of an already out-dated myth which I feel is simply being exploited as a marketing tool.

As for casting on sand and THAT being responsible for the wonderful sounds referred to, both in that quote and the subsequent one regarding the Flentrop exercise, I assume that they have copied pre-existing scales and voicing details from similar period pipework, and that the superb results are as a result of that and the skill of their Voicers.

The metallurgy is not at all simple - many in this trade have tried to ascribe all sorts of 'analysis' results and other pseudo-scientific pronouncements over years, but the actual chemical and physical properties which need carefully to be examined can not be achieved in an organbuilder's workshops - electron and scanning microscopes are required if solution hardening of these specifically-composed metals are to be properly analysed. I was, for several years, in close contact with a (now retired) Dr. Charles in the Chemistry Faculty at Cambridge and we carried out several analyses of correctly polished samples over that time - we know what causes the hardening of these solutions, and it isn't anything to do with casting on sand!

A challenge: If anyone can demonstrate to me any difference at all in the quality of the sound of pipework due to either materials or method of casting, as reported in these earlier posts, I will pay him at a commercial rate for all of the time spent in doing so, AND the materials used!

DW

October 13, 2008

I'm afraid my taste differs. I think a flue chorus with mixtures is one of the most glorious, noble sounds our instrument can produce.
JC

I don't disagree: as I said, in the BUILD-UP, I think Willis mixtures work best coming on after the reeds, but that isn't to say that they can't be used with the flues alone.

No point of disagreement really.

DW

October 13, 2008

msw's post opens a wide question; what do Cavaillé-Coll and Father Willis actually share ?
We know they knew each other; both commenced their apprenticeship with

free reeds voicing.

The harmonic chorus reeds Willis certainly received from Cavaillé-Coll, and this form

had an huge importance in the History of the british organ since without it, there would

have been no high-pressure-smoothly voiced reeds.

We do know that there was correspondence regarding 'eshallots' - we have quite a stock of old, Bertenouche-style, domed examples and then the later (HW3) 'Trompette' shallots, completely open-faced: we have used a set of these in the Bombarde 8ft on the great for Florence.

But then ? Willis himself never resorted to smooth reed voicing, his chorus reeds were
still bright, something which may lend to think they have "something french" in them.

We never see them as being 'French' in any way, just less smooth (and in my opinion less boring!) than the usual fare.

It seems Willis Diapason choruses, up to Mixtures (with 17th!), were intended to work
with the reed choruses.

It's all a matter of personal taste I suppose, but I have been of the opinion for years that the Mixtures should really come on after the reeds in the 'build-up' - this is not, of course, to say that a Mixture can not be used with the flues chorus and without the reeds.

Cavaillé-Coll tried to introduce chorus Tierces and Septièmes, notably at Notre Dame Paris, but
had to resign because of the players sheer opposition.

He wasn't alone: in the original specification for the Cathedral organ at Liverpool, every division had a mixture which included a Septième but these were all deleted prior to the construction, by request. Pity.

A contribution from David Wyld in order to correct or complete this would be interesting.

I don't think I would be able to correct or complete anything Pierre, but I think that the French side of the organ world was certainly of more interest to the firm than any other potential influences: For my own part, we maintain the firm's links with Paris and we are still privileged to count among our friends the present occupants of several of the Paris tribunes, on whom we also occasionally rely for advice!

DW

September 25, 2008

FJ's next recital is at Port Sunlight this Saturday (27th) - only 5 days before his 91st Birthday!

Programme is as follows:

Fantasia & Fugue in g minor (BWV542) - JSB

Sonata in E Flat - Sir Edward Bairstow

Marche Nuptiale (op. 25) - Guilmant

Toccata, Chorale & Fugue (op.16) - F.J.

Praeludium (Leipzig 1985) - F.J.

Carillon de Westminster - Vierne.

7.30pm - Admission £5

More details on www.organrecitals.com

DW

September 3, 2008

I've been asked by one or two members about Olivier Latry's programme for his recital at St. Peter's Collegiate Church in Ruthin next Saturday so here it is in case others are interested:

Johann-Sebastian BACH (1685 – 1750): Prélude et fugue en Sol Majeur BWV 541

César FRANCK (1822 – 1890): 2ème Choral, en Si mineur

Jehan ALAIN (1911 – 1940): Deuxième Fantaisie

Olivier MESSIAEN (1908 – 1992): L'apparition du Christ ressuscité à Marie-Madeleine (from: «Livre du Saint-Sacrement»)

Thierry ESCAICH (né en 1965): 2° Evocation

Olivier LATRY (né en 1962) : Improvisation

Other details at:

http://www.organrecitals.com/1/recitals0.php?venue=spccr

DW

OOOOOOOOOOOOOPS!

I can't believe I said that (thanks for noticing!!)

It's on FRIDAY!

DW :huh:

September 1, 2008

I've been asked by one or two members about Olivier Latry's programme for his recital at St. Peter's Collegiate Church in Ruthin next Saturday so here it is in case others are interested:

Johann-Sebastian BACH (1685 – 1750): Prélude et fugue en Sol Majeur BWV 541

César FRANCK (1822 – 1890): 2ème Choral, en Si mineur

Jehan ALAIN (1911 – 1940): Deuxième Fantaisie

Olivier MESSIAEN (1908 – 1992): L'apparition du Christ ressuscité à Marie-Madeleine (from: «Livre du Saint-Sacrement»)

Thierry ESCAICH (né en 1965): 2° Evocation

Olivier LATRY (né en 1962) : Improvisation

Other details at:

http://www.organrecitals.com/1/recitals0.php?venue=spccr

DW

August 7, 2008

Although the photo isn't quite clear enough to show the mouths clearly, I suspect that these are speaking pipes.

Quite right!

We have looked after this organ since 1954 when we 'absorbed' Ingrams. The piopes in question are the lowest 9 notes of the Great Open Diapason 8ft and they do all speak, conveyed from the soundboard, directly behind.

DW

July 29, 2008

There was a very great effort made, several years ago, to get a more appropriate honour for Dr. Jackson - I and many others, including Edward Heath, wrote to the Honours Secretariat, to no avail. There were several mentions of the 'blocking' of a high honour by a certain adviser to the Cabinet Office.

That was all a long time ago and in June 2006 I decided to have a poke and wrote:

Mr. Tony Blair,

10, Downing Street,

Westminster,

London.

SW1 2AA Date: 26th June 2006

Re: Dr. Francis Jackson, O.B.E.

Dear Prime Minister,

It is now over ten years since Dr. Francis Jackson (a former Organist of York Minster) was nominated, by several hundred people, as a popular candidate for a Knighthood. These nominations, which included those of The Rt. Hon Sir Edward Heath and others, were rather pointedly ignored.

Last night I attended an organ recital at which, the now 89-years-old, Dr. Jackson played utterly superbly and during which I repeatedly thought that his omission from being honoured by a Knighthood is really quite, quite wrong.

In my rather privileged position as the Head of this very old Firm I have spent much time in the organ lofts of the great Paris Churches and other European Cathedrals, etc., and I am often asked as to Dr. Jackson's health: the acknowledgment of his status as a musician of international fame in the minds of these other famous musicians is palpable.

Dr. Jackson, born in 1917, served as the Organist and Master of the Choristers at York Minster from 1946 until 1982, during which period he also composed much Music which has become a part of the standard repertoire. In 1982, following his retirement his recital career blossomed, given the time which he had not had hitherto and his attraction in performance is, simply, amazing. Last year he packed York Minster for a recital, the audience of which applauded him with a standing ovation - this at the age of 88, by which time many of us are not only mentally diminished but physically incapable even of climbing the stairs to the organ loft!

In these days when it seems to many that the status of Honours is so diminished, by the constant awards made to 'Pop' stars (whatever they may be) and others whose sole redeeming feature appears to be the ability to hack a football around a field for the amusement of a crowd, which is, after all their job and for which they are already quite unreasonably-highly paid. Would it surely not be more appropriate to honour the very long life of a man whose dedication to his art, notwithstanding the risible financial benefits, has been unremitting and who is now, more than ever, an inspiration to the many thousands of much younger musicians who attend his masterful recitals, even at this great age?

May I, and others, therefore respectfully ask that you revisit Dr. Jackson's nomination for a high honour to mark both his promotion of music to the young and his international standing as a Composer.

Yours sincerely,

David Wyld

Managing Director.

HENRY WILLIS & SONS LTD.

and I received the following reply from the Ceremonial Secretariat, 35, Great Smith Street, London. SW1P 3BQ:

19th July 2006

Dear Mr. Wyld,

Thank you for your letter of 26 June to the Prime Minister concerning the nomination recommending Dr. Francis Alan Jackson OBE for a further honour.

I understand your disappointment that Dr. Jackson has not yet received a further honour. We receive over 3,500 nominations every year. This far exceeds the number of awards available and as a result many good candidates do not succeed against what is always extremely stiff competition.

I can confirm that Dr. Jackson's nomination continues to be carefully considered, but I do hope that you understand that I am unable to guarantee a successful outcome.

Yours sincerely etc.....

As John Carter says, the CBE is certainly a high(er) honour, but the fact remains that a Knighthood IS appropriate and hasn't been forthcoming. So I'm with Paul D. and will certainly get stuck in again if required!

Any more for any more......?

DW

July 14, 2008

Glad you enjoyed it David. Thanks.

DW

July 8, 2008

I don't know how many of us will be in a position to listen at this time but

http://www.bbc.co.uk/radio3/lunchtimeconcerts/pip/6t3qy/

DW

July 2, 2008

Rather than being encouraged to attend recitals at a venue which a particular organ builder favours (this does not seem ethical to me)
please check www.organrecitals.com which is unbiased and includes all concert venues in the UK where many of the organs would have been restored by any of the major organ builders.

Colin Richell.

Thank you for this little piece of Morality instruction (as usual).

:rolleyes:

July 1, 2008

I wonder if I might draw attention to the following, for information and in case anyone should be near to either venue:

Wednesday 2nd July 2008 at 8:00pm at The Collegiate Church of S. Peter in Ruthin, Denbighshire.

Roger Fisher