John Hosking

Alan makes some very kind comments about my accompaniment of the Abbey Choir, but much of the credit must go to Martin Baker's constant inspirational playing. Being able to listen to such a master play the organ on a daily basis for the first year or so in the post heavily influenced my style of playing - from improvisation to registration. It is true that the choir and organ worked together as one with Neary and Baker at the helm; Baker particularly believed in allowing the organ to have an equal voice with the singers and saw this as integral to the overall effect of the music. The choir - boys and men equally - always rose to climaxes in accordance with the organ - generally extremely exciting singing. Improvements or changes to the Abbey organ...... well very little really. There's a slight bump when the 4' Octave is drawn on the Great although this can be masked by the Choir Principal 4'. It would be useful to have the Solo Orchestral Trumpet available on the Great, and the Pedal reeds are slightly masked by being so far down the Quire when listening in the Nave. At the console the Great reeds don't sound particularly thrilling, but in the building they blend well with the fluework and add weight to the tutti. In a previous posting it was mentioned that tierces were heard in all the mixtures. Probably a case of an organist having drawn the Harmonics in addition.... by accident? John

The Abbey organ is certainly versatile and manages to play music from many periods extremely convincingly. Of course, as with any large instrument, care needs to be taken to listen to balances downstairs because nothing sounds as it does at the console. It's also fair to say that when registering the organ for Nave events, it almost has to be treated as a completely different instrument than for the Quire. As already mentioned, the Abbey organ's strong point is as a tool for choral accompaniments. But, yes, the Nave and Transept speaker system does need to be operating so as members of the congregation sitting in these areas may hear the choir. On the whole, this is only really needed for weekend services. It's impossible to get the best out of this organ without having sufficient preparation time - with the Abbey's busy schedule it makes more sense for a resident Organist to accompany services for the majority of the time. As far as playing repertoire is concerned... a very well known exponent of early music looked with horror when I pressed a general piston and my Bach combination appeared. "You can't use that"..... after some pursuasion this organist agreed to sit in the Nave to listen. "That works incredibly well" came the reply. You can't come to this instrument and play as you would at home - to create the desired effects it's almost a case of going back to the drawing board. I'm not giving away all of my secrets of registration, but suffice to say I've never played an organ in this way since. The Bombarde division contains the three rather deafening reeds (surprisingly muted in the Quire, appearing with a vengence again at the High Altar) as well as a Cornet and Mixture chorus. The fluework, perhaps sounding slightly overblown at the console, provides greater clarity for Nave services when used in combination with the rest of the instrument. Of all the places I've had the priviledge of holding organ positions I have to say that the Abbey organ has been the most fun to play, as well as the most rewarding. Some weak points, but things that can be lived with.

Thank you for your kind words Alan!!

Truro is a small job, working far more efficiently and effectively than instruments twice the size. Personally, I'm rather fed up with the Hill that I play...... no power at all in the building..... bland, similar sounding flutes all over the whole job and quite frankly no excitement or character, other than a rather wheezy-sounding Trombone with a bad case of vibrato. My point is that generalisations are dangerous. Purchases of Priory's "Music for a Cathedral's Year" or Regent Records' "German Romantic Organ Music from Truro Cathedral" will demonstrate quite nicely good balances between the Swell and Choir. I am sure that other recordings do as well, but these examples come particularly to mind. Perhaps Roffensis could clarify his/her opening statement - I really would like to know why the Truro organ is apparently overworked.

I think that the danger of coming to any instrument, particularly in a large building, is jumping to conclusions and not taking the time to find out how the organ works. Truro is one of the easiest instruments to play in the country - very little need for general pistons, as most things can be done on divisionals or by hand. In the four years that I spent playing the Truro Willis liturgically on a regular basis, I didn't once find an accompaniment or piece of organ music that didn't sound convicing - I have a large repertoire. Psalm accompaniments were always a joy, and registered most of the time by hand. Members of the congregation and choir often commented on the wide variety of colour found. In answer to several criticisms made of the organ: Choir organ - this isn't quite as quiet in the building as it seems to be at the console. Yes, the choir is at the back of the chamber, but the sound projects well into the nave. The Hohl Flote is of similar power to the Great Claribel for example. Solo organ The inexperienced visitor to Truro will miss the solo being enclosed. The competent organist will soon realise that the flutes and reeds are voiced so well that they become expressive without aid of a mechanical device. An organist with initiative will realise that changing from the Solo Clarinet to the Choir Corno di Bassetto creates an effective diminuendo. The tonal qualities are different enough to merit having both reeds, but similar enough for effects such as this. Variety of flute stops Personally, I've always found each flute on the organ to have a different character of its own. No two flutes sound exactly the same, and each is beautiful in its own right, working effectively with the building. I've never enjoyed improvising with different combinations of flutes and strings anywhere as much as Truro. There are two string stops on the swell, and two on the choir. An inventive and imaginative organist can provide many more tone colours than apparently appear on paper. Tutti piston The tuba has never appeared on this - personally, I've never used a tutti piston in my life as far as I can remember..... Loudness of the instrument The organ quite simply isn't too loud for the building. As with any instrument, the impact is less towards the back of the Nave, but I can assure all readers of this list that the full resources of the instrument are needed for capacity congregations. For a normal Sunday service, Great reeds are not overwhelming for the final verse of a big hymn. Personally, I'm rather fed up with constantly having to play on the tutti to lead small congregations singing at my Cathedral. Pedal ophicleide Probably the loudest ophicleide around..... so enjoy it! Clever use of the instrument doesn't neccesitate a pedal reed sound until the Great reeds are drawn. Besides, shouldn't the pedal reed(s) balance the tutti? Great reeds on choir This would have meant building new chests. Willis's chests speak far more reliably than the new Tuba chest. Perhaps a second Tuba would have been the answer, but this would have compromised the unaltered specification. At least the original action is in place for the Tuba to be moved back, should anyone wish to do so. Nothing has been lost. Lincoln does have a "Great reeds on Choir" transfer - I never remember using it. This year's recital diary has taken me to many Cathedrals in the UK this year - I have to say that the highlight will still be Truro for me.