Paul Morley

The organ was finally tidied up, became a four-manual and 'made legal' (not having previously had any sort of faculty approval) by George Sixsmith in about 1996. As I understand it, the (previous?) incumbent had some influence (or possibly a post) within the Lichfield Diocese. On the occasion that I met him, I got the distinct impression that he considered the church authorities' sidestepping of the faculty process in respect of the organ as his personal triumph.

Surely, the most inspired "I'm sorry, I haven't a clue" offering was "Anarchy in the UK" to the tune of "Land of hope and glory". Genius!

How about Alain 'Litanies'? Tremendously exiting , but playable by an ABRSM VII/VIII standard player. I know that the bars of rapid LH chords just before the final tutti are a bit monstrous, but it should be remembered that the composer himself described these a 'unplayable'. That's my excuse for fudging them, anyway.

...the one you have could well be a gem No 'could well be' about it. This instrument is a masterpiece!

Two years ago I officiated at a mediaeval themed wedding. High points included: § Man in suit of armour, who could not sit and had to prop himself up against the font. § ‘Leper’ in rags with grotesque make-up (at least, I hope it was make-up). § ‘Jester’ with Blackadderesque comedy cod-piece. § Our rector realising, far, far too late, that he had made a terrible mistake in allowing the couple and their friends free-reign, and rather embarrassedly announcing, ‘Friends, before we start, please let us all try to be mindful of the fact that this is a serious occasion and not a theatrical event.’ § The ceremony took place in December. A home-produced, inadequately proof-read service sheet included such gems as, ‘…to save us all from Santa’s power’ and ‘…they found him in a manager where oxen feed on hay’, to say nothing of ‘Hornpipe – Handle’. § The entire choir (adults and children alike) getting the giggles during ‘God rest ye merry, gentlemen’ for fairly obvious reasons, while I tried (with only partial success) to drown them out with large amounts of organ

About 10 years ago I attended at service at St Paul's. Onslow Sq. At the time, the church was a satellite of HTB (I believe that it has since closed). A member of three church staff informed me that certain ranks from the St Paul’s organ (unplayable since the 70’s) had been incorporated into the HTB instrument. I have no information as to which ranks were used, or whether this work was done at the time of the organ’s installation or at a later date. The NPOR specs of the Audley St/HTB organs do not appear to differ greatly (except for the separation of the Ch division into Ch & So). Spec of St Paul’s organ as follows: http://npor.emma.cam.ac.uk/cgi-bin/Rsearch...ec_index=N13070

The ideal solution at York, of course, would be to reinstate the 3m Hill (?) instrument that stood in the nave in the 19th century and maybe make it playable from the main console. Well, this was the organ which, of course, had the most absurd specification in the history of British organ-building MM, Although I doubt if anyone (except perhaps one resident of Ohio?!?) would contest your assertion that the design of the Ward/Camidge organ was utterly bonkers, are you certain that it was sited in the nave? I was always under the impression that this instrument stood on (and presumably, like its successor, partially within) the screen. The 1863 nave organ by Hill: http://npor.emma.cam.ac.uk/cgi-bin/Rsearch...ec_index=D07988 still exits, and stands in St Thomas, Radcliffe: http://npor.emma.cam.ac.uk/cgi-bin/Rsearch...ec_index=N01665 The Minster’s booklet on the organs contains an old picture of the nave showing this organ situated on the north side, in approximately the space now occupied by the nave console. It also shows the screen organ with a rather unsightly swell box protruding from above the case, and I think that it is also possible to see the original Hill chamade. Cheers, Paul.

Paul Morley. Age 43, native of Manchester, now resident in Cheshire. I became hooked on choral music after singing Verdi’s ‘Requiem’ in my first year at grammar school. I was hooked on the organ around the same time, after hearing some stunning playing and improvising by Roger Fisher and his assistant at an ordination service in Chester Cathedral. My enthusiasm was encouraged by the Head of Music at school (a fine organist, inspiring teacher and the equal of many a ‘big name’ as a choral conductor) and members of Manchester Organists’ Association. At present, my day job is Head of Music at Alsager School. I am also Organist and Assistant DoM, St Mary’s Nantwich. The church has a thriving choral tradition (mixed choir of c.35, choral evensong twice a term, an annual concert, a biggish programme at Christmas & Easter, cathedral visits once or twice per year), but a much messed with and now somewhat rubbish organ: http://npor.emma.cam.ac.uk/cgi-bin/Rsearch...ec_index=N04318 I will be standing down from my church post in September 2006 because of increasing work and family commitments I am married to a flautist and singer, who considers the organ vulgar and those who play upon it rather creepy. Fair enough on both counts, I suppose.

Hi, A few years ago I updated the NPOR entry on the organ at Middlewich Parish Church. http://npor.emma.cam.ac.uk/cgi-bin/Rsearch...ec_index=N04308 The organ took on its present siting, tonal design etc. as a result of a radical and cost-sensitive rebuild by R & D in 1964. Over the last ten years or so I have played it or sung to it on about half a dozen occasions. As a result of this experience, I am able to say without fear of contradiction that this organ has two manuals, a pedalboard and some stops. However… The late organist, who worked closely with the builders in 1964, informed me that the Contra Oboe stop (playable on Sw and Ped) had been voiced by Henry Willis III. I realise that this sounds like an urban myth, but the gentleman in question knew what he was taking about and I have no reason to doubt the accuracy of his recollections. I wondered if any board members could throw any light on this. As I understand it, it was not uncommon for big firms to subcontract to smaller ones. However, here we appear to have a situation where a big firm subcontracted to another big firm with whom they were in direct (and I should imagine fairly fierce) competition. Intriguing Paul.

Manchester can certainly offer variety as regards organs in major churches/concert halls. Note that all the instruments listed below are in good working order and in accessible venues. City Centre Cathedral. One of the last true symphonic organs to be built in this country (discuss…). http://npor.emma.cam.ac.uk/cgi-bin/Rsearch...ec_index=R00118 St Philip’s, Salford. Remarkable survivor from the early 19C. http://npor.emma.cam.ac.uk/cgi-bin/Rsearch...ec_index=N06094 RNCM Definitely of its time, but a fine instrument. http://npor.emma.cam.ac.uk/cgi-bin/Rsearch...ec_index=N08877 Bridgwater Hall Perhaps not all it was intended to be, but truly musical and versatile nonetheless. http://npor.emma.cam.ac.uk/cgi-bin/Rsearch...ec_index=D03374 Town Hall ‘Mostly’ as ACC left it. http://npor.emma.cam.ac.uk/cgi-bin/Rsearch...ec_index=E01157 http://npor.emma.cam.ac.uk/cgi-bin/Rsearch...ec_index=N02353 Whitworth hall, University of Manchester[/B] Willis/Walker. A fine romantic instrument vandalised and emasculated in the name of organ reform. It should be preserved in its present tonal state for all time ‘lest we forget’. http://npor.emma.cam.ac.uk/cgi-bin/Rsearch...ec_index=N01559 http://npor.emma.cam.ac.uk/cgi-bin/Rsearch...ec_index=N01620 If hearing/playing this organ becomes just too depressing, simply cross the road to… The Holy Name Glorious Hill. Recently restored. In an equally glorious setting/acoustic. http://npor.emma.cam.ac.uk/cgi-bin/Rsearch...ec_index=N02185 Within 15 Miles of City Centre. Stockport Town Hall - surely the place to be examined for FRCO??!! http://npor.emma.cam.ac.uk/cgi-bin/Rsearch...ec_index=D07661 Albion URC, Ashton http://npor.emma.cam.ac.uk/cgi-bin/Rsearch...ec_index=N10869 Rochdale Town Hall http://npor.emma.cam.ac.uk/cgi-bin/Rsearch...ec_index=N01507 Cheers, Paul.

After the specified starting time, I play five minutes of prepared music, followed by a further five minutes of improvising/sightreading Kevin Mayhew lift music. Then it's blower off 'till the light flashes.

Splendind! Thanks once again, MM.

Do we really believe God needed a blood sacrifice à la Old Testament? The Doctrine of penal substitution may be non-PC these days, but nevertheless remains a central dogma of all orthodox Christian denominations. As regards perceived theological waywardness in GK, 'In this bread is full forgiveness, in this cup is life forever' (from ‘Here is Bread’), is hardly an evangelical/charismatic understanding of Holy Communion. Let’s keep these theological debates going folks - they are often far more interesting than discussions about wind pressures, mixture compositions and the like! Cheers, Paul.

.....but I was once the subject of an official complaint - a lady said I played the hymns too fast, that she had seen me getting my music ready for the next service during the current one, and that my hair didn't look as though it had seen a pair of scissors for at least 6 weeks! At one of my previous schools, a local 'worthy' wrote an official complaint to my headteacher because I had conducted the carol service wearing white socks.

For instance, did Bach wear high-heeled boots or shoes? Weren't JSB and his colleagues requred to perform in cavalry uniforms complete with riding boots whilst at Weimar? I also seem to remember reading that the prince had a compusory 8.00 bedtime for all his staff - presumably a partial explantion for number of offspring the great man sired...

...which Blake (and many others) considered contrary to accepted Christian religious values. I wouldn't have thought that Blake's idiosyncratic gnosticism was very close to the Christian orthodoxy of his time.

O Jesus I have promised - Hatherop Castle - music for muppets! 'Music for muppets' is surely a suitable subtitle for Beaumont's entire output.....however I have heard a member of the clregy suggest the theme from 'The Muppet Show' as a suitable alternative tune for 'O Jesus, I have promised'. Be very afraid.

To return to a previous thread, is the 'Zadok' performance perchance a collaboration 'twixt choir and fusician?

Hi guys, A little off topic, I know, but I felt that I had to share the following typos with you. I swear on the life of my family that they are all genuine and taken from services at which I either played or directed - although the third one was noticed at a choir practice, after which the entire stock of service booklets (400+ for an Easter Sunday morning service) was reprinted. .'..to save us all fron Santa's power when we were gone astray.' 'Here, O my Lord, I see thee face to face; Her would I touch and handle things unsen.' And one to keep the theologians excersised 'till judgement day, 'I know that my Redeemer lies.' Microsoft Office spellchecker is an instrument of Satan. Discuss. All the best, Paul.

Barker-lever is possible - but I do not think that a Unison Off is possible with Barker-lever. At least, I cannot think of an instrument in which this was attempted. There is no original Cavaillé-Coll with a Unisson Muet which springs to mind! I was thinking more in terms of Sw-Gt octave and suboctave. I would be interested to play the organ at St. Chad's. I have read a lot about it and it certainly looks good. I assume that it is not just a 'builder's (JWWW) house-style' organ, then? Can't really say, as I haven't had enough experience of the house style. JWW hasn't supplied many new organs in the grim northern towns (or even the leafy Cheshire ones) where I have operated for most of my career. Blackburn Cathedral belongs to an earlier generation of course. In any case, I imagine that it is a 'one off'.

- Tuba Capitularis 8' (the meaning of which I have no idea!) Maybe when drawn it causes the congregation to stop singing and surrender!

There was also Christ Church, Newgate Street (London), which Gauntlett had rebuilt by Hill, in which the Pedal Organ consisted of the following synoptic stop-list: 16. 16. 16. 8. 5 1/3. 4. V. V. 16. 8. I do not have a table of the intervals of the Pedal mixtures, but on paper, this looks to be incredibly impressive for the 1840s. However, the compass of this latter Pedal Organ was disappointingly short, being one octave only, for the most part. This is rather strange, since the compass of the pedal-board is given as thirty-two notes. Presumably there was some sort of mechanical transmission, similar to that employed at St Luke's, Cheetham Hill, manchester, (N02068), before its rebuild in the 1880s by Jardine.

Re post #32...we have al been busy over the last few days! § Please note, if anyone rubbishes my scheme, I will take it like a man and not resort to abuse (!). Actually, I like quite a lot of this. I agree that a Swell Bourdon is useful in accompanying. However, I think that I would find a Voce Umana less useful! I quite like an undulant to be fairly assertive. Something that can’t just be flung on in every quiet piece, but makes its presence felt in appropriate repertoire. As an aside, isn’t it interesting how relatively infrequently French romantic and 20C composers actually specify the V.C? Whilst I do find a 4p flute useful for accompanying, I also like a good unison diapason. My preference would be to replace the Hohlflöte with the Harmonic Flute (converted to 8p pitch, with a non-harmonic bass), add an Open Diapason 8p, keep the Viola on the softer side and get the undulant to beat with that. I reasoned that would be good to have 8, 4 & 2 flutes on two divisions. Insofar as the Positive and GO mixtures are concerned, the GO I would prefer as 19-22-26-29; I have never met a more useful GO mixture - if artistically voiced. 15-19-22 adds little in the way of brightness. 19-22-26 is acceptable, but my preferred option is the IV-rank mixture. Left to myself, I would have specified iv rks. 19.22.26.29 on the Gt. I thought about specifying a Hill-style 17.19.22 on the Pedal. The organ as it stands has a 22.26.29 on the Swell, breaking exactly as the Gt 19.22.26.29. The Sw Mixture appears to have been voiced with no consideration for the rest of the fluework and sounds foul unless the reeds are also drawn. The Positive is more of a problem. If Denys Thurlow were to voice it, I would suggest a 22-26-29 mixture. However, there is no principal-toned stop above 4p pitch and therefore, to add such a mixture would need a highly-skilled voicer; otherwise it will stand apart like oil on water. Fair enough, but doesn’t that run the risk of having the secondary chorus sounding too similar to that of the Gt? I’m also assuming a voicer skilful enough to make the 2’ sit on top of both the flute and the Principal. The action? Sod tracker - have the couplers! How about Barker lever to the Great? Thanks for your observations, pcnd. The only comment that I would add is that anyone wishing to hear a completely outstanding, newish 40 stop scheme would do well to get themselves over to St Chad’s Cathedral, Birmingham. I had the opportunity to play it a couple of years ago and was completely blown away by it.

There used to be an example of this stop in the 1904 Hill organ of St Paul's Bury, Lancs: http://npor.emma.cam.ac.uk/cgi-bin/Rsearch...ec_index=N01512 The stop was placed on the Choir division, and conformed to Audsley’s description. It was of narrow scale and produced very keen, slightly reedy string sound. It was also one of only two spotted metal ranks in the organ, the other being the Swell Oboe. Interestingly, informed opinion was that this stop (along with the Pedal Open, Great Large Diapason and a few other odds and ends) might have been retained from the original instrument, built by Jackson of Liverpool in the 1840s. The stop was not, strictly speaking called ‘Keraulophon’, as there was what appeared to be a Greek character used in place of the ‘r’ on the stop knob (I can’t remember which character - it’s getting on for twenty years since I played this organ, and any opportunity to do so again has long passed). This was a wonderful instrument, which could and should have been saved. The organ that I use for teaching: http://npor.emma.cam.ac.uk/cgi-bin/Rsearch...ec_index=N04388 contains a Keraulophon on the Swell. The sound of this stop is indistinguishable from that of a Salicional.