David Coram

Sortie in Bb can be heard lo-fi at www.romseyabbeychoir.org.uk on the Listen to us page. A better quality recording is obtainable through www.gillianweir.com on the Koss Classics "Scherzo" CD. I may be able to email you a high quality version, please send message thru the board if you would like me to do this.

Yes, it does. I apologise for any offence caused by me phrasing my sentiments in a careless way - this is what comes of trying to do several things at once. The question posed seemed to me to be - why is there a perceived lack of public support for the project? Why is there talk of people being "bitter" and acknowledgement of the existence of "detractors of the Willis organ scheme"? Any restoration or reconstruction of this nature ought to be regarded as A Good Thing and especially so where the original builders have been exclusively involved on the project for over a hundred years, indeed frequently at considerable financial loss to themselves. One possible answer, which I do not necessarily support, would be to consider the perception of the Willis firm during the 70's and 80's; whether or not it may have been felt to have lost some of its former greatness, and whether or not this perception may have, in some quarters, stuck to this day, despite the reality of the situation as it happily now stands. It logically follows from this that those who hold this belief, however misguided they may be, may consider that other firms may possibly have been better equipped to handle the project. The high-profile restoration of RAH was an example of such a large project, not an example of a genre. I do not necessarily agree with that sentiment, you understand, it just seemed to me to be an answer to the question which my original, badly-worded post, asked - why on earth would people not support the project? This is a genuine question, and I am interested to know the answer to it. The history of the hall is very dramatic and very sad, full of disaster and destruction, and lacking in proper financial support, instead relying on the generosity and enthusiasm of a few individuals, not least members of the Willis family tree who went way, way outside the remit of a commercial company to keep the project alive. I find it very sad indeed that after over a hundred years of individual dedication and financial struggle the situation is still not fully resolved. It's even sadder that at this joyful time, when the instrument is speaking again and substantial completion is now actually in sight, there are others who aren't delighted about this. I too want to know why... It has to be said that the firm acknowledges on its own website that things weren't always as they should have been in fairly recent years, and is rightly proud of the steps taken by the new management team to reinvigorate the firm and its reputation, moving into what I assume to be the former Rushworth premises, recruiting staff and so on. I am sure everyone, including their competitors, wish them well and hope they will be just as innovative and pioneering in the future as they have been historically. Please understand that I was not trying to slag anyone off or even express a personal opinion, just question whether or not this issue of perception of reputation may be a key issue in the minds of those who tragically show no support for the scheme. Sadly, a lack of input at this end failed to make this clear and consequently there is a need to apologise. Please don't shoot me.

That seems more sensible, especially with the fixed fulcrum on the backfall. That was the bit that made me nervous about the Willis one. Thanks for posting DC

thanks for that - now alles klar - seems v. overcomplicated to me...

See message above. The two systems have vast differences. DC

Don't know... it still seems to me, though, that BL has so many advantages over conventional pneumatic (and, for that matter, a lot of direct electric actions I've played)... despite being "on/off" there is a degree of humanity to them and I've found I can articulate quite nicely and get a connection with it in ways I can't with pn and el. it's nice to know they're still alive, in one form or another.

The Willis device (and Fisk) is genuine servo assistance, and the pallet tracks the movement of the key all the way through its travel. It's essentially just a backfall with help. The Barker lever on the other hand is just an on/off arrangement.

Wow! Awesome casework. What a good idea, adding a lower pitch to the Mixture when the 16' comes on.

I was wondering if anyone knows of original Barker Lever actions still in existence. The Romsey GO is an example I am aware of, but someone asked me the other day, and I was hard pressed to think of a single one. The Romsey one is perfectly reliable and prompt and it strikes me that it's a sensible way to go when compared, say, with the well-documented deficiencies of pneumatics.

Hope your gig went well. Ours was one of the most stunning demonstrations of musicianship I have ever witnessed combined with a very amusing Scottish standup routine between each piece.

Who he/they?

I recall Mr Cleobury doing one of those pre-Xmas Nine Lessons 'n' Carols documentaries about 6-7 years ago where he did a long piece to camera about making the boys sing in a cod Italian accent "for clarity". In principle, and properly balanced, it will work to flatten out some of the less attractive sounds in English dialects. I wonder if rather too many have taken this dictum as gospel, giving us leaving Lords and harts desiring the water brewksss and as it was in the begeeeening. And - Wadham, Oxford is magnificent - can't comment on the Spitzflute's authenticity, but if it was later it was by someone good - in particular, the stophead matches exceptionally well, which wouldn't have been the case if they'd got Martin of Oxford in to do it. All the nomenclature is a mixture of French, German and English. I seem to recall it was recased by Willis a few years after being originally built and some playing aids were stuck on in the 30's so I spose it could have been changed then.

... at Romsey Abbey, tonight, 7.30pm. Ample parking. Have a go on the organ afterwards and then get drunk in the pub across the road (v.comfortable benches in churchyard). Usual v. exciting programme. Well worth the journey.