ajsphead

I'm trying to locate a copy of Leo Sowerby's Pageant of Autumn. I think Graham Barber is the only person I know who has a copy, and I can't find one anywhere in the on line music shops or Roger Molyneux. It's a really good piece and I have until 21st September to find and learn it. Many thanks AJS

Thought I would offer this one http://www.youtube.com/watch?v=Uyp2FTW6y-I as an example of one of the few Romantic organs in the world that really excite me. For any who don't know, the organ is in the roof. AJS

In principle, with this organ I would tend to agree. If there are enough resources to add an echo organ, then I would have thought returning the instrument, and, if wanted, keeping the current unenclosed choir, resited, is a possibility. All that concerns me is the documentary or anecdotal evidence, or lack of it, of the little tweaks that are inevitably made to many organs as the players get used to them and hear how they function. These are not the changes presented as changes, but those which happen behind the scenes. We say boldly that the organ was so good when installed that it didn't need changing when the cathedral was finished. Ostensibly that seems to be the case, but what about for example, pushing the trebles of the top 2 ranks of a great mixture, which can be undocumented, and carried out during a 'tuning' visit. Just a note of caution, not everything is exactly as it seems or is reported to be. AJS

Sorry , I think the prettiest thing about that case is the chamber organ in front of it. To my eyes, it's a lumpen overbearing thing, and it's a shame it had to stay. It's also a shame that the organ it clothed was lost. Ah well never mind. AJS

Thank you for feeling able to share this with us. I would like to say it is a great priviledge to think that what some of us have said has helped and encouraged you, and I hope we can continue to do this. Perhaps some of our London based members can offer practical support. I would love to, but the trip would be rather too long. Very best wishes AJS

No, please don't be concerned, you haven't put your foot in anythng (as far as I know), rather come perilously close to banging a large nail on the head with an even larger hammer, which in one particular sense leads to a great deal of collective pain. AJS

I know where to start, but perhaps with more relevancy, I don't know where to finish, so it's best I don't start. AJS

You've raised a couple of very interesting points here. 'turning the tonal effect of each organ they work on into 'yet another' of their own jobs'. I am not sure there is anything new here, it's a common thread throughout organ building history that this happens. I understand that this is a bad thing if it's badly or inadequately integrated - jonny half a job never worked. Firms in the past extensively worked on previous material to ensure that it did integrate, and hence, we don't notice because they did such a good job, and in many cases, the styles were not as dramatically different as romantic/symphonic treatment against quasi neo baroque. 'We do not need all our organs to start to sound the same...even if the voicing was of the highest quality imaginable. Uniformity ends up by being dull.' This is a different point, and to me, extremely pertinent. In the 19th Century builders were working from different standpoints, some with a German bias, some with French influence, some still doggedly English. Each of them produced a distinct and recognisable sound which we tend to lump together as 'Victorian symphonic or Romantic' depending on who, how and when. Remember 1840 and 1900 are both Victorian, and there was an amazing metamorphosis in instruments tonally between these dates. In fact we could say the same for 1940 to 2000. However within whatever period, builders had a distinct style. An 1880 Willis, Hill, Walker and Bishop organ will all sound distinctly different. This is what I think we lack now. Responsibility must lie with both the builders and the advisors, and also to some extent with the customers who for example ordered a Willis etc organ because that was the sound they wanted. They all now sound so similar that I don't think it applies nearly as much now; yes you can tell a difference, but only if you are initiated and listen properly at an appropriate distance to determine this characteristic. I am a firm believer that voicers hear too much on the machine, and not enough from 50/100 etc feet away. As I have said here before, until we start to look for a way forward, builders are prepared to develop house styles that clearly differ and don't just look backwards to look forwards, advisors are prepared to give them the flexibility to do it, and customers are prepared to take a 'risk', I'm not sure where we will end up, but I do feel it could be even more uniformly dull than it is now. It's not for nothing that houses are painted beige inside before sale. Apparently it offends no one, is readily accepted and can be lived with day to day. Well bland homogeneity offends me. Lets have some gold, silver, orange, purple, yellow etc. It worked for Messiaen, it could work for others too. AJS

I am also happy to say that N & L jobs generally are well made, if a bit tight. The mechanical actions are perfectly good, but make sure you have it rebuilt sensitively and thoughtfully, as you can still improve the touch a little. The pipework is normally good quality too. Should give you donkeys years of good service. AJS

A happy and holy Easter to each and every one. I shall be spending Good Friday morning with one of the accolytes removing the engine from my MGB. After Easter Sunday morning both I and the other regular organist will be handing in our letters of resignation. Credo nonnullus ibi mortuos esse, and as far as the vicar is concerned, nemo aspicit, quin ingemescat et id quot circumiret, circumveniat. There's still time before choir practice, and I feel the composition of an introit in the Latin style of William Byrd coming on, as soon as they here 'credo' they'll all be happy. AJS If anyone wants a translation they can pm me after Sunday.

Making no reference to any current builder, except to discount those who choose to build predominantly in a historically biased style, I think you have touched on a problem with modern British organs, that seems to have no current resolution. They are, for very largest part well designed and made, and as machines, competently executed to a world class level. But they have, to my ears, no character. I think the same comment can be levelled at some continental builders, but I am choosing here to limit myself to comments on home soil. I think the problems extend to differences in the manufacture and treatment of pipe metal before the pipes are made and the grades and scalings chosen to achieve the desired result, the quality and nature of the timber used in wooden pipes, the layout of instruments, disposition of soundboards, choice of winding system etc. The Romantic organ, or the baroque organ or whatever is a synthesis of all these things and more. What we have produced is a modern organ. What frustrates me is that organ builders and advisors try to pin what they are doing on things from the past. Out of great Hills little hillocks grow. Even a modern Harrison with an Arthur and Harry style stoplist will sound different, and I wonder what exactly customers are looking for when they order an organ from a particular company, and are presented with an instrument with a particular style of stoplist. To build a Romantic organ, you have to build a Romantic organ, not produce a Romantic stoplist, use some period scalings, and call it a Romantic organ. My personal opinion is that we are producing a lot of 'Vanilla' organs. Almost everyone likes them, very few people find them utterly distasteful, and they perform their role perfectly. This of course makes very good business sense, and with the cost of new organs, from that perspective one would be foolish to criticise. Our electronic organ manufacturers have also realised this, and are producing machines that make a similar sound (finer points notwithstanding). They know it sells, but are doing nothing to further the art. Sadly, the art is, in some senses very much secondary to the finances. You are principally running a business, so to produce something that might further the art, and take it on a stage, is a calculated risk which few are willing to take. In most instances, we are back to a common human thread - 'we buy what we like because we know we like it' . I wish we could lose the tags and references to the past, something which I suspect neo baroquery has tricked us into doing - did we ever do it in the UK before 1950? - and start making a true distinction between those organs that are built wholly in a period style, for which the tag of that style is appropriate, and otherwise call them 'modern organs' . What I think we will still lack is a vision for the future, but at least the present will tell its own story. AJS

2 movements from Christopher Steel's Suite 'Changing Moods'. It seemed apt for that particular clergyperson. Tournemire's Improvisation on the Te Deum. This was particularly sweet as the churchwarden had asked me to record it as part of the audio track for a promotional video for the town, and my credit will be there for evermore. AJS

German gravitas to French frisson AJS

Ashes to ashes Dust to dust A gallon of petrol and a match Is a must. AJS

Why didn't you tune the Swell to Great is a particular favourite. Also don't you tune the Pedal Open Diapason. Explaining that partial removal of the instrument to do so, wasn't really understood. Last time I went there - actually a blessing. AJS

This one is awful. Given the description, I think Rieger developed a new type of action called mecahanical (trecker) which is slower than a bad exhaust pneumatic. I think the acoustic is exhaust pneumatic as well. It also shows a detached console to the right of the stage, not being used by a recitalist in a concert hall, perhaps they couldn't get it to speak at all from that.

The Ampleforth Trompetta Argentea was also made by Boosey and Hawkes. It is of course not strictly a chamade reed, but in a way I am glad. Without its construction as is, we could never have called it 'The daffodils'. This remains one of my favourite instruments, early neo baroque JWW without the Downsian oberton, and IMO a perfect marriage of instrument and acoustic. I think it represents a more natural example of the genre developed by the builders without the overbearing influence of a consultant, and is all the better for it. I have a recording of the Dupre Stations of the Cross played by Simon Wright, a really lovely man, I hasten to add, which is simply stunning. AJS

I am familiar with an instrument in South Wales where the word Tuba could be inserted in the name of every stop on the Great, it creates an undeniable blend of tone, best heard from the channel. Tuba is a wonderful acronym. AJS

To pick up on one of the other threads, the Pedal Dolce on the Grove organ in Tewkesbury Abbey is a triumph. Soft, clean, slightly stringy and so much more versatile than a Bourdon. It's completely in keeping with the concept of the instrument, and a great shame IMO, that we don't encounter more pedal basses like it, particularly on smaller organs although there are many similar examples often with different names on our larger ones. AJS

What about the Jongen Minuet Scherzo. Requires some careful synchronisation, but has some lovely lyrical passages and a light touch. I often play it alongside the Chant de Mai, during May (obviously). Picture crisp spring sunshine, cherry blossom, and a light white wine, and you're along the right track. AJS

Trombas, specifically of the honking type, often 1930's, tick side out on about 8'' pressure. Nasty noise. Quite different from the Willis or Walker ones which have a genuine ring to them. I also have a particular dislike of 'frying bacon' strings. Just because you can get a pipe to go at that scale and with that mouth treatment doesn't make it a good idea. And to the other extreme in style, 'biscuit tin' principals, as found in some prominent recent new instruments. AJS

I think this organ falls into a difficult category, hence to some extent, the diversity and division of opinion. Put briefly,is it successful and representative enough to justify being kept exactly as it is; is the argument for saving based on this, or because it is unaltered, and should therefore stay that way. I would want want to know more about it's 90 year history, both written and aural, before making a judgement on that. If it was saved unaltered, could it guarantee to provide regular, effective and satisfying use to its owner. Whilst it seems to me aurally, as far as one can judge in these circumstances, to demonstrate the skills of the firm that built it, and even on that basis alone is not without merit, that does not necessarily make it effective and satisfying to use, again much depends upon the context it will be used in. It seems to be one that could justify being saved as it is, with it's owner being very proud of their fine example of the tonal concept and design of a small Skinner organ, and I feel that the way the pendulum on these matters is currently swinging would be in favour of this, which is not to say that it is right of course. We are, after all, very often confident that what we currently think must be better balanced than what we thought before, and doubtless our predecessors were and successors will be similar. In my opinion, you could keep it as it is, although I question whether long term success and satisfaction from all different perspectives will result. The Skinner work could be augmented in Skinner style succesfully to increase the potential in repertoire and liturgy. It could be sold "Cheap to a good home" and make it someone else's problem. If asked whether I would want to play it, as a one off, probably yes, on a regular basis, thank you but no. AJS

Didn't Henk ten Bruggencate work with, or was part of a later incarnation of, GDB ? AJS

Couldn't agree more. I also often play an 1870's Willis with the minimalist Swell of Open Diapason, Lieblich Gedackt, Gemshorn and Hautboy, albeit with later Octave and Sub couplers. The Open is often the first stop you draw when registering. It's small scale, about 2 7/8'' Tenor C, the bass is stopped wood, 4 1/2 mouth, slotted and drilled. There's enough foundation tone, but it's not weighty, and, understandably, has a slight cutting edge to the tone which helps clarity. It also works well up to about treble g on a partial draw, beating against the Great Dulciana. If it didn't have these characteristics, very much inherent in its period Willisness, I doubt it would be nearly as useful. AJS