contraviolone

Interesting to read that thread again. My comments made eleven years ago still stand. I still think it looks like an IKEA fabrication. I suppose refurbishing instead of replacing saves money. I suspect OL insisted on it being kept. As I commented in the other thread, I don't think any 'adventurous' additions will be made, especially the re-instatement of the Positif de Dos. Pierre Cochereau would not be pleased. I also prefer cats to ferrets. I never understood why people like them. Is it really a 'Northern' thing?

I'm sure changes in the team of organists were to be expected. It would be a shame though if Johann Vexo were longer in the team. I think of more interest will be the results of the rebuilding of the Notre Dame instrument. I'm sure everything will be the same as before, but there has been conflicting information with regard to the console. It was initially suggested that a new one would be built, but latest news suggests the current version is being restored. The replacement of the Orgue de Choeur will certainly be of interest, apparently this will be new with an expanded specification. Again there is very little information on the details of what this will be, apart from the comment of the addition of 'new colours'. Perhaps we can expect more weird and wonderful mutations in the new instrument. Some were hoping that the rebuild would afford the opportunity of the re-instatement of the Positif de Dos, the furniture of which was restored before the fire and hangs in the workshop wall in the upper galleries. Pierre Cochereau wanted this restored with a planned eighteen new stops, but it never happened, and it's a shame in a way it won't happen now either.

That's quite an early recording by Pierre Cochereau though, before all the work carried out in the 1960s. I suppose from a historical perspective it is quite interesting, if only to prove that by the 1950s the organ was falling to pieces. By far the best recording by Pierre Cochereau of BWV565 was made in 1973, on the Philips label. I have both the vinyl and CD recording of this performance, and for me this represents the pinnacle of PCs abilities as a performer, and also the very best of the Notre Dame de Paris organ before all the changes made in 1992: http://www.youtube.com/watch?v=L0ti8f0GIGw

Having listened to this organ in person on several occasions, I must agree with comments regarding the power of this instrument. I wouldn't mind if it made a pleasant sound, but since it does not the overall impression is not good. Recordings also confirm this, but it is even worse when attending a recital or service. I wouldn't be surprised if the Henry Willis III stop was the best stop on the organ! Why they employed a Dutch firm in the first place beats me. They should tender for a new contract with French builders, and throw the whole instrument out.

Thanks for that. I always thought even a modest independent flue chorus on the Pedal was a good idea? I'm not sure why a cathedral organ wouldn't need it? I suppose I must be a child of the 50s and 60s Organ Reform Movement. I will be very interested to hear the results, especially those 32' extensions. It just shouts out John Compton, which is no bad thing. I've always admired the Compton consoles as well. You should really go visit Downside Abbey!

I wonder if Father Willis I would approve... I was going to mention in the other thread but will add it here. I suspect the major driver for all the derivations/extensions/polyphones is not just about the issue of space but saving money. I doubt whether Gloucester has the money otherwise. In which case why not go electric as well? This works quite well at Blackburn Cathedral, which also has a very good acoustic. This also saves money and can work. You still keep the ancient case and pipework, as will be the case at Gloucester, but have a polyphone/electric additions behind the facade. A sort of 1920s giant electric/polyphonic theatre organ with a few old pipes chucked in for good measure. The emphasis today is to go electric, so why not?

The composition of the Pedal organ looks straightforward. There are only three fully independent stops: Open Wood 16 (the old Bishop stop), Subbass 16, and Flute 4. The rest are either derived, or extensions/borrowings from elsewhere. The two 32' flues are extensions as a polyphone setup. This was much used by John Compton in his theatre organs.

The rationale is open to individual interpretation and opinion.

Quite honestly i don't know what to make of it. I've always been a firm believer in an independent Pedal organ as much as possible (space permitting of course), but the derivations and borrowings on this one defy belief. I'm not keen on reed chorus extensions either. I would imagine Ralph Downes will be spinning in his grave at least 24,000 rpm, which is about as much as a modern powerful turbo on a Ferrari. Seriously though, have we come full circle? Is this the reincarnation of John Compton and Robert Hope Jones?

Completely agree. There is no excuse for this ridiculous behaviour. Yet another item on the long list of reasons for me for not supporting the Church of England. It's full of weirdos and yobs.

An interesting 'behind the scenes' video of Anna Lapwood and the organ curator delving into the interior of the Royal Albert Hall organ. Impressive to see the two Great divisions, and the unenclosed reeds of both the Great and Bombard tubas. The organ does appear to be very dusty though. Obviously not cleaned since the rebuild of 2002-04. http://www.youtube.com/watch?v=zq0s17bzdLI

With regard to Gloucester. The removal of the 32' flue in the Downes rebuild (and discussed in another thread) seemed a bit unnecessary to me, so I would certainly like to see that reinstated. I suppose this opens up the question of how effective the original stop was, given its location high up somewhere in the triforia (that being the bottom octave extension of the 16'). This again opens up the problems of an organ case positioned centrally on a quire screen. There never seems to be enough room, and such expediencies of placing pipework elsewhere never really works out that well. Rather than speculating on the specification, it will be interesting to see how Nicholson's approach the requirement to support both the choir to the east of the screen and the congregation on large occasions in the nave.

Completely agree with regard to St Ouen. I gather the organ is currently undergoing a sympathetic restoration, with the stop list kept exactly as it is. I think many of us are looking forward to the results!

Contrasting with the situation today, when It is clearly thought that everything was wrong!

Very interesting information. I do enjoy the occasional video you make for YouTube. Glad you are retaining the Bishop stop. I'm sure the finished results will be very interesting, I'll be there to listen when all is done! Talking of videos, very much enjoyed your latest video from Radley College. Impressive tuba, bright and powerful: https://www.youtube.com/watch?v=GzJlblaWn7I