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It should be remembered that all of the fluework on the Great was revoiced in the 1992 work, including the Sesquialtera. Either way the impact of the 1992 work was significant, as evidenced by recordings before and since 1992. Certainly for earlier music the 1968 work was useful - which I suspect was one of the intentions in the first place.

I completely agree Friedrich. One of my favourite recordings of King's on CD is 'Organ Music from King's' on the EMI label (1976), performed by Sir Philip Ledger. My favourites include BWV565 (there is a passage in the Fugue played on the Choir organ which is simply stunning) and Widor's 5th Toccata. The upperwork is very clear and bright, which I much prefer to the post-1992 sound.

Please see my previous post. The recording of the organ on the radio broadcast is excellent, and matches my recordings made of the organ prior to the alterations of 1992. So John Butt was registering the organ the way he could in 1981, including the bright and cheerful IV rank quint mixture of 1968.

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I can confirm the work of 1992 had an impact on the voicing of the fluework of the Great division. In particular, the IV rank quint mixture (19.22.26.29) was revised, in order to achieve a significant reduction in 'brightness'. I attended the organ recital in 1992 to celebrate the work, and noticed in particular the lack of brightness in the Great and a general 'smoothing down' of the fluework. More recently I contacted Harrison & Harrison about this, and Mark Venning kindly confirmed the changes I have mentioned. When the pipework was cleaned the speech of the Great fluework was altered in order to reverse the changes made in the work of 1968, so that the more recent pipework would be fully integrated with the 1934 work. No changes were made to the Choir division in 1992*. Apparently, Arthur Harrison voiced the stops for the Choir organ in 1934, and was accommodated in the Senior Common Room at King's College in order to do this. It appears he took a personal and active interest in the voicing of the fluework of the organ during the 1934 work. So I suspect he had a real interest in the character of the Choir organ in particular, perhaps partly because of, or due to, its 'uniqueness' at the time? * I would add that the 8' Dulzian, added in 1968, was replaced by a 8' Corno di Bassetto in 1997.

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