Robert Bowles

Thanks, Contrabombarde. I reckon all that can be worked around, given that the pedal board itself, and everything else, has 32 notes.

Thank you, Owen. Because it was incomplete, the instrument is not widely known about, and we haven't tried to "market" it, but that may change soon. The current organist/ DoM is an ex-Oxbridge Organ scholar, there is a competent choir, and the congregation appreciate the music which those resources can provide, along with the contribution from the 3-second reverberation period provided by the building. We were fortunate to persuade the late John Scott to give a re-opening recital when the re-leathering was complete (but not the instrument) 20 years ago. His programme was fairly straightforward, but he told me afterwards that if he'd known what the instrument was like in advance, he'd have been more adventurous...That was encouraging..

Thank you, Classic car man. The chest is indeed by Hunter, and the organ it came from is contemporary with the one I'm dealing with. I think I'll go with your suggestion, though I do have part of a Hunter Cornopean with the relevant pipes, which could be modified to match the scale of the trombone, and a Hunter mini - chest from somewhere which was originally designed to extend a 56 note manual to 61 notes that could be adapted.... "Integrity" has been a key principle behind all the work. That's not just because I appreciate the need for it (my day job is in the engineering aspects of conserving historic buildings) but because it was also a condition of the Heritage Lottery Fund. We were fortunate enough to secure one of the first HLF grants for organs almost 25 years ago, and all the leatherwork was renewed. Key factors were that, although incomplete at that time, the instrument had escaped the classical revival. Also the organ chamber is of such generous proportions that the components had been laid out so that access for "maintenance" (i.e. getting to that piece of lead tubing the has fallen out of its hole) is a doddle if you are reasonably agile. It's more like a box from Amazon than a sardine tin. A condition of the HLF grant was that any future modifications should be approved by them, or they would want their money back. Fair enough. I asked the HLF if there might be a further grant for completing the instrument, but they said "no". They explained that's because their remit was for the support of "existing" heritage" not the acquisition of "new" heritage (an interesting term!!). However, they said they would not object provided that any alterations or additions were in line with the original intention, and that they were made using second hand material know to be by Hunter, or new material copied exactly from known Hunter material. The latter approach would have been prohibitively expensive, since Hunter never used a 1" piece of wood when 2" would do, and didn't use zinc resonators when spotted metal would do, so I set out into the world of redundant instruments or parts. The "original intention" condition was easily met, because we have a copy of the original contract, signed by the Vicar and Robert Hunter over a penny postage stamp! This set out the whole scheme in detail, and then listed the parts that would be installed initially. Eventually we have managed to find everything, with full documentation to prove the pedigree of everything. We also avoided using material from instruments that had not already lost their integrity (in other ranks). As a result every addition (including the woodscrews!) has originated in Hunter's workshop, apart from a few basic members in the supporting structures. So I think we have complied with the integrity requirement!

Thank you DHM. I think we'd be ok for the Durufle and the Thalben-Ball because the pedal board and all the other pedal ranks go up to g, and to get anything other than 16 or 8 ft one would have to couple a manual.

An interesting suggestion, but the action is pressure pneumatic, so it would be quite a simple job to add a two-note chest with two new pipes. Hunter's "preparation" was complete at the console, but he didn't supply chest - that came with the trombone that I've found. I'm just fascinated to know whether those pipes would ever get used!

I'm on the last lap of a 30-year project to first restore, and then complete, a 1921 Hunter, using redundant material which is known to have been produced by Hunter. Having finally hunted down and acquired the most elusive missing ranks - a Swell Contra Fagotto and a pedal Trombone (arguably Hunter's most prepared-for stop!) - I noticed that the excellent trombone I've got has 30 pipes, and the organ it's going into has 32. I was considering getting two additional pipes made but then I thought - would they ever be used? I can't think of any pieces that require them. My knowledge is limited - and I wonder if there is anyone out there who can say what problems I'd be creating if I (quietly) left them out. The other five pedal stops all have 32 pipes, so the question only relates to fff situations!

In one episode of Dad's Army, there's a scene in the church vestry. On a shelf in the background is a copy of Ancient and Modern Revised - the cherry coloured edition published 1952( approx - it doesn't actually have a date in it). When I pointed this out whilst watching with my family, they replied that it didn't matter, and that most people (I think they said everyone in the world except me!) wouldn't notice. That's probably almost true. But I found it distracting. On reflection I realised that the eye for detail and precision, that is essential for musicians and is normally a valued transferable skill, sometimes needs to be turned off. But I'm still learning how to do that!!!! And then there's that seen in "The madness of King George" where he runs up the Geometric Staircase in St Paul's and emerges onto the roof of Hampton Court.......

I think the norm is for honours to be awarded when the recipient stands down from the relevant post - e.g. Dykes Bower, Dearnley, Scott, and there has been a move away from knights bachelor to the Royal Victorian Order, which is for personal service to the Sovereign, and presumably immune from Political influence and cronyism. Wm McKie got his early, in the Coronation Honours List. Harry Gabb became a MVO in 1961, whilst still active as Organist etc., of HM Chapel Royal and Sub-organist of St Paul's. I remember that we thought congratulations were in order, but nobody knew what MVO stood for! So someone plucked up the courage to ask him. His reply, delivered with a dead-pan face and a twinkle in the eye, was memorable but not particularly helpful: "Merely Very Old". He was 52.

Aluminium is easy to cut, but it also conducts electricity, so be careful that you can't be accidentally connect it to the mains as you change a bulb - or you should earth it. I suspect that you could use a piece of plywood to shade the bulb from the player's eyes. These led replacement bulbs are so low-energy ( 5w??) that they don't generate enough heat to be a problem for shades - even if the shade is timber. Tungsten filament bulbs were another matter, and I used to play at a Church where the plywood timber shade over the music desk was black at one end - due to a predecessor putting in 75w bulb when he should have used 25w..... My grandmother always said "You should always listen to advice from others - but remember that you need never take it!" Happy New Year to all !

Here's another alternative, assuming the fitting is serviceable and doesn't need replacing anyway. It will avoid the need for periodic recharging, and the need for a qualified electrician to change the fitting. Just fit a replacement bulb which is the same shape and has the same terminals, but has leds, not a tungsten filament. They are available, but only from specialist lighting shops or online. Not to be found in the hardware section of your local Sainsburys. e.g. Here Good luck!!

I can shed some light on this - I was there!! The "extra" evensong was instigated c 1870, with a voluntary adult choir (the"Special Service Choir") directed by John Stainer, with ladies singing the treble part. Not long afterwards, the ladies were replaced by the cathedral choristers, but only 2/3 of them. The rule was 2 weeks "on" one week "off". Fair enough, given that we had already sung Matins, Eucharist and (3.15) Evensong already. So we were allowed to bunk off before the sermon. The service was more of a Parish than a Cathedral affair - canticles to Anglican chant and a simple anthem. There is no sound for film clip - film cameras had no microphones. I actually remember this occasion, and I was the next chorister to emerge after the clip cuts to the clergy. I was very surprised to see the cameraman crouching there. The Willis on Wheels was out there because the Grand Organ was being overhauled. I, too was confirmed by Montgomery-Campbell....

Aha! Very interesting, Martin. I didn't know about the controversy, but I can shed some light on the Dean and Chapter's preferred location for the Willis on Wheels. It would not have been in the North Transept (which was still boarded off and being restored after WWII bomb damage). The alternative location would have been its normal roosting place, the first window bay in the north quire aisle. Prior to Mander's re-build, the WoW (aka Stainer organ) had no case, and pneumatic action, and it was small enough to pass (only just) through the gates at the entrance to the quire aisle. Leaving it in its roosting place would never have worked. I must also correct you about DB's hood. He was organ scholar at Corpus Cambridge (my old college - but I wasn't the organ scholar) . So he wore the plum and custard hood of a Cambridge DMus. Only once did he appear wearing the full DMus plum and custard gown. That was in September 1959, when we recorded Leonard Bernstein's "Christmas Startime" on film, for US Color Television. There was a problem. We pitched up wearing Eton suits (black and white) and changed into cassocks and surplices (black and white) and processed through the Cathedral across a floor which was.. black and white. The lampshades in the choir were red, but not bright enough for first-generation movie film.... The answer was to get DB to wear his DMus gown, to up the wattage of the lightbulbs, and temporarily replace the lampshades with more translucent red cellophane shades. That worked more or less - but if the cellophane touched the light bulbs (which, mysteriously, it did from time to time) the shade started smouldering and we all had to go and have a smoke break (so to speak). For further details, consult your big brother...

You are correct, Martin - fortnightly 'rehearsals'.

Aha! Very interesting, Martin. DB's concerns were well founded, and I remember him introducing the introduction after a particularly rocky rendition. The challenge for him was that however much he got the boys up to scratch, it was difficult for deputy vicars choral, who would not have practiced it at all. Indeed, we only had 1.25 hour rehearsal per week with the men, in the school hall, and the men attending that rehearsal were those on duty that day - not necessarily those who were to be on duty when it was actually performed! And with 12 sung services a week, there was not time to do much! Who would put up with that arrangement nowadays??

Martin's mentioning Murrill in E and Carillon sent me looking for my copies of both. I was immediately struck by the lack of time signatures. He doesn't seem to have gone in for them at all. My copy of the magnificat is marked with a correction in the first bar of the Con Moto before "He hath shew'd strength" Minim =crotchet is crossed out and replaced by dotted minim = minim. John Dykes Bower (who knew Murrill) said this was a transcription error by the engraver working from Murrill's manuscript. The dot from the first minim got missed, and the second minim was smudged on the manuscript and interpreted as a crotchet. Makes a lot of sense! Has anyone else heard this story?

Harry Gabb certainly wore a chocolate and blueish hood at St Paul's. Someone is playing the Willis on Wheels at 32 seconds into this clip https://www.britishpathe.com/video/VLVABL93QBX197L8XI3ZUQFCLX35-UK-SAVE-THE-CHILDREN-FUND-ANNIVERSARY-SERVICE-AT-ST-PAULS/query/ST+PAULS+CATHEDRAL but I can't see if it's Harry or DB. I don't remember winged collars at St Paul's, except for Virgers, and then only on Sundays (White ties for the Dean's Virger, black ties for the others). I think you'll find that winged collars and bow ties is a Chapel Royal thing - where Harry and Richard were each DoM in their time. Harry combined the role with being sub-organist at St Paul's. The full-sleeved surplices demanded modest gestures of any conductor because of the swan-necked light on the conductor's music stand. If this got caught by a passing sleeve it would immediately rotate through 180 degrees and illuminate the conductor's feet. Richard Popplwell's style of conducting did not really take account of this, and there were mishaps..... Nobody batted an eyelid, of course, but wondering if it was going to happen added to the fun .... It couldn't happen now. Surplices have opening in the sleeves, and the old (mains) lamp has been replaced by a battery-operated one that is firmly clamped to the desk.

Our copies of Common Praise have now gone to a good home!

"The Organist's Hymnbook" by Anne Marsden Thomas (Cramer Music ISMN: M-2209 - 0621 - 3) has 160 of the most common tunes (but no words!). They are printed on three staves, with suggested fingering and pedalling. Each tune appears twice, once "straight" with note values as printed in hymn books and once with assorted rests to assist with articulation and show what you really need to play to keep a congregation together. My church (in Clapham, South London) has, literally, just pensioned off "Common Praise" in favour of its successor "Ancient and Modern Hymns and Songs for Refreshing Worship" . We have about 200 assorted full music, melody and words only copies of CP looking for a good home. Send me a private message if you are interested!

Hmm. Perhaps it was after John Dykes Bower retired and Christopher Dearnley arrrived! After my time!!

Conductor? What conductor? Those were the days when things were only conducted if they were unaccompanied. The main use for the hinged panels was to allow the organist to see what was going on downstairs and draw extemporaisations to a close at the right time. There was of course no cctv and because the case extended well above head level on all sides, mirrors alone did not help. The two hinged panels behind the organist gave views of the high altar and choir stalls but these were replaced with real pipes when the north choir was installed. There were also two much smaller square "advent calendar" doors on the west side of the choir case which gave a view of the seats under the dome and west doors. They are still there, though they are hard to spot, the larger of them having a carved wreath on the outside to break up its outline. Signals to start were a separate issue, and here the telephone in handy. Other clues included a single chime on a bell in the Deans Aisle calling the Vicars Choral to order, the choir saying "amen" at the end of the vestry prayer, and the swish of the curtains as the choir left the aisle. The 1930 and 1900 consoles, without their pedal boards, are still hidden away in store in the triforium. So if you count these, together with the mobile console donated by Harry Gabb's son, the cathedral has four five manual consoles!

All the pieces mentioned so far are in the Oxford Book of Wedding Music for manuals, compiled by Malcolm Archer and published in 1993. I think it's still in print and there are second hand copies on Amazon.

I wonder if an even greater impact resulted from the move away from the tradition where, unless it was for a recording or a very special occasion, singing was only conducted if it was unaccompanied. Has anyone plotted the history of this particular development, which I think happened between 1965 and 1975? Would performances of e.g. Stanford in Bb be more "authentic" without a conductor.............

Aha! Saturday 19th July, perhaps? These are the psalms appointed for 19th evening under the system where the whole psalter was sung, in chunks, a bit at Mattins and a bit more at Evensong, every month. If you go to a psalter with chants, or to a chant book with chants that was put together to match that system, you should find a ready made set that go well together, in related keys, and someone has already decided whether there should be a single or a double chant!!! One set I know of even has the same (single) chant for psalm 99 and psalm 100!

Not celebratory - but pehaps appropriate where something formal is required:- Thomas Attwood's Dirge composed for Nelson's funeral in St Paul's on 9th January 1806. Robert

I'm not sure if I am a "wise one", and I don't have a copy of Ireland's morning service in F. I do however have a first edition, copyright 1915, of the evening service in F, (original printed price 3d, overprinted 4d = 2p). There are NO metronome marks in this edition. The words in italics at the start of the various sections include: Moderato, Dolce,Maestoso, Tranquillo ma non troppo lento. Those seem to me to be all about mood rather than metronomes! And the last one suggests that he was concerned that things might be sung too slowly... So if I were you, I'd ignore editorial metronomne marks in later edtions and just do what sounds right in the particular acoustic with which you are blessed!