John Sayer

A matter of taste, of course, but having played Waltershausen the day after Naumburg last year, I really don't believe it is in the same league, however beautiful it is to look at. Whilst Hildebrandt seems to have stuck conservatively to the classical Thuringian organ building tradition, Trost, first at Altenburg, then at Waltershausen, seems to have gone up a musical cul-de-sac in pursuit of new pipe constructions and new, ear-tickling sonorities. His organs have many beautiful, often quirky, individual stops, fascinating on their own, but with little use in chorus building. And those mixtures with grinding tierces - the full Hauptwerk principal chorus becomes unbearable after more than a few minutes. Altenburg, too, is not a particularly ingratiating organ to listen to, especially above forte level, but this may have something to do with its chequered rebulding history. Naumburg, by comparison, is one glorious clear, majestic, integrated sound. I have not heard the Grauhof organ in the flesh yet, but from to judge from Margaret Phillips's impressive Bach CDs, it certainly runs Naumburg a close second. JS

Quite right - my apologies for wrongly accusing Eule of the botched 1980s job. It did indeed have illuminated stop lozenges when I played it in April 2000, in the same style as the Gewandhaus organ. Another eloquent testimony to the quality of Eule's recent work is, of course, the magnificently restored Hildebrandt organ at St Wenzel, Naumburg - IMHO the finest Bach organ there is, anywhere. JS

Quite a reasonable turnout for David Goode's organ prom on Sunday afternoon - arena a bit sparse but stalls about half-full, say 1500+ overall. A most thoughtful and unusual programme, not at all bombastic, and all played from memory as far as I could see. It's not often you hear a Böhm and a Bach CP at a 'secular' recital and 3 Russian rarities as well. Mozart K608 was done on bright small Great and Choir choruses with 8ft Pedal (no 16ft) - quite a revelation. The middle section of Ad Nos seemed to got through most of the seldom heard Solo stops - Unda maris, strings, flutes, small reeds etc, even the Carillon. The only problem was that many of them were barely audible and it wasn't always easy to follow what Liszt was doing. The RAH organ must have the biggest dynamic range of any concert instrument. The big Tubas were saved until the last few bars - what a fantastic, effortlessly powerful sound! And everything absolutely in tune and fullywinded, too. The encore was that lovely little Prelude in E flat by William Harris. JS

The magnificent Sauer console with its terraced, coloured porcelain stop tablets survived until the 1990s, when the Eule firm, then a VEB, or state-owned firm, ripped it out and put in a hideous, cheap mobile affair with illuminated stop lozenges, rather like bell-pushes. Eule is obviously a very different firm these days. The 5 dials are for swell shutters (x3), general crescendo and a hygrometer for the main wind trunk (!). The specification, for those interested, is:- I. Hauptwerk Bordun - 32´ Prinzipal - 16´ Bordun - 16´ Prinzipal - 8´ Doppelgedackt - 8´ Flaut major - 8´ Gambe - 8´ Gemshorn - 8´ Rohrquinte - 5 1/3´ Octave - 4´ Spitzflöte - 4´ Rohrflöte - 4´ Terzflöte - 3 1/5´ Quinte - 2 2/3´ Septime - 2 2/7´ Octave - 2´ Terz - 1 3/5´ Mixtur 4fach - 2´ Cymbel 3fach - 2´ Cornett 3-5fach - 2 2/3´ Trombone - 16´ Trompete - 8´ Trompete - 4´ II. Oberwerk Principal - 16´ Quintatön - 16´ Principal - 8´ Bordunalflöte - 8´ Fugara - 8´ Quintatön - 8´ Rohrflöte - 8´ Octave - 4´ Gedackt - 4´ Hohlflöte - 4´ Spitzquinte - 2 2/3´ Octave - 2´ Waldflöte - 2´ Terz - 1 3/5´ Quinte - 1 1/3´ Flageolett - 1´ Cymbel 4fach - 2´ Cornett 3fach - 2 2/3´ Basson - 16´ Trompete - 8´ Clarinette - 8´ Vox populi - 8´ III. Rècit Stillgedackt - 16´ Diapason - 8´ Flute traversiere - 8´ Viole di Gamba - 8´ Aeoline - 8´ Voix céleste - 8´ Flute octaviante - 4´ Octavin - 2´ Plein jeux 4-5fach - 2 2/3´ Bombarde - 16´ Trompette harm - 8´ Hautbois - 8´ Clairon - 4´ Vox populi - 8´ IV. Brustwerk Lieblich Gedackt - 16´ Geigenprinzipal - 8´ Flauto traverso - 8´ Doppelflöte - 8´ Harmonica - 8´ Octave - 4´ Octavflöte - 4´ Piffaro - 4´ Rohrquinte - 2 2/3´ Piccolo - 2´ Scharf 3fach - 1 1/3´ Fagott - 16´ Oboe - 8´ Cor anglais - 8´ V. Echowerk Viola - 16´ Viola d´amour - 8´ Lieblich Gedackt - 8´ Salicional - 8´ Unda maris 2fach - 8´ Sanftflöte - 8´ Viola - 4´ Zartflöte - 4´ Nassat - 2 2/3´ Violino - 2´ Harm. aeth. 3 fach - 2 2/3´ Aeoline - 16´ Vox humana - 8´ Pedal Principalbass - 32´ Untersatz - 32´ Principalbass - 16´ Violonbass - 16´ Salicet - 16´ Subbass - 16´ Terz - 12 4/5´ Nassat - 10 2/3´ Octavbass - 8´ Bassflöte - 8´ Violoncello - 8´ Nasard - 5 1/3´ Octavbass - 4´ Cornett 5fach - 2 2/3´ Posaunenbass - 32´ Posaunenbass - 16´ Dulcian - 16´ Trompete - 8´ Trompete clarino - 4' Hilfszüge Koppeln Walze Stahlspiel III Carillon V Midi V Tremulanten Piano MezzoForte Forte Organo Pleno Tutti 4000 freie Kombinationen Disketten-Laufwerk Hand-Schweller, Hno MezzoForte Forte Organo Pleno Tutti 4000 freie Kombinationen Disketten-Laufwerk Hand-Schweller, Hand-Walze Leipzig now has 4 magnificent instruments within a stone's throw of one another:- Gewandhaus - 4m Schuke 1984 Thomaskirche - huge 19c 3m Sauer recently restored plus the new 4m Bach organ by Gerald Woehl Nicolaikirche - 5m Eule JS

Some of you may know that the famous Ladegast/Sauer instrument in the Nikolaikirche in Leipzig was completely rebuilt and enlarged to VP/102 by Eule of Bautzen in 2004, the cost being met by the Porsche firm who established a factory near Leipzig after re-unification. Porsche engineers had a big hand in the ergonomic design of the console - hence the curved brushed steel jambs, 'speedometer' dials for the registration aids and blower switch on the left, like the ignition in the Porsche cars. The only snag with design seems to be that (lady) recitalists who use hand-cream leave awkward-to-remove finger marks on the stop jambs. See Nikolai - Leipzig JS

I agree. It baffles me why Oxbridge colleges engage an overseas builder and then ask him to build an organ in what, for him, is an alien style, even to the extent of presenting him with an English stop-list. In the case of Trinity Hall I am sure the answer lies with the celebrated English concert organist and teacher who acted as consultant. I saw the TH organ under construction in the builder's workshop last April. It looked very nice, yet I wondered about such things as the off-note electric chests which I doubt Carsten Lund would have included on the sort of organs he usually builds, as evidenced by his magnificent recreation of a large 3m Arp Schnitger organ in the Garrison Church in Copenhagen - and on which, incidentally, the same consultant is recording the complete works of JSB. The Oxbridge colleges are seats of learning and academic enquiry: it seems to me entirely proper that the chapel organs should be representative of a wide variety of organbuilding styles and philosophies, both indigenous and foreign. There is no reason why colleges should not look to overseas builders, but, if they do, they should respect their artistic integrity and allow them to build in an honest and characteristic style. The Queen's College took the first brave step with Frobenius back in 1965 - others (eg. Christ Church & Pembroke at Oxford, Clare & Girton at Cambridge) have followed with varying degrees of artistic success. The latest promising development is St John's, Oxford, where the organ committee has shown its faith in Bernard Aubertin to build what looks like being a truly exciting and ground-breaking organ, quite different from anything else in the University. JS

Many of us may have come to grief with the gadgetry on electronic organs. This poor chap did so in a big way! Hallelujah! or, if that doesn't work http://vac.antville.org/static/vac/files/alleluja.mp3 What a hoot! JS

Oh dear, sorry, that link doesn't seem to work - try http://www.orgelbau-spaeth.de/holzhausen.php?neue=1 JS

I agree. One firm specialising in the "Wechselschleife" concept is Freiburger Orgelbau (Hartwig Späth) of March-Hugstetten on the edge of the Black Forest. Their instrument in the neighbouring village of Holzhausen struck me as particularly successful when I played it last year. The specification is very cleverly worked out. Holzhausen JS

Piet Kee had a similar disaster in the opening flourish of the (big) Bruhns E minor at St Peter's, Eaton Square a few years ago. The final item on his programme was an improvisation in which he took as his theme the same mangled phrase from the beginning of the recital - a delightfully witty and self-deprecating touch much appreciated by the audience. JS

For my money, the finest example of pipe stencilling must surely be AG Hill's wonderful case of 1916 at Beverley Minster - the glorious setting of the building itself helps, of course, but, to me, the whole ensemble is magnificent. It's a pity, however, that so much 'organ plumbing' overflows into the south choir aisle - inevitable, I suppose, if one is to have the benefit of rolling 32s etc. I just wish the main case had been big enough, and structurally sound enough, to accommodate at least the Swell box. JS

The Newcastle Town Hall organ was in somewhat fragile playing order at the time of an Organ Club visit in 2004, but was able to give at least some impression of its former glory. I particularly remember an absolutely scorching Solo 16-8-4 Orchestral Trumpet rank. The sound is not helped, however, by the heavily carpeted and upholstered auditorium. We were told the City Council was aware of the historic importance of the organ. However, the future of the hall itself (and of the adjoining swimming pool) is uncertain not least because of doubts over its structural soundness. The fate of the organ is inevitably bound up with whatever the Council decides to do - restore or redevelop - both likely to be hugely expensive. One thing seems clear - the instrument is too big to transfer into the new (organ-less) Sage Concert Hall across the River Tyne. Perhaps someone with better local information can correct me if I'm wrong. JS

If the pipes aren't too badly fingered then a rub with a chamois or bit of organ leather seems to work - otherwise resort to T-Cut. JS

Ian Bell, who I believe was apprenticed with Comptons just before they went out of business, gave a lecture to BIOS a few years ago, with many fascinating insights into the way the firm operated, albeit in the years of its decline. His article on concervation issues surrounding the organ at Southampton Guildhall in the latest BIOS Journal (No 29) makes very worthwhile reading. JS

The francophobia was just a bit of fun - where would we be without Franck, Vierne & Widor etc, even with their many longueurs? Yes, Anton Heiller's Reger at Linz was a true landmark - an absolutely thrilling, barnstorming performance. It was Reger played 'with balls' and an object lesson in how to make this composer sound totally convincing. I wish it could be re-issued on CD. I believe it was Brian Runnett who 'rediscovered' Siegesfeier and recorded it more or less as a 'dare'. Roger Judd has recorded all Seven Pieces more recently at St George's, Windsor on the Herald label. JS

At one extreme their music sounds like thin gruel and at the other like china cabinets being pushed over the edge of the gallery with the occasional depth charge thrown in for good measure. My money's on Germany with undefeatable blockbusters such as Hallelujah, Gott zu loben, bleibe meine Seelenfreud! played 'mit vollem Werk' on the 105-stop Sauer at Berlin Cathedral. JS PS - Talking of victory & defeat, does any one know or play (or has ever heard played) Reger's Opus 145 No 7 'Siegesfeier', which combines 'Nun danket' and 'Deutschland über alles' (maestoso, marcatissimo & fortissimo) and written in 1916 in anticipation of German victory in WW1? A strange work - for many years Breitkopf published Opus 145 as 6 rather than 7 pieces. PPS - "Reger is a composer who's name sounds the same backwards and forwards: the same may be said of his music" - quite by an American criticI I expect many have heard before.

Stephen Farr makes an interesting point about concert visits to the UK by overseas organists. Over the years I, a bumbling amateur, have been quite undeservedly lucky - through a combination of cheek and reasonable fluency in German & French - in gaining access to a wonderful galaxy of European organs - Weingarten, Ottobeuren, Jakobi Hamburg, Ratzeburg, Naumburg, Freiburg, St Sernin, Albi, to name but a few, and each has been a totally memorable and humbling experience. In almost every case I've been most graciously received by the organist, and have felt at a total loss on how to repay such generosity. Some have modestly said, "Perhaps you could help with a few contacts for organ concerts in England....." Hmmm - a difficult one. Usually I find myself explaining that a) the choice of venues with organs on a par with their magnificent instruments is limited, to say the least, audiences are likely to be pretty meagre and c) the fees will probably not even cover their travel costs. I don't know what the answer is. I'm told that in the great days of "Wednesdays at 5.55 at the RFH", Ralph Downes was unable to offer the big overseas names much more than their train or air fare. JS

I must say I'm dubious about the cult of virtuosity, often pursued , I'm afraid, at the expense of musicality. Like anyone else I'm impressed by (and deeply envious of) the sheer technical achievement of many so-called concert organists but often come away from their recitals feeling that it was somehow 'all too easy' and lacking in soul. Maybe it's because much of the repertory depends on digital dexterity, ear-tickling registrations and a suitably gratifying big noise at the end. Yet ask these folk to play a simple Stanley voluntary or a selection of Bach CPs and, all too often, they haven't a clue what the music is all about. It's as if, having conquered the Himalayas, they can't be bothered with the lesser peaks. If and when they do occasionally include something more musically demanding in their programmes - such as Preston in his choice of the Schumann Six Fugues on BACH - we all murmur 'boring, boring'. An unfair generalisation maybe, but so equally is the notion that most cathedral organists are somehow inferior executants and musicians. For an example of one who combines complete technical mastery with innate musicality - both tellingly communicated to his recital audiences - you surely have to look no further than John Scott. JS

Maybe, though there aren't many churches per square mile in this part of God's Own County, and those there are tend to be small ones. If you include the lower reaches of the Dales, then we have a lovely IIP/20 'mini-cathedral' H&H of 1923 at Masham PC and a slightly less sophisticated IIIP/26 H&H of 1909 at Pateley Bridge. The real gems in the Ripon area are the two Lewis organs in the twin estate churches by Wm Burges - only 5 miles apart - at Studley Royal and Skelton-on-Ure. The former was beautifully restored about 15 years ago by H&H though the latter is sadly unplayable. JS

Indeed, one of those awful post-war Walker dinosaurs. It looks like it sounds - all those massed heavy zinc diapasons - the aural equivalent of being punched in the gut. JS

I suppose No 8 with the wonderful final Passacaglia is an obvious one to start with. (This movement works well on its own if introduced by the opening Praeludium, which then re-appears at the end, sandwich-fashion). The trouble with Rheinberger is finding a sonata which has all movements of comparable quality: all too often they are let down by an over-sugary intermezzo or turgid final fugue. For my money Number Two is one of the best in the respect with good, muscular outer movements and tolerable Adagio espressivo in between. The main thing of course is to avoid the dreadful old Harvey Grace edition with its wholesale tampering with note values etc and unhelpful registration indications. Above all it needs to be played with passion and conviction if it is to avoid the all too frequent charge of being insipid on the one hand or laboured on the other. I reckon Wolfgang Rübsam's recording of the complete sonatas on Naxos is an object lesson in how to tackle Rheinberger - and wonderful value at around £1 per sonata. JS

I've found much pleasure recently in discovering Johann Ludwig Krebs (1713-1780), a pupil of JSB. Some of the Preludes/Toccatas & Fugues are a bit wild and wayward, but many of the chorale preludes are very beautiful. He also wrote his own Clavierübung, a collection of CPs comprising 2 decorated versions of each tune (manuals only) plus a four-part harmonisation - all very good for the fingers and articulation etc. The 'Fantasia a guisto italiano' is a unique and absolutely gorgeous piece - a complete one-off which sounds like a gamba solo with gentle chordal accompaniment: I know of nothing else quite like it in organ music (it may be a transcription, of course) Only snag is the Breitkopf complete edition is a bit pricey. John Kitchen has recorded the whole oeuvre on various modern Scottish & English organs in a 5-disc boxed set for Priory, and very good value for less than £30 from the discount shops. Good luck JS

Yes, and what a heartening and worthwhile occasion it was. TTs playing and choice of pieces was exemplary and Bill Drake's achievement in bringing this wonderful instrument back to health is an object lesson in sensitive historic restoration. It's 15 years since I last heard or played the organ, but it was all worth waiting for. Let's hope the church appreciates what a treasure it has and doesn't ruin everything by laying wall-to-wall carpet in the proposed re-ordering of the building. Let's also hope it makes creative use of the organ in its worship. That said, I have a sinking feeling it will be regarded as little more as a hymn machine, a second best to synthesiser and drums. Nevertheless, Saturday was an absolutely splendid occasion. JS

I have a photo, though not a very good one. The console was the gift of a choir parent in 2000. The layout is basically the same as upstairs with a few extra gadgets such as drawstops for Pedal Divide, Manuals I&II exchange, plus a few extra extra pistons, a hidden sequencer button for the page turner and a midi facility which I don’t recall being used yet. The console is wheeled into the crossing for bank holiday recitals where it really does seem to be appreciated by the audience (100+ there for David Dunnett with trumpeter last week). JS