philipmgwright

When Bill Minay had St Cuthbert's Edinburgh rebuilt by Walkers in the 50's , he set French Horn on Swell 1 - he never tired of using it he said

Any reason why the NPOR stoplist does not exactly tally with the Aubertin labelling?

Hautbois d'Amour Paisley Abbey Swell HN&B 1928 from original CC but under different name Renamed by JWW in Ralph Downes 1968 philipmgwright

I am disappointed my plea for some first hand memories of HW III has up to now , not been fulfilled. I had been hoping perhaps the last pupil-apprentice of HW ,or an organ builder involved with the 1959 Liverpool Cathedral works or colleagues of Noel Rawshorne might be prevailed upon to add a human dimension to this " great character" David Drinkell highlighted something I had not noticed...the big proportion of HW's work was rebuilding rather than new. Plumley in his book on St Pauls also detected a weariness in HW at having to repeat his work several times during the Dome works etc1925/1930/1960 Like David , I too visited the Willis works in Marlborough Grove in 1963 and was welcomed by Peter Hamblen who found the time to show a university student around the factory with its pipe making,voicing shops and most memorably the console shop with the Truro 4 manual console amongst several being completed. I left with several brochures and typed specification sheets and an invitation to visit Ian Frost in the Edinburgh branch when I got back to Scotland. But I did not meet HW The sources mentioned by David Drinkell - Rotunda,The Organ,and Callaghan's book are excellent and worth reading...perhaps I am just a little too late in asking for first hand recollections of HW III

Colin Pyett mentions in his latest post that he never met HW III...might it not be timely to hear from those who have had personal contact with him rather than the often rolled out anecdotes which may have expanded over the many tellings?

Radley School Chapel also had a 5 manual,I believe. I recall an illustration in The Organ showing a flamboyant organist playing this console. NPOR states it only comprised 55 stops though.

St Georges Stockport and Cluny Parish Edinburgh

The Fort Augustus 4 manual console known to organists in Scotland mentioned by David Drinkell was from 1938 and the work of EH Lawton the Aberdeen organ builder. A photograph exists showing stopkeys in simple rows on either side. On its reduction to a 3 manual in 1980 by R&D the 32' reed went to Stockport and the Tuba went to Edinburgh.

The retention of the Echo Organ in the triforium even unconnected was a device to avoid VAT as the Phelps was seen as an additional organ to the Abbey. This was a legimate interpretation of the rules over organs attracting VAT at this time. I feel certain there will be other examples

A Great on Choir was inserted by Noel Rawsthorne at Liverpool Cathedral to provide a substantial second chorus against a coupled Great. This was copied by Richard Galloway at Church of the Holy Rude ,Stirling as a Great to Choir. Also organs designed by Dr Alfred Hollins often had a Choir to Swell coupler eg Caird Hall Dundee and several instruments in Edinburgh

In the obituary in The Times mention was made of the collaboration between Gustav Leonhardt and Paul Badura- Skoda in the 1950's...by sheer coincidence Badura-Skoda was giving a rare recital in Kings Place on Wednesday18 Jan in memoriam and honorem Dinu Lipatti. An incredible artist ( now 84) in a glorious new concert hall - a privilege to be present . At least we have many recordings to remind us of Leonhardt's skill and vision connecting us to a past glorious age .

Very many thanks for highlighting the options button,Paul I appreciate your speedy reponse Philip

Am I alone in disliking this condensed format for posts in this topic.? My pleasure in reading the posts is reduced via this set up. Or am I missing something??

Walkers issued in 1965 as a Christmas offering a LP side1 featuring Wimborne Minster played by David Blott. Recorded by Michael Smythe it covers Lidon Sonata De Primo Tono showcasing the en chamade reed, JSB Toccata in F and Pachelbel Aria Prima from Hexachordum Apollinis The effect of the reed in the Lidon on this LP is still memorable after 47 years Perhaps the master copy's whereabouts may be known to a distinguished member of this forum.