Nigel Allcoat

Many thanks, Peter. I also found all that. Where are their notable restored instruments? I should very much like to visit. Thanks.

Trying to make contact via email but neither headed paper or website works. Any news where they might be working?

There are now some electronic sounds on this newly completed instrument.

Just an observation concerning the question of turning the console round. When C-C created his instrument the pipes had to be all turned as well. Where C is on the console, the pipes must also be that side. Therefore when you view the case the C side is on the right and C# on the left. N

I think that his influence upon French music was his passionate and correct influence within the Schola Cantorum (which he founded) and his collection Archives des Maîtres de l'Orgue. These are still perfectly usable with the players' present knowledge of 18th century registrations. His advice for sounds was based upon the symphonic organs of the day - and was really no different to the Novello publications of Bach that proclaimed all manner of British suggestions for performance.

C to E are from a stopped 16ft and a Quint (5 1/3 of course - I imagined everyone would understand that), and perhaps an 8ft too. I can't remember about the latter. The 32ft effect comes from the two low mutations which he first used in Sarralbe (1987) an instrument that so overwhelmed the authorites in Vichy, they decided to purchase from BA. N

Passing by here, I came across this post. This was the organ that I found completed in the workshop when I first encountered the builder and the workshop in September,1990. The first time that Bernard used a full length 16ft Principal is in the case of St Louis-en-l'Isle, Paris. It is to do with the proportions of the Golden Section and thus - as rightly pointed out - the five bottoms notes play a Stopped and a Quint. One is not at all conscious of this when playing as the voicing is impeccable. The Quint & Tierce provide a sound simiar to the Berlin Philharmonic double basses. The 32' Napoléon was added a few years after the opening and is so called after the founder of the modern-day Vichy, Emperor Napoléan III who, along with his son and wife are buried in the Crypt of Farnborough Abbey in Hampshire. I trust that this answers a few of the querries. Nigel

It was always a post examination question (now and again) to give to boys at school - "What would have happened to European music had Buxtehude's daughter been born beautiful?" Having been in Marienkirche the orther day I ask the present incumbant if the tradition still persists. No! It died out as part of the job specification in the ealry 19th century he told me.

Prayer helps considerably.

My Italian teacher renowned for his foot-work always said that it you were able to walk to the organ then you quite able to play wearng the same. He chuckled when the class had to have a pausa whilst shoes were changed. That soon stopped after a couple of weeks.

And did they charge people to pray?

When I was a tiny tot, I remember listening on the wireless to John Betjamen visiting great and grand cathedrals. The choirs sang and the organ played and he so wonderfully described being there in the building. In some he even said where he was sitting to gain the best effect. The organ at Chester played by John Sanders has remained with me to this day. It was such a thrill to be able to play it a few years ago. Indeed, a wonderful musical machine.

I wouldn't fret. Organmaster shoes goes under Nuts & Bolts, Nigel

Edwin Lamare Op 91 Concert Fantasia upon The Sailor's Hornpipe, British Grenadiers and Rule Britannia, I had to find this for a recent occasion at Coventry Cathedral for the installation of the new Archdeacon who had been in a similar post in the Royal Navy. I have it if anyone wishes a PDF. Best wishes, Nigel

It has been a dreary time for intruments. When I first had my house organ from abroad it was fine until the English humidity provoked a most odd reaction to the mechanical action. However, with some gentle adjustment everything has been trouble-free for the past 4 years. I bought an excellent humidifier for my study that gently wafts evaporated air and both organ and Steinway benefit so well from this. I believe that a good ratio is 20 degrees to that of 55/60 humidiity. It is also surprising how all furniture responds as well as the humans! (It was wonderful to meet you after my concert on Wednesday, Friedrich. I hope that you enjoyed it as much as I did. It was a most exciting occasion to play three organs in one concert under one roof. I hope the other 2 organs didn't feel too lonely and un-loved! All best wishes for your work and study this year. N.) All best wishes, Nigel

I would contact Adrian Gunning and Keith Bance. The former is organist at St John the Evangelist, Duncan Terrace, Islington and together they have loving restored and maintained this iconic Walker instrument. If they can't help I really don't know who else might. Best wishes, Nigel

This is what they want, and this is what they have got. Can we move on? NJA

My main concern is not the cosmetic side of a console but the actual connection of player to instrument. Touch and action are of paramount importance. What it is clothed in doesn't interest me in the slightest, nor would it have done to somebody such as Langlais, I suggest. Players today seem to rely constantly upon pistons and steppers. Hand registration seems not possible on large instruments these days (from what I have seen) so the actual comglomeration of rows and rows of stops almost seem superluous. I view some American instruments (for an immediate instance), that a fleeting pull of one necessary stop, is like plucking a sapling from a forest. Has modern technology allowed the instrument to become an un-manageable beast without endless aids to control it? N.

How does one know that the work requires £250,000 when no quotations have been received? It seems such a 'round' figure. Just wondering...............

So happy to read your enthusiastic comments! I too am looking forward to my concert on these wonderful organs at Stanford and to meet one of my first Cambridge students again. Hasn't he done well? Best wishes, N

I pay good money twice a year to have my Steinway tuned (sic) wonderfully and expertly made out of tune. Organs with mutations must always be in a 'good' temperment as it is mostly a waste of money having the ranks in the first place - certainly Tierces..

How wonderful to read. Back to Loosemore in this wonderful case (without the West projection)? Does prayer work?

Just to inform from the horse's mouth, so to speak, I have just received this which I hope folk will fully understand! "Concerning my new 32' , I send you a more or less chronological list. Sarralbe 1987 Lorraine: 2/3 length conical, wood, my first 32' which had to be lengthened (after completion ) from a full tone gradually to zero on circa11/2 bottom octave, the sound was "dirty" because a disturbing 7th ( the proof was that the original C could be tuned on D with a good 5th). Vichy 1990 Auvergne : Napoléon 32' (!) : C to e° correct 2/3 length, then full length, wood conical. Vertus Champagne 1996, St Louis en l'ile Paris 2005, Neuilly 2007, St Nicolas du Chardonnet ( Paris) 2008, Mariager DK 2010 , Thann 2001 , Kientzheim 2011 in Alsace, all rectangular wood / cylindrical metal in full length. In refurbished organs by Michel Gaillard the 32' are often 1/2 length made with old revoiced 16' bombardes, Forbach, Freyming in Lorraine. Boulogne sur Mer Pas de Calais and St Vincent in Lyon 1996/7 full length cylindr. metal pipes . The 16' bombasson is an unbroken full length reed starting bottom C like a cylind. reed with progressive flared bottom points and tapering (degressive in length ) bodies to f° then full conical ( flared ) length. A 25 years old idea ( how to get the right sounds when it gives no height, no depth and no width to install normal conic. full length bodies ) ... waiting an opportunity to be made flesh . Most of these stops have tincast house made Aubertin leathered shallots . I hope I have forgotten nothing to make informed for preparing an 32 fts tour Aubertin ... Best regards, Bernard Aubertin"

There seems a slight error in some of the above information. All the 32fts from Aubertin are full length - especially Vichy and Sarralbe - both of grand scale and the former gently mitred to fit the position without detracting from the visual. M. Aubertin created a different sort of 32ft which are found in Vertus (where it is housed in its own case and doubles back on itself). The scale is extremely narrow but gives an extraordinary fundamental which is progressibly enhanced by registers of higher pitch. This is an instrument in Paris recently restored with such a reed. You have to be patient to hear it a few times though! http://youtu.be/vijM7bTpQjo Best wishes, Nigel

The UK is always stange with names and pitches. I think it comes about from the transition between the organs being manuals only and then including Pedals. The structure of our sounds are at odds because of that. Choruses seem arbitarily constructed. Perpaps all might have been simpler if the Chorus based on 16ft 8ft & 4ft sound is the Principal sound on each - just like many places in Europe. Octave likewise then seems far more logical. Even the French Montre means pipes set into the case and is either (32ft),16ft, 8ft or 4ft depending on the department. Thanks to actions and to make matters worse 'over here', is the lovely way of 'increasing' the number of stops on paper by transferring manual stops to the Pedal with a different name. The Great Double Open Diapason becomes transformed then into Open Metal 16ft or Violone 16ft. The same happens with reeds too sometimes. I think we are still in evolution here!. Best wishes, Nigel