Nigel Allcoat

When I used to help out at my village church at Mass, I often could walk down the path to home and turn a joint (meat of course).

How Wesleyan! This could be the incentive I've been waiting for to get me back onto a console.

Now you are talking!

The strange thing with apocryphal stories is that that the originator is frequently deceased and so we maintain glorious embellishments! However, the situation of the Exeter instrument (like a good number of others) was surely only to provide music within the choir - hence the positioning of Choir/Chair cases. The ex-Lichfield Green Organ is a delightfully sweet (though large instrument) which was only created for Choir services (now in Armitage PC nearby). Our problems of Pulpitum-positioned organs only happened when Naves began to be used for large services - mainly Diocesan based. I therefore blame the train and the omnibus for the enlargements to cope with such demands. The results are never happy and we suffer the results in over-large instruments stashed into magnificent old cases. Exeter grew another West case. Gloucester I think was pushed and pulled in all directions. King's Cambridge made a superlative architectural case obese and filled the screen with endless pipes as if it were a Tudor (1533) vol au vent. Nowhere in any building with such a placed instrument can surely a musical instrument sound at its best, I aver. The reasoning surely comes from accompaniment and lack of a simultaneous compositions for repertoire, - unlike the French. We did (in the UK) progress with actions and the secretion of pedal registers (and other departments) in Triphoria - positioning departments in arches as if treating 'up a-loft' like railway carriages. (Lincoln & Canterbury perhaps) Of course it will sound too loud in one place whilst distinctly too soft in another. As for Choirs - the most important of Anglican instruments, they are often swamped with decibels when a Nave is being accompanied/led/pulled along. One rather noted place is exploring having just a large and very proper instrument to cope with Nave demands and certainly not connected to any other in the edifice, Eastwards. Bravo. Of course, all this comes under Badly Positioned organs. Music I sometimes feel, seems frequently to come a very lowly second best in all this. Best wishes, N

Made my day finding this (thanks Pierre) - although the recording is rather close unfortunately for my taste. This is one my favourite Aubertins and I saw it gradually evolve. It is only about 30 mins from Bernard's atalier at Courtefontaine. I have always considered it the most perfect instrument for de Grigny - exactly the correct stops (4 manuals - one being an Echo). It is a smallish town church and quite close to Dôle where Michel Chapuis lives and where he takes some of his students too. I suggested some years ago to Stephen Farr when Collins Classics wanted him to do the complete works of de G that this was perhaps the best vehicle for it all. However, for the intégral I would suggest St Antoine as for so much music, a 16ft Bourdon is really required. Seurre is only 8ft. But when I took Magnus Williamson to visit after its completion, we both thought the 8ft Montre the most wonderful stop we had ever played. Seurre has a French pedal whilst St Antoine is Germanic (because of its restoration links to Scherrer - Lausanne - in 1748). Seurre is yet another high-point in the catalogue of Aubertin instruments and is some 14 years old now and so rarely known. Exceptional and sensational quality from just enough stops. best wishes, Nigel

There was a thought-provoking CD of Ewald Kooiman on various Dutch organs. I know that he had embarked upon a 3rd cycle which was left unfinished at his death in January last. I think the one I heard was from the 1990's and came as quite a shock to hear some of the tempi. However, they were quite a source of pondering for me and my students and certainly it needs to be heard. I think they were fine examples of going at speeds which made the organs sound at their best and nothing sounded forced. However, a fine organ will teach the player far more than they realise and the one hope from me is that I don't have to hear any more tinkly neo-Baroque registrations in my life. Why is it that people sometimes make the organ sound like tinsel for the Trios? Personally I like to have the same registration for the outer movements as I have never known a 'human' trio to all change on stage and this (to/for me) makes for a rather finer tripartite scheme from start to finish. But surely a fast speed can only go as fast as the basso allows to provide optimum sound and projection to support the other two voices. Best wishes, N

Dame Gillian plays at 17.00hrs at St John's College, Oxford on Saturday (7th November). Free entrance as normal, but programmes for entrance from the Porters' Lodge. N

Indeed I do, David. It is an instrument of heroic size - in every sense. It was not done with lashings of finance and this essay in producing a stupendously sounding instrument must surely set a benchmark because of it. The console is idiosyncratic - but like many older instruments, a few days makes you completely happy. With the advent of transport and players moving from place to place so easily, the 'house style' of console was bound to appear. There is the story about one Council/Consultant member for the new organ at the RCO in Birmingham when continental designs were 'on the table' saying that he didn't mind who built it so long as it had a Harrison & Harrison console. There is something wonderfully terrifying in feeling and hearing things happen in mechanical consoles that I find strangely reassuring. Clunks, thumps and typing-pool clatter from Barker lever instruments add a frisson that electric just doesn't. Playing Vierne II on an authentic horseshoe arrangement and rows of metal levers down below looking for all looking like the Victory before a broadside, is a moment to cherish - as is the hernia after doing an English dash for an expression pedal that is roughly 10 past 2. Thann though, does not have many of those features. But the combination system is a fun and useful alternative without the console being connected to the National Grid. The Progressive Mixture (10 ranks?) is extraordinary. The Tutti, marvellously alarming to the neighbouring town. The richness of Fonds that the makers have created in a wonderful acoustic (one must extol that), makes one believe again that Romantic instruments can be made and resurrected in such a way after insensitive and reckless 'restorations' in the 1970's or thereabouts. It was a most happy few days I had there for my concert and hope very much to return. It is 30 mins from Mulhouse-Basel Airport and my tickets were £48 return. All exceptional value. Best wishes, N The Gaillard/Aubertin Team Romantique are doing Saint-Nicholas-des-Champs at this very moment in Paris and they have recently had another blistering go at the organ in Boulogne Cathedral with sensational results (by all accounts).

I have yet to actually read through this catalogue of works in one go without being connected to my blood pressure gauge. I should like to know to whom the first part of #12 refers. Looking into Council minutes should provide answers? A sad day. N

Spot on! I have written to the architects asking for permission and larger format pictures if they agree. And what of the organ after this transformation? Thanks. Nigel

I am soon to give a talk at a joint Diocesan Seminar concerning Organs, Liturgy & Worship and would greatly appreciate to have photographs to illustrate it. I have a goodly number already from my own travels, but I am certain that there are numerous examples of good re-positionings in re-ordered buildings that I have not seen. But it would also be good to have bad examples that readers might know of too as I should like to give the architects every opportunity to see the best and the worse! If there are any builders who read this and think that they have any pictures that would 'fit the bill' too, I would be so very grateful to have the opportunity to incorporate them. Many thanks in anticipation. Nigel

I have asked Bernard if he can send some pictures/specification of progress so that I can let you have a link. All best wishes, Nigel

I have been intrigued with this since playing their opus in Huddersfield the other week although I was not allowed to ever make a squeak on the Trumpet or pedal Reed on pain of death - really. Untersatz (literal translation support )2 must surely be a mistake as a single stop. I dare gamble that when you draw it it pulls TWO stops to make the resultant 32ft - which are already there. Note the Quint. My great concern is that with so much designed on the manuals the pedal department is a basic array of stops, and not giving much degree of independence to underpin the three manual divisions. Therefore I shall imagine that couplers will be used for much of the time above mf, especially if the department is located in the back of the instrument. Manual departments in the foreground and pedal behind make for odd balance/definition and precision for the player as there is so little room for egress. The case does not mirror three manual departments nor pedal. For me it is far too large for the case which I would have tried to include at least the 8ft from the Pedal. Money goes a long way on a lot more high-pitched stops (and giving the illusion of a large console and number of stops - which means absolutely little to me) at the expense of a proper Pedal to Mixture plus Reed(s). Work out the size of pipes at Middle C and thus the metal being used on the manual stops. If there is a thumping big Swell, what is located behind it? A wall or more pipes? The Pedal? I remain intrigued! Best wishes, N

Most kind of you to say. But if you trawl through my site on Face Book there are 47 videos of things - mostly organs. Likewise on Les Amis Aubertins group there are videos too as well as loads of photographs (as also found in my numerous albums). With rain and snow approaching in Winter, Face Book and You Tube are saviours! Best wishes, N

St Martin, Vertus For those people who are on FaceBook

There will be sounds this very week and a delegation visits Courtefontaine as well. I believe it will be installed around May next year. It is quite like Saint-Louis in Paris but with Oberwerk and not Unterwerk. The church is magnificent and for Denmark, extremely tall. The acoustic is glorious and the final result is without a doubt, going to be a sensation. However, it will not look like the usual Aubertin casework as there are considerable stringent rules that are laid down by the country's church architects for the 'outer-wear' of the instrument. N

It is a remarkable instrument, indeed. Although originally designed as a 3 manual it is a most complete 2 nevertheless, and one never misses anything. The casework is stunning and in perfect proportion with the reasonably large medieval church of St Martin. It was the first instrument that people from Aberdeen University and St John's College, Oxford played first when I took them on a three-day tour of differing Aubertins and I believe I am sure I would be correct in saying that the choice to engage Bernard Aubertin to build for them happened after visiting. All the others (Virming, Sarralbe, Saesolssheim, Bitche etc) only reinforced their decision. Do visit and also any one of the 120 champagne family houses that make up the town of Vertus! Some pilgrimage. Best wishes, N

The Story behind this.

I have just been alerted to this. The Bostonians

I was thinking more of the UK - but of course the Graves in France (as well as those from the Western region after making music) are a necessity as we all know, and composers wrote some passages especially because of their presence. But, Ian, I read between your lines for the real answer. Thanks. N

I was thinking more of the UK - but of course the Graves in France (as well as those from the Western region after making music) are a necessity as we all know, and composers wrote some passages especially because of their presence. But, Ian, I read between your lines for the real answer. Thanks. N

What real musical use are they for? I know a large mid-19th Century (tracker) Holdich where the Swell has an Octave that was perhaps used for Hymns (the compass is not so large and thus is just accommodating the range nicely). But other than for hymns to make a tune more (perhaps) pronounced I am at a loss. When I have tried them, they just muddle the clarity. Thanks for some enlightenment. Best wishes, N

Interesting to hear these snippets - thanks for rooting them out, Ian. I have not heard any of these instruments in the flesh, so cannot yet comment. I teach somebody who has spent a lot of time on their Opus 1 and he is most enthusiastic - and he will even help them put it in Hannover Square because of his enthusiasm. What happens at his Cathedral whilst this happens remains to be seen! But one thing concerning recordings that constantly comes to my mind is the fact that some builders I know voice their instruments for at least a building 1/2 full of people and not for an empty space. Recordings are done in this and sometimes folk have heard the organ solely in this acoustic when making a visit and have lampooned the instrument for being too loud when it is perfect when folk are there. It is Catch 22 in some places. On the other hand, I have encountered organs which the builder has voiced and scaled for a more empty place and thus provides a diddler of an organ when the Dedication comes along. Many long faces! I do believe that a number of us forget the difficulties a builder must encounter in a rather lively building and also in a dry one. All the best, Nigel

136 is a grand piece in its own right and rather overshadowed by its neighbour (137)- mostly because people only seem to play a small nucleus of Buxtehude's works. Pity. Shame. I shall say that the organ will tell you about speeds as every instrument is different. There is no recipe that makes it all possible. Use your ears at every occasion. It is quite surprising how one's interpretation changes with each instrument (on one FF on another pp)- especially with the more 'phantasticus' works that we have in the repertoire that need a foundation from improvisation. All I can say in conclusion is: learn it very very well in the short time - one normally needs some time to digest such works and to let maturity set in before giving your interpretation on a paying public - so that you can adapt with professional ease when you greet a new organ. Best wishes, N