Nigel Allcoat

Should it not be two organists' associations? Surely the associations have more than one member. Help!! Let's please get back to the topic, organs and high pleasure reeds. N

How heartening to read of such a chance encounter. As for young players - there are still a good number of them coming into the world. However, the actual numbers are not so great as in previous decades. There are difficulties these days in Oxbridge places - but not for the lack entirely of playing ability. Colleges are appointing more and more on academic ability (for league tables I presume) even though the playing ability might be of the highest quality. (It doesn't always mean that a brilliant player is gifted in getting 3 A Levels at A Grade). Gone are the days when scholars were appointed on their playing and they then did their best at an academic subject backed by some good testimonials from headmasters and music teachers. The organ was the best key to open a university door in the past. I know that few players are interested in becoming ecclesiastical musicians because of the great demands of their time, dearth of professional remuneration and difficult musical demands. Making a living in the UK from giving recitals is certainly not even conceivable when a modest fee for players should be £1,000 before tax and before expenses of travel and accommodation as Churches have little 'in the pot' for musical artistic outreach into the community (unlike some others in countries throughout the world). The UK has always had a tremendous number of excellent organists who, on Sundays, departed from their professional jobs in the week. This happens less and less. Families are mobile and need to have those 'away days'. Furthermore, musical fulfilment I would suggest for these people, needs to be gained from the ability of having good Liturgy married to the best music that they strive to produce, building on the musical heritage of which they consider themselves to be a part. Choristers coming into contact with a wonderful pipe organ played with dedication will be enthralled and enthused. I wanted to sing in a choir to be nearer an organ. I was attracted by the sound of it. Surely I was not alone? Sadly I am not at all attracted by electronic substitutes and so if I am not alone, then this will diminish the numbers of young people. Another feature that in retrospect attracted me was the beauty of casework and the surrounding architecture. Still to this day, if truth be known. The continent is a treasure house of such examples. But, I drove my family to distraction when 8 after receiving from Hill Norman & Beard, a bundle of beautifully printed specifications, to visit Beverley Minster - this necessitating the Humber Ferry too! What a long-suffering family I had/have. There are so many influences to inspire I think, but the greatest must be the instrument itself and then next a person to pass on their passion as a player to the youngster. That's the lineage. These are only my thoughts - so I am sure others will have differing ones. All the best, Nigel

York Minster Organ photographs were taken earlier in the year when I went up to play and rummage around. It is vast in every way and the distance between the 32ft in the North Aisle must be a good 100ft or more away from the 32ft reed secreted away in the aisle of the South Transept. There are pipes everywhere in all sorts of positions. There is even a roof over newish pedal upper-work stashed in the screen with the odd pipe cut through the lid of it. The screen console is gloriously encased with wooden carvings and vaulting and is all rather spectacular. You can see I enjoyed myself by having a glance if you like at the pictures. There are a couple of close-ups of the famous Tuba too. Best wishes, Nigel

Wedding Fees at this church make fine reading.

Off-thread (a little), but a vignette about such things circulated at the RSCM at Addington Palace when I was there. Down-to-earth Derek Holman D.Mus (Dunelm) was Warden and Presidential Gerald Knight (Lambeth) was Director. Both were in their respective academicals under the flowing boughs of the great cedar tree on the lawn of the palace for the annual garden party and I believe not too much love lost between them. The Director approaches the other and feels the material asking, "Artificial silk?" The Warden retorts after feeling the Director's, "Artifical Doctorate. I believe".

I am always wary of hoodies. However Academic regalia has no place within the Church and thus such things are only worn on Speech days or at Commem when parents rather like to see a decent parade of Staff who are in charge of their offspring's edgeucaeshon. The C of E seems to thrive on such apparel and the only time when it might be appropriate (at a pinch) is when there is 9 Lessons and Carols and it enhances the display of Poinsettias. One is worshipping the Lord with talents, not certificates.

I was brought up on this Cathedral organ when a teenager under the tutorship of Dr George Gray who knew the instrument through and through. Therefore it was a memory that I treasure as he taught how to use it in the ways that brought it into existence. The first time I ever heard the Harmonics was listening to the previous person's lesson whilst I waited in the Nave; it was the semi-quaver runs that just precede the final magisterial pedal entry of BWV 545 - which used the enormous pedal reeds; the Great Trombas being brought fully on for the final cadence. All (now I have lived a little!) being redolent of an 'Edwardian' style, of which the organ was a prime example, albeit constructed sometime later. It was quite impossible to 'go Baroque' but everything was a unity. (As somebody else has commented - take one thing a way from the total scheme, and all falls apart. How very true.) Therefore, with a new organist who brought an entirely different approach to playing such an instrument (I had lessons with him when George retired), it just didn't work - hence the new mixture coming along on the Gt and a Larigot plopped on the Choir!) This was all at a time when a new generation of players was emerging. I seem to remember the craze of taking off a Large Open Diapason and replacing it with a Quint Mixture. Didn't this happen at King's College, Cambridge? Recordings of continental organs (and the emergence of the ability to travel reasonably), made some folk feel inadequate with their instruments as they strove for clear polyphony - frequently with dire results for another generation to rectify or throw out. At Leicester (when the Quint Mixture appeared), the Large Open lost its leather! When the last rebuild happened and the Trumpets added, the Trombas were packed away and they are still within the curtilage if the Cathedral as far as I know. Best wishes, Nigel P.S. When I had my first lesson with Fernando Germani, he insisted that on British organs the Reeds on the Gt came before the adding of the Mixtures which in a way is how the Harmonics were intended to be used, I think.

Many years ago in the last century when I was going to play for the Haarlem festival and be broadcast live and was very green as to playing such extraordinary instruments, I was asked to produce some recent programmes from which they could all choose for mine in the Bavo. To my absolute horror they chose the Glazunov Fantasie for me to play. By return I pointed out that the work demanded compasses far greater than those on offer built by Müller, not to mention an enclosed department needed for the the < & >s. They said all would be fine as for the former 'problem' I should play down an octave and the registrants would add a Mixture or two and for the latter - well, "just leave it up to them". It was a most fruitful collaboration. I have the tape to prove it. I also have the score with all the registrations numbers too from that performance which I recently passed on to Ian Ball. All the best, N

If you want to fly the flag, so to speak, Novello (those volumes edited by Walter Emery) are excellent. He was a most astute scholar and I certainly can say that the 2 volumes of Trio Sonate are just the ticket. As for performing editions so you don't need to rely on a page-tuner - you have to do it yourself! None, as far as I have come across, work. Best wishes, N

Most musicians know the correct source/instrumentation of this evergreen classic. However, for organists craving a very similar work (and still in D major) from the same composer that was expressly written for harpsichord/organ and not therefore needing to be 'arranged' (other than deciding when you would like to use pedals), shoot to the Ciacona in D. Like most works from that time the final variation can be inserted at almost any point to round things off should a necessary truncated version need to be used. Furthermore it makes a wonderful recital piece with the player able to show off the multi-various sonorities of an instrument in about 10 mins or so. This is the the work that brides should be shown as a far grander sort of composition. People need a little education now and again and they should thank you for it. Best wishes, N

It says that it is Series 2 in the Titles. The programmes are on Sky Arts 2 and seems to be on and off throughout the day. N

Topic and mention deleted at the request of Mander Organs

Deleted at the request of Mander Organs.

Wow. I thought most people knew of the Rev'd. His organ building book was my very first (and only - almost) prize at school. When my family used to go to Swange for a holiday they used to take me to Worth Matravers - one of the gems of Romanesque architecture (along with Studland I believe) in Dorset. Bonavia-Hunt I am sure had a hand in that organ there and I thought he was also the Vicar at one time. Might be wrong about everything though. N

I am sure this is a true thing, but I must say that all the old glorious Italian organs are mechanical action and he certainly championed his country's old music. It was most enlightening as a student as it was quite alein to my up-bringing in the England tradition to know about pre-Romantic indigenous music. Although famed for Romantic music, Germani was so at ease with any organ and action. I seem to think that I have written some notes for a release on CDs of some of his 78's(?) from Alkmaar. I have them somewhere, I am sure. Therefore, I would not say that he became acquainted with tracker action only at the end of his career as the recordings in Alkmaar must have been certainly in the middle of his concert-giving career. Germani and Alkmaar in the same sentence never seems to jump out at you - but it does when you listen. I shall delve and find again. Thanks for the prompt. Best wishes, Nigel

My first recordings of these works were Jeanne Demessieux and then Germani. I still think they are wonderfully wrought performances in differing traditions perhaps. But the quality of the recordings might leave much to be desired these days. I love the description of the former's funeral in her church in Paris (La Madeleine). The coffin was draped in black (Dior?) to the floor and the organ remained silent. N

Just dandy and as I thought. Invaluable. Stay about! Best wishes, N

Please refer to an earlier post that I made concerning the raising up. It is something that was discussed with me at the book-launch lunch when I sat next to the Vicar. As for being like a Cathedral with the Grove in the Transept and the console out of sight of choir - I played for Choral Evensong at a cathedral last Sunday where the choir seemed to be in another part of the city when they were in their stalls. They would hear me but I was only aware they were there at the end of lines and verses! Don't be fooled about the Grove position - even as it is. The sound is far more brilliant than you would anticipate it to be and I thought it far more focused and strong than the Magdalen/Jones organ (in repertoire). If the Grove is raised to the level of the other instrument (remember that was on the floor before), the effect would indeed be stupendous for all and not just for the bookstall ladies. As it is, it is truly marvellous. With a camera and choir, I should adore to hear it thus. N with all best wishes.

Is this a casualty of the weather at the moment? I think the low humidity is everywhere and it is rather a freak time. I have heard that somebody's voicing machine has for the first time ever in its life developed problems. I think every organ (certainly of note) should possess a good gauge to measure temp and humidity. Hands up those who have? I am told (but please correct me, please) that the ratio should be 20C to 60% humidity and from that you can work out the other levels. Over the past weeks at home I struggle to reach 55% with 24C in the home. (There is somebody nearly 99 living here so must be warm!) However, my piano is in good shape, as is the organ. It is surprising what a difference it makes to the speech of my wooden pipes to have the correct ratio - also the action. I get through 2 gallons of water a day at the moment in the humidifier. Best wishes, N PS King's College Chapel in Aberdeen after they installed their new organ has the place littered with humidifiers and graphs made daily of the readings from the central control. Works a-treat.

I have sent a message but will publicly say a couple of things as my thoughts on possessing an organ at home have somewhat changed since living with one for the past 18 months. (2 manuals with a stop - both wooden - on each and with common bass, shove coupler and pedals permanently coupled to the lower keyboard.) The only place it would go is in a room 10ft by 7ft and the usual 8ft 6" in height. I left the door off. Sounds amazing in the kitchen 40 ft away down the hall. It is in a modern property of 20 years with double glazing and central heating. It took 2 people about 4 hours to install as it came in sections. 1. I use mostly the 8ft Bourdon and when tempted to luxuriate, I couple the two stops together. Not so often. Sometimes combining the two keyboatds for a slightly more meatier action. 2. A practice organ is just that really. It is not for me a scaled-down version of a church organ with choruses. It is for the rehearsal of notes and articulation not for the practice of sound. 3. Two ranks of same material means that tuning is of no problem with domestic heat. 4. A humidifier is necessary to maintain as near to 60% humidity to 20 degrees as possible. Surprising how action and sound changed when I bought mine. A revelation in fact. It takes up so little room (about a 1/4 of the size). It is also a most lovely piece of furniture in a home. 5. A Tremulant is most difficult to add, as I asked the builder and he said 'non'. In fact the quality of sound is wonderful and needs nothing to aid it. 6. If someone can tell me how to do it and post, I would gladly record something so that you may hear for yourselves. 7. It saves the planet as you don't always get the car out to go to a church. 8. It is warm to practice. 9. For Romantic music I still mostly play the piano and then put things together. 10. You can have a glass of something when you want. All best wishes, N

Thanks indeed. You are a star. I missed this post amid the vitriol. Nigel

My comment was not at all nasty and am rather mortified to think that it was construed so. Sometimes copies are needed because of location - America, Japan even Scandinavia (the French Classical instrument in Stockholm's Maria Magdalena for instance). In fact it was a genuine question to learn what instruments he has made other than those seen in the video and especially those which were not copies. He has a streak of in-built excellence very similar to his confrère in France with the exception that in the video there was a most beautifully kept bookcase behind him, whilst in France it looks always as if a tornado had passed by 10 years before. But actually (as others might attest), Aubertin is the tornado at times. A list of van Eeken instruments would still be greatly appreciated and with links to photos as a bonus. Anyone who strives so passionately for his profession needs far more than mere discussion here. best wishes, Nigel

This was one reason why I transferred the Summer Organ Conservatoire to Saint-Antoine as we had use of this in Montèlimar for our Bach sessions with Ewald Kooiman. The church is not so over-large but has a glorious acoustic and an excellently balanced instrument - both architecturally and tonally. I am more than happy that you have winkled out this video. Such a happy work is this and deliciously shows the von Beckerath sheen. Best wishes, Nigel

Indeed it is most illuminating to hear somebody talking about their work in such a way - and a person who is in the midst of such a vast array of old instruments. But one of the interesting parallels with my friend Bernard Aubertin, is that they both come from a family line of craftsmen using wood and knowing all their lives the excellence of design and construction that goes hand-in-hand with such a profession. This natural in-built knowledge seems to be invaluable in their organ-building work. Another point that is made concerning the in-house construction of pipe making is the ability to analyse the metals and the copying of old models and perhaps experimentation. Perhaps the latter we didn't see here as Mr van Eeken seems locked more into the fashioning of instruments in the 'old style' without using the old to influence more new schemes that bring them into the present. I may be wrong, but I wonder if he has any instruments that are his alone - not copies. I notice that some carving was copied from another famous organ. It would be good to know the whereabouts of the soundtrack organ too. Did I miss where it was? On the question of making pipes, I can say that builders swap scales and historical facts - especially when one has been restoring. The opportunity to make a few experimental pipes is so necessary. For instance, the triple over-blowing flute in the organ of St Louis in Paris came about because of that information swapping and subsequent experimentation. It is one of the most remarkable sounds created lately by organ builders anywhere. It could never have been born had the builder not had this facility. Nor arguably would the Cavaillé-Coll instruments have had such individuality if the father (Dominique) could not have used the information from the son (Aristide) sent home from his travels. These were all mostly new sounds to France. In conclusion, these hands-on builders have a total tonal conception in their mind from the outset of design. They do everything. I suggest that they could never contemplate allowing others to provide the sound-source in this situation. Therefore, their output is about one major new organ every 2 or 3 years. It would be good to have a list of van Eeken organs for our knowledge and edification. The next Aubertin after these past three years is nearing completion with the Pedal Quint being installed today. Best wishes, Nigel