Bryn Clinch
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Posts posted by Bryn Clinch
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Thanks for your reply, Tony! I found it quite difficult to sort out the `Royal` organs and this one in particular. I have informed the NPOR and sent photos of keyboard, stops and pedals, but I think it may be a while before the entry is updated. I was told the name of the builder who installed the organ at Hucking but I cannot now remember his name but I do remember thinking at the time that the name was very familiar but not one of the larger companies - I must put my thinking cap on. I am hoping that he may be a Forum member and reply to my post but perhaps I`m clutching at straws.
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This little instrument is situated in St. Margaret`s Church, Hucking, Kent, a tiny village approximately midway between Maidstone and Sittingbourne and is a bit `off the beaten track`. The organ is in need of restoration and if provenance can be established, funding for the project would probably be that much easier. I would be extremely grateful if any member of the Forum has any additional knowledge of this organ regarding the original and subsequent builders and also of its history, as there is reason to believe that at sometime it may have been installed in a church{s) other than Buckingham Palace, Chipping Campden and Hucking - possibly Chipping Norton.
http://www.npor.org....ec_index=D04261
Items missing from the NPOR survey:-
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Flute 4ft : Open Diapason 8ft : Principal 4ft : Lieblich Gedact 8ft : Dulciana 8ft : Pedal Coupler
No pedal pipes
Pedals: Low C - High F
Blowing: Electric Lever Swell Pedal
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Does anyone plays these? Free downloads with demos on a very strange instrument, plus transpositions.
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I had a feeling there might be!
May I ask where it is?[/quote)
I will send a private message.
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It looks like a fairly bog-standard neo-classical specification. You can't really tell what it sounds like from just a stoplist. It could be inspirational; it could be frightful (and, if it's an extension organ, almost certainly the latter). It's all down to the workmanship and artistry of whoever rebuilt it and the scope and quality of the material he had to work with.
At best the sound would be clear, crisp and bright, with a scintillating chorus, characterful flutes and all stops balancing and blending equally – an organ capable of making contrapuntal lines sound like music rather than turgid treacle. At worst it would scream unremittingly, with raucous reeds and nothing blending properly with anything else.
Either way, it is guaranteed not to appeal to those who only appreciate organs that sound full-toned and Romantic. (I'm not thinking of anyone in particular here.)
One thing I don't like about the specification is the lack of any 4 ft flute. I would happily trade the Swell Twenty-second for one (though space may be an issue). I would hope the Gemshorn is of the hybrid flute/principal type.
One very interesting organ in a similar vein that I played recently was this one that Maurice Eglinton built at Alphington, Exeter in 1988 (in what would have been the parish church of the infant Robert Stone – he of the Lord's Prayer and a rather exaggerated impression of his age). Although the organ is in some respects uneven (the mutations are all far too strident and the reeds raucous), the 8', 4' and 2' stops and the Mixtures are absolutely wonderful. They are all perfectly balanced and blended and the organ can, if desired, be treated as a large one-manual. For example, there is no Great Fifteenth because that stop is on the Swell. The Great Open and Principal with the Swell Fifteenth coupled all fit together like a glove, with a quality of voicing and regulation might well make Bill Drake look to his laurels. The Open Diapason sings with great harmonic development. I could play on it for hours without getting bored. The flutes fit together similarly. I've not tried it, but I suspect you could play through the Orgelbüchlein without ever repeating a registration. An organ that deserves to be better known than it seems to be.
Thanks for your reply, Vox Humana! I have yet to see or play this instrument but hope to very soon. My own, non-expert, opinion is broadly the same and I`ll now know what to expect as I believe there is some extension work.
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A quick bit of googling shows the company as being incorporated on the 28/12/77 and its current status as dissolved. The company address shown is the the address for F H Browne and Sons in Ash near Canterbury
Many thanks, madorganist! You have succeeded in minutes yet I`ve been trying for months.
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Does any member have knowledge of The Canterbury Organ Company? They were in operation in the late 1970s, presumably in Canterbury, as I know of an instrument bearing their nameplate. Interestingly, this 1885 Forster & Andrews was moved to its present location in 1948 under the personal supervision of Noel Mander who, I believe, also made some additions and improvements. The Canterbury Organ Company rebuilt this instrument in the late 1970s, making dramatic changes but no trace of them can now found, even at the cathedral archive. Although my memory may be `playing tricks`, I seem to recall reading that they may have been formed by ex-employees of F. H. Browne & Sons but am very unsure of this. Any information would be gratefully received.
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I would value any member`s opinion on an organ that I remember playing many years ago and before it was rebuilt in the 70s. What sound would emanate from this instrument ? The present spec. is as follows:
PEDAL
16` Trombone
16` Bourdon
8` Principal
8` Stopped Flute
4` Fifteenth
2` Flageolet
Mixture III
SWELL
16` Cremona
Sharp Mixture II III
Twenty Second I
Nineteenth 1 1/3
8` Chimney Flute
8` Salicional
4` Principal
2` Gemshorn
GREAT
8` Open Diapason
8` Stopped Diapason
8` Trumpet
4` Octave
2` Fifteenth
Full Mixture IV
Sesquialtera II
All as inscribed on the stops.
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Although not strictly a Town Hall Organ, the Noterman/Compton organ in the Dreamland Cinema, Margate, possibly known many years ago as `The Hall By The Sea`, is to be restored as part of a massive restoration programme of the Dreamland Leisure Complex which includes the cinema on which work has already been started. My information is that the organ is intact and housed in roof chambers but the console has `mildew` on it. The organ has been silent siince 2000 and is a 4 manual, 19 rank, originally by Noterman. Compton built the existing instrument in 1935 and incorporated the Noterman ranks.
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I think this this is it, but there are no details. I'd have to check the number on my copy to be sure.
Many thanks, Stephen Barber, I`m fairly certain that`s what I have been looking for.
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Is any member of the Forum able to advise me where I can replace my lost copy of `Elegy for Strings` from the Downland Suite arranged for organ by Alec Rowley?
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Many thanks, I think that you have solved my problem. I always thought that this piece was extracted from another composition but completely forgot "A Downland Suite". As you correctly say, it is a beautiful piece and perfect for the organ and I am surprised that it is not more widely used.
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You are quite right, Barry. Tom Robbins featured in an edition of 'That's Life' but in some ways the programme emphasised the wrong aspects of Tom's nature.
The true story would not have made for such colourful and mischievous storytelling. Miss Rantzen even playfully mispronounced Henry Willis's name (Mr Willies...)
Tom was certainly eccentric in some respects. He was, however, a painstaking craftsman. He had worked for Willis, spending some time under Mr Strutt in the drawing office, whom he regarded as an absolute martinette. Tom was ever frustrated at Willis's insistence on using scale rods for pipework and soundboards that were not compatible, which led to many pipes being stood off soundboards because they wouldn't fit ! For a time he also worked for Kingsgate Davidson but clearly found their work not to his taste and struck out on his own.
Tom and his family lived in a windmill, and he had a taste for fine old furntiure and anything generally well-made and pleasing to the eye. He cared deeply for small mechanical action organs and lavished great care and attention on them. He had some fiery comments for organs that had been badly rebuilt or modified unneccesarily. Sometimes referred to as 'top-note Tom', he was a skilful tuner, with great awareness of how 8ft stops should be carefully tempered (I didn't say 'equally'!). Tom died in 1990 and is buried in the churchyard at Kingsnorth, Kent, where he built a small single manual tracker organ, which he regarded as his best work.
Whatever his faults, I wouldn't like to think of him being lumped in with the likes of some already mentioned in this thread. I have the pleasure of tuning a few of the instruments formerly in his care and they are a living testament to a man of considerable ability.
H
I first met Tom in the early 60`s when he came to my place of work to order some printed stationery and again later when he tuned the organ that I played. If I remember correctly, his appearance on `That`s Life` was due to the time that he was taking to rebuild an organ which he had removed to his workshop and not a criticism of his ability or workmanship.
I know of two instances when Tom gave `Lecture Recitals` to raise money for necessary repairs to the organs in question. Unfortunately one of the churches employed another builder to carry out the work which baffled me at the time. A few years later I played this instrument at a funeral and had quick look in the tuning book. Tom`s last entry stated that there had been `outside interference`. All subsequent entries were by another builder who eventually rebuilt the organ. I think he must have `lost` a certain amount of work due to his eccentricities and forthright manner. He once `blew his top`, and rightly so, when he returned the key of the 1845 Walker which I play. The powers that be had, without consulting neither myself nor Tom, misguidedly installed portable gas heating to replace the terminally ill oil fired heating system. He kept this organ in good order until his premature death when the organ world lost a great `character`.
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Many thanks, Malcolm, for the information on H. A. Bennett. It was really an `eye-opener`, especially his performances with the Rochester Choral Society - heady stuff indeed. At one of my lessons he had a young lady with him who I thought may be his daughter. He introduced me to her, with a little smile on his face, as his wife, Zoe. This `little smile` became quite a feature of my lessons during the coming months, especially when he told me, as he always did, when he was giving a broadcast Sunday morning recital. I wonder if the Beeb have some of his recitals in their archive?
My memory may be playing tricks, but I think he said that Zoe was the organist at the church next door to the Cathedral (now the Diocesan Office). This church had a fine three manual Walker on which he gave lessons when the Cathedral organ was under maintenance or the BBC were preparing the Cathedral for a broadcast. Does anyone know what happened to this instrument?
On one occasion, when I was having trouble with a quick, manual stop change, he said "You must pounce like cat". When I again made a hash of it, the little smile appeared on his face as he got up from his armchair and said "Move over, I`ll show you". I knew something special was about to happen and it did. He began playing a few bars before the crucial point and I waited for the pounce. It didn`t happen, as he calmly drew one stop and deftly pushed in another with his bald head and the `little smile` became a `big smile`.
I am fairly certain that HAB was partial to a pinch of snuff as there was always a sweet, not unpleasant aroma (which I didn`t recognise at that time), in the organ loft at Rochester. Years later I encountered an elderly gentleman who was a snuff-taker and immediately the smell brought back memories of my organ lessons and accounted for HAB`s sniffing and sneezing.
The ascent to and descent from the organ loft always followed a strict pattern. The steps were not much better than a ladder and he always insisted the pupil went up first. When the lesson was over he would say "push all the stops in - open the swell box - switch off - now we`ll wait for Mary and Martha to go to bed". The last instruction referring to the two wind indicators at either side of the keyboards, the type that resemble a plumb line. As soon as they rose to the empty position he said "Move over". He then sat on the bench with hands clasped together and using the full length of his forearms depressed each manual in turn about three times to ensure everything was "off". Master and pupil then descended the steps in the correct order, and one shilling was put into the coin box at the foot of the steps, this was for the use if the Cathedral`s electricity. A trip to the Crypt then followed where HAB meticulously switched everything off and then carefully checked each switch with the aid of his torch. Then followed the trip to the North Door where he produced an enormous key with which he locked it with a pronounced `clunk`. He then shoulder charged the door three times before he said "Good Night!, see you next Saturday".
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I've done a bit of digging on Harold Aubie Bennett, who succeeded Charles Hylton Stewart as Organist at Rochester Cathedral in 1930. Bennett was born in Eccles, Manchester in 1891, the son of William Arthur Bennett, an Insurance Manager (Boiler Insurance, to be specific!), a native of Salford and Sara Lucy Bennett (maiden name unknown), a Mancunian. There was an older sister, Ethel Lucy Bennett. By 1911 the family were living in Brudenell Grove, Leeds, and HAB is listed in the census as being 19 years old, single and 'student music and organist'. HAB was educated at the Central High School in Leeds and at Leeds Parish Church, presumably as a chorister under Bairstow. From 1913-23 he was Bairstow's Assistant at York Minster as well as being Organist of the city's Priory Church of Holy Trinity. From 1919-24 he was a lecturer at St John's College, York. He also conducted York Symphony Orchestra, which had been founded by Thomas Tertius Noble, from 1921-6. From 1919-25 HAB was Chorus Master of Bradford Festival Choral Society. This overlapped with his tenure as Organist of Doncaster Parish Church, 1923-30. He also conducted Doncaster LNER Music Society from 1925-30.
In 1919 he married the pianist Lilian W Dewhurst in York. There don't appear to have been any children from the marriage. The Bennetts moved into Minor Canon Row, Rochester in the summer of 1930. Having been turned down for the top job Percy Whitlock left Rochester for St Stephen's Bournemouth. Bennett had suggested that PW apply for his job at Doncaster. However, the job went to Percy Saunders (later organist at Wakefield Cathedral). In any case, having met Bennett, Whitlock didn't 'feel like continuing in a subordinate position. I cannot stay here under a new man' he confided to his diary. Bennett's application had received strong support from Bairstow, an influential 'fixer' of organists' posts in those days.
HAB took over the conductorship of Rochester Choral Society in 1930, considerably widening its repertory, with music by Bax, Faure (3 performances of the then rarely-heard Requiem), Hamilton Harty (The Mystic Trumpeter), Armstrong Gibbs' The Highwayman, Holst's The Hymn of Jesus, Kodaly's Te Deum, Verdi's Requiem and RVW's Dona Nobis Pacem. Heady stuff!. He also served as an examiner for Trinity College from 1939.
Lilian Bennett died in November 1944, aged 48. Three months earlier she and HAB had survived a near hit from a V1 which landed near a garden in Frindsbury where they were having tea with a Choral Society member. Two years later HAB married Zana Zoe Burford (1912-1991), Music Mistress at Chatham Girls' Technical School and later at Rochester Girls' Grammar School. She had served as accompanist to Rochester Choral Society during the War.
According to Joe Levett's memoirs HAB retired 'owing to ill-health' in 1956. He was succeeded by Dr Robert Ashfield. The Bennetts stayed on in Rochester. HAB died in 1978.
He doesn't appear to have left many original compositions. He did, however, contribute a chorus to the Rochester Historical Pageant of 1931 (together with music by PW and Hylton Stewart).
I have one open reel tape recording of a recital given by HAB on Rochester Cathedral Organ in 1957 which gives a good idea of his musicianship. This was found among the enormous cache of off-air 78rpm and open reel recordings rescued from Joe Levett's Rochester residence when he moved into an old folk's home.
There are the bare bones of HAB's career. Who can add some human-interest raiment?
Malcolm Riley
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I've done a bit of digging on Harold Aubie Bennett, who succeeded Charles Hylton Stewart as Organist at Rochester Cathedral in 1930. Bennett was born in Eccles, Manchester in 1891, the son of William Arthur Bennett, an Insurance Manager (Boiler Insurance, to be specific!), a native of Salford and Sara Lucy Bennett (maiden name unknown), a Mancunian. There was an older sister, Ethel Lucy Bennett. By 1911 the family were living in Brudenell Grove, Leeds, and HAB is listed in the census as being 19 years old, single and 'student music and organist'. HAB was educated at the Central High School in Leeds and at Leeds Parish Church, presumably as a chorister under Bairstow. From 1913-23 he was Bairstow's Assistant at York Minster as well as being Organist of the city's Priory Church of Holy Trinity. From 1919-24 he was a lecturer at St John's College, York. He also conducted York Symphony Orchestra, which had been founded by Thomas Tertius Noble, from 1921-6. From 1919-25 HAB was Chorus Master of Bradford Festival Choral Society. This overlapped with his tenure as Organist of Doncaster Parish Church, 1923-30. He also conducted Doncaster LNER Music Society from 1925-30.
In 1919 he married the pianist Lilian W Dewhurst in York. There don't appear to have been any children from the marriage. The Bennetts moved into Minor Canon Row, Rochester in the summer of 1930. Having been turned down for the top job Percy Whitlock left Rochester for St Stephen's Bournemouth. Bennett had suggested that PW apply for his job at Doncaster. However, the job went to Percy Saunders (later organist at Wakefield Cathedral). In any case, having met Bennett, Whitlock didn't 'feel like continuing in a subordinate position. I cannot stay here under a new man' he confided to his diary. Bennett's application had received strong support from Bairstow, an influential 'fixer' of organists' posts in those days.
HAB took over the conductorship of Rochester Choral Society in 1930, considerably widening its repertory, with music by Bax, Faure (3 performances of the then rarely-heard Requiem), Hamilton Harty (The Mystic Trumpeter), Armstrong Gibbs' The Highwayman, Holst's The Hymn of Jesus, Kodaly's Te Deum, Verdi's Requiem and RVW's Dona Nobis Pacem. Heady stuff!. He also served as an examiner for Trinity College from 1939.
Lilian Bennett died in November 1944, aged 48. Three months earlier she and HAB had survived a near hit from a V1 which landed near a garden in Frindsbury where they were having tea with a Choral Society member. Two years later HAB married Zana Zoe Burford (1912-1991), Music Mistress at Chatham Girls' Technical School and later at Rochester Girls' Grammar School. She had served as accompanist to Rochester Choral Society during the War.
According to Joe Levett's memoirs HAB retired 'owing to ill-health' in 1956. He was succeeded by Dr Robert Ashfield. The Bennetts stayed on in Rochester. HAB died in 1978.
He doesn't appear to have left many original compositions. He did, however, contribute a chorus to the Rochester Historical Pageant of 1931 (together with music by PW and Hylton Stewart).
I have one open reel tape recording of a recital given by HAB on Rochester Cathedral Organ in 1957 which gives a good idea of his musicianship. This was found among the enormous cache of off-air 78rpm and open reel recordings rescued from Joe Levett's Rochester residence when he moved into an old folk's home.
There are the bare bones of HAB's career. Who can add some human-interest raiment?
Malcolm Riley
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I've done a bit of digging on Harold Aubie Bennett, who succeeded Charles Hylton Stewart as Organist at Rochester Cathedral in 1930. Bennett was born in Eccles, Manchester in 1891, the son of William Arthur Bennett, an Insurance Manager (Boiler Insurance, to be specific!), a native of Salford and Sara Lucy Bennett (maiden name unknown), a Mancunian. There was an older sister, Ethel Lucy Bennett. By 1911 the family were living in Brudenell Grove, Leeds, and HAB is listed in the census as being 19 years old, single and 'student music and organist'. HAB was educated at the Central High School in Leeds and at Leeds Parish Church, presumably as a chorister under Bairstow. From 1913-23 he was Bairstow's Assistant at York Minster as well as being Organist of the city's Priory Church of Holy Trinity. From 1919-24 he was a lecturer at St John's College, York. He also conducted York Symphony Orchestra, which had been founded by Thomas Tertius Noble, from 1921-6. From 1919-25 HAB was Chorus Master of Bradford Festival Choral Society. This overlapped with his tenure as Organist of Doncaster Parish Church, 1923-30. He also conducted Doncaster LNER Music Society from 1925-30.
In 1919 he married the pianist Lilian W Dewhurst in York. There don't appear to have been any children from the marriage. The Bennetts moved into Minor Canon Row, Rochester in the summer of 1930. Having been turned down for the top job Percy Whitlock left Rochester for St Stephen's Bournemouth. Bennett had suggested that PW apply for his job at Doncaster. However, the job went to Percy Saunders (later organist at Wakefield Cathedral). In any case, having met Bennett, Whitlock didn't 'feel like continuing in a subordinate position. I cannot stay here under a new man' he confided to his diary. Bennett's application had received strong support from Bairstow, an influential 'fixer' of organists' posts in those days.
HAB took over the conductorship of Rochester Choral Society in 1930, considerably widening its repertory, with music by Bax, Faure (3 performances of the then rarely-heard Requiem), Hamilton Harty (The Mystic Trumpeter), Armstrong Gibbs' The Highwayman, Holst's The Hymn of Jesus, Kodaly's Te Deum, Verdi's Requiem and RVW's Dona Nobis Pacem. Heady stuff!. He also served as an examiner for Trinity College from 1939.
Lilian Bennett died in November 1944, aged 48. Three months earlier she and HAB had survived a near hit from a V1 which landed near a garden in Frindsbury where they were having tea with a Choral Society member. Two years later HAB married Zana Zoe Burford (1912-1991), Music Mistress at Chatham Girls' Technical School and later at Rochester Girls' Grammar School. She had served as accompanist to Rochester Choral Society during the War.
According to Joe Levett's memoirs HAB retired 'owing to ill-health' in 1956. He was succeeded by Dr Robert Ashfield. The Bennetts stayed on in Rochester. HAB died in 1978.
He doesn't appear to have left many original compositions. He did, however, contribute a chorus to the Rochester Historical Pageant of 1931 (together with music by PW and Hylton Stewart).
I have one open reel tape recording of a recital given by HAB on Rochester Cathedral Organ in 1957 which gives a good idea of his musicianship. This was found among the enormous cache of off-air 78rpm and open reel recordings rescued from Joe Levett's Rochester residence when he moved into an old folk's home.
There are the bare bones of HAB's career. Who can add some human-interest raiment?
Malcolm Riley
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The Rochester Composers' festival sounds like a wonderful idea. The local press and TV have recently covered the restoration of Minor Canon Row, Rochester Cathedral's historic Georgian terrace by The Spitalfields Trust prior to being sold off by the Cathedral authorities. No 7 MCR was always the Cathedral Organists' residence. I wonder whether any long-lost MSS by Bridge, Luard-Selby, Hylton Stewart, Bennett, Ashfield et al might have been unearthed?
MKR
The name Bennett brought back memories of organ lessons in Rochester Cathedral with H. A. Bennett. He never seemed to use his christian names, which I believe were Harold Aubie/Auber, and I have never heard of any compositions that bear his name. He has always been a mystery man to me as I have been unable to discover much about him except that he was once organist at Doncaster Parish Church. A photo of Doncaster`s 5 manual Schultz hung in the organ loft at Rochester and, as a 15 year old boy who had never seen an instrument of such magnitude, it had become somewhat distracting. He knew this and eventually satisfied my curiosity with a description of the organ. He also appeared to prefer the 3 manual Walker.
Can anyone tell me more about H. A. Bennett?
I have a few rather amusing tales regarding my lessons at Rochester with H.A.B. if anyone is interested.
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Does anyone know what is happening to the organ in Dover Town Hall.?
I did speak to someone a year ago, who told me that the organ hadn't worked for many years, one of the problems being that the console was portable, and had to be wheeled out for concerts etc, and of course there was no money available.
He did not know the name of the organ builder
Colin Richell.
The builder of this four manual was HNB. When I visited the Town Hall about ten years ago the console had been banished to the basement. I was told that they just `chopped` the cable. Recently, there have been moves to restore the instrument at a cost of at least £250,000 and estimates have been obtained, one of which was from Germany. Unfortunately, there seems to be some opposition to the project on the grounds that nobody would play it. Unbelievable!! -
Was it Elegy from A Downland Suite, as arranged by Alec Rowley. A very beautiful piece that suits the organ perfectly. Mind you, the arranger has abridged the piece somewhat, without comment. In fact, now I look at it, he doesn't even say where it comes from! I only discovered it a couple of years ago.
Many thanks, I think that you have solved my problem. I always thought that this piece was extracted from another composition but completely forgot "A Downland Suite". As you correctly say, it is a beautiful piece and perfect for the organ and I am surprised that it is not more widely used. -
An organist friend of mine recently asked me if I had a copy of "All the nice girls love a sailor" which had been requested for the funeral of a prominent lady politician. I remembered this tune (or thought I had) and promptly reached for the manuscript paper. Fortunately, he managed to track down a copy which was somewhat at odds with my feeble effort. I don`t think that I`ll attempt this again!
On a more serious note, many years ago I used to play a piece by John Ireland which I found extremely suitable at military style funerals and Remembrance Day. I lost my copy and have been unable to replace it and cannot rely on my memory. I think that it was called "Elegy" and in the same vein as GTB`s "Elegy" and Elgar`s "Nimrod", and possibly an arrangement from a string quartet. Although I don`t know the "Elegaic Romance", I fairly certain that it is not what I`m lookong for.
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At my church, I am pleasantly surprised by the number of families who ask for “something cheerful”; I have played the March from the Occasional Oratorio sometimes.
No list from me that
would be of any interest to forum members except for one piece, that is, I am sure, no longer in print - “Air in C” by Arthur Somervell. It was published in an arrangement which put it up a tone into C major and is effectively a take off of the so-called Air on the G string of Bach. It was originally written for violin and piano in B flat and I have made my own arrangement for organ in the original key, which I think sounds better and follows more closely Somervell’s original text. I would be glad to make a pdf of it for anyone interested. I have used it for weddings, funerals and just as a simple pre service voluntary. It begins quietly and is marked to end “ff” but it is just as effective to end quietly. Adrian Lucas included it, in the C Major version, on his Priory disc at Hull City Hall some years back.Somervell’s music is, I feel, sadly neglected; his setting of the 23rd psalm using H.W. Baker’s paraphrase is a little masterpiece; his G major service deserves to be better known and his “Thalassa” Symphony in D minor also very well worth hearing - the marvellous second movement being, in the period between the Wars, as popular as Nimrod for “elegiac” occasions. I have an arrangement of this for piano by the composer and would be glad to send it together with the Air, if requested.
Perhaps I shouldn't be flippant in the current context; we have all heard crem stories of "Smoke gets in your eyes" and "Keep the home fires burning" but a friend of mine told me once that, many years ago, she was convinced that she heard "Roll out the barrel" being played in Norwich Cathedral at the end of a funeral service. No, it wasn't him.
If the two Somervell pieces are of interest, send me a PM and I will see what I can do.
David Harrison
May I ask where it is?
Rounded sharp keys
in Nuts and bolts
Posted
I have recently discovered a small one manual, unfortunately of unknown origin and queried as Bevington on the NPOR, that has a pedalboard with `rounded` sharps. The organ possibly dates from around 1820-1840 and the pedals (pulldowns) appear to be a later addition. Fifteenth, Principal, Diapason 8, Dulciana 8 (not full compass). Also Stop D. bass and Stop D Treble which appear to be permanently `locked` together and cannot be drawn individually. I cannot understand the logic of this as it precludes the use of the Stop D bass with the Dulciana. Builders plaques affixed are "Harvey & Co. with the late T. Walmisley; Tom Robbins; Hill, Norman and Beard.