Simon Walker

That looks really lovely. I realise that those 'boxes' beside either stop jamb swivel so that you can 'put the organ away' (I haven't come across anything quite like that before!) Presumably theres also something behind the music desk to protect the manuals too.

On the subject of small Willis organs. This is an absolute gem and in a stunning room, which isn't very often seen by visitors. http://www.flickr.com/photos/47101250@N00/...in/photostream/ I'm sorry that the photo cuts half the organ off. I couldn't find a better one on the web. It's the Song School at St. Mary's Edinburgh and the guy playing it is me! I was totally unaware that this photo had been taken till I saw it on flickr! The spec is sw: 8 liedlich, 8 v. diap 4 lieb flute gt: 8 dulc, 8 diap, 4 princ, 2, fifteenth ped, 16 bourdon. Hitch swell. It's really lovely. The 8,4,2 chorus fills the room with a bold sound. The lieblich flutes are typical, beautiful examples. I always wished someone would do a recital on it - it would be a pleasure to listen to. I believe Denis Townhill recorded it years ago. Its a shame it didn't get into the recent 'Organs of Edinburgh' book - the room would certainly have made for fabulous photos.

Yep - we're not doing the gloria at all on maundy thursday. It seems it will be a very low key service. Tenebre is a different story. We're expecting nearly full congregations on all three nights, especially on Good Friday.

Sadly the organ is silent from now until the vigil - no organ in holy week. The bells will be rung but no organ as far as I'm aware. Is it really right top have a great big organ impro on Maundy Thursday - does that not take something away from the high celebration of the vigil mass? I think I remember once being at a church when this was done though.

Thanks Jon for your interest and helpful tips! I'm continuing to do it every time I play a service of course, but I do try to devote some practice time to it now as well. I still feel I can be a bit hit and miss, however - it's something I've gained so much more confidence in during the last two years or so and many people have been very complementary. I find moody and mysterious impro's much easier to do than jolly and happy stuff and I'm still not there with inprovising toccata figurations yet. I figure I just have to keep at it. I'd like to be really good at it, but I've got a long way to go yet before I'd dare do a concert improvisation. One day perhaps. Roll on Easter Day - I'll have several processions to extemporise and the famous ringing of the bells (with full organ sounding) before the Gloria is sung at the Vigil!

Roger Fisher and who else?

Another off the beaten track organ by the looks of it - http://www.npor.org.uk/cgi-bin/Rsearch.cgi...ec_index=N08090 I take my hat off to the organist in question. Few others display the same creativity when it comes to repertoire and choice of instruments upon which to record. Even fewer achieve such mature and musical results.

This guy is on youtube and it's well worth a watch - There are several more videos too.

Well 'Father' Henry Willis certainly has a claim for that title too!

I believe that Ben Chewter from Lincoln cathedral is going to be the new no.2 at Chester. Ian Roberts departed to go to Ranmoor Parish Church in March.

I've just listened to it on listen again. A very good programme indeed I thought!

I think Colins point is valid - as it is only relatively recently that the firm ceased to be part of the Willis family. It would seem like an obious thing to do to get in touch with the Willis family - who knows maybe no one was available for some reason. None the less - what a great thing that the history this firm was given some air time on radio. I couldn't imagine CBC radio here in Canada giving doing an item on the history of Casavant - a firm no less prolific!

that's neat!

I'm sure someone more experienced that me will answer this - but I don't see what harm soap and water could do. You just have to be careful when handling as the will bend very easily. If you have wooden pipes to clean too, that's where you'll need to avoid prolonged contact with water.

It's interesting that the most recent closed topic has at least got a vague explanation as to why it has been stopped - I never got to see what had originally been written though. A topic I started a while back (admittedly rather silly) disappeared without trace. It would be good if we could have some clarification as to what is and isn't allowed - it just seems that recently there has been rather a lot of intervention. I feel that it would be a good thing if the moderators and contributors had a little more understanding of each other and I certainly wouldn't like to see a repeat of some of the recent troubles.

It's too bad really. Paul had some of the most interesting things to say on this forum, not to mention dedication to helping others and freely sharing his knowledge. Paul won't be allowed back until March 2012 apparently, that's if he chooses to bother. What a shame.

Thanks Nigel, and all the others who have contributed. I'll definitely try and obtain the Hancock book, because I love his style of improv. Otherwise I shall just keep plodding on with it. I try to improvise for a bit every time I go and practice. I've got the time at the moment!

I don't think there has been much discussion of improvisation on this board... I've seen varying standards of improvisation around in Britain, but no one seems to teach it. I do it every week, and in the last couple of years I've improved a lot - now I even start to get nice complements about it! But I`d like to be a lot more confident and adventurous. How do I improve? I often listen to people, youtube helps, and various colleagues in the past have given me lots of inspiration, but I feel I need to actually knuckle down and do some work to improve further. Do any of you know any study books to recommend? I have a pretty good knowledge of keyboard harmony, but lack enough creative drive I feel. I'd certainly like to hear from any enthusiastic improvisers on this forum. Thanks in advance for your contribution!

How interesting! It's the sort of mechanical device that no one would be interested in trying to invent these days. Personally I always trust mechanical things much more than I trust computers. As clumsy as that device was I'm sure, I bet I'd have more faith in it than some modern computer which would be bound to freeze on you, or the batteries run out. Or you drop it and it breaks and you've lost everything saved. Sigh.... why does the modern age make everything more difficult!

I've often thought about how technological advances could be applied to page turning, but I'm yet to hear of anyone using some kind of device. The now common flat screens could sit on a music desk very easily, and now that screens don't flicker in the way they used to, they would be much easier to read for a sustained period. The idea of turning the pages by touching the screen, or another button would make it much easier than wrestling pages, especially when they won't stay open! My fear would be that it's always one more thing with the possibility of going wrong. Just like memory levels and sequencers, midi and play back stuff etc. Just how many people have come unstuck with these things? I'd worry about battery life and computer glitches - or what happens if you suddenly end up on the wrong page! None the less - has anybody come up with anything yet?

I'm sure that it is available from Durand. This link has some info: http://www.prestoclassical.co.uk/sm/Vierne...9790044064229-p

Hi folks. Another question... When are half length manual reeds possible? What kinds of stops can be built in this way? The reason for asking is again with regards to the instrument I currently play. It has a 1970's half length 16' bassoon on the swell. It's rather out of character with the rest of the division, much of which has a more early 20th century romantic feel to it. It would of course be fine on a neo-classical organ, but this isn't and I therefore regard it as a 'toy' stop. It produces some interesting effects, but I don't think sits well in the chorus. I prefer to use the sub octave coupler to gain a double trumpet sound instead for a full swell! In the future, I'm sure replacing this stop will be considered, but what would you replace it with? There isn't enough room (without totally rethinking the layout of the box) for the much needed, full length, 16 double trumpet. Is it possible to produce a convincing, romantic sounding, chorus blending 16' half length swell reed? Doesnn't St. Pauls Cathedral London have a Willis 16' reed at half legnth? Thanks for you time again! CD

Hi folks... This is another interesting thread! I totally agree with the ideals Mr Cynic and Pierre are saying. Old and worthy instruments should always be respected when it comes to restoration. Some so called restorations from previous years have been less successful where people thought improvements could be made, and they would have been much better off leaving things well alone. Look at the restoration of the Usher Hall Edinburgh. It still has its lovely pneumatic action beautifully retored (though it has to be said, it has given the city organist quite a few troubles lately...) It also has a modern solid state memory system ingeniously piggy backed onto the old pneumatic piston system. You can still play this instrument as it would have been when new. A very good job by Harrisons I think. On the other hand, what about when things aren't so good? I think we must allow for some modification when it's necessary for reliability and access. The recent Shrewsbury post has been very interesting to read with regards to the possibility of converting to electro-pneumatic action. I still think we should keep our 'heritage' ideals and opinions firmly rooted with regards to more significant instruments. We can't realistically try to save every instrument out there! Cynics point about changes made to cathedral organs is certainly an interesting one. I think years ago many cathedral organists failed to realise that they would one day move on and that the next generations might have other ideas! Interestingly the less successful alterations that happened at st Mary's Cathedral Edinburgh were during the 4 short years in the 50's that one person was in charge of the music there for. The changes made were great reeds going into the solo box (useful, but they now don't speak into the nave well at all) new Great 16' reed (a bit roughly voiced in comparison to the rest) and some useful, but rather piddly mutations on the choir replacing more romantic sounds which preceded them. The changes Denis Townhill had done in the 70' s during his time were much better executed. For a start they were additions not replacements, and he ensured they fit well into the chorus on the great. I agree with Cynic - cathedral organists should not be exempt from having to have a 2nd opinion with regards to proposals for changes!

I personally think it should go back to being a choir. It's a very delicate division, however it speaks quite directly into the congreagation, where as the swell and great less so which face the chancel (though the wonderful acoustic makes it all blend together rather well.) I don't think it should ever be transplanted to a positive - it wouldn't go well with the swell and great and I'd not want to get rid of the 100 year old flutes and dulciana/unda maris which are beautiful. I really miss the clarinet, so definitely think that should go back. It could be nice to have some gentle mutations down on the choir, but I'm undecided. There's only room for upper-work really I think more 8's or 4's is out of the question, it's a very small box. The other option is the dulciana mixture that Pierre suggested. What exactly are these?

Indeed we will. But there is a good reason for me asking what the going rate is - if anyone knows. Thanks John - I'll get in touch.