Jump to content
Mander Organs

Damian Beasley-Suffolk

  • Content count

  • Joined

  • Last visited

Community Reputation

0 Neutral

About Damian Beasley-Suffolk

  • Rank
    Advanced Member

Profile Information

  • Gender
  • Location
    Voorburg, The Netherlands

Recent Profile Visitors

1,736 profile views
  1. Damian Beasley-Suffolk

    List of beautiful English Organs

    All this talk of Smith and Bodley compels me to mention these two instruments, both of which I have a passing acquaintance with. Chapel of the (former) Bishop's Palace, Bishop Auckland, Co Durham. Initially a 1-manual by Smith in 1688, a second manual added by H&H in 1903. Sits high at the back of the chapel. My wife is a local, and was one of the organists here while studying at Durham University, during David Jenkins' time as Bishop of Durham. She remembers him fondly, and there were no recorded lightning strikes - not in Durham, at least šŸ˜‰ http://www.npor.org.uk/NPORView.html?RI=N13277 Immaculate Conception, Stroud, Gloucestershire A rather splendid case, actually a copy of another Bodley case (see NPOR for details). Unusual, from my limited knowledge, in originally being built for, and now still in, a Catholic church. I vaguely remember playing this once, many years ago, and when I was even less competent than I am now to comment on its merits, but I certainly enjoyed it. http://www.npor.org.uk/NPORView.html?RI=D06533 I think this just fits within the "rules" of this thread: my favourite modern case is that of Clifton Cathedral in Bristol, probably a biased view because I in effect grew up with it and heard it a lot at an impressionable age, although I've never actually played it. If one of Picasso's principles of painting was to allow the viewer to see a subject from several different perspectives simultaneously, then this is a Picasso of an instrument. One could easily imaging it rendered as a straightforward neo-baroque 3-manual hanging off a rear gallery, but who could start from that traditional arrangement and end up with this? It suits the building, which I also like, very well - perhaps it's just because I am a child of my time and these were both brand new when I became aware of these things. In fact, I think it is a more attractive instrument and sits better in its place than it's larger contemporary sibling in Freiburg Minster, and several other hexagonal Rieger cases from the period (yes, even Ratzeburg), although the latter two are superb towns/churches/organs to visit and well worth the trip. http://www.npor.org.uk/NPORView.html?RI=N01276 I also have to say that Clifton also represents a type of asymmetric but balanced organ case which I find attractive. In particular, our hosts Mander have produced a number of such cases, for some reason often in Japan. I think are successful as they are balanced and complete by themselves, but do not appear to be missing a complementary "twin" on the other side of a chancel.
  2. Damian Beasley-Suffolk

    List of beautiful English Organs

    Holy Innocents, Highnam, Gloucestershire. Not so much a case as a highly decorated balcony, but impressive nonetheless. I used to live close by but, as is often the case, never got round to actually hearing it. It was rebuilt in 2004 by Wood. http://www.npor.org.uk/NPORView.html?RI=K00417
  3. Damian Beasley-Suffolk

    York Minster

    "German eingineering ... skils ... quality.." and cost a fortune when they do go wrong. I followed the story of a German organ in a Germn church which the church wanted to get rid of because it was so unreliable it was costing them several thousand euros a year just to maintain. They sold it to a church in another country speaking another language which is not English, the new owners apparently being delighted at their high quality German instrument. Having only read of this in newspaper articles and church notices it might not be the whole story so I won't give any names, but I'm astonished that nobody involved can speak the other side's language and discover these things. As an engineer I admire German technology as much as anyone, but caveat emptor. Having said that, yesterday I listened to evensong at (a large church) with a fairly new toaster, which sounded surprisingly poor, so full marks to any congregation who makes the commitment to transplanting a decent instrument and sorting out its problems in the process. They'll be better off in the not-so-long run.
  4. Damian Beasley-Suffolk

    Organs on Google Street-view

    Re: sitting (almost) inside an organ, the Wood organ in the chapel of St Edmund's Hall, Oxford is odd. The facade is placed on the wall just to the left of the chapel entrance, with no visible console. I read very recently, but of course cannot now retrieve, that the console is at the back of this organ, in an adjoining room,. The organist apparently peers through the organ to see what's going on. Odd, but not unknown here in the Netherlands where some organs have consoles at the back of the instrument, the organist either looking through the instrument, or relying on a couple of very large mirrors. Newcastle Cathedral has its console (both the old one and the temorary electronic) in a kind of wooden cubicle next to the choir division, I think the organist peers through a gap in the panelling because I didn't see a video screen when I looked. It must feel very remote. My booklet on the history of Durham Cathedral's Willis organ says that it wasn't finished for the dedication, so the cathedral organist sat at the console playing the manuals, while HW himself actually sat inside the organ at a makeshift bench and pedals playing them when needed. If only people really knew what organists get up to when we think nobody's watching ...
  5. Damian Beasley-Suffolk

    What is an ā€œInternational Concert Organistā€?

    In some countries, Germany for example, any titles are part of your name and have to be used formally. Those who have honourary doctorates have as their title Dr. h.c, for "honoris causa". That's clear, and allows people to draw their own conclusions.
  6. Damian Beasley-Suffolk

    (Not) blowing into organ pipes

    Willis' web site has pictures of metal pipes which have been eaten away by mice (at Whitney-on-Wye). Perhaps they start on the pipes when they've eaten the leather. Of course it's the contamination resulting from the use of lead that is the problem. I've heard a couple of stories of potty organ pipe makers, but that was from a Dutch organ builder talking about the "good" old days before fume extraction was considered desirable, so nobody you or I would know. In the west of England where I come from, lead was used as a lubricant in, inter alia, cider presses. This added a certain sweetness to the end product, only a little consolation to go with the Devonshire Colic. And one of my forbears was a hatter - I often wonder whether mercury poisoning is hereditary.
  7. Damian Beasley-Suffolk

    St James' Didsbury: Walker Organ (ex-RNCM)

    If they reinstate the swell shutters, it would be nice to make them from glass so that people can see clearly what's inside. The brustwerk at Clifton Cathedral has this and I always thought it attractive. I recall going to Hereford cathedral years ago and seeing that the 32' reeds there were accessible, but that the important bits were completely enclosed in glass, thereby being visible to those who were interested, but out of reach for those too interested for their own good.
  8. Damian Beasley-Suffolk

    Bristol Catheral - Organ Appeal

    Putting on my Chartered Engineer's hat for a moment, knowing that I'm certainly not the only one here, my view is that the various statements on obsolesence made in the forum in general and elsewhere are not only entirely justified, but wholly unremarkable. Indeed, I would be more concerned for those making astonishing claims for longevity and reliability, as their apparent lack of experience may actually make them liable to the whole world if, or rather when, a grand statement turns out to be flawed, especially as it is likely to be for reasons outside their control. If I were to make such flawed statements, let alone write threatening letters to those who question them, I would in short order become an ex-Chartered Engineer. In this case there is something to be learned from electronic instrument makers. Many years ago I went to a demonstration of an electronic organ - the location and brand are unimportant and I won't reveal either. Among other matters, the representative was candid and honest in saying that their organs did go wrong from time to time because they used modern technology. However, they dealt with such problems with an emergency call-out service, a good stock of spare parts for more common faults, and a spare temporary organ if needed. No need to pretend or make promises you can't keep, let alone descend into sending threatening letters. I have no bone in any of these organ technology fights, but like others it's annoying when patently wrong arguments fly around and they need to be countered in a reasonable manner, as ultimately a lot of someone else's money, and perhaps reputation, is at stake. However, I grew up in Bristol, so it's interesting to see how this restoration will pan out, and how the challenges, both technical and historical, will be addressed. I wonder if they'll put it all back together on a screen and re-attach the former chaire organ?
  9. Damian Beasley-Suffolk


  10. Damian Beasley-Suffolk

    Norman & Beard Question

    Doubling of ranks in the higher octaves is very common here in the Netherlands, and has been for centuries. I think most interested people know the theory, that it barely increases perceived power, let alone double it, but that doesn't seem to be the point. In the new organ at Sidney Sussex College, Flentrop doubled the principal chorus ranks in the treble, and explain why here - http://www.flentrop.nl/downloads/Artikel_sidneysussex.pdf , an article from Choir and Organ. It's more about perceived tone quality, and perhaps taking the sharpness off higher pitches. My organ has two 8' ranks which are essentially identical, although one is noticeably softer than the other but not greatly so. Provided they're in tune, playing them together does provide the warmth or breadth that one might describe a choir singing in unison as having. I get the same if I play the 4' and 2' principles, on different manuals, against each other at the same pitch. Subjectively, perhaps the physical separation of unison pipes provided two independent sources which can be directed away from each other to "broaden" the sound, reducing their perceived shrillness, if any.
  11. Damian Beasley-Suffolk


    Ben oui man, Ƨa c'est canny. http://bernardaubertin.org/orgel.asp?orgelid=166
  12. Damian Beasley-Suffolk

    Swell Boxes

    Windchests often have bleed holes for each channel, which should prevent this, as well as grooving to prevent ciphers and bleed unwanted air away. Mine just leaks, I think, but you don't notice the quiet hissing unless you're right next to it. As for quick regulation, another story. As I mentioned in my original post, my house organ, which was conceived at the height of neo-baroquery, has a floating-base wind regulator built into the bottom of the windchest, with springs to maintain the desired pressure, fed by a separate blower. It's very compact, and very responsive. I have tried repeating notes as fast as I can to see if there are any transients, but practically speaking they are not noticeable. The instrument also has a tremulant in the channel between the blower and the windchest, but it's completely useless. The regulator in the windchest acts so quickly that the only way I know that the tremulant is operational is that I can hear it chugging away and see the bottom of the windchest bouncing up and down in sympathy, because there is absolutely no effect at all on the pipe speech. In one sense, that's quite impressive. One can of course make a mechanical arrangement to inhibit the regulator's movement when the tremulant is active, but it really wasn't worth the effort and I don't really like tremulants which act on the whole instrument. Instead it was disconnected and the stop knob used to turn on a pedal bourdon which I added. As for dilettantes - well, I know my place, and although there are many knowledgeable voices on this forum I'm sure our host chuckles from time to time as people like me s l o w l y turn enthusiasm into proper knowledge :-)
  13. Damian Beasley-Suffolk

    Swell Boxes

    Thanks. That puts much into context. Experto credo.
  14. Damian Beasley-Suffolk

    No new posts??

    Challenge accepted. Here's a question on something I've been wondering about for years, but lack access to the appropriate facilities to explore it. In several places, in particular Peter Hurford's book on Playing the Organ, it is noted that there is a subjective flattening when playing notes on a swell division, and closing the shutters. My experience, with playing the recorder many years ago and with my own house organ, is that flue pipes are very sensitive to various changes around them. Even small changes around the mouth, the length, the pipe foot, or anything coming close to them causes them to change pitch noticeably. In particular, only as it's my instrument and I'm allowed to play with it, messing around with the wind pressure in the windchest, made possible by it having a built-in regulator rather than bellows which I can change the spring tension, equally shows that even minor changes in wind pressure can throw a rank of pipes out quite a long way. I also have a feeling for just how much wind even a relatively small division can consume, backed up by a somewhat over-sized blower which turned a CCC bourdon into a harmonic flute until it was tamed. With a swell division, there is therefore quite a volume of wind passing through. As it is often said that a nice tight swell is desirable, my simple question is - when it's shut, where does all the wind go? Is there some mechanism for maintaining the pressure differential across the pipes for various positions of the shutters? I remember John Norman writing in Organists' Review about a organ shipped to South Africa which sounded terrible on delivery, but needed only an adjustment of the wind pressure and tuning to resolve the problem, caused by it being installed at a greater altitude than its place of manufacture, and indeed had a similar experience when my organ travelled with me from sea level in the Netherlands to 600m above sea level in Bavaria. If the box really is airtight when shut, I'd expect much more than a subjective flattening of pitch, it would approach a drunken cacophony. But this doesn't happen. Why? I often see small doors opened at the back of swell divisions (e.g. in Newcastle Cathedral) and wonder if this is the trick. Answers with facts, anecdotes, pictures and outrageous theories to stimulate debate all welcome.
  15. Damian Beasley-Suffolk

    Music desks

    Thanks for the guidance, folks. 20 degrees it is. There is not much room to play with here. The organ is a neo-baroque positive type, so there is no room to remake the whole front panel with a slightly steeper angle as the windchest is directly behind it, or to come out too far, which would leave me playing under the music on the upper manual. Depth is another problem, as mentioned. As a template for the largest piece which must fit, I left a copy of the floppiest, tallest piece of European organ music I have - Britten's P&F on a theme of Vittoria Not accidentally, this should also leave enough space for the possible use of an A4-sized e-ink reader, a couple of which are now or soon to be available, specifically for music use. They're pricey, but potentially much less fiddly than trying to play while squinting at a tablet screen. As an aside, it was interesting to discover both a British Standard and a BDO Norm for organ console dimensions - both from 1967, and both silent on ideal music desk angles. Oh well.