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Damian Beasley-Suffolk

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About Damian Beasley-Suffolk

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    Voorburg, The Netherlands

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  1. Newcastle

  2. 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.
  3. Newcastle

    Ben oui man, ça c'est canny. http://bernardaubertin.org/orgel.asp?orgelid=166
  4. 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 :-)
  5. Swell Boxes

    Thanks. That puts much into context. Experto credo.
  6. 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.
  7. 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.
  8. Music desks

    Does anyone know of a standard, or have any views on, the ideal angle for the music desk on an organ? The desk on my de Koff house organ is so steep, barely 10 degrees if the inclinometer app on my phone is correct, that nothing heavier than a few pieces of paper will stay on it. In fact, even an A3 sheet with a decent fold in it will push itself off. I'm just about to have a clip-on music desk made by a local company who will make anything out of perspex, and it's always better to ask advice than make even an educated guess. Height is another problem, but that is determined by fixed dimensions of the case, and I can work to those limits.
  9. Clairons/Clarions breaking back

    The Cavaille-Coll organ in the Philharmonie in Haarlem has 2 4' Clairons. The organ was originally Cavaille-Coll's atelier organ, and was sold to the Paleis van Volksvlijt in Amsterdam in 1875. Then, the clairons were both reeds right to the top (C - g3). After a period of storage the organ was installed in Haarlem in 1924 - avoiding the fate of some other CC organs, as the Paleis van Volksvlijt burned down in 1929. In 1965 the organ was restored by Vermeulen, during which the action was electrified and the top octves of the clairons replaced with labial pipes. However, during a further restoration in 2004-6 these changes were reversed, the mechanical action reinstated and the clairons restored again to reeds throughout the range. Perhaps someone can explain why 4' reeds might be treated differently in different situations. http://www.orgelnieuws.nl/cavaille-coll-haarlem-gerestaureerd in Dutch but will be OK via Google translate
  10. John Compton

    "Experto crede" - believe in the one who is experienced. And has the scars to prove it. Not such a bad term, when properly understood
  11. Newcastle

    Several French media report this as a fact, that Bernard Aubertin is busy building the instrument, but don't give any details. Nice that this is happening, as when the previous Nigel Church organ was removed there was concern that there appeared to be no plans for its replacement. As it's for a hall rather than a chapel, and they have a decent recital programme there, it will certainly be interesting. https://rcf.fr/culture/la-manufacture-dorgue-aubertin-courtefontaine-un-bilan-detape http://www.jura-nord.com/actualite/manufacture-dorgues-aubertin-un-nouvel-orgue-en-construction-pour-langleterre
  12. A Mechanical Trolley Organ with Clutch and Windshield

    Google translate can be unintentionally funny, but this seems to be an unfortunately poor effort. However, artificial intelligence based on neural networks still has to be taught to the system, especially for specialist language, and mostly by users making many contributions to refine the context. I imagine that the language of pipe organs doesn't generate that much traffic. Anyway, the natural, wet "intelligence" allegedly residing in the jelly located between my ears comes up with the following: "A mechanical slider-chest organ by J W Walker from 1858. In 1961 the instrument was restored and enlarged with an independent pedal by George Kirby. The installed pedal board runs from C to g', (32 notes), but the coupler and the wind chest only go to e' (29 notes). The Swell Organ runs from Tenor C."
  13. Most bizarre specifications?

    I have played (briefly) and listened to (with much more pleasure when someone else was playing) the Gray and Davison at Huntley that Gwas Bach mentions. The "Choir" seems almost to be incorrectly labelled. I recall it being a nice, fairly strong "rosbif" division which suits the not large but rather lovely church nicely - perhaps the addition of a Fifteenth might be too much. I don't recall there being any indication that a Great was prepared for or even considered. But the whole instrument sounded just right. And it did indeed acquit itself with the required raucousness with Lefébure-Wély at my cousin's wedding there a good few years ago :-) As for other oddities, the organ which my wife first played at as a 12-year old at Witton Park in County Durham, http://www.npor.org.uk/NPORView.html?RI=N15085, has a Swell of 8,8,2,8 to go with an 8,8,8,4 Great. The 2' is just about noticeable above the Great 8+4, but seems to work nicely along with the other Swell stops in the building. Looks odd, sounds nice. Trust your ears, they always say. More about that instrument when I get around to addressing the drought of letters in Organists' Review. In a good number of small instruments seen here in the Netherlands and in Germany, one often sees really odd specs such as 4,2 (1 1/3, or 1/2), 8 (regal), and mostly on neo-baroque instruments. Sometimes this is found on the "second" manual of smaller instruments. Bourgarel made a few, such as this http://www.france-orgue.fr/orgue/index.php?zpg=org.doc.fch&ido=792, and there are some Iberian examples such as this http://www.france-orgue.fr/orgue/index.php?zpg=org.doc.fch&ido=792. Odd to my eyes, but common enough to appreciate that there is a repertoire for these instruments of which I'm wholly ignorant, apart from having fun playing Batallas badly, beyond just making a compact study organ.
  14. Monteverdi's use of organs in Orfeo

    Henk Klop of Garderen here in the Netherlands produces a version of his continuo organ with an 8' prestant, and a second manual with an 8' regal. He told me years ago that this was developed expressly for performing Monteverdi's music, but I didn't think to ask him what the source for the development was. Klop adopted the "organo de legno" tradition for all of their instruments almost from the beginning of the firm, so the developmemt is logical. I have been to many concerts of renaissance music using very small continuo organs. I am always astonished at how well a carefully-voiced 8' flute, no matter who made it, can carry along even quite large churches, and how captivating their voices are.
  15. Strange notices, signs, or tuning book comments?

    On the console of Wokingham Parish Church, about 20 years ago, a paraphrase of Ps94:18 "Alas my foot hath slipped, but the Lord held it up"