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Damian Beasley-Suffolk

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Everything posted by Damian Beasley-Suffolk

  1. Damian Beasley-Suffolk

    "THE" Toccata

    Given enough notice, most people want their own funerals to commemorate things they loved in life, and to send the attendees off with a bit of a smile if possible. All the more reason to respect their wishes. The music for the Durham funeral will be a joy for all who hear it. My wife's aunt died recently, and the church funeral was followed by a short service at, as it happens, Durham Crematorium which, as an aside, has a striking and to my taste very attractive chapel. She went out to Sinatra, "New York, New York". As my thoughtful wife said, "Well, she wants to wake up in a city that doesn't sleep." Amen to that.
  2. Damian Beasley-Suffolk

    Christmas music 2018

    AsI mentioned in a previous post, when my wife's church holds their 9 Lessons and Carols in the village church in Voorschoten, near The Hague, I play just British music. The Oxford book of Christmas Organ Music has a lot of nice music which I've used and which is suitable for a 300 year old Dutch actual baroque organ, for example This Endris Night, and Sumsion's The Holly and the Ivy seem to come across nicely, and don't really miss the dynamic changes when played gently. I recently bought Francis Jackson's Partita on a Somerset Carol, but that's going to need a lot of work on my part to do it justice. William Lloyd-Webber's Songs Without Words are lovely, the Nouvel Nouvelet being a cheerful arrangement, and his Coventry Carol managing to make that most beautiful carol even lovelier. In the nicest way, I use it as the "2 minute warning" before we start. Amazing how a beautiful tune on an 8' flute can calm a whole congregation. And for the final flourish, last year (I think) I played O Come all ye faithful, around Noel Rawsthorne's fun arrangement, as it also presents a nice playover of the style that Dutch churchgoers like, and the continuation after the last verse seemed to finish the whole service in the nice atmosphere I had hoped. Nice when things go according to plan. This year, I'm planning to play WLW's God rest ye merry gentlemen, if I can nail it down in time - and I've just remembered it's next weekend. Better get practising!
  3. Damian Beasley-Suffolk

    Can we all try a bit harder?

    OK, try this one .... "Things I wish hadn't been removed from my/an organ." On the morning of my dear late mother-in-law's funeral, several years ago, there was a power cut in the whole village, Witton Park in County Durham (a former Category D village for all you amateur historians). Naturally, the organ had no wind. Perhaps it was a cunning plan from a higher power to keep me away from playing it, we shall never know. After an increasingly cold hour (it was January) of phoning around to see if anyone had any kind of keyboard with batteries, a flash of inspiration made me look around the back of the organ to see, given its age, if there might be a hand-blowing mechanism - and there was! Hooray, I could revive old traditions, and pay a child sixpence and a stale bun to pump the bellows - or at least get the various grandchildren to pump and keep them warm (it got colder). But alas! The mechanism, although present and complete, had been disconnected from the wind supply and I thought it unwise to have a go at some running repairs. Eventually, someone turned up with a small generator, which had just enough power for all the lights - thank heavens for low-energy light bulbs - start the heating pump, and start the electric blower for the organ, and everything eventually turned out all right. If only someone hadn't disconnected the hand-blowing mechanism. I see that many recent restorations restore and reinstate them, even in parallel with electric blowers. You'll miss them when they've gone. http://www.npor.org.uk/NPORView.html?RI=N15085 The organ blower was recently replaced with the full and generous assistance of the Banks Group: https://www.thenorthernecho.co.uk/news/local/southdurham/bishopauckland/14922678.grant-saves-witton-park-church-organ/
  4. Damian Beasley-Suffolk

    British Organ Going To Germany

    I suppose this can be looked at in several ways. The optimist in me says that these instruments bring with them the musical traditions and culture for which they were conceived, which has attracted a certain amount of interest here in the Netherlands. In particular, a number of churches hold evensong every now and again, particularly in Leiden (Hooglandse Kerk, Willis), and The Hague (Ss John & Philip, though that's actually an Anglican church with an original Goetze and Gwynn), something unknown to any Dutch denominations. Another example is the 1883 Harrison organ from St Peter's, Bishop Auckland, which is being restored and installed in the Grote Kerk in Wijk bij Duurstede close to Utrecht as a choir organ. My wife has played this organ, it's her home turf, and says it was a bit of a belter. It'll sound quite different in the church it's going to. Looking forward to asking nicely if we can play again, I don't think it will disappoint. http://www.orgelnieuws.nl/grote-kerk-wijk-duurstede-krijgt-engels-koororgel/
  5. Damian Beasley-Suffolk

    Westminster Abbey

    In fact if you just go to www.orgelsite.nl you get to the home page of this fantastic website. The premise is very simple, it contains the disposition and a few pictures of thousands of Dutch organs, as well as some from other countries, and is searchable by location and builder. Using Google's automatic translation it's probably pretty easy to search, and see just how many English organs are lurking here! Sadly, the person who set it up, Wim Verburg, died in 2010 aged 44, so I don't know whether it is updated. But it is a wonderful, colourful, and informative legacy.
  6. Damian Beasley-Suffolk

    Westminster Abbey

    A couple of times a year the Anglican parish which my wife attends, which usually meets in a school, borrows the Dorpskerk (lit. village church) in Voorschoten, especially for a 9 Lessons and Carols service, to which all are welcome. As this is so different from any Dutch service, there's a pleasing amount of local interest and attendance, so when playing I do prepare some nice last verses, and perhaps a few arrangements in between. But the nature of the organ has led me to play arrangements without big registrations - it seems to work better to have a nice plenum and just leave it alone, and let the progression and harmonies speak for themselves. To an extent, of course, the instrument dictates this, having no swell, no celestes, no 32', no registration aids, and an awkward pedal arrangement, but it nevertheless enables the same effect of emphasising whatever the intention of the last verse is without showing off - I hope! And the instrument which has all of these "shortcomings" but which is still such a joy to play English music, last verses and all, on is https://www.orgelsite.nl/kerken22/voorschoten.html
  7. Damian Beasley-Suffolk

    Finest Organ-builders of England

    Our "local" during my youth, St Teresa in Filton, just on the northern border of Bristol, contains a Percy Daniel 2 manual, rebuilt from an earlier 3 manual and installed in the new church. http://www.npor.org.uk/NPORView.html?RI=N13149 I didn't pay much attention to it then, not really being interested in organs at the time. But much later I played on it just a couple of times, and found it cohesive and quite entertaining. Being a Catholic church the demands on it are different, but sitting on a high gallery at the back of a decent-sized Roman basilica style church, with a clean great, and a really quite effective swell furnished with sub- and super-octave couplers it sounds good and can be quite powerful, and certainly looked well maintained and sounded in good tune.
  8. Damian Beasley-Suffolk

    Rugby School Chapel Organ

    I know of one organ builder here who guarantees his work for 15 years, making me think that is likely to be longer than normal. For anything costing as much as a house, I'd expect a guarantee similar to that of a house. It's unthinkable that this isn't in the sale and/or maintenance contract. Perhaps some do have a 10 year/10000 hours car-like guarantee - Nicholsons have owned up to hiding timers in at least one of their organs (all on their website, no secrets divulged!).
  9. Damian Beasley-Suffolk

    Tuning at the Albert Hall

    An interesting point Rowland. I see that Keble College now refer to their organ as the Tickell-Rufatti Organ. Although the revoicing was widely known, this change must be quite recent. I have neither the knowledge nor the competence to appreciate what the chain of events was, but this amended name is at least clearly descriptive.
  10. Damian Beasley-Suffolk

    Colston Hall

    Us Bristolians (even naturalised ones like me) know a thing or two about the slave trade, as it's always been taught in schools regardless of any other curriculum requirements. Edward Colston, after whom the hall was originally named, made a lot of money in trade including slaves, and was a great philanthropist to the city of Bristol - something which by the standards of the day was held to be admirable. However, those standards have changed. There have long been voices advocating the removal of various memorials to Colston. However, for me the Colston Hall name change is much less problematic as it was not founded or endowed by him but merely named after him, something that can easily be changed to reflect and strengthen the hall's quite remarkable history and role at the centre of so many public activities in Bristol. I have been to pop concerts, classical concerts, noisy school activities, lectures on science and engineering, particularly the wonderful Faraday Lectures for schools given by my engineering institution, the IEE, now IET - but I have never heard the organ! Fascinating to learn that the hall makes the organ available in an apparently very accommodating and reasonable manner to those who wish to have a go in a responsible manner. Sorry if this is a bit tangential to organs, but organophiles are inevitably part-time historians!
  11. Damian Beasley-Suffolk

    St Nicholas' Cathedral Newcastle

    At today's organ recital at Newcastle Cathedral they announced that a certain amount of repair and maintenance on the pipe organ is underway to bring it back into use, but that this is not a restoration or rebuild. At the very least, they hope that this will keep it going until the restoration of the cathedral itself is complete. So it was my good luck to hear the pipe organ being played for the first time in 5 years or so, and to sit in a position where I could hear both the main transept organ and the choir organ, and the interplay between them. A French/Belgian programme today, perhaps determined, but certainly not restricted, by the presently available stops - lots of noisy reeds ? And smiles all round afterwards. It was mentioned that some of the work will be to install safety rails around the instrument. I seem to hear more of this recently. It goes without saying that working at any height more than a couple of metres is hazardous, deaths and injuries have occurred, and safety should be foremost in everyone's mind. But I now wonder about the perils for organ builders which I'd never thought about. There is an old film of Guildford Cathedral's organ being installed in the 1960s which, frankly, terrifies me, and I'm not in the least afraid of heights. As for how you can tell the difference between an electronic and a pipe organ, if you're sitting on a nice hard church pew you can tell without even using your ears.
  12. Damian Beasley-Suffolk

    Blind Listening Experiment

    Re-reading my last post, I realise I may well have strayed into moderation territory. If so, so be it, and apologies!
  13. Damian Beasley-Suffolk

    Blind Listening Experiment

    @ Martin Cooke, re high end electronic organs. You are, of course, correct. There is an element of "You pays your money and you takes your choice" with many things, and certainly once you get to 4 manual electronic instruments a high degree of customisation, high quality and adaptability are expected. It is also true that many electronic instruments do have great flexibility in voicing, even the small ones, and that installers really do need to know what they are doing in order to get each installation right. There are a couple of such installers in the UK who, I think quite rightly, take great care and professional pride in doing just that. The overlap, and increasing difficulty to distinguish with pipe organs is probably considerable here. But like you I have also heard good electronics (a big acoustic helps) and poor pipe organs - and I recently heard a large electronic, not long installed, which sounds remarkably flat, in the sense of being 2-dimensional and, as more stops are added, indistinct. But that's just me - and that church's pipe organ doesn't work, so can't be switched on for the inevitably revealing comparison. Going back to the purpose of the post, which is whether average, interested and normally musical people can distinguish pipe and electronic, the real problem is the opportunity for objective comparison. Often, such tests are quite short, in my limited experience. This is why I made the point about finding a stop on an organ that you can play for hours. I am fortunate in having a small Dutch neo-baroque-ish pipe organ at home, and can compare it with a very new, also Dutch, electronic organ (no names, not fair) for as long as I wish. With the electronic, I can select more or less the same stops as the pipe organ and compare them directly. Initially, it's actually very good. But for some reason this does wane over a relatively short time. I really don't know why - I can guess that, as brains are adapted to seek out patterns, the lack of random variation, or the presence of predictable, periodic variation, in synthesised or long-loop electronic organs might betray them, perhaps the poor spatial definition of the individual notes at close quarters. But my living room is not the ideal listening space. At the press of a button, I can now go from a Dutch organ to a French romantic one, with a specification sampled from a Cavaillé-Coll organ in France somewhere, but which is sufficiently close to the genuine Cavaillé-Coll in the Waalse Kerk (French Protestant Church) here in The Hague. Spec here https://www.haagsorgelkontakt.nl/waalse-kerk/, a superb organ. Whilst my electronic sounds great with headphones on and the reverberation knob turned all the way up to 11, there's no mistaking it for the real thing here, and certainly not if the interested listener could hear them together, and could spend time with them. Of course, features like the number of audio channels matter - a "simple" spatial effect of stereo is not enough, I feel. But some manufacturers have gone as far as to produce loudspeaker arrangements with many speakers speaking into resonant tubes, which then goes quite a way to simulating the three-dimensional vibrations of pipes, rather than just a big echo chamber. Then, of course, things get expensive even for electronic organs, and you may well approach the cost of the real thing. This principle might have some application for hybrid organs. A friend of mine is a flautist, and always finds playing his flute while standing next to my house organ funny, because he can feel and hear sympathetic resonances from different pipes in the organ and he says he finds himself adapting his tuning to the response from the otherwise silent pipes. I wonder whether hybrid organs might sound better than they really are because of this effect, even if this is just a compromise to get loud and/or big stops into a specification. It could even save some temporarily out of action organs, if electronic installations retained them rather than chucking out the pipes for more speakers to be dumped onto the soundboards. Given this, my very limited personal experience, I think that the average interested person, given a fair opportunity and time, would be able to tell the difference and fairly appreciate that difference. What they then do with that deeper insight, and awareness that the choice need not be just pipe v electronic, is of course subject to other considerations.
  14. Damian Beasley-Suffolk

    List of beautiful English Organs

    If you don't mind, I have replied to this on the Blind Listening Thread.
  15. Damian Beasley-Suffolk

    List of beautiful English Organs

    Considering the current threads on beautiful organs, and pipe v electronic blind hearing tests together, I noted that many effective organs don't need to be large. One often hears of players with relatively small pipe organs which have a particular stop, usually a quiet diapason, principle, or flute, which they say are so lovely that they can happily play for hours with that one stop. I am pretty sure that this is not the case with typical electronic instruments, having tried it. The point is that simple but well-made instruments are often more than adequate, they provide the sense of quality, craft, and life in an instrument that others often can't, and in that musical sense can be considered beautiful. One example I know well demonstrates this. The Saxon Church, Escomb, County Durham: http://www.npor.org.uk/NPORView.html?RI=N04218 A Nigel Church organ, for this very tiny, very very old church reputed to be about the oldest in England, and built, using re-cycled stones from the Binchester Roman fort on Hadrian's Wall, on the site of an even older church/worship/mass site. A simple but elegant case, interesting pipe display, with a beautiful tone it sounds just right in this ancient but active building. My father in law has played here for longer than anyone can remember, my wife played here frequently, and occasionally, if I get the opportunity, so do I.
  16. Damian Beasley-Suffolk

    List of beautiful English Organs

    Playing on NPOR today, I came across this organ in the church of St Cosmas and St Damian in Sherrington, Wiltshire: http://www.npor.org.uk/NPORView.html?RI=K00639 There are some better pictures of this instrument on the church's website at https://upperwylyevalleyteam.com/our-churches/st-cosmas-st-damian-sherrington/ Although the front pipes are actually wooden dummies, the whole case is lovely, even more so in its location at the back of the church. I imagine somehow that the sound of the organ is exactly what one would hope and expect to hear. Ss. Cosmas and Damian is a rare dedication in Britain, despite the noble and instantly attractive name. I can find 5 Anglican churches (one redundant) and one Greek Orthodox. I've met a good few Da/emia/e/ons in my time, all of them fine fellows as one would expect, but only one Cosmos - actually Cosmo. Although I noticed some Bach CDs in his study a couple of times, I never got around to finding out his musical involvement or forming a combo.
  17. Damian Beasley-Suffolk

    Blind Listening Experiment

    Interesting that the comparison sems to be a like v like test as far as style and size go. Many comparisons seem to be a modest 2M + P v a 3M, 50 stop, multiple specification/temperament/style which appeals to the closet megalomaniac in all of us, but is if course unfair. I once went to a pipe v electronic demo, during which the company involved had recorded a few stops from the small Willis IV in the church, and played them back along with the Willis, which had nothing wrong with it apart from never having been completed. I have to say that it served more to demonstrate just how many more stops could be had electronically, rather than help any objective quality assessment, so wasn't really much help. That was 20+ years ago, so I have no idea of the present state of affairs there. But I'm on my third toaster since then! But the point about cost and congregations is well made, and unavoidable. A CofE booklet on selecting organs rightly points out that few churches need monster specifications, they just need something supportive and musical. Whether that can be achieved by modest new organs, resurrecting Compton-style designs, proposing good quality second hand pipe instruments, or going electronic is the gamut of considerations which we'd probably all like to be considered more evenly.
  18. Damian Beasley-Suffolk

    List of beautiful English Organs

    Re: Newcastle Cathedral, you can read more about it, from some years ago, here: www.duresme.org.uk/NEorgans/newcastle.htm As previously stated, it's not in use at the moment as it needs restoration, and the cathedral itself is undergoing restoration.
  19. Damian Beasley-Suffolk

    Flamboyant showpieces

    Mark Twain has a pithy thing or two to say about the "myth of originality"! Worth looking up. I don't know the details of the Latry incident, although I remember it being reported, but although he has the rights to his own transcription of the ROS, created through his own skill and sweat, the original work is still someone else's property for the time being. I have a (legitimately bought!) CD of David Briggs giving a private concert at Gloucester Cathedral not so long ago. IIRC, it's not to hand at the mo, it states in the cover notes that his improvisations on current themes were limited to quoting no more than 5 seconds or so of each theme due to a specific rule somewhere. I/we could go on at length about this - it is in fact a fascinating topic - but I won't. However, most of us will have facsimiles of 16th/17th music in our collections, and it's always worth looking at the fronticepiece to read the "Letters Patent", "Privilège du Roi" etc granted to the composers. This was their exclusive right to publish, sell and control their works, and make a living without being a burden on the royal patronage. It's often said that Haendel could have been as good as Bach if he'd applied himself a bit more. But Bach was a court musician, living under the patronage of some prince or church council, and so had a steady income. Haendel was esentially an impresario, who wrote music and staged performances to earn his living. A fascinating article in Early Music from about 20 years ago goes into great detail about this. Haendel staged most of his oratorios in theatres, not churches, and relied on subscriptions, sales, and concerts to earn his crust. The article estimates that in Londin at the time (or perhaps England, I forget) there were about 50,000 people who could have afforded these subscriptions. The need for protection of original work as your way of living in a precarious time is obvious, even if the details have become distorted in the intervening aeons. It is said that the earliest known form of creative protection comes from Ancient Greece, c.4BC. If a cook came up with a new dish or recipe that the punters liked, he could prohibit any other cook from copying it for a year, thereby allowing him a reasonable, but not umlimited, opportunity to benefit from his inspiration and creative labour. This illustrates two basic principles of copyright; firstly, it is a right to prohibit anyone else pinching your idea, and secondly you still have to put the effort in and hope that someone wants to buy your creation! There are few licences to print money, unfortunately, so probably best not to give up the day job.
  20. Damian Beasley-Suffolk

    Flamboyant showpieces

    Being in the IP Biz, so to speak, I must point out that copyright on various works is not consistent. Firstly, it runs from the death of the author of the original work. Secondly, 50 years is merely the minimum under the Berne Convention - many important jurisdictions run longer; 70 years in the EU, in the US it can run to 95 years. Copyright on a recorded performance of a piece, i.e. the performance itself, runs for 50 years from the publication of the performance, as some well known 60s performers have been complaining about recently. Now my biz is specifically patents, so I can give no advice on copyright apart from seek advice. However, no official body polices these things, as in all IP matters the rights holder is expected to be reasonably vigilant about the use of their protected creation, and a performer is equally expected to be reasonably conscientious in identifying and informing rights holders. IMSLP appear to do a good job of indicating what is or may be in copyright, I recall that they went offline a few years ago to adapt their system to give copyright advice and warnings for each piece on it. A huge task. You can find, as an indication, a list of copyright terms in Wikipedia, at https://en.m.wikipedia.org/wiki/List_of_countries'_copyright_lengths I know copyright has been discussed on this forum before, so this may well repeat what has already been said. But things like this do change!
  21. Damian Beasley-Suffolk

    List of beautiful English Organs

    Trawling through my camera, I found pictures of an interesting new case at Durham Cathedral: I recall that H&H actually built and installed it ? OK, not quite what was asked for! This was part of a Lego model of Durham Cathedral built in 2015, for fundraising. I think you paid a pound for a brick. Great fun, and the finished model was impressive.
  22. Damian Beasley-Suffolk

    List of beautiful English Organs

    Regarding the Cullercoats Lewis and its lack of case, there is a very similar Lewis fairly close by in Jesmond URC, in a similar physical situation but with a case which is probably typical of the time. The pipe arrangement is different, of course, but perhaps Cullercoats could have looked like this: As for brand new English organ cases, there's an interesting example merely a paddle up the canal from me, at the Hooglandse Kerk in Leiden where this initial installation of an 1892 Willis, which had spent years in private ownership elsewhere in Holland: was transformed by the addition of an entirely new case (not to mention a thorough internal rebuild) into this: which is almost twice the original height when measured up to the top of those intriguing pinnacles. Imagine looking up to that! Although you can't directly from the console, unfortunately. The side case is a bit less showy, though just as well crafted, but I'm not sure what the minarets are for - I'll ask. The back is formed from an impressive row of 32' Open Wood pipes, all in a polished light-coloured wood quite different from the blackboard-paint chimney stacks often seen in such organs. I rather like the proportions of the front case, especially the degree of embellishment compared with pipes, which I think are just right. It's a beautiful English organ. As an aside, the Hooglandse Kerk in Leiden is not, and never has been, a cathedral. Although it was proposed to make it a cathedral during the 16th century, before the reformation in the Netherlands and so while it was still a catholic church dedicated to Saint Pancras, it was decided instead to make the church in Haarlem the new cathedral. This is why building stopped on the Hooglandse, and why it is so small - at least compared with the enormous Pieterskerk, not a stone's throw away, which houses the famous Van Hagerbeer organ at the back, and the equally English Hill organ to one side of the choir. The name of the whole project should be read in English as Leiden "Cathedral Organ", referring to the style and intended use of the instrument.
  23. Damian Beasley-Suffolk

    List of beautiful English Organs

    This impromptu graphical tour of Suffolk's organs is simply wonderful. Thank you David for downloading your considerable memory like this. I've also found a website about Suffolk's many hundreds of churches, it's really far too much of a good thing. Despite my surname, I have no links at all with Suffolk and, even though I was higher-educated over the border in Colchester, I have barely set foot in the county. In fact, I'm ashamed to say that I have never even been to Flatford Mill, even though you can practically see it from Essex University library. More recent academic activities had me regularly tearing along the A12 and A14 between Harwich and Leicester (within the speed limit, of course...), but I only managed to fit in St Edmundsbury one Sunday before the H&H rebuild, when I think the hiss from all the leaks was louder than some of the strings. So next time I roll off the ferry, I shall take a download of this thread, a good map, my good wife, and plenty more time than before. You never know, it might sow the seeds of somewhere nice to retire to, if one can ever tempt a northerner away from their home turf. She'll have finished her reader training by then, and apparently has already mentioned her USP as "Have organist, will travel" ? I think she means me ...
  24. 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 ? 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.
  25. 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