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Paul_H

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  1. OK, no idea what's going on. I'll just post it here as raw text. The formatting's a bit off but you'll get the idea. Really sorry for the problems - clearly a bit of a newbie when it comes to posting attachments! I don't think I've ever seen this published before - it's the 1965 proposed specification for a 5-manual rebuild of the Bridlington Priory organ. Raymond Sunderland was my choirmaster at Bridlington Priory as well as piano teacher and music teacher at my secondary school. I'd always been keen on the "nuts and bolts" of the organ and spent many a chilly hour holdi
  2. I've re-uploaded as a standard Word file in case it was the PDF it didn't like - if that doesn't work I'll have to think of something else. You wouldn't believe I worked in IT, would you!
  3. I don't think I've ever seen this published before - it's the 1965 proposed specification for a 5-manual rebuild of the Bridlington Priory organ. Raymond Sunderland was my choirmaster at Bridlington Priory as well as piano teacher and music teacher at my secondary school. I'd always been keen on the "nuts and bolts" of the organ and spent many a chilly hour holding notes whilst he tuned. He gave me this copy of the specification at school one day - it was a typical school glossy photostat of the original carbon-copy, so it's not the best quality. I tried scanning but it's not at all ea
  4. Well I shall make my way over to the new forum. I'm not "in the business" like many of you, but thanks Raymond Sunderland, an inspirational choirmaster to 7-yr old me back in 1972, I have a lifelong love of the organ (particularly its innards) and organ music. We can't all be fine performers and I might not have ever played all that well, but it's something that's given me pleasure for nearly half a century. And I'm a good listener! I shall add my voice to that of so many others and say a fond farewell to Manders - and thanks to them for setting up this forum, on which I've wasted many a
  5. Reading Headcase's account of Bath brought back some fun memories. Years ago I had the dubious pleasure of having to occasionally trim the odd note of Bridlington's very fine Compton tuba into tune. It's located in the triforium and getting to it (pre-rebuild) was not the easiest. The first ladder to the pedal reed chest level was fixed; then a moveable ladder took you to the next floor. Once you'd got there - main windchest level - you had to pull up the ladder you'd just climbed, trying not to forget about the gap you'd pulled it through, and prop it as best you could against the mounted c
  6. Some fascinating questions and answers here. With a nod to one of Stanley's original questions, and hoping that YouTube links work on this board, here's an interesting trip inside the Boardwalk Hall organ in Atlantic City, following the 64ft Dulzian CCCCC pipe as it travels upwards through various levels of the organ and seeing what happens when the "sound" comes out of the blunt end. https://www.youtube.com/watch?v=vAj0mMWHzxc Chris Nagorka's channel on YouTube has a lot of fascinating "insides" videos of this organ, well worth checking out. Enjoy!
  7. I don't think it was intended to be anything approaching a polyphone, but George Pattman's travelling organ (H&H 1916) featured a 32ft Bombarde which, according to the specification, had "one pipe only, common to lowest 12 keys of pedal board".
  8. Audsley mentions in his book "The Art of Organ-Building" (1905) that he had some difficulty fitting all of the Pedal 16ft Principal pipes in his music-room organ so devised a pneumatic valve which effectively opened an aperture in the pipe, allowing it to speak one of two notes a semitone apart.
  9. Just back from Ian Tracey's superb recital at Bridlington Priory. It was announced at the beginning of the performance that Michael Smith, organist and master of the choristers, is retiring at Christmas after 32 years in the post. A sad loss to the Priory but hopefully his soon-to-be-announced successor will carry on the fantastic work he's been doing. At least he/she will be inheriting a superb organ in very fine voice indeed.
  10. Listening to Steve Lamacq's show on BBC6Music today, an interesting story about a stolen pipe from York Minster's organ. It's made it onto the BBC News website: https://www.bbc.co.uk/news/uk-england-york-north-yorkshire-49495317 You'd have thought they would have missed it! --Paul H
  11. I can possibly shed a little light on some of this. Back in 1989, Michael Smith and I spent some time crawling around the innards of the Priory organ as part of its 100th anniversary commemoration - a lot of photographs and a back-of-church display ensued. The Soubasse 32ft was definitely a Compton polyphone, at the time it was laid horizontally on the ground floor beneath the reservoirs. The Double Grosse Flote 32ft was in fact large scale stopped 16ft wood pipes. I think they were second hand; they were (and possibly still are) located immediately behind the display pipes in the Sanc
  12. I studied at what was then Holy Trinity back in the 1980's with Desmond Swinburne. The organ was something of a nightmare even then; the Compton luminous touches were temperamental, some refusing to light up (although the stops were active), others glowing dimly to start with and gradually brightening after a few minutes. It was a charming instrument but a nightmare to learn on. After a while Desmond acquired the old extension organ from (IIRC) Hymers College and had it installed in the front room of his house on Lairgate in Beverley where lessons continued, aided no end by supplies of wa
  13. Google Translate, for all its faults, has a pretty good stab at it, or at least the beginning; it makes heavy work of the second sentence though: "Should be played with romantic registration, please voix celeste el. like. The solo summit can be advantageously oktavered."
  14. That's a shame if true, as you say free reeds are quite rare these days. Bridlington's a fascinating organ, although (and I say this without disparaging Nicholson's in any way) for this listener it seems to have lost something in the rebuild. Although the 1967 Great upperwork was a bit inappropriate (screaming away just behind the front pipes in the choir) the overall balance of the rest of the organ was superb. In particular, the way the main chest ran east-west for most of the length of the organ gave the Great & Positive a wonderful sense of "spaciousness" which seems to be missin
  15. Hi all, First post on this fascinating board. Just wondering if anyone who's well-up on the organ at Bridlington Priory can help with a quick technical question? The original Anneessens specification (1889) notes that there was a "Clarinet Onches Libres" on (if I recall) the Choir. Is the current Solo Clarinet the same free-reed Anneessens clarinet, or did it disappear in one of the pre-Nicholson rebuilds? Some years ago Michael Smith (organist) and I spent ages surveying the pipework and photographing the innards for the organ's 100th birthday, but neither of us dared ascend
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