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Paul_H

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  1. Paul_H

    York Minster

    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 warmth and coffee. Sadly I never did make it as an organist but between Trinity and Bridlington (where I had keys to practice) I had a lot of fun and gained a tremendous interest in the internal "gubbins" which continues today. Hull Minster is quite different inside now, it's hosted the Hull Beer Festival for the past few years and is a very popular venue for that particular event! I doubt if Sundays will ever be as well attended though. Hope the organ gets the funds it deserves, deep down it's a fine instrument.
  2. Paul_H

    Proplem with Registration In Swedish

    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."
  3. Paul_H

    Bridlington Priory - Solo Clarinet

    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 missing now. I haven't seen the innards since the rebuild but I'm guessing the new soundboards are nothing like the same size. Completely off topic (sort of) but if anyone's interested, a young man by the name of Antoine Anneessens has a Youtube channel - he's a budding organist and is the great-great-grandson of Charles Anneessens the organ builder. Thank you for the replies. Paul H
  4. 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 to the Solo box - the access was via a home-made ladder propped up against the pillar adjacent to the front of the Swell box, clambering on top of the box and then up another ladder to the Solo in the triforium. Getting on top of the Swell box looked bad, getting back down again would have been hair-raising. So, we never answered the question back then. On a later occasion I lent my camera to the Nicholson's tuner who kindly took some photos but for some reason the film jammed (this is pre-digital) and they're all on the same frame :-( If anyone's interested in some of the pics I took, they're on Flickr at https://www.flickr.com/photos/virtual_pkh/albums/72157594250160915 - pretty sure it doesn't look like that inside now! Thanks Paul H
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