[Manchester Town Hall]

Interestingly, Thomas Trotter’s opening recital on the new Kenneth Tickell organ at Manchester Cathedral was attended by the Lord Lieutenant and, seemingly, every mayor from Lancashire (and possibly beyond), all wearing their chains of office.  Civic pride in the new organ was very evident.  Of course there was a very hefty individual donation.

Possible problems at Manchester Town Hall are that (presumably) the City Council owns the organ and, on that basis, would be the only body at present able to let the necessary contract for the organ’s restoration.  All fund-raising would have to be subject to strict safeguards that the money wouldn't be used for other purposes.  We are talking about very large amounts and, yes, accountants and lawyers would be involved!  HM Revenue and Customs would want to know all the details.  If it chose to do so, the City Council could set up a charitable trust which would safeguard the purposes and use of the funds and allow donors to make Gift Aid declarations.

But the starting point is whether the City Council will go along with these ideas.  They, in fact, are the people “in charge”.

[Manchester Town Hall]

Contrabombarde is 100% correct about local authority funding. 

Leeds is a shining beacon.  The lunchtime recitals there are free (voluntary donation), also with a free printed programme.  The appointment of Darius Battiwalla as City Organist last year was an inspired decision - he plays a complete recital from memory, and happily works with his distinguished predecessor Simon Lindley who still contributes to the imaginative programmes.  

It’s a pity that the recitals at Leeds and Huddersfield Town Hall (also Birmingham TH) usually clash but, on other days, in Yorkshire there is Hull City Hall and, over the Pennines in Liverpool, St George’s Hall both providing regular lunchtime recitals on magnificent organs.  It’s no secret that funding is a problem at Liverpool, and there is currently an appeal for restoration of the Father Willis/ HW III masterpiece - from which, nevertheless, Ian Tracey is still able to coax the most marvellous sounds!

[Finest Organ-builders of England]

A very late response, but your question was so far-reaching that it would be difficult to give a “potted” answer.  Also, by now, some of the ground has been covered in posts to the other threads you have started.  But to take just one builder, Harrison & Harrison, their organs cover a span of more than a century.  There is an undoubted house style, a strongly Romantic bias particularly in the early organs, exemplified by St Mary Redcliffe Bristol (1912) which Martin Cooke suggested you try to visit.  Among their hallmarks are their especially sumptuous all draw-stops consoles.

For their modern work, there could be no greater contrast to Redcliffe than their organ at the Royal Festival Hall (1954) and another, not too far from you, St Albans Abbey (1961-62), both in a distinct classical style, and important for the first being designed by Ralph Downes, who was also involved, with Peter Hurford, at St Albans.  If you get the chance, go to Coventry Cathedral to hear their exactly contemporary post-WW II magnum opus (also 1961-62) which bridges the gaps between the two stylistic traditions, and is a fine, actually remarkable, example of a top builder’s versatility in producing two such different instruments at the same time.

The subject of “Father Willis” at the Royal Albert.Hall is controversial! - see the separate current thread “Tuning at the Albert Hall”.  One could write a book about Willis, but I think you will form your own views.  As I said at the outset, it's a big subject.

[Hull Minster]

I think that some, although not all, the Yorkshire examples resulted from the creation of the Anglican Diocese of Leeds, and Leeds Parish Church became a Minster and, effectively, a cathedral in all but name.  Hull was specifically designated by the Archbishop of York in recognition of its importance.  So there is quite a bit of variation in the modern practice.  

As David Drinkell says, minsters were widespread all over Saxon England, the most important ones often of royal foundation, e.g., two examples out of many others, Ely and Romsey.  Under the Normans Ely became a cathedral, and at the Reformation Romsey a parish church - such are the complexities of the varying status of churches in the C of E!.

[Tuning at the Albert Hall]

That seems very modest, almost self-deprecating, as most people think that Mander’s rebuild corrected shortcomings in the RAH organ resulting in a noticeably improved instrument.  Was Arthur Harrison’s rebuild/ transformation so far-reaching (drastic?) as to justify expunging all reference to Father Willis on their builder’s name plate?  Put another way, does re-voicing the original builder’s pipework entitle the new builder to instal a name plate which, to anyone who doesn’t know the instrument’s history, gives the impression that the organ is wholly theirs?

[Visiting Organs]

As a boy, about 65 years ago, I was similarly not allowed to see the console at Gloucester Cathedral.  I can understand the reluctance of the verger at St Sulpice (which, incidentally, Stephen Bicknell considered to be the finest organ in the world) without a member of the music staff being present, but it has long been the custom there to welcome visitors to the organ loft during Sunday mass, and there are photographs of visitors with Widor, Dupré and Daniel Roth

[Organs in & near Lisbon]

I am a new Member, although I have followed this Board for several years.  I live in the Hampshire village of Hursley, half-way between Winchester and Romsey.  This was the Parish of John Keble who is buried in the churchyard.  Paradoxically, Richard Cromwell’s remains are inside the Church.  I play in two small, ancient churches - for Matins in Winchester and Evensong at Morestead, a farming community which doesn’t boast a single shop or pub!  But it has the honour of giving the name to Sydney Watson’s fine hymn tune.  I am following the news about the Peter Collins Turner Sims organ, sadly missed here, but happily finding a worthy new home.

Now to Lisbon!  Dave Harries’ question sent me to my invaluable 1922 ‘Dictionary of Organs and Organists’ which includes extensive lists of overseas organs by UK builders.  It doesn’t supply an answer about Santo Antonio, but the following entries may be of interest:

PORTUGAL
LISBON - 
     CORPO SANTE - Built 1906 by Forster & Andrews. 9 sp. stops, 3 couplers
     ENGLISH CHURCH - Built 1875 by Forster & Andrews
OPORTO - 
     CHURCH OF NOTRE DAME de L’ESPÉRANCE - Built 1891 by Conacher. 1 manual, 11 sp. stops, 1 coupler
     ENGLISH CHURCH - Built 1888 by Norman & Beard. 2 manuals, 19 sp. stops, 4 couplers, tr. action, hand bl.

No mention of Santo Antonio or Gray and Davidson (although the organ is instantly recognisable as the only English one in Dave’s photographs!), but interesting to see organs by other English builders from much the same era, especially in the two ‘non-English’ churches.

 

Rowland