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Colin Harvey

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About Colin Harvey

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    Hampshire, UK

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  1. 86cm from the top of the keyboard to the floor; 76cm from the top of the keyboard to the pedals (naturals); 65cm bench height on my organ (1840 Hill)
  2. York Minster organ has been in the care of Harrison & Harrison for several years now. I understand the Minster are awaiting all the necessary permissions to be in place before they make an announcement, hopefully later this year. A lot of work and careful thought has gone into the best course of action for the organ; as many people will be aware there are many strands and considerations for this organ; musical, historical and how the instrument works in the building. There have been a number of experiments on the organ recently, mainly around returning the pressures back to their 1930s
  3. Thanks for the update Martin. I'm sure all of us would be interested to understand the rationale behind re-voicing this organ by Ruffatti. Would you enlighten us please? I played the new Tickell at Keble a year or two ago. I was very struck by the unashamedly romantic - if not orchestral - spirit of the organ. It's as though the style had gone full circle from Compton through GDB to Ken Tickell and here was Tickell building an organ that wasn't a million miles away from his grand-organ builders in John Compton! In particular, the orchestral reeds and strings of this organ impressed me with
  4. Hi Colin, Yes, Anglican church. The DAC made the decision in the absence of the DOA because of a perceived conflict of interest by the Archdeacon and Chairman of the DAC. I'm not sure what the conflict of interest was, except that the DOA occasionally deputises at the church. The funding for the electric was given by the friends of the church organisation, on the proviso it was only for the proposed electronic organ. The faculty also allowed for the removal of the organ, on the proviso it passed to an organ builder or another parish. I had fairly extensive correspondence with the DO
  5. Absolutely. I'd add while the organ is in pieces, it's usually sensible to seize the opportunity to carry out any repairs and maintenance which may be required. By way of an example, the organ I alluded to above (at Owslebury *) cost £600 to buy. The costs of transplanting it into the new church was in the 'teens of thousands. It was in a pretty tired state when we bought it. So the cost included a restoration of releathering the bellows, cleaning and overhaul of all components (including pipe repairs - the front pipes were badly dented) and refinishing the case (it was in quite a s
  6. I followed this organ with growing interest when a friend suggested it for a church in our area. It's always sad to see yet another organ like this, with some provenance and historic interest, on eBay and it raised a few questions about custodianship of historic organs in private hands: Is it possible to ensure good custodianship of such instruments in private hands and protect them from inappropriate alterations and work? Is it possible that, if they need to be sold or changed hands, there's a way of tracking and monitoring historic organs? What about the situation when the owner dies o
  7. The appearance of nave organs over the past 20-30 years is an interesting development in Cathedral and large church organs. I wonder how much of it has been driven by evolving liturgical practices and evolving practices with hymns? I heard a recording of the Old 100th conducted by Edward Elgar and was struck by the tempo of the singing (which was at English Hymnal tempos) and the accent put on (the start of) each note. It was not dissimilar to the iso-rhythmic psalm singing found in the most traditional areas of the Dutch Gereformeerde Gemeente churches. Hymn tempos seemed to have in
  8. Here's the best video I've yet seen of Saint-Sulpice, showing off this organ's many incredible features, like the quadruple rise reservoirs, the barker lever stop actions. Also remarkable for its stunning aural recording and performance, this time of non French music, Mendelssohn's piano prelude and fugue in E minor, another stunning performance by Daniel Roth. https://youtu.be/1V2xhAdtodM
  9. Dear MJFarr - I think you make the point very well. A lot of the success of whether Open Flutes and Open Diapasons go together depends on the voicing and treatment of the pipes. I would suggest it is perhaps unhelpful to try to define hard and fast rules as it imposes entirely arbitrary self-imposed strictures, the value of which I don't really see; although I can see HWIII's attempts are probably borne out of his own experience. Perhaps this has something to say and influence how we should approach and register on his organs? The closest to a 3 manual HWIII instrument with solely Open Di
  10. Just as Stephen Bicknell's brilliant article relates "Your architectural sense of the space you are given should affect the kind of organ that you think would work", surely it would be most effective if the organ case also influences the kind of organ in it too? Not just in size and layout but also stylistically? If the main and chaire case are to be retained from an earlier instrument, would it show the right sensitivities and artistic/musical imagination to raise the idea that "the chair case may be ditched" (sic) so early on in the discussions? I had the pleasure of working with Ste
  11. Very sorry to hear this - my condolences to his family, friends and colleagues at Peter Collins Ltd. I met Peter Collins while at Southampton University (the Turner Sims Concert Hall organ was the obvious link) and ended up working for him for part of a summer holiday while at University. He was very good to me. Obviously a great loss to the British Organ Building community; he played a leading role in the organ reform movement in Britain and built some key organs of the movement. I felt he had a great sense of conviction and energy in what he wanted to achieve and his fiery energy com
  12. One of the reasons the Tuba Mirabilis sounds so huge in the nave is because the rest of the organ has been so nullified by the drastically reduced wind pressures. The H&H primary great flues were originally voiced on a pressure of around 7-8 inches, at the time of your visit they would have been barely half that. The silly mixtures don't really get out of the case. From what I understand the high pressure flues weren't revoiced when the pressures were reduced, merely tuned! The enclosed solo tubas were down from 20 inches to about 6. I agree, the Tuba Mirabilis was so ridiculously out of p
  13. The Tuba Mirabilis is not in perfect condition at York Minster. Just to clarify, it isn't exactly horizontal; the boots and shallots are vertical, on top of the soundboard in conventional fashion. The treble pipes are heavily hooded to project over the parapet of the screen and the basses are mitred at 90 degrees at no great distance from the boot. The extreme bass pipes double back into the organ before being mitred 180 degrees to speak west over the screen parapet. A little more than the tuning scrolls have been disturbed on this stop! The stop was re-tongued, either in the 1950s Walker
  14. Many thanks Richard - look forward to seeing EHR! The new Ancient & Modern, published in March 2013, ought to be mentioned as an addendum to this topic. Our church adopted it and I found it to be an excellent hymn book for a middle-of-the-road Anglican church. It is an evolution from Common Praise. So called "Worship Songs" have a reasonable representation, with a generally sensible selection and there are many new words and texts set to more familiar traditional tunes which stimulated our thoughtful congregation. At the other end of the spectrum to the worship songs, feast days and th
  15. Bringing the topic back to its original subject, the Wanamaker organ has brass strips below the keyboards for operating the swell shutters. Wanamaker Organ Console Photo
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