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Tim Rogerson

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About Tim Rogerson

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  1. According to the leaflet about the organ dating from 1990 .. "All of the soundboards and internal mechanism were new - as was more than half of the pipework. All that was retained from the old organ was the best of the pipework and the 1685 case-fronts, now arranged side by side in the two adjoining bays of the North Choir aisle. The Gothic Choir 'case' of 1860 was removed, but stored in the hope that it might one day screen a remote Echo or Nave section. It remains in the bottom of the organ today" Later in the same document (written by Ian Bell, but incorporating information from p
  2. This is pretty much par for the course at Winchester. The "Nave organ" is really just a Bombarde section, which happens to be closer to the nave than the rest of the organ. I'm fairly certain that the Hele Bombardes are placed behind it, and these are the reeds which are heard reasonably well in the nave. I've played for a couple of services when the nave was about 2/3 full and the advice then was to use Full Sw & almost full Gt throughout and to chose various combinations of Nave Mixture & Trumpet for variety. I've also sat in a number of different places in the nave for services
  3. New English Hymnal hymn 49 tune 1 is called "Wessex" - a fine tune by Alwyn Surplice for "Brightest and Best".
  4. 32' Compton Diaphones are still in existence at Downside (32' Great Bass - seemingly just the bottom octave is a Diaphone, the rest is an Open Wood) and Southapton Guildhall (32' Contra Bass) Both of these also have a Polyphonic 32', which seems to have been Compton's preferred 32' flue solution. I played the Southampton instrument a couple of years ago but didn't specifically look into the state of the 32' octave of the Diaphone. Most of the loud stops on the organ were working then, so I guess it is probably still functioning.
  5. It is possible to "try this at home" (or at your local church). Draw a "full" combination on at every manual except one and draw full pedal. On the other manual draw a 16' or 8' flute (preferably one containing lots of fundamental and very little harmonic development). Play a chord of C major with the right hand and pedals on the loud combinations (feet on octave Cs for best effect) and then play Tenor E G, Bb and the D, E, F above those with the left hand on the flute (this assumes that the flute is 16' - if it's 8', everything goes down the octave). You should hear something akin to a so
  6. On the Tierce mixtures theme, an organist friend once commented on how strong the Tierce Mixtures at Beverley Minster were (on hearing the organ for the first time during a recital - and since its most recent rebuild when all Tierce ranks were removed from the Chorus mixtures). I pointed out that there were no Tierce mixtures left - the sounds were those created by the (predominantly) 18th Century Snetzler pipework, which produces a strong fifth harmonic and sounds as if a Tierce is drawn - and quite glorious it is!
  7. Picking up the original theme .... I don't think that anyone has mentioned the Willis organ at St Martin on the Hill in Scarborough, Yorkshire, which is almost "untouched". I am told that it was installed by FHW when he had a little "spare time" in between working on some of the big jobs he was doing at the time and was never really finished (a few "prepared for" stops). In 1928, it seems that a few minor changes were made, the choir organ was enclosed and balanced swell pedals were fitted. In 1974, JWW changed the Swell TP action to EP, but left the Floating lever on the Great.
  8. Try www.bios.org.uk and search by place "Kingston upon Hull" and then find Holy Trinity - the 1939 version. There is an old picture of the Console and the full specification including ventils.
  9. There is actually a little more extension than noted above. From memory the main extensions are: The Great Diapason referred to above as No 1 and available at 8' 4' & 2', is actually No 2. No 1 (which is huge!) appears on the Great only at 8' pitch, but also on the Bombarde (playable on the choir) at 16' 8' & 4' pitches, as well as at 16' and 4' pitches on the pedal - the bottom octave is a diaphone. The Choir Dulciana is a unit rank, which appears on that manual at virtually every pitch from 16' to mixture as well as on the Great at 8' & 4' pitches and on the Pedal at 16' &am
  10. I was in the hall for the BBC CO prom (Saint Saens Organ Symphony) and thought that the Great was dominant, so perhaps the microphones are giving an accurate "picture". Dame Gillian Weir played a Messian encore, which confirmed that the Swell and Solo organs are distant. But what a sound in the final movement of the Saint Saens!!
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