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Paul Walton

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Everything posted by Paul Walton

  1. The Solo has always had the octave couplers but, as Philip Moore has said, in recent times they have not affected the Mirabilis. Robert Sharpe has implied in the other thread that this will still be the case post restoration. The only possible use for them I can think of would be when using the Pedal Divide, to have the Mirabilis in the right foot, sounding an octave higher, though this would require a Solo Octave to Pedal coupler. Paul
  2. The Sumsion arrangements were OUP and are now archive, so try Banks. Paul
  3. Apologies for reviving a very old thread, but a Google search on this organ has brought me here! As the recently appointed University Organist, I am due to be hosting a visit to and giving a talk on this organ next month. All I know is what's on NPOR. I'd be extremely grateful if anyone could furnish me with a copy of the David Drinkell article mentioned above. Paul Walton
  4. Howells grew up with the pre-Harrison Gloucester, but the 1920 - 1970 incarnation became his favourite instrument (then Durham and St Mary Redcliffe) and he dedicated the Six Pieces to Sumsion so they would be played on it. Paul
  5. Not rare enough to be an exception though: York (1832) Newcastle (1883) St Paul's (1872) Salisbury (1876) Peterborough (1894) Westminster Abbey (1895) Southwark (1897) Lincoln (1903) Winchester (1905) Chester (1908) Ely (1908) Lichfield (1908) Glasgow (1909) Hereford (1909) and Durham prepared for in 1905, though not put in until 1935. I always use the Mag Gloria to judge whether the choir is strong enough to take the (in my case 16') reed at the end of the Nunc. Paul
  6. 'The Organs of York Minster' lists the Swell Open Diapason becoming the Voce Umana along with the reinstating of the Solo and part of the Pedal in 1972 following work on the building. 'The Organs and Organists of Ely Cathedral' doesn't mention the Fiffaro before 1975. However, it does mention work done in 1956 (Choir flues transposed into a cornet) and 1962 (repair work and revoicing of reeds). Arthur Wills, in his book 'Organ' (Menuhin Music Guides) discusses the retuning of two Choir flues to become Unda Maris and Fiffaro in the same paragraph as the cornet, and implies this was all done before the 1962 work. Paul
  7. Most 20th century organs have registration aids. If the ones that don't are either historic copies from which we can learn how things were done in a certain period, or can be reasonably expected to only perform music pre-c.1850 that doesn't require registration aids, then no problem. If neither of these is the case, then whatever the sound of and however musical the instrument, failure to provide registration aids of some description (hardly a new fangled idea) is at best misguided and at worst sheer dogma, particularly on consoles of different design to the English Romantic console. If for example (from experience) you build a 2-manual organ for a church that has an annual festival that includes such things as Dyson in D and Britten Missa Brevis and Festival Te Deum then you should include playing aids. Bangs and crashes from stops going in and out by hand (and the contortions of the player in order to get to them) may be amusing for the choir, but are hardly conducive to high level corporate music making.
  8. I think 'no tonal alterations or revoicing' covers it. And unless it was meant to be a historic copy, it's an organ of the 20th century, and 20th century organs have registration aids because the music they are required to play (accompaniments and repertoire) requires them.
  9. Bristol will be going out to tender soon and, once decisions are made, there will be an announcement as to who is doing the work and when it will start. As you may have seen, we've been very lucky with a major donation. Paul Walton (Assistant Organist, Bristol)
  10. Lots! Various marches, etc, in A Walton Organ Album David Bednall Fanfare-Processional (in The Organists' Charitable Trust Little Organ Book) John Cook Fanfare Healey Willan Chorale Prelude on Gelobt sei Gott (no.4, Six Chorale Preludes) Percy Whitlock Fanfare / Paean Francis Jackson Worcester Processional / Fanfare (op.18) Andrew Carter Trumpet Tune Paul Edwards Turvey Tuba Tune William Mathias Processional / Recessional Stanley Vann A Fancy for Tuba Arthur Wills Praise him in the sound of the trumpet (or tuba, or whatever) - yes that is the full title! Pretty much all British. As to other repertoire, Gigout Grand Choeur Dialogué would be the main one, and there are opportunities in the final page of Mulet Carillon-Sortie and Alain Litanies. Paul Walton
  11. Delighted to see the interest in the appeal. It's very early days - I will post news and updates when there is something to tell, but the scheme of work is unlikely to be fully formed until the tendering process, which will happen once most of the funding has been raised. We have compiled a CD in aid of the appeal from some of my Tuesday lunchtime recital performances and, if anyone would be interested, details are here: http://www.paul-walton.com/#/recordings/4569256178 Contrary to the web-page, if just ordering the appeal CD, please make cheque payable to Bristol Cathedral. All best wishes, Paul Walton (Assistant Organist, Bristol Cathedral)
  12. Saturday January 10, 5pm, Guild Chapel, Stratford-upon-Avon Organ recital by Paul Walton (Assistant Organist, Bristol Cathedral / old boy, King Edward VI School next door) Programme in thread about the new chapel organ Paul Walton
  13. The next recital at the Guild Chapel is this Saturday at 5pm given by myself. Pæan on 'Divinum Mysterium', John Cook Wie schön leuchtet der Morgenstern, Dietrich Buxtehude Allein Gott in der Hoh sei Ejhr (BWV 662), J.S. Bach Fantasia and Fugue in G minor (BWV 542), J.S. Bach Cantabile, César Franck For the Iron Voice, Philip Wilby Song without Words, David Briggs Marche Pontificale (Symphonie 1), Charles-Marie Widor Paul Walton
  14. There was a specification on the website as part of the appeal stuff, but it seems to have gone. I had a play in August, if memory serves: Great Open Diapason 8' Stopped Diapason 8' Principal 4' (Nason ?) Flute 4' Twelfth 2 2/3' Fifteenth 2' Tierce 1 3/5' Mixture III Trumpet 8' Swell (Claribel ?) Flute 8' Viola / Salicional 8' Celeste 8' Gemshorn 4' Flute 4' Fifteenth 2' Nineteenth 1 1/3' (probably from Mixture) Mixture III Contra Oboe / Contra Fagotto 16' Cornopean 8' Octave / Suboctave / Unison Off Pedal Open Diapason 16' (at the initial planning stage, the bottom octave of haskelled pipes - Nicholson 1990 - was to be the only material retained from the old organ, I don't know if this is actually the case) Bourdon 16' Principal 8' Bass Flute 8' Fifteenth 4' Trombone 16' Contra Oboe / Fagotto 16' (Swell) Cremona 4' I really enjoyed my play on it (the Cremona wasn't there yet) - lots of character and colour, and comfortable to play. There's a recital series being planned for next year, which I'm kicking off on Saturday January 10. I hope Stephen won't mind me saying that the first people on the list are those who had to suffer the old organ the most - I was at the Grammar School next door and played for chapel most days for about four years! Paul
  15. Bristol Cathedral, Tuesday 7 October The scheduled recitalist is ill, so resident organists David Bednall and Paul Walton have put together a programme of largely British music, including Howells, Francis Jackson (in celebration of his 97th birthday last week), Philip Moore and William Walton. The recital will launch Paul's latest CD on the Cathedral organ, In an Old Abbey, featuring rarely recorded British music by Alcock, Harwood, Elgar, Sumsion, Vaughan Williams, John Cook, Douglas Steele and William Walton. The CD will be available for £10 after the recital. Full list of pieces at www.paul-walton.com
  16. Personally, I don't think there are enough unison offs! Examples of its use have already been specified above: 4' pedal reed (Bach, etc) = oboe / clarinet / vox humana plus octave and unison off the 8' flute and 4' string combination specified by Alain (Jannequin Variations / Aria) can often only be obtained with 16' flute, 8' string, octave, unison off a 19th can be obtained from a 12th, etc a softer Swell 8' trumpet can be obtained from a 16' reed (this often works for Franck) Although a combination such as those above can often be obtained through playing at a different octave, there are enough occasions when you want to couple it to a different manual whose stops are at the right pitch to make a Unison Off worth having. Examples of where I've wished for one where there isn't one: at Bristol it would be very useful to couple the Solo 4' flute (which is enclosed, the 8' flute isn't) at 8' pitch into other 8' foundations the 2 stops I would add like a shot to Cirencester PC are Swell and Solo Unison Offs - especially given the pedal divide facility I've played an organ where the best balance of the middle section of Piece Heroique was left hand on 16' reed up an octave against right hand on 4' flute down an octave! Yes, some of the time it is simply to place the hands in a more convenient playing position - why not? What's wrong with convenience? Paul Walton (Assistant, Bristol Cathedral)
  17. Worth checking if it's the full orchestra version or the reduced orchestra version. In the reduced orchestra version, the organ part retains quite a lot of the organ only accompaniment (e.g. the Sanctus sextuplets - but divided between the hands). In the full orchestra version, if memory serves, it's more of a standard orchestral organ part i.e. a few chords and rumbles here and there. I seem to recall the flute solo in the In Paradisum is on the organ in all versions. Paul Walton
  18. Bristol Cathedral, Tuesday 4 December 1:15pm Music for Advent and Christmas Paul Walton plays a programme including Jackson, Bach, Baker, Hollins and Cochereau This recital is the launch of Paul's new CD, Rejoice and be merry! Organ music for Christmas, recorded on Regent Records - Paul's first commercial recording and the first recording for 8 years of the organ of Bristol Cathedral. This will be available from Paul for £10. More details here: http://www.paul-walton.com/#/recordings/4569256178 Paul
  19. Excuse the shameless pluggery . . . . A select few of my descants, etc, are now available here http://www.paul-walton.com/#/hymn-arrangements/4554823242 Paul Walton (Assistant Organist, Bristol Cathedral)
  20. Paul Walton Wednesday September 7, 1:15, Blackburn Cathedral Thursday September 8, 1:15, Ripon Cathedral see http://www.paul-walton.com/#/2011/4554822791 for programmes
  21. http://www.cirencesterorganfestival.co.uk/ Hopefully this is more what you're looking for. Paul
  22. Most likely due to lack of money in the 60s and 70s! Fortunate of course that we've been spared the ravages of that period - we have all our diapasons intact and there are no screaming mixtures and tinkly Positives. The 70s did turn the Pedal Quint 10 2/3 into the utterly pointless Octave Quint 5 1/3 and lose the Dulciana 8' but that's about all we have cause to regret! Paul
  23. The Bristol action is, as you say, inherently difficult, part of the issue being its particular fragility and vulnerability to changes in weather / humidity. This is being particularly exposed at the moment, though not as much as last spring when one of the humidifier motors had to be replaced and, in the meantime, the entire coupling system virtually gave up - to say that so many notes were missing on Sw/Gt that hymns became unrecognisable from their playovers is not an exaggeration! However, even in 'normal' weather conditions, it has to be said that the action has never been 100% reliable - I don't believe that it's design allows it to be. Maintaining it is the equivalent of painting the Forth Bridge - by the time you've gone right through it, something will have started to stray at the other end. In the long term, I don't believe it will survive, as I can't see that the spending of large amounts of money on it can be justified unless it be guaranteed to work properly - one builder said that to us last time we tendered for some (relatively minor) work, and I am told that other builders have expressed similar thoughts on its cousin in Wimbledon. When I say 'work properly', I don't mean 'be able to play French toccatas at crotchet = 450' but that the action/couplers respond to the pressing of the key rather than just playing in their own, variable time(s), as much of an issue with hymns / slow passages for all the strings coupled with Sw octave, etc. It is ironic that the key touch is capable of a high degree of subtlety and control but the response of the action usually negates any such effort! The issue will be what sort of action can be put in its place that provides the necessary reliability and response but maintains the touch and suits the speech of the pipes. I doubt that's a decision that will be made in my time! Paul
  24. For the record and if memory serves: 2007 Nine Lessons, Cochereau Sortie sur Adeste fideles, 2007 Christmas Day Briggs Sortie on In dulci jubilo. 2008 Nine Lessons Cochereau Sortie sur Venez divin Messie, 2008 Christmas Day Guilmant March on a theme of Handel. I'm considering the Saint-Martin Offertoire sur deux Noels for sometime this year - essentially the first movement of Vierne 2 with the thematic material replaced by two carols! Paul
  25. If I'm right in identifying the instruments, at the moment, they'd only need to take over 'D', since most of the instrument from 'B' is there mid-restoration.
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