Jonathan Lane

Thanks CTT, that helps narrow the timescale quite a bit. The one we are keen to find out about is 824 and that would fall broadly around 1914 as we believe. It may well have been a year yearlier judging by the January date.

Thanks Tony, As is often the case i thought you might know these things. I've used the DBOB as a starting point already, but the other references I am sure will be helpful. Best wishes, Jonathan

Does anyone have detailed informtion on the Positive Organ Company, especially while the operated under this name. I saw an organ yesterday and there is no date on the organ and no reference to its age. It is believed to be 1914 and therefore is coming up on its centenery. It has an Opus number so I am keen to find out more. For instance, who ended up with their records/papers? Thanks, Jonathan

Hear, hear!

How true!

Another Willis, the 1889 at Holy Trinity, West Hill, Wandsworth. And down the road, the c. 1901 Bishop at All Saints.

Indeed, although the way in which the Forster and Andrews sound was maintened is very successful in my opinion, although the new pipework is very much Compton! In a moment of madness or boredom, I cannot remember which, I redesigned the organ to take out the Compton excesses & restore much of the style of the F&A. I ended up with an organ even bigger! Should the church ever have a couple of million to spend on the organ I would love to put it into action!

Cynic will probably know this information better than me, but Holy Trinity Hull hasn't had any major work since 1938 and is still playable (just!). Although it may not count as the 1938 organ was a rebuild of a earlier F&A organ. 1938 was by Compton and says a lot for the advanced state of their electrical work at the time.

I normally only lend spare copies these days, unless to current pupils. This wasn't a pupil!

It is an interesting question. As for the GPRanches instruction, I believe you are correct, it does come else where, although I cannot remember where at present! To be able to at the G & P anches you need to have only the R anches on at that point. I'm wondering if the other question actually implies that the GO anches shouldn't be on at all at the opening. Remembering what a great deal of French organs are like, the P & R anches would be sufficient with the full chorus to give a full organ effect. The GO anches would be added for additional effect, at the climax of a passage. Of course, if they are chemades, they would cut through everything anyway. I need to check my score, however, I leant it to someone some years ago and it hasn't come back yet! Jonathan

A correction to my earlier post, if anyone spotted it (I know at least one did). Although my earlier comments were important, I'd also like to welcome Philipp, and we all look forward to his contribution. Jonathan

These pipes are a substantial Open Wood, the wire brush does no damage. Incidentally, it has the same effect on stopped wood pipes to middle C, all it does is rough up the surface to allow a new coat of paint to adhere. Jonathan

Well spotted, of course, and a lovely piece Jonathan

I think we have already established there is more for Ascension than Pentecost whch probably reflects Pentecost is somewhat neglected alongside Christmas and Easter depite being one of the great three. However, for those wanting a challange with a choir capable of it there is of course Jonathan Harvey's 'Come, Holy Ghost'. Jonathan

They are very early 20th century as they date from 1850!

The Thorpe-Davie is an excellent piece too, but sadly much neglected these days, even in cathedrals. As far as the organ is concerned, the piece I love is Tournemire's 'Dominica infra Oct. Ascensionis ' from L'Orgue Mystique. There is a superb hymn with a tune by Howells which appears in NEH, Holy Spirit, Ever Dwelling. The tune is called Salisbury. Jonathan

North Petherton, an excellent tune, and a lovey setting by Harris. Too often people reject Harris's accompanied pieces because they prefer Faire is the Heaven and Bring us, O Lord God, but Come down and Behold, the tabernacle of God are both superb little anthems. Jonathan

Hypothesis may be the only way to find the best solution without causing untold damage.

This is what I suggested 12 years ago when the original appeal was happening. Jonathan

But of course, the fine organ at Kilburn (I practised on it a little in the early years of the century) is not in fact complete anyway, even if you don't look at H&H's proposed work! Jonathan

And a country where historic instruments are supposedly preserved by the state, namely France, seems to spend far too little on keeping them playable!

Hear, hear!

I'll try this again, as I just typed a very concise response which the machine managed to delete before I posted it! I think the point here is, would you have been able to accompany the congregation or the choral repertoire on the 1664 stops? Indeed if the further five stops were added a century later they may well have been done out of necessity not the whim of the organist or organ builder. The fact that liturgy has developed is part of life and progress, if the organ doesn't try to keep up or indeed lead, it has lost the battle with the more modern and dare I say less desirable traits in modern church music! Don't get me wrong, I'm not in favour of the wholesale destruction of our organ heritage, but if an organ is failing through mechanical obscelence or condition but the pipework is both good and historic, is it right to insist it is maintained in a condition in which we cannot benefit from the pleasure of hearing it because of an English Heritage attitude? To quote an English Herirtage example, the bell frame at Malvern Priory is becoming unserviceable, but EH have said it cannot be replaced. Essentially meaning the bells will be permanently silenced. I am a member of English Heritage, but feel it is better to try to change attitudes from within! Jonathan

I have to agree wholeheartedly with this. At the end of the day, organs in places of worship are principally to lead and enhance worship, and as soon as they are unable to do that they lose their meaning altogether, it is fine to have historical instruments, but historical should never prevent their proper and valued use to lead worship. Jonathan

I find it very annoying, because if I turn up to my regular organ to play for the service, the last thing I want to find is the Tuba set on Choir 1! However, unless expressly offered by the resiedent organist I never change the pistons, and would always register by hand where necessary. Did same on the fine organ at Bridlington Priory the other week for a wedding, with some challenging music, worked well! Jonathan