Worcester Cathedral

[Pierre Lauwers]

Also, the transept case could he moved forwards to make place for all the 'old' pipework, which, by good hands, could be made into a coherent ensemble.

naaahhh .....

 

Even better: we have some big churches and cathedrals without a proper organ in Belgium.

The problem is money -as always-. But that apart, I could redesign something round:

 

1)- The Open Diapason I 8' (the leathered one) and its 4' octave of the Great;

 

2)- Great and (above all) Swell chorus reeds;

 

3)- The Pedal chorus reeds.

 

(Halas there was already nothing more of interest as a Tuba in 1978...)

 

Building "round" those stops (but the Great reeds were already much modified in 1978!),

it would be possible to find something of the *thing* back.

 

Of course if other stops (Flutes, Strings, Stopped...) could come with the better, Mixtures

can be melted down, though.

 

(They could be replaced with several differing designs, after the acoustics of the new home,

and according to the presence or not of a choir with a decent singing level...)

Pierre

[Guest Cynic]

Even better: we have some big churches and cathedrals without a proper organ in Belgium.

The problem is money -as always-. But that apart, I could redesign something round:

 

1)- The Open Diapason I 8' (the leathered one) and its 4' octave of the Great;

 

2)- Great and (above all) Swell chorus reeds;

 

3)- The Pedal chorus reeds.

 

(Halas there was already nothing more of interest as a Tuba in 1978...)

 

Building "round" those stops (but the Great reeds were already much modified in 1978!),

it would be possible to find something of the *thing* back.

 

Of course if other stops (Flutes, Strings, Stopped...) could come with the better, Mixtures

can be melted down, though.

 

(They could be replaced with several differing designs, after the acoustics of the new home,

and according to the presence or not of a choir with a decent singing level...)

Pierre

 

 

I believe I am right in saying that for several months now the remaining pipework from that organ has been in the possession of an organ-builder/parts dealer based in Stratford-on-Avon. He is not short of material! Allegedly he also has (or will have) the HN&B and Hope Jones material from Llandaff and the Willis work from Holy Trinity Coventry. Said gentleman advertises in Organists Review - his adverts are not hard to find or identify. If anyone seriously wants ex-Worcester stuff, you know where to start looking!

[Pierre Lauwers]

"Organists Review"

(Quote)

 

How can I get it ?

 

Has this builder a Website ?

 

Pierre

[Guest Roffensis]

"Organists Review"

(Quote)

 

How can I get it ?

 

Pierre

 

 

Aha! So someone out there still values it! Incidently, I was listening to a very interesting recording the other day of Vierne's C sharp Mass, the off air version (not the rather closely miked Abbey recording on vinyl) , and very good it is too. The organ sounds glorious on it, and it would doubtless suit a Belgian church very well.

 

R

[pcnd5584]

... and the Willis work from Holy Trinity Coventry. ...

 

Oh - do you happen to know what is happening here, Cynic - or is the church just closing?

[pcnd5584]

... Of course if other stops (Flutes, Strings, Stopped...) could come with the better, Mixtures

can be melted down, though. ...

 

Pierre

 

Actually, in the cathedral, the old mixtures blended quite well. They were certainly not too bright in that building - and if you were able to find a church which would take the Pedal, G.O. and Swell reeds (the latter were huge), then I am sure that it would cope with the mixtures, too.

 

I am surprised that you are happy to reject some ranks, Pierre!

[Guest Nigel ALLCOAT]

Oh - do you happen to know what is happening here, Cynic - or is the church just closing?

 

I am the DOA and the church comes under my charge. The organ was recently entirely removed and a large electronic substitute has been installed as an interim device before a new organ arrives. The church thrives vey well and there is no fear of closure. The building is exceptional and made all the more so by the reasonably recent cleaning of the Doom painting at the head of the Nave. Thankfully, this was one building (albeit just yards from he destroyed St Michael's Cathedral) that Hitler failed to locate in the city.

Best wishes,

Nigel

[Guest Roffensis]

I am the DOA and the church comes under my charge. The organ was recently entirely removed and a large electronic substitute has been installed as an interim device before a new organ arrives. The church thrives vey well and there is no fear of closure. The building is exceptional and made all the more so by the reasonably recent cleaning of the Doom painting at the head of the Nave. Thankfully, this was one building (albeit just yards from he destroyed St Michael's Cathedral) that Hitler failed to locate in the city.

Best wishes,

Nigel

 

 

So Hitler did not get to finish off this organ then.......

 

Any others to look forward to being removed? LOL!!

 

I tend to stick largely to Orchestral music these days!!

 

R

[Pierre Lauwers]

Actually, in the cathedral, the old mixtures blended quite well. They were certainly not too bright in that building - and if you were able to find a church which would take the Pedal, G.O. and Swell reeds (the latter were huge), then I am sure that it would cope with the mixtures, too.

 

I am surprised that you are happy to reject some ranks, Pierre!

 

You may find they blended, of course. I myself found them exactly the same Georges Delmotte

of Tournai, Belgium, made by the thousands between 1960 and 1980.

To put such "néo-classique" mixtures on such an huge "Fond d'orgue" is, anyway, * Hope-less".

Either they are engulfed within the big Opens, either you have to make them scream. Then you hear

them above the rest.

 

This organ was exceptionnal in several ways. Let us evoke just one: While the normal basis of all

late-romantic and post-romantic organs I visited in the U.K. was the Open II, this one was based

on that huge "one". The 4' Octave was made after it, not the II.

And so it is the complete tonal structure which is rocked into another world.

The reeds had to follow suit -hence the brick Swellbox, so strong had the Swell chorus to be-, etc, etc, etc...The

consequences spread over the complete tonal design.

 

If you want a Diapason chorus the traditional way there, you had to build it as a secondary, subdued

structure within the structure, that is, a complete chorus next to the strong H-J's one.

But to glue a standard "neo" mixture there was akin to spoilers for better roadholding above 150 Miles per hour on

a 1950 Bedford truck...

Hope-Jones built strong foundations, and relied on the octave couplers and the Quintatons (which provided

the quints) as a chorus substitute.

(Was it a "good" idea or not we should not decide.)

 

Another possibility is to develop an idea Willis and Walcker used; the tierce Mixture, which can cope with

more foundation. But even that one should be based on a Diapason II, excuding the I. Nor Willis, nor Walcker

Principals were half as bold as that leathered thing we talk about, while Willis concept is rather optimized

for use with the chorus reeds.

 

I'd go for an european post-romantic concept, that is:

 

-The H-J basis: 8'-4', as they were.

 

-Another Diapason chorus based on a second 8', with its own 4', then 2 2/3'-2'- 1 1/3'- 1' as a 4 rank mixture (At C),

voiced softly, mainly intended for the church services (like Cavaillé-Coll did, and like to be found in the Skinner

organ at Yale). the whole to be quite softer than the previous 8' and 4'.

 

-As a bridge between the two+ the Trombas (which would be reconstitued!), a strong "Grand Cornet" substitute, that is,

something in the "Grand jeu" spirit, but developed to cope, we cannot eschew the "Harmonics" concept.

The idea -that Weigle in Germany explained, as he did the same- is to gather as much different harmonics possible

in one stop: a tierce (17th), a septième (flat twenty-first), a quint (19th), an octave (22th), as basis to be widened

according to the room of course. We could even add a none (or: Neuvième) and/or other odd harmonics.

 

These are some of the reasons I'd let the 1978 Mixtures go to the melting workshop without fear, Pcnd; standardized

things we find at the every next corner have not the same value as things which are unique.

Oder ?

 

They were intended for a plan I never believed, and will never believe, in: to "baroquize" a characterfull post-romantic

organ with quick fixes.

 

Pierre

[Colin Harvey]

Hear! Hear! Absolutely spot on Pierre!!

[Guest Roffensis]

If we are talking about the old Worcester organ in principle here, then Hope Jones work cannot truly be said to have been represented by it, in it's final state. Very much of that old organ was actually by Harrisons, and where not actually new pipework in 1927, was certainly revoiced dramatically by them. I could never think of it as a HJ, and I still consider that HJ treatment of the old Hill job was unforgivable. I have never thought seriously of HJ as a proper organ builder either, and the ridiculous notion that an organ does not need upperwork, not to mention his odd specifactions and stop names, leaves him, for me, as a curio. Some of his individual registers were interesting, and some actually quite fine. But a logical harmonic progression was lacking by and large in HJs organs, and the reliance on octave couplers severely misplaced.

 

Worcester became a hybrid organ, with many builders having a go at it. It is so sad we lost the original organ by Hill, which is something to lament about. As much as I admired the old organ's Tutti, and indeed many individual registers, I never regarded it as faultless. It was far from perfect, and in any new home would require a pretty radical rethink if you ask me. The finer points of it (of which it did have several) I place squarely as Harrisons work, not HJ. Sorry, but that's my opinion!

 

R

[heva]

If we are talking about the old Worcester organ in principle here, then Hope Jones work cannot truly be said to have been represented by it, in it's final state. Very much of that old organ was actually by Harrisons, and where not actually new pipework in 1927, was certainly revoiced dramatically by them. I could never think of it as a HJ, and I still consider that HJ treatment of the old Hill job was unforgivable. I have never thought seriously of HJ as a proper organ builder either, and the ridiculous notion that an organ does not need upperwork, not to mention his odd specifactions and stop names, leaves him, for me, as a curio. Some of his individual registers were interesting, and some actually quite fine. But a logical harmonic progression was lacking by and large in HJs organs, and the reliance on octave couplers severely misplaced.

 

Worcester became a hybrid organ, with many builders having a go at it. It is so sad we lost the original organ by Hill, which is something to lament about. As much as I admired the old organ's Tutti, and indeed many individual registers, I never regarded it as faultless. It was far from perfect, and in any new home would require a pretty radical rethink if you ask me. The finer points of it (of which it did have several) I place squarely as Harrisons work, not HJ. Sorry, but that's my opinion!

 

R

 

Of course you're entitled to your opinion, but I've read (and fail to find it now) that H&H's work in the 1920'2 wasn't that 'big' as you claim it to be. So, a lot of HJ should/could have remained.

 

Speeking of opinions, for me, scrapping an instrument with an historic importance as said organ in favour of a trendy new thing (described here already as being 'like' another one (Westminster Abbey) instead of being its unique self) is like a downright crime. Things like this happend in our country in the 1960's (I lament Anneessens 3x32' IIIP in Breda's former cathedral, scrapped and burned as it happened), yet we've learned (a bit); and I don't believe for a minute that this organ was beyond salvation/redemption.

[Pierre Lauwers]

"Very much of that old organ was actually by Harrisons"

(Quote)

 

Not so. The H&H rebuild was done with little means.

 

"I still consider that HJ treatment of the old Hill job was unforgivable."

(Quote)

 

Here we agree. H-J should never have destroyed the two Hill organs.

 

 

"I have never thought seriously of HJ as a proper organ builder either, and the ridiculous notion that an organ does not need upperwork".

(Quote)

 

What I do not understand always seems "curious" to me. As to who is, or not, a "serious" builder, I cannot decide.

 

"a logical harmonic progression"

(Quote)

 

What is that ?

 

"in any new home would require a pretty radical rethink "

(Quote)

 

Let us have it moved first. Then, we shall see.

The Worcester Cathedral is a very difficult place for any organ...

 

From Heva:

 

"I've read (and fail to find it now) that H&H's work in the 1920'2 wasn't that 'big'"

(Quote)

 

Indeed. I did not read it, but noted that while visiting the organ, inside, for several days.

The windchests, blowing system, and much pipework were still H-J's in 1978.

There has been some revoicing by H&H, but not so much. Between H-J and Arthur Harrison,

the differencies were not that great. Harrison's style, without H-J, would have been unthinkable.

The 1978 rebuild was "aimed at baroquize it with little means" (again). This is what I was told

in Situ then.

New blocks for the Great and Pedal chorus reeds ("french"!!!), new mixtures, some new upperwork, new

electric parts, period. The rest was usual overhaul work.

 

Had it been a Schnitger, we would have heard of an "exceptionnal conservation state". Anyway...

 

Pierre

 

Pierre

[AJJ]

...........described here already as being 'like' another one (Westminster Abbey) instead of being its unique self) is like a downright crime.

 

I think that this referred originally to the cases - 'inside' seems nothing like Westminster and the whole organ certaily appears to be unique to itself as far as one can tell from Adrian's pictures and reports of it's tonal excellence even at this 'not quite finished' state. I also detect some slightly over raised blood pressures here and there. The old organ has now gone - whether to Stratford upon Avon or wherever - let's just congratulate Tickells, Adrian Lucas and John Norman etc. on their achievements, wait and hear what can be done in both recital and liturgical contexts and maybe even try playing some of our repertoire on it too if we are allowed. We are after all talking about a musical instrument on which to perform music - sometimes I can understand why we organists get a somewhat odd reputation amongst musicians in general - not many others put the 'why and wherefore' of the construction etc. before the actual music do they!

 

AJJ

[pcnd5584]

"I have never thought seriously of HJ as a proper organ builder either, and the ridiculous notion that an organ does not need upperwork".

(Quote)

 

What I do not understand always seems "curious" to me. As to who is, or not, a "serious" builder, I cannot decide.

 

New blocks for the Great and Pedal chorus reeds ("french"!!!), new mixtures, some new upperwork, new

electric parts, period. The rest was usual overhaul work.

 

Pierre

 

Are you sure about the Pedal reeds? These were brand new in 1972 (H&H); it would be a little strange if Wood, Wordsworth & Co. had altered them drastically barely six years later. In any case, I believe that the G.O. reeds also consisted of new pipework; the 4ft. rank must have done, since the previous G.O. reeds were a Contra Tromba (16ft.) and Tromba (8ft.). The only new upperwork (unless one includes the Larigot on the G.O.) was an Octave Quint (2 ²/₃ft.), which was installed on the Swell Organ, replacing the Gemshorn 4ft. (probably).

 

With regard to the mixtures, the V-rank Mixture (15-19-22-26-29) on the G.O. actually dates from 1925. It may have been revoiced or had the breaks re-arranged, but I do not think that it was new in 1978. The Swell III-rank Mixture (15-19-22) arrived in 1948. The V-rank Shap Mixture (22-26-29-33-36) on the Swell was inserted in 1972, again by Harrison & Harrison, who also added the III-rank mixtures (22-26-29) on the Choir and Solo organs at the same time.

 

I would still suggest that in this large and fairly resonant building, these mixtures blended better than you suggest* . I am not convinced that your usual idea of a chorus mixture that never rises above a twenty-second would provide enough brightness in this cathedral. Compare the effect at Lincoln (where the ensemble is heavily reed-dominated). Leaving aside the Choir Mixture (22-26-29), which was added by Harrisons in 1960, the only other mixtures are the III-rank stops on the G.O. and Swell; both commence at 12-19-22, with identical breaks. Both add very little to their own departments - particularly when the chorus reeds are drawn. Lincoln was, after all, somewhat lacking in imagination. If one disregards the Swell mild strings and the two quiet reeds, the Swell and G.O. stoplists are almost identical - as are the timbres.

 

Neither am I convinced regarding your suggestion of tierce mixtures, Pierre. On a large organ, by all means have one in addition to pure quint mixtures - but not instead. Again, compare Sailsbury and Truro cathedrals. All the clavier mixtures (except for the G.O. IV rank mixture: 15-17-19-22 at Salisbury), begin at 17-19-22. All are fairly pointless. They add virtually no brightness to the chorus (which is something I require of a good mixture), just an irritating quasi-reedy tang. I can think of little repertoire where I want the mixtures simply to add subtle 'colour'). In addition, the reeds on these 'Willis' organs are so strong, even in the treble, that they do not need the help of the mixtures.

 

 

* When I had the great pleasure of playing the former instrument for several services a few summers ago, I found the mixtures to be useful, fairly blending and not at all unpleasant - although obviously, I did not use either the G.O. or the Swell V-rank mixtures when accompanying the choir. However, with regard to the post immediately below, neither did I receive any complaints from choir members about the volume of the organ. I had a colleague who is both blunt and honest, who listened to each piece from a variety of places in the cathedral, during rehearsals, in order to assess the balance.

[Philip J Wells]

Readers may be interested to know that in the latest Institute of British Organ Building Newsletter (June 2008) John Norman, as Organ Consultant to the Dean and Chapter of Worcester has authored an article " Is History Bunk? When is it time to start again from Scratch? John Norman considers a classic test case." This just happens to be Worcester! Near the end of taking us through the history which included the information that "No amount of modification could correct the fundamental problem that the sound approached the threshold of pain for the choristers. There were nine ranks of mixture, on ten inch wind ten feet from the backs of the lay clerks heads". He goes on to say that "It was really the need to have the organ in a new position that settled the matter. The new instrument is placed higher, at triforium level, enabling the aisles to be cleared and the sound to spread more evenly throughout the Quire. Given that the organ was to be new , it made artistic sense not to restrict kenneth Tickell by insisting on the retention of old pipes designed to be voiced on extreme wind pressures". I am looking forward to hearing the new organ in due course and admire the courage and foresight of those responsible for having the guts to go for a new organ.

 

PJW

[pcnd5584]

Readers may be interested to know that in the latest Institute of British Organ Building Newsletter (June 2008) John Norman, as Organ Consultant to the Dean and Chapter of Worcester has authored an article " Is History Bunk? When is it time to start again from Scratch? John Norman considers a classic test case." This just happens to be Worcester! Near the end of taking us through the history which included the information that "No amount of modification could correct the fundamental problem that the sound approached the threshold of pain for the choristers. There were nine ranks of mixture, on ten inch wind ten feet from the backs of the lay clerks heads". He goes on to say that "It was really the need to have the organ in a new position that settled the matter. The new instrument is placed higher, at triforium level, enabling the aisles to be cleared and the sound to spread more evenly throughout the Quire. Given that the organ was to be new , it made artistic sense not to restrict kenneth Tickell by insisting on the retention of old pipes designed to be voiced on extreme wind pressures". I am looking forward to hearing the new organ in due course and admire the courage and foresight of those responsible for having the guts to go for a new organ.

 

PJW

 

However, this was hardly an unique situation. I can testify from personal experience that neither is it possible to use the G.O. mixtures at Coventry, Salisbury or Winchester cathedrals (for example) when accompanying a choir, without drowning them. For that matter, very little of the G.O. choruses on the aforementioned instruments can be used when accompanying a choir.

 

Surely this was not the primary purpose of the G.O. mixtures or upperwork in any of the buildings mentioned (in either post) as examples. I grant that the effect during hymns would have been unpleasant, but even then, it would surely only have been necessary to use the big mixtures constantly in very big services - at which the choir may well have sung from stalls in the Nave.

 

For that matter, there are very few instances when I can use more than the foundation stops up to 4ft. on my 'own' church instrument. The G.O. chorus there reputedly contains several ranks which date from 1664; all are voiced on barely more than 80mm pressure.

[pcnd5584]

I am the DOA and the church comes under my charge. The organ was recently entirely removed and a large electronic substitute has been installed as an interim device before a new organ arrives. The church thrives vey well and there is no fear of closure. The building is exceptional and made all the more so by the reasonably recent cleaning of the Doom painting at the head of the Nave. Thankfully, this was one building (albeit just yards from he destroyed St Michael's Cathedral) that Hitler failed to locate in the city.

Best wishes,

Nigel

 

Thank you for this, Nigel.

 

Are you able to impart any information regarding the new organ at this time, please?

[Pierre Lauwers]

In 1925, there were two Mixtures added to the Great:

 

-Harmonics 1 3/5'- 1 1/3'- 1 1/7'-1'

 

-Mixture 2'- 1 1/3'- 1'-2/3'- 1/2' (yes!)

 

-The Swell Mixture was added 1948.

 

The flat 21st was removed in 1965.

 

In 1972 the Diaphones (while left in place) were replaced with 32-16-8 Trumpets.

 

The 1978 changes were:

 

-Lieblich Bourdon 16' and Choral Flute 4' instead of Violones 16-8 on the Pedal

 

-The Quartane (2 2/3'-2') and the Trombas 16-8 on the Great became Larigot and Posaune+ Clarion (8-4)

the remains of the Harmonics was replaced with a 3 ranks Cornet (2 2/3-2-1 3/5)

 

-On the Swell Contra Viola 16', Claribel Flute 8, Quintaton 8 and Gemshorn 4'

were replaced by Lieblich Bourdon 16', Gedeckt 8', Lieblich Flute 4 and Octave Quint 2 2/3',

+ Sharp Mixture added (1'-2/3'-1/2'-1/3'-1/4'!!!!!!)

 

The Great H&H Mixture was revoiced in order to work alone (without the Harmonics) there.

 

Now is the role of a Mixture "to add Brightness" ? Maybe, in some styles. But it may be to add cohesion

between the others stops. Or even to replace the reed choruses.

The ancient flemish liked "sharp, biting tones". Their organs had very bright Mixtures.

But they also had deeper ones, while many ancient sources testify the organists were asked

"damee nitt te overdryven", not to exagerrate with them.

 

Pierre

[Guest Nigel ALLCOAT]

Thank you for this, Nigel.

 

Are you able to impart any information regarding the new organ at this time, please?

 

No

 

N

[pcnd5584]

In 1925, there were two Mixtures added to the Great:

 

-Harmonics 1 3/5'- 1 1/3'- 1 1/7'-1'

 

-Mixture 2'- 1 1/3'- 1'-2/3'- 1/2' (yes!)

 

-The Swell Mixture was added 1948.

 

The flat 21st was removed in 1965.

 

In 1972 the Diaphones (while left in place) were replaced with 32-16-8 Trumpets.

 

 

The 1978 changes were:

 

-Lieblich Bourdon 16' and Choral Flute 4' instead of Violones 16-8 on the Pedal

 

-The Quartane (2 2/3'-2') and the Trombas 16-8 on the Great became Larigot and Posaune+ Clarion (8-4)

the remains of the Harmonics was replaced with a 3 ranks Cornet (2 2/3-2-1 3/5)

 

-On the Swell Contra Viola 16', Claribel Flute 8, Quintaton 8 and Gemshorn 4'

were replaced by Lieblich Bourdon 16', Gedeckt 8', Lieblich Flute 4 and Octave Quint 2 2/3',

+ Sharp Mixture added (1'-2/3'-1/2'-1/3'-1/4'!!!!!!)

 

The above I knew, Pierre. This information is available in that same sources as those which I quoted. It was simply that, in your previous post, it appeared that the organ had received new mixtures in 1978 - which was a surprise.

 

The Great H&H Mixture was revoiced in order to work alone (without the Harmonics) there.

 

This seems quite sensible.

 

Now is the role of a Mixture "to add Brightness" ? Maybe, in some styles. But it may be to add cohesion

between the others stops. Or even to replace the reed choruses.

 

Pierre

 

But yes. Of course the mixture should help to bind the chorus (although I prefer mine without the separate twelfths, the sound is cleaner and less 'quinty'). However, if a mixture is comaparatively quiet and only serves to add subtle overtones to a chorus, then I would suggest that it is not as useful as one which tops the chorus. To my mind, the sound of the mixtures added to the choruses on my own church instrument is one of the most beautiful and exciting sounds that it can produce. It is also a musical sound.

 

I have never wished for a mixture which can replace a reed chorus - why would I? However well voiced the pipes were, whatever the scale and material of the pipes, the sound would begin to lack cohesion as one reached the tenor register. If I want a reedy sound, I add reeds, they do the job far better - and for the entire compass of the clavier.

 

 

The ancient flemish liked "sharp, biting tones". Their organs had very bright Mixtures.

But they also had deeper ones, while many ancient sources testify the organists were asked

"damee nitt te overdryven", not to exagerrate with them.

 

I expect a similar caveat has been employed with regard to H&H Tromba and Tuba ranks....

 

[pcnd5584]

No

 

N

 

Fair enough; although I note from the website of the church that it is to be built by Tickell & Co. It is to have mechanincal action, with around fifty stops and will cost in the region of £600,000.

[gazman]

I have never wished for a mixture which can replace a reed chorus - why would I?

 

Useful when the reeds are out of tune though!

[Pierre Lauwers]

As for tierce Mixture as substitute for reed stops, see here:

 

http://www.walckerflash.de/049a969ae10eaa6...c03c/index.html

 

Usefull to avoid reed stops in remote places...

 

The Swell sharp Mixture (extremely high pitched) is well from 1978; while the Great and Pedal

"new" reeds were made with guess what ?

 

About chorus Mixtures, you may like the ones you have in your organ.

But one case does not equals the others.

I personally prefer that kind:

 

http://www.walckerorgel.de/gewalcker.de/Sc..._tiefer_Not.mp3

 

Pierre

[pcnd5584]

As for tierce Mixture as substitute for reed stops, see here:

 

http://www.walckerflash.de/049a969ae10eaa6...c03c/index.html

 

Usefull to avoid reed stops in remote places...

 

I would agree in this instance. I recall that you have posted this clip before. On a small one-clavier instrument, this may work. Personally I would still prefer a small-scale Trompette; presumably infrequent tuning and maintenance would preclude this in such a situation.

 

The Swell sharp Mixture (extremely high pitched) is well from 1978; while the Great and Pedal

"new" reeds were made with guess what ?

 

Personally, I still cannot see anything particularly offensive about a fairly high-pitched well-made (and -voiced) mixture in a large, resonant building.

 

As I wrote, the 4ft. reed must have had some new pipework. Unless W, W & Co. simply melted down the old H&H reed resonators.

 

 

About chorus Mixtures, you may like the ones you have in your organ.

But one case does not equals the others.

I personally prefer that kind:

 

http://www.walckerorgel.de/gewalcker.de/Sc..._tiefer_Not.mp3

 

Pierre

 

Well, for a quiet chorale prelude this may suffice (although I should wish to slow down the tremulant). However, in chorus work this would not do at all.