MusingMuso Posted August 24, 2005 Share Posted August 24, 2005 I have often wondered why it is, that certain countries such as Holland, where not a great deal of organ-music has been written over the ages, should so consciously choose the path of restoration and historic preservation, whereas Germany, (for example) has just about eradicated the traces of its' own organ-history; save for the few masterpieces which have been restored. As Pierre Lauwers has pointed out, actually finding a genuine romantic period-instrument in Germany is actually quite difficult, and those which do exist, tend to be in other countries such as Latvia, Poland and, of course, here in the UK. The organ world is full of restorers and organ-historians, but equally well endowed with those who are able to build whatever a customer requires; from a copy Cavaille-Coll from Holland to a replica Hill/Gauntlett from the UK. It is natural that organ-builders should respect earlier instruments as works of art and fine pieces of cabinet-making, but at what point does antique restoration become anti-art? Standing back a little from the arguments and counter-arguments, it seems to me, that when organ-consultants arrive with a ball-point pen mightier than any wrecking-ball, it is often a period in which musical creativity is at its strongest....the desire to move forward and leave the past behind. In the UK, we have seen the strength of feelings aroused by the destruction of the old organ at Worcester Cathedral, yet what replaces it is a rather fine instrument tonally. The same was evident at Blackburn almost 40 years ago. So my point of discussion is deceptively simple. Do we look backwards by placing barbed-wire around every old organ and setting up gun turrets, or do we allow organ-consultants and organ-builders the right to change things as they feel fit? MM PS: Could we avoid mentioning Worcester AGAIN? !!!!!!! Link to comment Share on other sites More sharing options...
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