What Would You Play On This Organ...

[Pierre Lauwers]

Here are some links that might be interesting:

 

 

then:

 

 

then:

 

 

And this one:

 

 

Pierre

[pcnd5584]

My thoughts, having listened to the recording are:

 

1. The acoustic is very dead indeed. If it's a small space, there isn't really much need for strong upperwork. Strong upperwork in a small space is just going to be antisocial and not that helpful.

2. The organ, despite the rather wayward tuning in places, unsteady wind supply towards the end and rather cloyingly thick heavy reed, is really not bad at all. It seems to do a good job in that space - and a small space will throw up deficiencies in an organ that a glorious acoustic will hide.

3. An original Skinner is never going to play Bach as a Flentrop would. But Bach seems to work OK on it, accepting its style as a fairly small American Symphonic organ in small space.

4. The statement about how Skinners work in the original post seems pretty accurate. Talk to Jon Ambrosino, who knows much more about these things than I do.

 

So, IMO, I'd keep the organ as it is, sort out the wind supply, accept the Great Tromba as it is and revel in its (many) qualities.

 

Well, it is difficult to judge the size of the building. Wimborne Minster is acoustically dead but, whilst certainly nothing like cathedral size, it is not exactly small. Whilst one would not wish for much upperwork in a small space, some would be desirable. Some decent independent 4ft. and 2ft. chorus ranks, for a start.

 

This instrument is what it is (obviously). Clearly some like the sound and some do not. However, once again, it is implied that the instrument stands in a small space - is this in fact the case? I am still not convinced that it does a good job. It appears to do a loud job - but this is not the same thing at all. I found the sound to be heavy and dull (for whatever sized space) - and not particularly clear.

 

The piece played had a certain grandeur, perhaps and of course it would sound different on a Flentrop - even on the Minster organ which, incidentally, for a dead acoustic possesses sixteen ranks of mixture work, including a 36th.

 

I suppose it is really a case of what one prefers. For my money, I would gladly exchange the Tromba and Pedal reed for some upperwork (not necessarily a high-pitched mixture; I would settle for a 15-19-22 stop on the G.O.), just something to give some life and brightness to the sound. In addition, I would wish to revoice some of the foundation stops. However, the question remains, should such an instrument be altered - or should one simply not apply for a job at this school and leave it to those who do like it?

[Pierre Lauwers]

"However, the question rermains, should such an instrument be altered - or should one simply not apply for a job at this school and leave it to those who do like it?"

(Quote)

 

Dear Pcnd,

 

YES!!!!

You are 100% to the point there.

 

Pierre

[pcnd5584]

"However, the question rermains, should such an instrument be altered - or should one simply not apply for a job at this school and leave it to those who do like it?"

(Quote)

 

Dear Pcnd,

 

YES!!!!

You are 100% to the point there.

 

Pierre

 

Well, granted - but the thread actually asked 'What would you play on this organ?' I simply answered the question....

[ajsphead]

"However, the question rermains, should such an instrument be altered - or should one simply not apply for a job at this school and leave it to those who do like it?"

(Quote)

 

Dear Pcnd,

 

YES!!!!

You are 100% to the point there.

 

Pierre

 

I think this organ falls into a difficult category, hence to some extent, the diversity and division of opinion. Put briefly,is it successful and representative enough to justify being kept exactly as it is; is the argument for saving based on this, or because it is unaltered, and should therefore stay that way. I would want want to know more about it's 90 year history, both written and aural, before making a judgement on that. If it was saved unaltered, could it guarantee to provide regular, effective and satisfying use to its owner.

 

Whilst it seems to me aurally, as far as one can judge in these circumstances, to demonstrate the skills of the firm that built it, and even on that basis alone is not without merit, that does not necessarily make it effective and satisfying to use, again much depends upon the context it will be used in.

 

It seems to be one that could justify being saved as it is, with it's owner being very proud of their fine example of the tonal concept and design of a small Skinner organ, and I feel that the way the pendulum on these matters is currently swinging would be in favour of this, which is not to say that it is right of course. We are, after all, very often confident that what we currently think must be better balanced than what we thought before, and doubtless our predecessors were and successors will be similar.

 

In my opinion, you could keep it as it is, although I question whether long term success and satisfaction from all different perspectives will result.

The Skinner work could be augmented in Skinner style succesfully to increase the potential in repertoire and liturgy.

It could be sold "Cheap to a good home" and make it someone else's problem.

 

If asked whether I would want to play it, as a one off, probably yes, on a regular basis, thank you but no.

 

AJS

[CT_Worcester]

When I saw the specification, it reminded me of a Vowles organ in St Barnabas, Gloucester (2 manuals, but similar preponderance of 8ft ranks, two heavy reeds, and no upperwork to speak of), and the recording confirms the impression to a large extent. It's absolutely years since I played the St Barnabas organ, but I did not find it a rewarding instrument to play. A three-decker by Vowles at Holy Trinity, Bath was a much more satisfactory organ (when I last played it 25+ years ago), but, again, the reeds tended to swamp everything.

 

One is tempted to say the CHS organ is worth preserving just because it is an EM Skinner, but I should be struggling otherwise.

 

To the suggestions already made about repertoire (Howells, Whitlock, Rheinberger, Reger), I would add 'orchestral transcriptions'.

 

Henry

[sbarber49]

What a vile sound. Burn the organ. Or remove some of the 8' gunge and add some upperwork. Could only improve it.

 

It's not worth preserving: by all means preserve what is worth preserving but, to judge by this recording (and it could perhaps have been registered a little less heavily, especially the fugue) this organ doesn't do Skinner any favours. (I didn't persevere to the end of the fugue so I may have missed something.)

 

As for repertoire: the complete works of Caleb Simper?

 

Stephen Barber