Gloucester Armchair Game!

[father-willis]

I thought I would start a new thread so that the other Gloucester Rebuild conversation doesn't get totally clogged up.

Firstly THIS IS MEANT TO BE A GAME! "We" are known to be armchair experts devising schemes that to us are perfect and loving to disparage others' proposed and newly completed builds before ever experiencing them personally.

Having got that out of the way who would like to join me in drawing up schemes for the new Gloucester organ?! It can, and should, range from the bizarre and comical to the serious, and hopefully we will all sit back in our armchairs with smoking hats on (not to soil the antimacassars) take aim and fire!

I'll come up with a suggestion when I get back later ; )
 

[S_L]

I'm sorry - and I expect to be shouted down for this - and, irrespective of it supposed to being a game, I am totally fed up of hearing and reading about speculation for the new organ at Gloucester. The Cathedral and the builders have made it very clear that the scheme will not be revealed until well after the open recital. 

I don't find words, and that is all it is, on a piece of paper (or on the back of a fag packet!) instructive, helpful or amusing. We are better than this! This kind of clap-trap belongs on another board - and, even there, I bet it wouldn't survive the moderators.

Sorry 'father-willis'!!!

[sbarber49]

If they'd been quicker off the mark they could have beaten St John's, Cambridge to the Brighton one: https://npor.org.uk/survey/N00951

With a couple of mutations, solo strings and a 32' or two they'd have been well set up.

Are St John's keeping the Trompeta Real?

[father-willis]

2 hours ago, S_L said:

I'm sorry - and I expect to be shouted down for this - and, irrespective of it supposed to being a game, I am totally fed up of hearing and reading about speculation for the new organ at Gloucester. The Cathedral and the builders have made it very clear that the scheme will not be revealed until well after the open recital. 

I don't find words, and that is all it is, on a piece of paper (or on the back of a fag packet!) instructive, helpful or amusing. We are better than this! This kind of clap-trap belongs on another board - and, even there, I bet it wouldn't survive the moderators.

Sorry 'father-willis'!!!

Well that's a shame. An amusement this was meant to be not necessarily instructive and certainly not prophecy. So, no, we will not know what Gloucester is until it is: I think it was clear that I understood that. Of course, if you do not wish to read any more about that particular job - don't! and, indeed, what we find amusing individually is just that.

 

I will postpone anything further myself and see if others may respond/take part. If not I will close/remove the thread.

 

It does seem rather a pity especially following on so soon from Martin's plea to get involved, and here's part of what he said from the thread. "Are we dying on our feet"

Please feel that anyone can raise any topic about organs or organ music regardless of how basic it sounds or how inexperienced you feel. Nobody here is going to knock you back or reply in critical or disbelieving tones so if you come across an interesting organ, or you wonder why some pistons are square and others are round, or you want to identify or get hold of a copy of a piece of music you have heard, ask away. And we're not even fierce if you go off-topic - but it's great to start new threads even if they spring from current or old ones. And, ok, you feel a bit of a duffer if no-one replies to a thread - as happens to me quite frequently, but no need to be discouraged.

 

[Colin Pykett]

@father-willis

I would be sorry indeed if you felt you had to delete the thread.  After all, it has already attracted three replies (excluding your own) in about 6 hours, and that's a lot better than many of mine which still sit in splendid isolation years after they appeared.  Not that it concerns me in the slightest, as Martin Cooke said.  And if one can be bothered, one can look at the statistics to find out how many have read it, which is a more important aspect.  And as you said yourself, it's only a game, and one which has been played often here in the past.  There is currently a vacuum about the plans for this organ, so I can't see any harm at all in what you suggested.

Thank you for having helped to inject much-needed new life into the proceedings.

[Hebridean]

I certainly have played a very amateur version of this game for many years, usually when I am a little bored with something that is happening around me.  Select some parameters (e.g., building type, acoustic, principal purposes in list of priority, design priorities such as available space) and then construct a model specification ideally with some voicing notes. I find it is quite instructive as a game, because over time, it allows you to see your preferences (perhaps prejudices), whether you are open minded to new ideas, and how closely you can marry - to use that much-over-used term - form to function.  Of course it has its limitations, the most obvious ones not needing explanation, but I think there is something to be learned from it too.  Unfortunately, I cannot play in this particular case as I do not know the building concerned at all!

[handsoff]

Going to the far limits of the fantasy realm I would clone the C - C in St. Ouen,  fix the winding and anything else required , give me the keys, empty the cathedral, lock the doors and let me out tomorrow.

[Colin Pykett]

From my personal and professional perspective there is an aspect of the 'game' which interests me, and that concerns the acoustical physics of organ design and placement in a building.  A detailed mathematical analysis of any particular situation is impossibly difficult, but some general guidelines can be developed which can help decide, for example, how many stops and of which tonalities and powers might be appropriate for each division.  It helps if acoustic measurements can be made in the building by placing loudspeakers in different positions radiating various types of tones including the sounds of recorded pipes, continuous noise and transient noise bursts to judge the effects at various microphone positions.  By doing this, usually by having instructed an acoustics consultancy, some organ builders in the past have developed scaling and voicing strategies for their proposed instrument.  It is standard practice in acoustics and no different in principle to doing the same thing when the acoustical treatment of a concert hall is being designed.  My personal involvement with the 'game' obviously could not go this far in this case, though I wonder whether it has been done.  When details of the organ are finally revealed it will also be possible to play the 'game' again to compare the before and after results.

These days it would also be easily possible to create a virtual pipe organ and use it as a test bed to try out the effects of various stops and combinations of stops.  The loudspeakers would be placed in various positions to assess their relative effectiveness.  As to the sample set, the obvious thing would be to generate one with a similar or identical stop list to that proposed for the pipe organ.  At least some organ builders have now assembled enough electronic sample libraries to enable them to make a VPO which should approach closely to what the final pipe organ will sound like.  Even if they haven't, they can be readily purchased.  Since there is a VPO already in service at Gloucester I would be surprised if the opportunity had not been taken already to experiment with it along these lines.

I wonder whether these suggestions would fall into the category of the 'claptrap' mentioned by an earlier contributor to this thread?

[peterdoughty]

I don't have a suggested scheme, other than magically un-melting and reinstating the Downes instrument complete with the later additions! (I say that with a mixture of profound regret and a slight hint of a grin.) But since this is all imaginary anyhow, to it I'd also be adding a large, blending resonance / accompaniment department which would entirely satisfy the Cathedral authorities in terms of liturgical needs. In my daydreams, everyone would then have what they wanted and Philip Prosser, Ralph Downes and several others would not be spinning in their graves or doing the living person's alternative! (By the way, if anyone fancies saving for posterity a copy of the guide to the old instrument, intended for visiting organists, it's here.)

But to be a little more exact here about one stop, namely the big solo reed, because sbarber49 asked about the St John's Cambridge Trompeta Real. (There'd be plenty of reasons for the College to keep that one where it is.) But yes, what about the Gloucester Trompette Militaire - was anything written for it during its time? I seem to remember Jonathan Hope saying something in the Priory DVD/Blu-Ray organ tour about it, perhaps that one note was specially voiced a bit more assertively than the others due to its use in the opening flourish of such and such a particularly favoured piece, but I can't put my hand to it just at the moment. If that was so, I'd hope for a nice new reed of sufficient vulgarity to replace it!

[contraviolone]

On 29/09/2023 at 08:33, handsoff said:

Going to the far limits of the fantasy realm I would clone the C - C in St. Ouen,  fix the winding and anything else required , give me the keys, empty the cathedral, lock the doors and let me out tomorrow.

Completely agree with regard to St Ouen. I gather the organ is currently undergoing a sympathetic restoration, with the stop list kept exactly as it is. I think many of us are looking forward to the results!

[contraviolone]

On 04/10/2023 at 20:59, peterdoughty said:

I don't have a suggested scheme, other than magically un-melting and reinstating the Downes instrument complete with the later additions! (I say that with a mixture of profound regret and a slight hint of a grin.) But since this is all imaginary anyhow, to it I'd also be adding a large, blending resonance / accompaniment department which would entirely satisfy the Cathedral authorities in terms of liturgical needs. In my daydreams, everyone would then have what they wanted and Philip Prosser, Ralph Downes and several others would not be spinning in their graves or doing the living person's alternative! (By the way, if anyone fancies saving for posterity a copy of the guide to the old instrument, intended for visiting organists, it's here.)

But to be a little more exact here about one stop, namely the big solo reed, because sbarber49 asked about the St John's Cambridge Trompeta Real. (There'd be plenty of reasons for the College to keep that one where it is.) But yes, what about the Gloucester Trompette Militaire - was anything written for it during its time? I seem to remember Jonathan Hope saying something in the Priory DVD/Blu-Ray organ tour about it, perhaps that one note was specially voiced a bit more assertively than the others due to its use in the opening flourish of such and such a particularly favoured piece, but I can't put my hand to it just at the moment. If that was so, I'd hope for a nice new reed of sufficient vulgarity to replace it!

With regard to Gloucester. The removal of the 32' flue in the Downes rebuild (and discussed in another thread) seemed a bit unnecessary to me, so I would certainly like to see that reinstated. I suppose this opens up the question of how effective the original stop was, given its location high up somewhere in the triforia (that being the bottom octave extension of the 16'). This again opens up the problems of an organ case positioned centrally on a quire screen. There never seems to be enough room, and such expediencies of placing pipework elsewhere never really works out that well. Rather than speculating on the specification, it will be interesting to see how Nicholson's approach the requirement to support both the choir to the east of the screen and the congregation on large occasions in the nave. 

[Adnosad]

In MHO only, I am unable to fully appreciate the tremendous fuss which seems to be ongoing with re` to the Gloucester organ.

This noble instrument has been subjected to numerous tweakings/ reworkings/ re buildings over the decades/centuries - call it what you will it ended up being a  bit of a right old melange in actuality.

RD`s scheme seemed fine to me ( probably only me! ) and I would be cautious in calling HN&B`s work into question.   True, they embraced that thing that went by the title of " The Organ Reform  Movement " and I think many people were upset by the changes involved.

To my worn out acoustic nerve the instrument sounded just fine and I feel sure that the updated model will too.

My main concern would be a decision to fit it out with one of those sets of what I can  only describe at best  as " Ragmans Bugles "  i.e. Trompette Militaires.  Having just said that however I have to admit to being impressed with the use of such a stop on Liverpool Anglican with regard to last Saturdays recital.    I T used it to great effect, in conjunction with all the artillery, in his rendering of " Fanfare For The Common Man ".  Quite shattering, especially the discords on the final page.

I don`t feel that anything is lost in not reinstating the 32`.   Presume that some individuals may be still in a xenophobic apopleptic fury over the stop nomenclature  that will probably be kept , but never mind.

Hope I have not disturbed the dust covering some of the " old pipes " on this site. The views expressed are completely my own and do not necessarily reflect currently held opinions.

Taxi!

[father-willis]

Well I'm going to have a go.  This is but one solution which attempts to right all wrongs of previous instruments in one(!!)

The old cases will contain what will be called the "Harris Great" and will use all of the remaining case pipes.

Although the case is to remain where it is there will be no "Grand Chorus" or "Nave Great" etc within it destroying its integrity.

The "Restoration Chaire" case to remain with a light tracker action to allow for sensitive playing.

On the south side of the Quire, behind the canopied stalls will sit the ""Willis Cathedral Great". Uncased with bare zinc bases (again for authenticity) this is voiced to be able to fulfill the needs of choir accompaniment (essential) and can, with ease, be used in recital filling the cathedral with sound - if the stops are carefully and tastefully selected.

It being considered that the backwards protrusion of a beige painted swell box (colour selected to blend with the surrounding stone) into the south transept would be ungainly, the "Anglican Accompanimental (Specialist Psalm) Swell" will be placed as close as convenient to the player in the south quire triforium. The artful voicing of this division, though not large, will allow for the registering of many schools of music if stop combinations are chosen with care. It can also play and accompany choral music of other denominations. It has been suggested that this division be renamed the "Ecumenical Swell".

In the north quire triforium will be placed the "Ethereal Solo & I Set The Pace Chorus" together with the bulk of the pedal.

The Harris Great and Restoration Chaire to be played from a console en fenetre to the main case with chaire behind. Great on direct electric action to energise the speach by explosive attack to each pipe (and the whole division) overcoming any defects/alterations of/to these pipes, and in the large acoustic sound nice and "baroque".

 

Harris Great, CCC ie 16' - F in alt.  Wind pressure 2 1/2" wg- Diapasons, East Diapason, West Diapason, Stopt Diapason, Principall, Principall, Twelfth, Fifteenth, Tierce, Furniture, Cimball, Trumpet, Clarion.

Restoration Chaire, CC ie 8' - F in alt. (2 1/2") - Stopt Diapason, Principall, Nason, Fifteenth, Two and Twenty, Cremona

Willis Cathedral Great (Flues & 16' reed: 4", 8' & 4' reeds 7") - Double Open Diapason 16, Cathedral Filling Diapason 8, Open Diapason 8, Open Diapason 8, Claribel 8, Cathedral Principal 4, Principal, Flute Harmonique 4, Twelfth 2 2/3, Piccolo 2, Fifteenth 2, Fourniture III, Mixture III, Trombone 16, Tromba 4, Clarion4.

Anglican Accompanimental (Specialist Psalm) Swell Stops marked with * enclosed within a secondary inner swell box - Lieblich Bourdon 16, **Contra Salicional 16, Open Diapason, Geigen Diapason, Lieblich Gedackt 8, *Hohl Flute 8, Salicional 8, Vox Angelica 8, Geigen Principal 4, *Gemshorn 4, Lieblich Flute 4, Flageolet 2, Sesquialtera III, *Contra Oboe 16, Double Trumpet 16, Cornopean 8, *Horn 8, Hautboy 8, *Vox Humana 8, Clarion 4.    

Ethereal Solo (enclosed, facing south) & I Set The Pace Chorus (unenclosed, facing west) - Quintaton 16, Contra Dulciana 16, Flute Harmonique 8, Doppelzauber Flute Triangulaire 8, Bearded Gamba 8, Shaven Celeste 8 (2rks, keen), Flute 4, Praetorius Rankett 16, Orchestral Clarinet 8, Saxophone 8, Unenclosed - Diapason Phonon 8, Large Prinicpal 4, Nazard, Harmonic Piccolo 2, Tierce 1 3/5, Larigot 1 1/3, Pace Chorus XXVI rks, Bombarde 16, Trompette Harmonique 8, Ecclesial Tuba Magnificenta Superba 8

Pedal (North Trforium) - Sequoiadendron Giganteum 32 -  (Wood, One hollowed out Giant Redwood), Open Wood I (Oak) 16, Open Wood II (Chipboard) 16, Violone 16(metal, keenly voiced to allow transmission of tone southwards to be a bass to south divisions), Echo Harmonic Stopped Doppel Pentabourdon (five sided) 16, Violoncello 8, Bass Flute 8, Fifteenth 4, Harmonic Twig 2, Contra Saxophone 32 (enclosed), Lieblich Bombard 32, Trombone 16,

Console detached and set in a convenient place among the choir stalls. All divisions except the Restoraion Chaire controlled from this console.

This is not, perhaps, the ideal or perfect solution to Gloucester's organic woes but I believe it to solves many of the criticisms that have bedevilled this place for some time.

Please comment 😁

[Andrew Butler]

22 hours ago, father-willis said:

Well I'm going to have a go.  This is but one solution which attempts to right all wrongs of previous instruments in one(!!)

The old cases will contain what will be called the "Harris Great" and will use all of the remaining case pipes.

Although the case is to remain where it is there will be no "Grand Chorus" or "Nave Great" etc within it destroying its integrity.

The "Restoration Chaire" case to remain with a light tracker action to allow for sensitive playing.

On the south side of the Quire, behind the canopied stalls will sit the ""Willis Cathedral Great". Uncased with bare zinc bases (again for authenticity) this is voiced to be able to fulfill the needs of choir accompaniment (essential) and can, with ease, be used in recital filling the cathedral with sound - if the stops are carefully and tastefully selected.

It being considered that the backwards protrusion of a beige painted swell box (colour selected to blend with the surrounding stone) into the south transept would be ungainly, the "Anglican Accompanimental (Specialist Psalm) Swell" will be placed as close as convenient to the player in the south quire triforium. The artful voicing of this division, though not large, will allow for the registering of many schools of music if stop combinations are chosen with care. It can also play and accompany choral music of other denominations. It has been suggested that this division be renamed the "Ecumenical Swell".

In the north quire triforium will be placed the "Ethereal Solo & I Set The Pace Chorus" together with the bulk of the pedal.

The Harris Great and Restoration Chaire to be played from a console en fenetre to the main case with chaire behind. Great on direct electric action to energise the speach by explosive attack to each pipe (and the whole division) overcoming any defects/alterations of/to these pipes, and in the large acoustic sound nice and "baroque".

 

Harris Great, CCC ie 16' - F in alt.  Wind pressure 2 1/2" wg- Diapasons, East Diapason, West Diapason, Stopt Diapason, Principall, Principall, Twelfth, Fifteenth, Tierce, Furniture, Cimball, Trumpet, Clarion.

Restoration Chaire, CC ie 8' - F in alt. (2 1/2") - Stopt Diapason, Principall, Nason, Fifteenth, Two and Twenty, Cremona

Willis Cathedral Great (Flues & 16' reed: 4", 8' & 4' reeds 7") - Double Open Diapason 16, Cathedral Filling Diapason 8, Open Diapason 8, Open Diapason 8, Claribel 8, Cathedral Principal 4, Principal, Flute Harmonique 4, Twelfth 2 2/3, Piccolo 2, Fifteenth 2, Fourniture III, Mixture III, Trombone 16, Tromba 4, Clarion4.

Anglican Accompanimental (Specialist Psalm) Swell Stops marked with * enclosed within a secondary inner swell box - Lieblich Bourdon 16, **Contra Salicional 16, Open Diapason, Geigen Diapason, Lieblich Gedackt 8, *Hohl Flute 8, Salicional 8, Vox Angelica 8, Geigen Principal 4, *Gemshorn 4, Lieblich Flute 4, Flageolet 2, Sesquialtera III, *Contra Oboe 16, Double Trumpet 16, Cornopean 8, *Horn 8, Hautboy 8, *Vox Humana 8, Clarion 4.    

Ethereal Solo (enclosed, facing south) & I Set The Pace Chorus (unenclosed, facing west) - Quintaton 16, Contra Dulciana 16, Flute Harmonique 8, Doppelzauber Flute Triangulaire 8, Bearded Gamba 8, Shaven Celeste 8 (2rks, keen), Flute 4, Praetorius Rankett 16, Orchestral Clarinet 8, Saxophone 8, Unenclosed - Diapason Phonon 8, Large Prinicpal 4, Nazard, Harmonic Piccolo 2, Tierce 1 3/5, Larigot 1 1/3, Pace Chorus XXVI rks, Bombarde 16, Trompette Harmonique 8, Ecclesial Tuba Magnificenta Superba 8

Pedal (North Trforium) - Sequoiadendron Giganteum 32 -  (Wood, One hollowed out Giant Redwood), Open Wood I (Oak) 16, Open Wood II (Chipboard) 16, Violone 16(metal, keenly voiced to allow transmission of tone southwards to be a bass to south divisions), Echo Harmonic Stopped Doppel Pentabourdon (five sided) 16, Violoncello 8, Bass Flute 8, Fifteenth 4, Harmonic Twig 2, Contra Saxophone 32 (enclosed), Lieblich Bombard 32, Trombone 16,

Console detached and set in a convenient place among the choir stalls. All divisions except the Restoraion Chaire controlled from this console.

This is not, perhaps, the ideal or perfect solution to Gloucester's organic woes but I believe it to solves many of the criticisms that have bedevilled this place for some time.

Please comment 😁

🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣

[S_L]

On 30/10/2023 at 08:37, father-willis said:

Well I'm going to have a go.  This is but one solution which attempts to right all wrongs of previous instruments in one(!!)

The old cases will contain what will be called the "Harris Great" and will use all of the remaining case pipes.

Although the case is to remain where it is there will be no "Grand Chorus" or "Nave Great" etc within it destroying its integrity.

The "Restoration Chaire" case to remain with a light tracker action to allow for sensitive playing.

On the south side of the Quire, behind the canopied stalls will sit the ""Willis Cathedral Great". Uncased with bare zinc bases (again for authenticity) this is voiced to be able to fulfill the needs of choir accompaniment (essential) and can, with ease, be used in recital filling the cathedral with sound - if the stops are carefully and tastefully selected.

It being considered that the backwards protrusion of a beige painted swell box (colour selected to blend with the surrounding stone) into the south transept would be ungainly, the "Anglican Accompanimental (Specialist Psalm) Swell" will be placed as close as convenient to the player in the south quire triforium. The artful voicing of this division, though not large, will allow for the registering of many schools of music if stop combinations are chosen with care. It can also play and accompany choral music of other denominations. It has been suggested that this division be renamed the "Ecumenical Swell".

In the north quire triforium will be placed the "Ethereal Solo & I Set The Pace Chorus" together with the bulk of the pedal.

The Harris Great and Restoration Chaire to be played from a console en fenetre to the main case with chaire behind. Great on direct electric action to energise the speach by explosive attack to each pipe (and the whole division) overcoming any defects/alterations of/to these pipes, and in the large acoustic sound nice and "baroque".

 

Harris Great, CCC ie 16' - F in alt.  Wind pressure 2 1/2" wg- Diapasons, East Diapason, West Diapason, Stopt Diapason, Principall, Principall, Twelfth, Fifteenth, Tierce, Furniture, Cimball, Trumpet, Clarion.

Restoration Chaire, CC ie 8' - F in alt. (2 1/2") - Stopt Diapason, Principall, Nason, Fifteenth, Two and Twenty, Cremona

Willis Cathedral Great (Flues & 16' reed: 4", 8' & 4' reeds 7") - Double Open Diapason 16, Cathedral Filling Diapason 8, Open Diapason 8, Open Diapason 8, Claribel 8, Cathedral Principal 4, Principal, Flute Harmonique 4, Twelfth 2 2/3, Piccolo 2, Fifteenth 2, Fourniture III, Mixture III, Trombone 16, Tromba 4, Clarion4.

Anglican Accompanimental (Specialist Psalm) Swell Stops marked with * enclosed within a secondary inner swell box - Lieblich Bourdon 16, **Contra Salicional 16, Open Diapason, Geigen Diapason, Lieblich Gedackt 8, *Hohl Flute 8, Salicional 8, Vox Angelica 8, Geigen Principal 4, *Gemshorn 4, Lieblich Flute 4, Flageolet 2, Sesquialtera III, *Contra Oboe 16, Double Trumpet 16, Cornopean 8, *Horn 8, Hautboy 8, *Vox Humana 8, Clarion 4.    

Ethereal Solo (enclosed, facing south) & I Set The Pace Chorus (unenclosed, facing west) - Quintaton 16, Contra Dulciana 16, Flute Harmonique 8, Doppelzauber Flute Triangulaire 8, Bearded Gamba 8, Shaven Celeste 8 (2rks, keen), Flute 4, Praetorius Rankett 16, Orchestral Clarinet 8, Saxophone 8, Unenclosed - Diapason Phonon 8, Large Prinicpal 4, Nazard, Harmonic Piccolo 2, Tierce 1 3/5, Larigot 1 1/3, Pace Chorus XXVI rks, Bombarde 16, Trompette Harmonique 8, Ecclesial Tuba Magnificenta Superba 8

Pedal (North Trforium) - Sequoiadendron Giganteum 32 -  (Wood, One hollowed out Giant Redwood), Open Wood I (Oak) 16, Open Wood II (Chipboard) 16, Violone 16(metal, keenly voiced to allow transmission of tone southwards to be a bass to south divisions), Echo Harmonic Stopped Doppel Pentabourdon (five sided) 16, Violoncello 8, Bass Flute 8, Fifteenth 4, Harmonic Twig 2, Contra Saxophone 32 (enclosed), Lieblich Bombard 32, Trombone 16,

Console detached and set in a convenient place among the choir stalls. All divisions except the Restoraion Chaire controlled from this console.

This is not, perhaps, the ideal or perfect solution to Gloucester's organic woes but I believe it to solves many of the criticisms that have bedevilled this place for some time.

Please comment 😁

😁😁😁😁 - Most amusing!!!!

[Barry Oakley]

Heard a rumour that Nicholson’s are developing three new stops for Gloucester. For the pedal division, a Double Glawster 16ft and an 8ft version, Single Glawster. The choir division is to have a mutation, Old Spot at 2.2/3 and described as a real "snorter."

 

[DaveHarries]

2 hours ago, Barry Oakley said:

Heard a rumour that Nicholson’s are developing three new stops for Gloucester. For the pedal division, a Double Glawster 16ft and an 8ft version, Single Glawster. The choir division is to have a mutation, Old Spot at 2.2/3 and described as a real "snorter."

 

I have heard that Gloucester have acquired a cathedral cat and this will result in the addition of an Open Diapawson.....

Dave

[Nic DAVIDSON PORTER]

So long as they don't install a "Mouse Organ" in the choir, which would be played by the bloke from the Python "Postal Blackmail" sketch🤔. 

[James Atherton]

Am I allowed to play....... 

 

[Barry Oakley]

Certainly! 

2 hours ago, James Atherton said:

Am I allowed to play....... 

 

Certainly! Put up a spoof stoplist so that we can have a bit of fun this Christmas.

[John Robinson]

Am I the only one to have heard about the plan to divide the case and site each half (east and west side, of course) to the sides of the Choir?  I understand that this is being done to create an uninterrupted view along the entire length of the cathedral.  What I am not sure about, though, is whether or not they intend to remove the screen as well.

[Martin Cooke]

On 14/12/2023 at 11:49, John Robinson said:

Am I the only one to have heard about the plan to divide the case and site each half (east and west side, of course) to the sides of the Choir?  I understand that this is being done to create an uninterrupted view along the entire length of the cathedral.  What I am not sure about, though, is whether or not they intend to remove the screen as well.

Well, it was a pretty good plan at St Paul's in 1872! Whatever next?! Is it April 1st and I'm in a parallel universe?

[John Robinson]

1 hour ago, Martin Cooke said:

Well, it was a pretty good plan at St Paul's in 1872! Whatever next?! Is it April 1st and I'm in a parallel universe?

Oh, I live in a parallel universe, and it's very nice here.
Of course, in the character of this thread, I was joking!

[father-willis]

And here it is - no longer a game!

http://www.nicholsonorgans.co.uk/pf/gloucestercathedral/?fbclid=IwAR2578rzok0zx1CFUEG4l79z09SPspChmhuqQMHywybzb-UEh47LCJvCdzo

http://www.nicholsonorgans.co.uk/wp-content/uploads/2023/12/GC-website-spec.pdf

I am pretty pleased that I was so near the mark on this one. Feeling proud!😆

[Rowland Wateridge]

I take this to be James Atherton’s spoof Christmas specification (in spite of appearing on Nicholson’s website) accepting Barry Oakley’s challenge above.  The extension in the pedal organ surpasses anything designed by Arthur Harrison!  They don’t seem to have taken up John Robinson’s suggestion of dividing the case on either side of the Quire!

Incidentally, at one stage of its history, before moving to the pulpitum, the Gloucester organ was on one side of the Quire, in the arcade on the north side (as I recall having read), undivided of course!