Pierre Lauwers Posted January 26, 2005 Share Posted January 26, 2005 Hello Ladies and gentlemen, We happened to discuss this one on another thread, and I believe it deserves a thread for itself alone. May I suggest our aim is not to criticize what has been done by X or Y; I am not that clever to know what I had done if I was 35 years older. Better? Really? My aim is to try to grasp a better understanding of the late-romantic, or "post-romantic" (french: Post-romantique) organ. This was a rare period of freedom; the big names were gone, that had set the pace and the standards. Their followers tried to break the moulds to try something else, but still between the boundaries of the romantic-symphonic organ. England was at the very forefront of this evolution; there were many interesting, if not mature, experimentations. France, in comparison, did near to nothing but simply adapt some ideas from abroad. Let's cite only two names: Hope-Jones and Thynne, in quite different ways, delivered many new tonal ideas. Then came Harrison & Harrison, who took these ideas and turned them into professionally build, reliable, near to mature organs. Their 1908 organ for Ely Cathedral is a splendid example: GREAT Sub Bourdon 32' Gross Geigen 16' Contra Clarabella 16' Open Diapason I 8' Open Diapason II 8' Open Diapason III 8' Hohl flute 8' Geigen 8' Quint 5 1/3' Wald Flöte 4' Geigen Principal 4' Octave 4' Octave Quint 2 2/3' Super Octave 2' Mixture 5 ranks Harmonics 5 ranks (actually a mutation chorus with Tierces and Septiemes) Trombone 16' Tromba 8' Octave Tromba 4' SWELL Lieblich 16' Echo Gamba 8' Vox angelica 8' Open Diapason 8' Lieblich 8' Lieblich Flöte 4' Principal 4' Fiftheenth 2' Sesquialtera 5 ranks Double Trumpet 16' Trumpet 8' Horn 8' Oboe 8' Horn Quint 5 1/3' Clarion 4' CHOIR Double Salicional 16' Open Diapason 8' Salicional 8' Gedackt 8' Dulciana 8' Flauto traverso 4' Salicet 4' Dulcet 2' Dulciana mixture 3 ranks SOLO Contra viola 16' Viole d'orchestre 8' Harmonic flute 8' Violes celestes 8' (probably two ranks, one flat, one sharp) Viole octaviante 4' Concert flute 4' Cornet de violes 3 ranks Clarinet 16' Cor anglais 8' Orchestral Oboe 8' Tuba 8' PEDAL Double open Wood 32' Double stopped Diapason 32' Open Wood 16' Open Diapason 16' Sub Bass 16' Salicional 16' (From Choir?) Stopped Diapason 16' Violone 16' Flute 8' Violoncello 8' Octave Wood 8' Bombardon 32' Ophicleide 16' Posaune 8' This not too huge organ displays many quite interesting features. The Solo organ alone is something historic, featuring things you will never find on the continent, such as the Cornet de Violes, the Violes celestes and the very orchestral reeds. The Choir is surprising in that it has no reeds, it is actually a Dulciana chorus above anything else, tough one may suppose it must have been a somewhat stringy version; an accompanimental division only? Really? As to the tonal balance, you may observe the "bottom-heavy" tendancy so often attributed to this period is evident only in the Pedal -yes, rather quite evident-. Well, I already talk too much. Any comments? Best wishes, Pierre Lauwers. Link to comment Share on other sites More sharing options...
Please sign in to comment
You will be able to leave a comment after signing in
Sign In Now