nfortin Posted January 24, 2007 Share Posted January 24, 2007 From the clues, I would say it has to be St. Edmundsbury. The existing Nicholson organ is large enough but instantly forgetable. I think I've told the story before, but I took my church choir, which at the time was St. Michael's Bishops Stortford, to St. Edmundsbury to sing Sunday services during the time that Paul Trepte was DOM. Paul was a former organ teacher of mine at Worcester and invited my wife and I back for a sherry after the morning communion service. I remember remarking to Paul that he must be fond of large Nicholsons having made the move directly from St. Mary's Warwick to Bury St. Edmonds. His reply, in forthright Yorkshireman fashion, would have to be regarded as unprintable. Link to comment Share on other sites More sharing options...
pcnd5584 Posted January 24, 2007 Share Posted January 24, 2007 So nobody's going to tell us exactly which organ this is? Spoilsports! It'll all very well talking in sly hints, but it leaves the rest of us poor addicts completely unsatisfied. C. Sorry, Paul! Neil is correct. Bury St. Edmunds (or, if preferred, St. Edmundsbury) it is. I quite liked it when I played it. Link to comment Share on other sites More sharing options...
nfortin Posted January 24, 2007 Share Posted January 24, 2007 I believe the convention is that the town is named "Bury St. Edmunds" whereas the cathedral is named "St. Edmundsbury". I've no idea why! Link to comment Share on other sites More sharing options...
pcnd5584 Posted January 24, 2007 Share Posted January 24, 2007 I believe the convention is that the town is named "Bury St. Edmunds" whereas the cathedral is named "St. Edmundsbury". I've no idea why! Very strange.... Link to comment Share on other sites More sharing options...
David Coram Posted January 25, 2007 Share Posted January 25, 2007 I am sorry, but I require a little more excitement than a nice chiffing Spitzflöte, the possibility of playing an 8p Hohlflöte and 4p Octave an octave lower to achieve some gravitas or a gently buzzing Dulcian in a case facing west. I'm equally sorry - but you really have to experience this instrument before pronouncing this. This is no neo-classical buzzbox as a glance at NPOR might lead you to believe. Every register (including the Dulzian and the Scharffzimbel or whatever it's called, I forget) is filled with a wonderful warmth, richness and singing quality not at all unlike Romsey. Console wise, it is onconventional in that the 8' registers are at the top of the jambs; but what this assists with is that the registers you are more likely to add and remove in a hurry are much nearer hand's reach at all times. The stop action is extremely light, smooth and positive. The whole thing feels like a vintage Bentley; it's individual enough that you can't fall asleep and let it drive itself, but the rewards for careful attention to playing detail are sufficiently plenteous to make it one of the most rewarding and exciting musical experiences it's possible to have. Certainly the most influential and memorable organ I've ever encountered, and a definite Road to Damascus moment for me that made me decide that the organ was the instrument to stick with. (The others were taking part in an impro masterclass with NJA at New College aged 15, and a year later hearing DGW play the Dupre Variations.) The Great mixture is a little harsh on the ears when it first comes on, but other than that I can truly find nothing whatsoever worthy of criticism in this really extraordinary instrument. What I certainly challenge you to do is find me any 20 year old imported OR native tracker instrument that can hold a candle to it in terms of quality of finish, tonally or mechanically. Remind me at half term and I'll take you up there, or perhaps one Saturday? Link to comment Share on other sites More sharing options...
pcnd5584 Posted January 25, 2007 Share Posted January 25, 2007 I'm equally sorry - but you really have to experience this instrument before pronouncing this. This is no neo-classical buzzbox as a glance at NPOR might lead you to believe. Every register (including the Dulzian and the Scharffzimbel or whatever it's called, I forget) is filled with a wonderful warmth, richness and singing quality not at all unlike Romsey. Console wise, it is onconventional in that the 8' registers are at the top of the jambs; but what this assists with is that the registers you are more likely to add and remove in a hurry are much nearer hand's reach at all times. The stop action is extremely light, smooth and positive. The whole thing feels like a vintage Bentley; it's individual enough that you can't fall asleep and let it drive itself, but the rewards for careful attention to playing detail are sufficiently plenteous to make it one of the most rewarding and exciting musical experiences it's possible to have. Certainly the most influential and memorable organ I've ever encountered, and a definite Road to Damascus moment for me that made me decide that the organ was the instrument to stick with. (The others were taking part in an impro masterclass with NJA at New College aged 15, and a year later hearing DGW play the Dupre Variations.) The Great mixture is a little harsh on the ears when it first comes on, but other than that I can truly find nothing whatsoever worthy of criticism in this really extraordinary instrument. What I certainly challenge you to do is find me any 20 year old imported OR native tracker instrument that can hold a candle to it in terms of quality of finish, tonally or mechanically. Remind me at half term and I'll take you up there, or perhaps one Saturday? Thank you very much, David; I would be delighted to take you up on this offer - I will be most interested to see if I like this instrument in the flesh as much as I do the organ of Christ Church Cathedral. How about the first Saturday of half-term? Let me know off-board if this is comvenient. Link to comment Share on other sites More sharing options...
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