If you have difficulty registering for an account on the forum please email email@example.com. In the question regarding the composer use just the surname, not including forenames Charles-Marie.
0 Members and 1 Guest are viewing this topic.
... The Acoustic Bass on that stupendous instrument uses Dulciana pipes for the Acoustic Bass's independent quint rank (the unison being, I believe, borrowed from the 16ft Open Wood) and they blend very well, providing a satisfying soft 32 for when the colossal Double Open Wood is too big. A true flute would be far too prominent - I remember vividly encountering the organ at Petworth PC where the unison was Open Wood and the quint was taken from the Bourdon. The effect was the same as playing on a 4ft flute and Nazard, only further down - no 32ft effect, just a 16ft fundamental and masses of quint.
Fair cop on the extra drawstop on the Choir. I also hadn't thought of the possible tuning problems with the Flute celeste! How does yours at Wimborne work? As for the way the Choir and Solo are borrowed - Mercklin often borrowed stops to form a Choir organ, Schulze did something similar with the Doncaster Solo organ... The Hautboy is there for a reason - they can be very useful on the Choir. That on the Ewell Willis (http://www.npor.org.uk/cgi-bin/Rsearch.cgi?Fn=Rsearch&rec_index=D08165 (admittedly an Orchestral Hautboy) could be very useful and blended well with the honky Corno di Bassetto to provide a moderately convincing Cromorne.
A Mixture isn't a necessity when the basic chorus has been voiced sufficiently brightly. I remember reading that one former organist at Southwark Cathedral rarely went as high as a Fifteenth and never used Mixtures and I can well understand why. Full Great to Mixture at Southwark is like stepping under a cold shower - very nice, but not to be used all the time. The reason for the leathered open diapason is that no other OD can give such warmth, power and prompt speech all in one. Schulze's big-scaled ODs are very nice but they do come on rather slowly. Those flutes were intended to be part of the Great, with all Choir stops borrowed, as Merklin often did.
Look at a good many Cavaillé-Colls - no Swell diapasons. Again, Exeter College Oxford has no 8ft diapasons (though it does have a 4ft Prestant for some reason). Why would you need a secondary diapason chorus on the Swell on a mere 20-rank instrument? The strings would be quite keen (not quite to Hope-Jones' standards) but, again, needn't be unblending: one of my favourite organs, a 13-stop Henry Jones, has a Viole d'Orchestre and a Voix Celeste, both keen, which blend beautifully with the Lieblich Gedact.
The thoughts behind this design were to provide a moderately versatile small organ in the Romantic tradition without any pandering to the post-Organ Reform Movement way of thinking. Pretty sounds, yes, seamless crescendo, yes, but, with a Lewis-like 8/4/2 diapason chorus and reeds designed along Father Willis lines, to give power, width and bite, the full organ would be nowhere near thick or dull.
I didn't mention HNB - I said N&B, pre-Hill merger. Moot Hall has more independent Pedal pipework because it's got a hang sight more than 20 ranks - looking at NPOR, even allowing for the Pedal 8fts possibly being extended, and going by the original spec (without the neobaroque alterations), it must have had at least 34 ranks. The same goes for the secondary chorus - quite possible if you're prepared to accept the cost of another 14+ ranks. I shouldn't be surprised if the Mixtures were later too - N&B didn't usually provide so much, and, with a bright 8-4-2 chorus, they wouldn't be all that necessary.
As for Tierces and Twenty-Firsts in mixtures: so what? Many Baroque organs had Tierce mixtures, as Pierre Lauwers will have told you. Trost, Hildebrandt etc... Tierce mixtures and Bach go together fine!
Also, the Harrison-style Harmonics to which you refer contain twenty-firsts for a reason. These were never intended to be chorus mixtures to cap 8-4-2 open diapasons! They were supposed to be drawn with - or even after - the reeds. When one hears a good H&H organ which has such a mixture being played as it was intended to be played, it all falls into place. The reeds can be rather pervasive but lacking in bite without the Harmonics - add the Harmonics and suddenly they've got that missing piece.
I've heard this at Tooting (a little-known masterpiece) and Margaret Street and it really works. Don't demand of an organ that which its designers never provided for! A FHW or an Arthur Harrison will never be a Bach organ (even some extremely clever registration and playing never yielded really satisfying Bach at Ewell) but if you play English and French Romantic music on it, it'll work! Oh, and I'm pretty sure Cavaillé-Coll's big Plein Jeus (like the seven-ranker at Caen) often had 21sts in them.
Without in any way wishing to sound disrespectful - and I do share some of your tastes, particularly for the best of Walker's 1960s work - I might suggest that your distaste for leathered diapasons, powerful, rounded English reeds and Tierce/Harmonics mixtures is perhaps coloured a little by prejudice.
I can't comment on your experiences at Crediton, but only suggest that the recent rebuild by a little-known builder (not the original) might not have been the best thing. On the other hand, Michael Farley may be a superb craftsman and voicer - never having encountered any of his work, I cannot possibly comment.
The fact that the instrument was left for many years in only a semi-finished state by H&H also suggests that it might not have been a total thoroughbred. I know what you have also said about Bournemouth - the H&H there has been so knocked about (thinking particularly of the removal of the Harmonics mixture) that I don't think it can be considered representative.
I make no apologies for being a big fan of Willis, Harrison, Norman & Beard and Hope-Jones. The last remains the most persistently underrated and villified organ-builder and designer in history, which is all the more tragic since few who do him down have ever heard one of his organs. One by one the few survivors are going... Roehampton... Worcester... All Saints Upper Norwood... at least there's one Ingram-built RHJ left in St Oswald, Hartlepool, unplayable since the 1970s and so - thank God! - very largely intact and unmolested, now in possession of a Grade 1 BIOS Historic Organ Certificate. It's high time this instrument was restored (perhaps put some pressure on the local ship-scrapping yards for funding?) and that it was used as the basis of a total re-examination of RHJ's work.
Quote from: pcnd5584 on July 14, 2011, 10:49:10 PMSince no organ by Cavaillé-Coll was designed specifically for choral accompaniment (in the Anglican sense), the absence of a Swell Open Diapason is not any great handicap. On my own church instrument, this stop is absolutely invaluable.Wasn't Blackburn designed for choral accompaniment in the Anglican sense?
Since no organ by Cavaillé-Coll was designed specifically for choral accompaniment (in the Anglican sense), the absence of a Swell Open Diapason is not any great handicap. On my own church instrument, this stop is absolutely invaluable.
As I understand it (and I may be quite wrong) an 8ft 'Diapason' on a C-C is actually a sort of stopped diapason? I have to confess that I hadn't NPOR'd it...
For the record, where possible, I try to check other sources. The NPOR team do a good job, but naturally they depend on contributors checking the accuracy of their own submissions.[/font]
PEDAL ORGANSub Bass 16Quint (Std. W) 10 2/3Violoncello 8Flute (Ext.) 8Viole (W+M; Ext.) 4Flute (Ext.) 4Bassoon (In Swell; Low 12 W) 16Great to PedalSwell to PedalGREAT ORGANStopped Diapason 8Viola da Gamba 8Wald Flute 8 (Old Walker type)Principal 4Harmonic Flute 4Flageolet 2Swell to GreatSWELL ORGANOpen Diapason (Low 8 std. M) 8Rohr Gedeckt 8Viola 8Vox Angelica (AA) 8Gemshorn (Conical) 4Corno di Bassetto 16Hautboy 8Tremulant