Sad to see this one (All Saints, Upper Norwood) go - it was a fine old beast of much distinction in its own way. Glad to know most of it was salvaged.
If you have difficulty registering for an account on the forum please email antespam@gmail.com. In the question regarding the composer use just the surname, not including forenames Charles-Marie.
This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.
Show posts MenuQuote from: AnOrganCornucopia on December 10, 2011, 02:39:12 AMQuote from: David Drinkell on December 03, 2011, 10:43:51 PMAt Bury St. Edmunds... The new Harrison is a pedigree production, as well as having cases of which Stephen Dykes Bower would have been proud.
Dykes-Bower SHOULD be proud of them - he designed them! ;D
Quote from: AnOrganCornucopia on December 10, 2011, 02:23:17 AM
St John's Cathedral, Newfoundland (Hope-Jones/Ingram of Hereford about 1900, Norman & Beard 1915, then a big rebuild by Casavant, 1927).
Quote from: pcnd5584 on December 04, 2011, 12:35:51 PM
I am not sure that I would agree that the old Worcester organ was awkward to handle. I had to play it (near the end of its life) for a long week-end of services for a visiting choir, in 2004. I found it easy and very comfortable to play, Of course one had to be careful not to play too loudly for the choir and congregation in the Quire. The same is true at Salisbury and Winchester (and, in all probabilty, Durham). Interestingly, the Worcester organ was not in the parlous state that I had expected, from reading what had been written about it.
I found that everything (except for the Swell Gedeckt 8ft) worked perfectly. There were no cyphers, no apparent shortage of wind - or any other kind of malfunction. Instead, I discovered a wealth of beautiful quieter registers, in addition to a majestic and powerful tutti - which seemed to me to fit this building like a glove.
With regard to Bury Saint Edmunds; the new organ does indeed look spectacular. However, having played the old organ, I presume the reference to 'old work' refers to the action and/or winding or soundboards. I think , on balance, that I would have preferred the previous stoplist - the present instrument is rather smaller (by around twenty speaking stops) - with, in particular, an odd Pedal reed section - 32, 16, 16 and 16. The instrument has also lost an entire section, the previous organ having contained a Positif in addition to a Choir Organ. There is now, as far as I can see, a shortage of useful, quiet 8ft, registers - particularly on the lowest clavier, which has lost, amongst other ranks, a beautiful, resful Unda Maris, which formed an undulating rank together with the Dulciana.