Organ matters - Organs matter!

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ORGAN FOR POSSIBLE RE-LOCATION

M0296


Forster & Andrews, Hull (1877)
Re-built by Hill & Sons, London (1906)
Hailsham Parish Church (St Mary's)
Hailsham
East Sussex
BN27 1BL

NPOR N15407
Three manual and pedals
30 speaking stops
Action: Tubular pneumatic throughout

Dimensions
En-fenêtre front: Width (overall) 14'7"
Height (top of pipes) 19'8"
The organ now has no side casework as it is built
into the base of the tower. It occupies a floor area
approximately 12'9" wide x 14'9" deep.

Originally with tracker action, it was built in 1877
for the concert hall at the Royal Normal College for
the Blind at Upper Norwood in South London. In
1906 it was completely rebuilt by Hill & Sons and
converted to tubular pneumatic action. At this time
the console was replaced. It was extensively
refurbished again by Hill & Sons in 1921.

The college was evacuated soon after the outbreak
of war, and sometime between 1939 and 1944 the
organ was placed into storage by Willis & Sons. It
was installed at Hailsham in 1955 by Hill, Norman
and Beard of Lewes. This installation necessitated
major alterations, and the side casework shown in
early photographs is no longer in existence.

The organ retains its original stencilled display
pipes, and some other original Forster & Andrews
ranks. Other ranks are by Hill & Sons.

The Swell and Great are in reasonable playing order
and the organ is regularly used. Some minor repairs
have been carried out recently, although the last
major overhaul took place in 1981.

Organ for Possible Relocation

Department and Stop List

Pedal Key action TP Stop action TP Compass-low C Compass-high f1 Keys 30
1 Open Diapason 16
2 Bourdon 16
3 Quint 12
4 Flute 8
5 Trombone 16

Great Key action TP Stop action TP Compass-low C Compass-high a3 Keys 58
6 Contra Geigen 16
7 Open Diapason 8
8 Hohl Flute 8
9 Gamba 8
10 Harmonic Flute 4
11 Principal 4
12 Fifteenth 2
13 Mixture
14 Harmonic Tromba 8

Swell Key action TP Stop action TP Compass-low C Compass-high a3 Keys 58
24 Violoncello 8
25 Dulciana 8
26 Lieblich Gedeckt 8
27 Flauto Traverso 4
28 Flautina 2
29 Orchestral Oboe 8
30 Harmonic Tromba (from Great) 8
31 Corno di Bassetto 8

Choir Key action TP Stop action TP Compass-low C Compass-high a3 Keys 58
Enclosed
15 Bourdon 16
16 Open Diapason 8
17 Rohr Flute 8
18 Salicional 8
19 Voix Celeste 8
20 Principal 4
21 Harmonic Piccolo 2
22 Horn 8
23 Oboe 8
Tremulant

Other details
Console
Console type: En-fenêtre
Stop type: Drawstop
Pedalboard: Concave Radiating

Couplers
Swell to Pedal
Swell to Great
Swell to Choir
Swell octave
Choir to Great
Choir to Pedal
Choir suboctave
Great to Pedal
Accessories
Balanced swell pedal for Swell
Balance swell pedal for Choir
4 thumb pistons to Great (also on toe studs)
4 thumb pistons to Swell (also on toe studs)
4 thumb pistons to Choir

Other
Blowing: Electric (3-phase)

Location and access
The organ is located at ground level at the
base of the tower immediately behind the
west doors as shown in the photograph.

There is therefore good level access directly
from the outside of the building, although
the space within the tower is very cramped.

The alterations made to the organ when it
was installed included mounting some of
the ranks and some larger isolated pipes
directly onto the walls of the tower.

The blower is located within the bellringing
chamber directly above the organ,
and suitable lifting equipment will be
required to remove it.
Background and timescales

In its current location, in the base of the tower, the organ prevents the historic west doors and
foyer (prior to 1955, a main entrance to the church) from being used. Consequently, the south
door, which is accessed via steps and is therefore far from satisfactory, has to be used as the
main entrance. Furthermore, the west doors, which are on the main approach path and are visible
from the High Street, present a gaunt and unwelcoming prospect, giving the appearance that
church itself may be redundant.

The Parochial Church Council is in discussion with the Chichester Diocesan Advisory
Committee about reordering works that would bring the west doors back into use as the main
entrance, and which due to levels, can provide full access for disabled people. The relocation of
the organ to a new home will be a necessary consequence if approval is granted for these works.

Expressions of interest will therefore be welcome, although the organ's availability is subject to
faculty permission being obtained from the Chancellor of the Diocese. An application is
currently being prepared.

Please contact us for more information about the organ and its fascinating history, including its
early years at the Royal Normal College for the Blind. Proposals to re-use the remaining
substantial "en fenêtre" casework may also be considered.

While no charge will be made for the organ, the recipient will be responsible for all costs
involved in dismantling and removal.

Enquiries please to:
Ken Thomas
Telephone: 01323 849699 / 07817 560077
Email: ken@thomasco.plus.com

Is it the Organ as an instrument, Churches in which organs are kept or this forum which is dead?

Slow death is painful.

Best wishes

David P

https://www.youtube.com/watch?v=_CzqicyUCXI might be one of the most extraordinary creations in the organ world.

Best wishes

David P

The local Association sent around an appeal for a midnight organist. I don't know if the church found one but I wonder how many churches missed having the organ as part of Christmas?

Best wishes

David P

Interesting email from Allegro Music today:

QuoteDenis Bedard
We have always been asked for the music of Canadian organist and composer Denis Bedard and until recently it has been difficult to obtain, the only option being direct ordering from Canada. However now Cheldar publications have a dedicated UK agent and we are delighted to have all the organ titles listed on our website! The first link below takes you to the Denis Bedard pages to browse through but we also list below a few highlights:

Bedard Pages Link:
http://allegro.co.uk/organ-music/organ-sheet-music?composer=33803

Fantaisie on Ein feste burg
Price £8.00
http://allegro.co.uk/catalog/product/view/id/291059/s/fantaisie-on-ein-feste-burg/

Huit Invocations
Price £8.00
http://allegro.co.uk/catalog/product/view/id/291066/s/huit-invocations/

Organ Music for Christmas
Price £12.95
http://allegro.co.uk/catalog/product/view/id/291068/s/organ-works-for-christmas/

Pater Noster (8 Pieces)
Price £10.00
http://allegro.co.uk/catalog/product/view/id/291069/s/pater-noster-8-pieces-for-organ/

Prelude & Toccata on Victimae Paschali
Price £5.50
http://allegro.co.uk/catalog/product/view/id/291072/s/prelude-et-toccata-sur-victimae-paschali-laudes/

Six Paraphrase Gregoriennes
Price £8.00
http://allegro.co.uk/catalog/product/view/id/291081/s/six-paraphrase-gregoriennes/

Suite de Concert
Price £8.00
http://allegro.co.uk/catalog/product/view/id/291082/s/suite-de-concert/

Variations on In Dulci Jubilo
Price £6.50
http://allegro.co.uk/catalog/product/view/id/291100/s/variations-on-in-dulci-jubilo/
Variations on Amazing Grace
Price £6.50
http://allegro.co.uk/catalog/product/view/id/291097/s/variations-on-amazing-grace/

Denis Bedard Organ Music Vol.1 (contents on website)
Price £25.00
http://allegro.co.uk/catalog/product/view/id/291077/s/denis-bedard-organ-works-vol-1/

Denis Bedard Organ Music Vol.2 (contents on website)
Price £25.00
http://allegro.co.uk/catalog/product/view/id/291078/s/denis-bedard-organ-works-vol-2/

But do have a look at all the Denis Bedard pages as there are many more to choose from!

Old favourites available once more!
Quite often there is a really popular piece that goes out of print or the copyright is lost from the original publisher. But in some cases all is not lost and here are some real gems that are available again:

Garth Edmundson - Toccata on Vom Himmel Hoch (ideal for Christmas)
Price £3.95
http://allegro.co.uk/organ-music/organ-sheet-music?composer=52539

Walter Alcock - Introduction & Passacaglia
Price £6.60
http://allegro.co.uk/catalog/product/view/id/291106/s/introduction-passacaglia/

Patrick Gowers - An Occasional Trumpet Voluntary
Price £4.50
http://allegro.co.uk/catalog/product/view/id/291113/s/an-occasional-trumpet-voluntary/

Lemare - Andantino in D flat
Price £4.40
http://allegro.co.uk/catalog/product/view/id/291118/s/andantino-in-d-flat/

Robin Milford - Three Christmas Pieces
Price £5.90
http://allegro.co.uk/catalog/product/view/id/291119/s/three-christmas-pieces/

Brand New from Fitzjohn!
The latest publication from Fitzjohn publications is another piece by William Wolstenholme:
Wolstenholme - Scherzo in F
Price £6.00
http://allegro.co.uk/catalog/product/view/id/291093/s/scherzo-in-f/

Finally, don't forget our special offer on "Carols for Choirs"!
Until the end of November, we are offering OUP's "Carols for Choirs" volumes at a discount. Just click on "Advanced Search" and put Carols for Choirs into the title field and that should take you straight to the whole series.

And don't forget new and recently published titles in our "Hot off the Press" section. Just click on the box to the right hand side of the home page.

Allegro Music
http://www.allegro.co.uk

Redundant Pipe Organ                                                         M0189
Kirtland & Jardine? c.1857

Worsley Methodist Church, Manchester UK
Barton Rd Manchester M28 2GX    SD 750 001

NPOR  D00309

2 manuals and pedals
11 speaking stops

Tracker action to manuals
Tubular Pneumatic action to pedals
Mechanical stop action

Compass          56/30

Dimensions
Width  c.10ft
Depth  c.10ft
Height c.14ft

There is uncertainty over the original builder. But it is likely that Kirtland & Jardine, Conacher and Jardine were all part of its history.

An 1830-50 case and a chalked "1857 Ogden" point to an old instrument. The brass plate screwed above the music desk records "F W Jardine. Manchester" and a cast bellows weight with "J Co." accords with a BOA Archive revealing a 2 manual 12 (sic) stop organ made for this church by Jardine in 1904.

The pedal rank, mounted at the rear, extends in wings to each side of the main case in a way that suggests the organ was brought to the church from elsewhere.

The instrument hasn't been used for more than 20 years and has deteriorated in that time. The reservoir leather is rotten and the twin inverted fold, double rise bellows do not rise. However, its singing tone was remarked upon in better days when the organ amply filled the chapel with attractive sound. It is possible to get some response from it now, revealing an unforced and blending tone.

The Great Stopped Diapason has a mild chiff, and the silvery tones of the Swell Flautina are appealing.






Great
Open Diapason           8
Stopped Diap. Bass    8
Stopped Diap. Treb     8
Dulciana                      8
Principal                      4

Swell
Rohr Gedact               8
Gamba                         8
Voix Celeste               8
Hohl Flute                   4
Flautina                       2

Pedal
Bourdon                      16

Swell to Great
Swell Octave to Great
Swell to Pedals
Great to Pedals

Blower stop – alerted the hand-blowing operator

2 composition pedals to Great
2 composition pedals to Swell

Balanced swell pedal

The drawstops and their layout are an unaltered unit, all of a piece, and includes a Blower stop (to signal the blower operator by knocking on a side case panel.) The stops are in square jambs and the Gothic stop head scripts are in black with red capitals.

The pedalboard, parallel and flat, appears to have replaced an earlier one, and a balanced swell pedal has been fitted.

Electric blower.

Hand pump handle and fitting, with feeder bellows, are still in place.

Metal pipes are slide tuned.

Chromatic soundboards.

Most of the display pipe flats are dummies; only the middle five pipes speak.

The organ is sited in the gallery at the east end of the building, and is reported to speak well into the church, and amply led the singing.

This organ is eminently worthy of restoration.


Enquiries about the organ from interested parties should be made to the church contact.

Buyer makes all arrangements for dismantling, packing and transport.

Care has been taken to provide accurate information but the seller is not responsible for errors.

Photographs of the interior are available on request to the sender (Graham Jones, g.mjones@btinternet.com).

The building, with organ, has been sold and is in the hands of an estate agent (See Contact below).

Contact:
sales@barlowwhite.co.uk

As churches continue to be seen to be redundant and the spirit of God fades to the invisible in consciousness a quotation from Richard Feynmann, one of the most important of 20th century physicists becomes relevant -

QuoteFor a successful technology, reality must take precedence over public relations, for Nature cannot be fooled. 

What can the Creator be if we cannot see it in Nature? Or can we?

Should we reapply the quotation as
"For a successful theoology, reality must take precedence over public relations, for Nature cannot be fooled.   "

Can we recognise any form of Creator in Nature in any manner or means?

Best wishes

David P

Hi!

My instrument is somewhat desperate for some donor 88C25 chips. Something odd has gone wrong with stop control and capture so it's a case of trying one thing and another. Possibly the EEPROM has failed, which is nasty, as then we're reliant on being able to clone the program from another Johannus MD339 compatible instrument . . .

Best wishes

David P

Hi!

It's a pleasure to write and I hope that what I write about God being a process rather than a person is helpful. It is a process that leads to an intelligence, and thus in which we recognise a person. But it is more than a person.

God is the Creator

This is an abstract understanding.

Whatever the Creator is, it creates, is invisible, all powerful and everywhere. That's all we know about God.

Everything is created.

The process is from fundamental particles to proteins, DNA, species, people, interactions of people. We are made of the stuff that has come about because of the process. We are made in its image but we forget what we're made of. Our interactions can obey the process and then we echo the process and become sons and daughters of the process. Jesus said it - "Who are my Mother and my Brothers?" (or Sister and Brothers) - Those who hear my Father's words and do it. This is in four of the five Gospels. I count Thomas among them. Thomas is very difficult and I cannot understand it. But it gives us wisdom. It's the clue to the esoteric understanding of this abstraction which is God.

The holy spirit is of course the idea in the nature of the spirit of the law rather than the letter of the law.

We act in the image of the process when we understand the creator and take upon ourselves the work of that creator idea. Then having looked in the glass darkly we see face to face. We take upon ourselves the creator consciousness rather than the instinctive consciousness.

In this understanding we can create more.

For many religion is at the level of the schoolboy. "Master Master I love you so much and I know that you love me so much. So I know that I can rely on you if I ask you. Master Master please can you do my homework for me?"

And so by worship of Master rather than understanding what Master is telling us we have our heroes which we venerate, call by name and then create fights in the playground. This is the problem with both Christianity and Islam.

The doll is so interesting as it accesses our image. It does not move unless in the image of our actions.

I have just written to a lady grieving for her son.

The Big Daddy in the sky hasn't done her homework that she's asked Him to do.

QuoteHi run to Jamaica to hide away from my pain, and all I find is the people being as painful and horrible as death.
Death is selfish, death is unkind.death care for no one.
To date I think I would be healing, but this pain I am feeling now is as raw as the pain I felt then.
I kept asking myself will this pain ever will go away, that question is like a song playing over and over in my head.
Will I ever find my happy place ! Is there a happy place? How can you find happiness amongst all this pain.
AM I BEING SELFISH TO BE STILL GREAVING?
as a person who did counselling I thought maybe it will help, today I know nothing helps.
Talking about your pain sud it for a while, so what really helps?
Going to sleep I wake up crying.
I walk around  shouting for help, but then I relize no one can hear me as it's only in my head.
Today my pain felt as new as yesterday.
Does this issue of death ever solve ???????
Believe me I am trying to move on but my pain won't allow  me?
I am asking you these questions because, I want to know how was it for you?
WHAT DID YOU DO?

I'm so distressed to feel your pain.

The answer can only be in the God of Life, for whom there is no death and to which death is irrelevant. Death does not create. It is of no concern to the Creator.

You recall His name? Yahweh?

Revered, unsaid, sacred, hallowed is His name. Because saying the Name you destroy it.

What is it?

Find a quiet place.

Imagine you've died. Imagine you've been resuscitated from the dead. Draw in that breath. Exhale it. You will hear the sound. Sacred is that sound, the Breath of Life.

It is the breath of life to your body. But in understanding it is the breath of life to your soul, your mind. Upon that new first breath you are reborn.

Love from all and from the living,

- - - - -

Hermes Tremegistus referred to the cosmos as being the mind of God and also self fertilising.

This is contained in our nativity narrative. The Virgin Mary and the flight to Egypt - which is an indication of source - not of Jesus physical infancy but from where his start was. This was why 18th century elite searched Egypt for the Coptic texts.

The intelligence of the created stuff in the universe displays an intelligence. This is the mind of God. All is connected and interrelated.

Three quarks come together to make a proton. Because they make a proton the protons can tame electrons to make an atom. At every level stuff that is less useful works together to make something more useful than the component bits alone.

That's the process.

If it can happen, it will happen, and what results depends on how much it creates. Parable of talents. Parable of sower. Quantum physics.

When we operate it in our relationships between people and between us and all created things, then we too create.

The result is that the only difference between me and the simpler personified view is whether the intelligence which we call God is internal and self fertilising to the universe or whether it is external.

In recognition of the internal we encompass quantum physics, statistical mechanics, chemical engineering and competitive biological processes, Buddhism, the Mosaic understandings, the component parts of Hindu, and we start to be able to create understanding and peace between all. Then we operate the process and act in its echo.

If you're interested I've written a lot on www.organmatters.co.uk

The Lord's prayer is key to the creation of Heaven in Earth - in our Earthly activity. Heaven is not the place in the sky other than the place where subatomic reactions operating the process create stars and planets, thus Sun worship as the Son, nor is it the place we go when we are bones in the ground. It's paradise where we came from which we know in our minds. We bring that place, that process, as our will and our kingdom on earth.

I wrote about the waters breaking. We wander the desert for forty years fed by god food dripping from heaven. You find it best in early morning dreams. After forty years fed by creator food you end up in the land of milk and honey. It's not a place in earth from which to evict others from their land and their homes.

Best wishes

David P

Alexandra Kremakova - 4pm - 29th August - Hamemrwood Park East Grinstead

Louis Couperin - Suite in D minor
Prelude
Allemande
Courante
Courante II
Sarabande
Canaries
La Volta
Chaconne

Froberger - Canzona in G major
Froberger - Toccata in A minor

Forqueray - Suite no. 7, 'Jupiter'
F. Couperin - Les Barricades Mysteriouses
Forqueray - 'La Couperin'
J. F. Fischer - 'Urania' Suite, Passacaglia
Balbastre - 'La Lugeac'

- Interval -
J.S.Bach - Partita no. 6 in e minor BWV 830
Toccata
Allemande
Courante
Air
Sarabande
Gavotte

Tickets £15

Children free. Adults bringing children half price.

Please telephone 01342 850594 if you would like to come

Someone kindly pointed out to me a video including rather a sophisticated tuning tool . . . so I looked it up.

And on http://www.weiblen.de/en/special-tools/special-tools-and-equipment/ I found a lot more . . .

Best wishes

Harem

The reasons for looking to change tuning system are concerning both the physics of sound and its effect on musicality.

For many musicians nowadays music has become merely a circus act, a challenge in virtuosity, a spectacle, man versus beast, and musicians have forgotten the purpose of music as a language to convey emotion, to enable the mind to explore and to heal. Healing requires gentle caressing, and harmony not of sound but of the vibrations within sound.

Sound is made of vibrations, regular vibrations per second. Modern piano tuning does not maximise the numbers of vibrations which coincide.

The change to modern tuning was made between 1860 and 1920 when current tuning was hardened into the "equal temperament" currently used where each semitone is an exact same distance apart.

Here is an octave of keyboard notes


Because E is the third note from C, C-E when played together is a "third" and C-G, five notes apart, a "fifth". C-E, F-A, and G-B are thirds.

C to C# (C sharp) is a semitone. C to D is a tone. A tone is two semitones. The interval of the third, therefore, is made of two tones, from C-D and D-E and this is four semitones. The third from D therefore is not F, which is only three semitones - the third from D is F sharp, labelled F#. So this is why we have the five black notes. C-C is an octave.

1. Physics of sound.

The notes which are an octave apart are a doubling of frequency. So middle C in the middle of the piano keyboard might be 256 vibrations per second. The C above will then be 512 vibrations per second. An octave above that would be 1024 vibrations per second.

The organ as an instrument has stops which are pulled which allow all three pitches to be sounded from the same key, and more. The purpose of this is to make the sound richer.

All sound in its different timbres as flavours or colours, is made of combinations of these multiples of vibrations together.

You can demonstrate this singing a note and opening your mouth to allow the extra sounds to be heard - you can see and hear on https://youtu.be/TF2Cj3ak-Kk Apologies for the inexpert and very ugly sight.

When a string is struck, all these frequencies vibrate exactly together to give the tone of the string and form part of the tone of the instrument.

Let's say we have our string at 100 vibrations per second - written 100 Hz - 100 Hertz. This string giving good piano tone will produce vibrations at 100, 200, 300, 400, 500, 600, 700, 800 and more vibrations per second.

We don't have a note specifically for 100 but I am choosing this to make the mathematics easy to see.

If we hold the note down for say 100Hz in the bass and we strike the notes for 200, 400 and 800 (an octave above, two octaves, three octaves and four octaves) then these tones will excite and resonate the bass string and the sound will continue to be heard in the bass string even when the upper note stops sounding. This is demonstrated on https://www.youtube.com/watch?v=Pz0B0SwKpww where you can hear this effect.

What is interesting is that when we play two notes together, such as 500 and 600 vibrations per second, 100 times per second the vibrations of the two coincide. So the bass note is synthesized as if sounding, without actually being played, a resulting or resultant note. This gives tone and sonority to the instrument and builds the sound.

What becomes interesting also is when we sound together combinations such as 200 and 300 together. We then synthesize the resultant note 100. But the 200 string vibrates with harmonics
200 400 800 1000 1200
and the 300 string vibrates with the harmonics
300 600 900 1200
so we find that the frequency of 1200 is reinforced and adds to the sound as an extra note.

If we sound 500 with this then we add the series
500 1000 1500
so we find 1000 as well as 1200 as well as 100 is added. So the tone of the sound of the instrument becomes reinforced all the more.

The problem with modern piano tuning is that the 300 500 600 700 frequencies are nowhere tuned close enough to the perfect harmonic to add reliably except in a jangling way.

In fact as musicians we have experienced a shimmering to the sound and then we say "what a wonderful piano" - but it has ceased to convey the music as intended nor the emotion.

2. Musically this has reduced the dimensions in which the music can speak, reducing them to
a. loud versus soft
b. slow versus fast
c. discordant versus harmonious

Have you read George Orwell 1984? The new language NEWSPEAK reduced the number of words to 300 so that people were limited in their language to think. This reduction of dimension in music has done the same in music.

3. The meaning of "Chromatic"

As musicians we have been bamboozled into thinking that the chromatic scale is simply going up each note by semitones C C# D D# E F F# G G# A A# B C.

We have forgotten what the language means.

Photographers who are old enough took photographs as transparencies for projection on film called . . . KodaCHROME EctaCHROME FujiCHROME and our lenses are CHROMATICally corrected - which means that on the edges of things in our image we don't see fringes of a spectrum of colours.

In the modern tuned instrument there is no hint of anything that we can call CHROMATIC demonstrating a spectrum of sound.

4. The solution.

The tuning that I use exploits lots of perfect fifths in the exact ratios of 200:300. This brings many thirds in the ratios 500:400 very near to exact and exact enough to resonate, without making other thirds unpleasantly too far from perfect. This is enough to give back the spectrum of colour to the chromatic scale and to chromatic music as exploited in particular by Haydn, Mozart, Beetoven, Schubert, Chopin and Liszt whilst not doing damage to the music of later composers.

The spectrum of sound that we hear is demonstrated on https://youtu.be/qqS_IjKo-d8

The differences of sounds create a reward to the musician for playing sensitively and reacting to the different sounds differently as intended to be heard by the classical composers moulding the sound shapes in the phrasing of the music, conveying meanings unheard in modern tuning but intended to be heard.

We have a corpus of recordings, many of which are acclaimed by musicians who have heard them:

Music in "colour tuning"
https://www.youtube.com/watch?v=oMHvl1yH1pw Bach on Harpsichord
- see the comment
https://www.youtube.com/watch?v=7JF3YzTG7lU Bach on piano
https://www.youtube.com/watch?v=SzlvFcYdVjs Haydn
https://www.youtube.com/watch?v=1z3o0x4dKJI Chopin on Steinway Boston played by Adolfo Barabino
https://www.youtube.com/watch?v=p7AoF3zvcaI Brahms violin sonata accompanied by Barabino with Steinway
https://www.youtube.com/watch?v=s2py2xz1hX8 Chopin 2nd sonata played by Barabino
https://www.youtube.com/watch?v=PAPVSlKR8OM Mozart violin sonata B flat
https://www.youtube.com/watch?v=fJT5Q6HooyA Chopin Ballade 4
https://www.youtube.com/watch?v=qdsFLIo9l88  Chopin 24 preludes https://www.youtube.com/watch?v=A34K-fj5nHs
https://www.youtube.com/watch?v=hgA1-I5MfNY Chopin 2nd sonata in unequal and equal temperament
https://www.youtube.com/watch?v=QnYITP11UgQ Chopin on Grotein Steinweg. This instrument brings to life the singing thirds.
https://www.youtube.com/watch?v=EsKpxZIhc4U effect on melody
https://www.youtube.com/watch?v=nCcRGSvgmz8 Gershwin
https://www.youtube.com/watch?v=SthGamF8qIQ Debussy
https://www.youtube.com/watch?v=sboyVManGAk Benjamin Britten

Best wishes

David P

Part-time Project Manager, All Saints, Worcester

A part time Project Manager is required by All Saints church Worcester to oversee and facilitate the tasks and objectives as set out in their successful HLF grant bid for essential stone and roof repairs to their grade II listed church.

The technical and operational building works will be overseen by specialist architects and will not form part of the role of this post.

For a full job description and application pack, please send a request email to mark@allsaintsworcester.org.uk

Application Closing Date 22/08/2016
You can find out more about the church here http://www.allsaintsworcester.org.uk/

Redundant Pipe Organ -
Unknown c.1860

Methodist Church

Winston, Darlington Co. Durham UK DL2 3RJ

LISTED HISTORIC ORGAN Grade II*

NPOR R00062

2 manuals and pedals

Tracker/Mechanical action throughout

Dimensions:

Width c.9 ft

Depth c.5 ft

Height c.14 ft

Compass 58/29

The organ came from Walworth castle but its
provenance is unknown in spite of extensive research.

The organ is unaltered and in a very playable condition.

The church is to close on September 4th 2016 and the building sold for residential development.

The organ will be available for immediate removal after September 4th.

Department and Stop list

Pedal Key action Tr  Stop action Me  Compass-low C  Compass-high e1  Keys 29

             1 Bourdon 16

Great Key action Tr  Stop action Me  Compass-low C  Compass-high a3  Keys 58

             2 Open Diapason 8
             3 Stopt Diapason Treble 8 metal, fixed tops with chimneys, tuned by
             4 Stopt Diapason Bass 8
             5 Principal 4
             6 Harmonic Flute 4 TC
             7 Fifteenth 2
             8 Mixture II
            9 Clarionet 8 TF

Swell Key action Tr  Stop action Me  Compass-low C  Compass-high a3  Keys 58

Enclosed

             10 Stopt Diapason 8 TC
             11 Keraulphon 8 TC With "hole" in body
             12 Principal 4 TC
             13 Oboe 8 TC
             14 Tremulant

Console

Console type  Attached   Stop type  Drawstop   Label type  Ivory inserts   Label

font  Sans serif caps   Pedalboard  Straight Flat  

No cover; mahogany fittings; scrolled key cheeks; rosewood knobs with plain black
engraving, generally no numerals - though Swell Principal knob profile different
(presumed replacement - has gothic engraving and "4ft"); Swell full compass keys,
but TC ranks with bottom octave playing Gt.StDpBass;

Couplers

Swell to Great
Great to Pedals

Accessories

Hitchdown lever swell pedal [in
mahogany to RH side]

2 combination pedals

Horizontal swell shutters; tuning slides
fitted to metal pipes;

Pedal pipes red-sized;

Buyer responsible for removal
arrangements.

Enquiries, offers and expressions of
interest to the Church Contact please.

Church Contact:

Rev Bev. Hollings
Tel. 01833 638 272
Email:
beverly.hollings@methodist.org.uk

Organ Contact:

David Wilks
Tel. 0113 293 2960
Email: david.wilks57@ntlworld.com

Samuel & Twyford c1895 - Aldershot

Samuel & Twyford c.1895

New Testament Church of God,
Formerly Presbyterian Church,
83 Victoria Road Hampshire Aldershot GU11 1SH

NPOR N11487
IBO Ref. 427

2 manuals and pedals
13 speaking stops

Compass: 56/30

On platform approx 6' high, which accommodates the bellows.

Dimensions:

Width              11.5 ft
Depth              7.5   ft
Height             20    ft

Department and Stop list

Pedal Key action TP  Stop action   Compass-low C  Compass-high f1  Keys 30

             1 Bourdon 16

Great Key action Tr  Stop action Me  Compass-low C  Compass-high g3  Keys 56

             2 Open Diapason 8

             3 Stop Diap Clarabella 8

             4 Dulciana 8 1940 - Gamba

             5 Principal 4

             6 Flute 4

             7 Flageolet 2 1940 - absent

Swell Key action Tr  Stop action Me  Compass-low C  Compass-high g3  Keys 56

             8 Open Diapason 8

             9 Lieblich Gedact 8

             10 Vox Angelica 8

             11 Gemshorn 4

             12 Fifteenth 2

             13 Cornopean 8

             14 Hautboy 8

Console

Console type  Attached   Stop type  Drawstop  

Couplers

Swell to Pedal

Swell to Great

Swell octave

Great to Pedal

Details

Blowing Electric  

Accessories

2 composition pedals to each manual;

The organ has not been used for several years and is barely playable.

It is offered in whole or in part and is immediately available.

Buyer is responsible for removal arrangements.

All enquiries to the church contact please.

Church Contact:
Revd Malcolm Cummins
Tel. 07930 760 148
Email: malcolmc69@btinternet.com

The terrible tragedies which have happened in France are call for serious attention to be given to the sort of ideas I have been exploring in these pages.

Our theology needs to grow up.

Instead of saying "Teacher Teacher I love you so much so please do it for me" it's time to start to embrace trying to understand what Teacher was teaching about the Creator.

Whether it's Jesus, Mohammed or Moses, Buddha or Shiva . . . it's time to stop worshipping them and instead to worship the fundamental core that brings us all into existence. Not worship for the sake of worship but worship in understanding of the wonder that it is, operating it as being part of it ourselves.

Our enemy is not the other religion, whatever it be. Our only enemy is ignorance. Ignorance to see ourselves and where we came from in the wider context.

We have to come to the texts as children - not as blind idiots - but as children unpreconditioned by the cloak of given knowledge.

Were I to ask the linguistic riddle requiring a common solution to the following four questions
"What created us?"
"What is invisible?"
"What is everywhere?"
"What is all powerful?"
without the preconditioning of a three letter word . . .

Then what might the answer be?

"A person" is no more comprehending an answer -indeed it's too easy- than when I was six watching the news on television wondering how there could be a man in the back of the television set.

But we can be forgiven for saying a person initially, as the whatever it is that solves each of those four questions _behaves_as_a_person. That is different to being a person.

The answer may well be something inside the universe, common to all within the universe, rather than being a person outside the universe. This is the principle understood by the ancient Egyptians coming down to us through Hermes Tremegistus as the self fertilisation of the cosmos, and likewise the cosmos itself being the mind of God. This is symbolised in our Christian story in the self fertilisation of Mary by the holy idea of the whatever it is that created us.

So what can we do in practical terms?

In our services try to defocus on worship of our teacher and _who_ he is, what we would like him to be, and focussing instead on what he represents and what he taught about God the Creator. We have to reach out to those who want to do likewise and in our second lesson we might invite in someone from another faith reading from their texts in which their teacher says the same things as our teacher about the Creator. Together we can create in this way, in the image of the Creator, operating the work of the Creator.

"Who are my mother and my brothers . . . ?" says the Son of the Creator.

In a world of destruction it's now time for us to Create, to operate the process of the Creator itself and to be the person of the Creator in our turn as His Daughters and Sons.

Creation happens when matter, and people alike - and that's the point of Jesus' understanding and teaching - come together to be together more useful than individuals themselves, becoming together a quantum leap away from the utility of the individual and the ego.

Rebirth happens when we put to death the instinctive reaction, the animal mind, and instead embrace consciousness of the Creator, the process of Creation, do it and become it.

To do so we have to put aside the ego of the atom and become with other atoms one in the the commonality of molecule behaving distinctly differently from the atoms and more usefully as building blocks themselves.

We have to do so as people, and as organisations ourselves. Our religions have to put aside their egos and become one in God the Creator.

Best wishes

David P

Middleton West Yorkshire

http://www.ebay.co.uk/itm/Abbott-and-Smith-Church-Pipe-Organ-/122049647300

The original builder was Abbott & Smith 1929 and the last known carer was not known. The organ was cleaned in 1956.

Location : Middleton, West Yorkshire

Offered As : Complete

Action(s) : Tracker pneumatic

Approximate Dimensions : 12'6" x 6'3" x 16'7" (w x d x h)

Specification
Manual II : 8, 8, 8, 4, 8
Manual I : 8, 8, 8, 4
Pedals : 16, 8
Couplers : Swell to Great, Swell to Pedal, Great to Pedal, Swell Octave, Swell Sub-Octave, Swell octave to Great, Swell suboctave to Great


Detail : The organist confirms that 'this truly wonderful instrument has performed magnificently since it was built.'

Viewings welcome & advised. Buyer to arrange transportation and de-fit. Bank transfer only. Interested buyers to call: 07809559492 to arrange details.

I had a most enlightening and illuminating experience discussing both temperament and pitch over a cup of coffee one day . . .
https://youtu.be/3REzLHO56VE


http://www.afkm.com/handel_tuning.htm is interesting:

Quote"Handel's tuning"

Around 1780, the London 'musical emporium' of Longman & Broderip (later bought by a consortium headed by Clementi after both partners were declared bankrupt, despite the firm's huge success, in 1795) issued "Book IV" in a series for organ, entitled "Twelve Voluntaries and Fugues for the Organ or Harpsichord with rules for tuning by the celebrated Mr Handel". Clearly, only the unwary were likely to fall for the simple device of implying that the music was by Handel, but equally clearly L & B were hoping to benefit from such naivety. Inside the book, the tuning rules are given pride of place at the front (most unusual in itself), and once again attributed to Handel. My feeling is that they were aiming at two markets, and wished to disappoint neither; in other words, the music was aimed at the general public, and if they cared to think it was by Handel, well so much the better - meanwhile, serious musicians would understand the need to 'wrap' the tuning rules in some notes (impossible to sell them separately), no doubt the best available, and would know what they were buying. The psychology here implies to me at least, that L & B themselves believed the rules to be genuine (and as being prepared to inlay their own names on instruments made by others for them, I would argue that they were perhaps *best placed of all* to judge 'just how much can be got away with'. Their firm's inability to pay its creditors seems to have had much more to do with the ongoing war with France, than through any fault of their own).

Here's a sample of Jorgensen's enthusiasm for the Handel temperament (from his 800-page tome published by Michigan State University Press in 1991): "The ease of tuning is not the only indication that the Handel temperament was composed by a master. By comparing [seven other given temperaments], one can see that whoever authored the Handel Temperament had more understanding of classical harmonic balance than had anyone else before 1780."

Best wishes

David P

http://www.ebay.co.uk/itm/Pipe-Organ-/182197988931

MANDER ORGAN


This was built by Noel Mander himself in 1968 at St Paul's Public School, Westminster, London. The school then gave it to St John the Baptist Church, Portland, Dorset in the early 1990's, (WWW.PORTLANDPARISH.ORG) and it is used occasionally for weddings, and funeral. But the church has now a new electronic piano, and this organ is surplus to requirement.

It is a Manuel Piped Organ ( Unenclosed) CC-G (56 NOTES)

Stopped diapason 8.

Principle 4

Nason 4

15th 2

Mechanical Action, Electrically blown. Stool included.

H:- 8'9" W: 6'7½ " D: 2'5"

The funds raised by the sale of this great pipe organ will go towards a new underfloor heating project. any questions or if you need to visit =- then please let me know. Rev Tim Gomm 07763232423