Forthcoming CD recording in London - which organ would you recommend?

[pcnd5584]

pcnd - I'm immeasurably grateful to you for replying to my post in such detail. Interesting point about St John's Smith Square - I suppose all organists have their own 'favourite' instruments, or ones they're familiar with, and that might colour their choice. Anyhow, I now have an impressive list of candidate organs that she and I can discuss, thanks to your contribution and those of others on this list.

Kind regards,

Gareth

You are welcome. Thank you for your reply.

I hope that you are able to find a suitable venue - and instrument. Best wishes for the recording.

[Corno Dolce]

Hey pcnd,

Actually its a silver fox - superwarm when the temps start really going down.

Cheers,

CD

[Organ Matters]

This is more typical of the work of Arthur Harrison (with the occasional copy by HN&B or Rushworth & Dreaper). Harrison's opaque and harmonically dead Trombe are not necessarily regarded as traditional English - at least not since men habitually wore handlebar moustaches and women took delight in fabricating underclothing from Crinoline. These stops, together with the fearful Harmonics (17-19-flat 21-22) were usually capable of immense power. Extant examples are Crediton Parish Church, Devon (G.O. at 8ft. and 4ft.), Ripon Cathedral (G.O. at 16ft., 8ft. and 4ft.) and, clearly, Charterhouse. These stops were generally voiced on a wind pressure which could range from 250mm to 450mm.

Whilst it could be said that the Harmonics (when present) helped to make these stops blend with the rest of the G.O., I would argue that, in reality, these reeds and the companion mixture were fundamentally flawed. Due to the impenetrable nature of the tone of the reeds, together with their tendency utterly to swamp just about everything else, with the exception of an equally turbid and loud Tuba, blending was about the last thing of which they were capable.

Hi!

WOW! Thanks so much for such a wonderful resumé of inspirational instruments.

A Willis instrument between Croydon and Sutton in Surrey might also be worth a look
http://www.npor.org.uk/cgi-bin/Rsear...c_index=H00191
- Andrew Freeman saw fit to mention it in an inspirational connexion in his book and it was sufficiently inspirational the 1960s to make a significant and long lasting impact on me as a boy.

As for the Harrison instrument - those reeds in a public school chapel have the job of competing successfully with the singing of 700 enthusiastic teenagers . . . and work well in that regard . . . !!! However, personally, I have gravitated to the excitement of Isnard and Moucherel.

Best wishes

David P

[GarethGlyn]

The latest organ to be suggested by my organist (not on pcnd's list, but rather suggested before I made my post) isn't available, so I'm now going to present her with the list.

However, there is a possible left-field solution - she is giving a recital in Bangor Cathedral, North Wales, next month, and it might make sense in more than one way to record her there (since I live within 15 minutes of the Cathedral). Can anyone give an assessment of the Bangor instrument? Might it meet the requirements for this project?

Thanks again,

Gareth

[pcnd5584]

The latest organ to be suggested by my organist (not on pcnd's list, but rather suggested before I made my post) isn't available, so I'm now going to present her with the list.

However, there is a possible left-field solution - she is giving a recital in Bangor Cathedral, North Wales, next month, and it might make sense in more than one way to record her there (since I live within 15 minutes of the Cathedral). Can anyone give an assessment of the Bangor instrument? Might it meet the requirements for this project?

Thanks again,

Gareth

I had the pleasure of playing this instrument some years ago. At the time, it was a large four clavier Compton rebuild of the old Hill organ, sited in the North Choir Aisle, with some parts placed in the North Transept of this comparatively modest building. The organ was chiefly notable for its wide tonal palette and a very large Choir Organ, which had some extension of certain ranks. The rest of the organ was largely 'straight', save for some futher extension and borrowing of manual doubles on the Pedal Organ.

It was recently rebuilt and restored by David Wells, Organ Builders, of Liverpool, England. (This same firm has had the care of the vast Willis organ at Liverpool Anglican Cathedral for several years.)

The rebuild at Bangor has involved some resiting of certain parts of the instrument - chiefly the Choir and Solo organs. The Choir Organ has been greatly reduced in size, in order to fit its new location. However, the Solo Organ has had several ranks added, which were formerly on the old Choir Organ. The extensions to the Dulciana rank have been dispenesd with, and this rank now appears on the Solo Organ at 8ft. pitch only.

Although I have not played it since it was rebuilt, having seen and heard other work by David Wells, I suspect that he has respected the character of this organ and sought simply to preserve and enhace its resources, whilst ensuring that mechanically (it has electro-pneumatic action) it is thoroughly reliable.

Aside from its great range of tonal colour (which includes three undulating ranks), this insrtument also contains two full length 32ft. ranks on the Pedal Organ, an Open Wood and a Contra Trombone. The tutti is fairly powerful, and, unless the work by David Wells is more radical than his normal approach, largely reed dominated.

Acoustically the building is a little disappointing* - although this is hardly surprising, given that it is what may be described as a 'parish church catherdral' - in that its shape and size more closely resembles a fairly large English parish church, than a great cathedral.

The link to the new stoplist is:
http://www.npor.org.uk/cgi-bin/Rsear...5#PhotoSection



* There is virtually no appreciable resonance, the sound ceasing once a chord is released.

[pcnd5584]

Hi!

WOW! Thanks so much for such a wonderful resumé of inspirational instruments.

A Willis instrument between Croydon and Sutton in Surrey might also be worth a look
http://www.npor.org.uk/cgi-bin/Rsear...c_index=H00191
- Andrew Freeman saw fit to mention it in an inspirational connexion in his book and it was sufficiently inspirational the 1960s to make a significant and long lasting impact on me as a boy.

Thank you, David; I appreciate your kind remarks.

It may be worth looking at these two links first:

http://www.npor.org.uk/cgi-bin/Rsear...c_index=H00191

http://www.willis-organs.com/carshalton_general.html

The information given on the Willis site appears to be fairly recent. However, the work may have now started - or be shortly to commence.

Here may be seen a photograph of the double case, by Ninian Comper (the 'chaire' case is a dummy screen, placed behind the console):

http://www.geograph.org.uk/photo/1662407

Hi!

As for the Harrison instrument - those reeds in a public school chapel have the job of competing successfully with the singing of 700 enthusiastic teenagers . . . and work well in that regard . . . !!! However, personally, I have gravitated to the excitement of Isnard and Moucherel.

Best wishes

David P

Well, I can appreciate the sentiment, if not the sound; it is good to hear that they sing well at Charterhouse.

With regard to instruments by Isnard, arguably that at S. Maximin, Provence (1775) is perhaps the most famous extant example of his work. I should certainly like to hear (and play) this organ. However, I must confess that I am even more keen to play the superb Cavaillé-Coll instrument in S. Sernin, Toulouse.

[GarethGlyn]

Once again I offer my fervent thanks for such a full reply to my query. I'm extremely glad to have discovered this forum.

Kind regards,

Gareth

[pcnd5584]

Once again I offer my fervent thanks for such a full reply to my query. I'm extremely glad to have discovered this forum.

Kind regards,

Gareth

Your are welcome.

I also find this a useful and friendly board.

[pcnd5584]

Once again I offer my fervent thanks for such a full reply to my query. I'm extremely glad to have discovered this forum.

Kind regards,

Gareth

Duplicate post deleted. The internet appears to be a little strange here tonight....

[Organ Matters]

Well, I can appreciate the sentiment, if not the sound; it is good to hear that they sing well at Charterhouse.

:-) Despite being very unfashionable, I have a sentimental attachment to it as I grew up on it organistically - the sound is to me a form of "mother's milk" as a result and for such irrational reasons I will defend it till my dying day, much to the perplexity of its detractors. As also such styles of instrument have been increasingly bastardised, extant instruments unaltered must become more intrinsically rare and I feel it is important to preserve such things. . . .

With regard to instruments by Isnard, arguably that at S. Maximin, Provence (1775) is perhaps the most famous extant example of his work. I should certainly like to hear (and play) this organ. However, I must confess that I am even more keen to play the superb Cavaillé-Coll instrument in S. Sernin, Toulouse.

Um! That sounds interesting - I'll have to research it. My youngest son repeatedly reminds me that St Max is not the only exciting instrument in France and points me to some on the northern French coast in the St Omer region (from memory). One day, I hope to get back to Albi to try the instrument but the organist titulaire there is greatly possessive about anyone touching it . . . Phillipe Bardon at St Max is brilliant and his courses on that instrument are wonderful at all levels. Recordings that he has done of items at St Max echoed by the organist titulaire at Albi are so much more exciting and enspirited.

At St Max there is for sale a double CD with sections devoted to St Max, Albi, early Cavaille Coll and another - a very interesting progression.

Sadly flights this week prevented going down to the festival at Rieti but that is going to be a particularly exciting experience in due course. A friend was a pupil of Formentelli and is extremely excited by it.

Sorry, these ramblings are getting rather off topic, but one of my passions is finding ways to breathe more excitement into the concept of the organ and it's been great to host at least a couple of performances of Cochereau in my attempts to introduce the organ to concert audiences.

Best wishes

David P

[GarethGlyn]

A long time has passed since I first posted the original query on this thread, and I think I ought to bring you up to date on developments.

Many people very kindly responded to my request for suggestions as to which organs in the London area would be suitable for a recording which would eventually involve an orchestra; I tried several of these, but for one reason or another (general non-availability, refurbishment in progress, etc., etc.) I was less than successful.

Anyhow, in the end the BBC came on board and offered to get the piece recorded in Hoddinott Hall, Cardiff, with the BBC National Orchestra of Wales (under Grant Llewellyn), and the hall's organ - so that the recording could be done without the necessity of overdubbing.

Although the organ is an electronic one, the Beeb's offer wasn't one I could really refuse, so that's the course that was taken.

The piece, Gwylmabsant, is now available as a track on the double CD "Welsh Incident" - those interested can find more information here: http://www.sainwales.com/en/store/sain/sain-scd-2653

- the site offers short audio extracts of the various tracks, but the clip of Gwylmabsant contains more orchestral intro than organ! - however, I believe each track is also available to download individually from the same source.

The Hoddinott Hall organ doesn't really compare with other instruments that have been used in performances/broadcasts of this work (e.g. the organ of St David's Hall, Cardiff), but at least the CD got made....