Twenty-Sixth Annual English Organ Tour
July 15—28, 2014
Leslie Peart—Organizer
937 Salem Dr.
Corpus Christi, TX 78412
Phone: 361-461-3451
TABLE OF CONTENTS
Itinerary
Page
3
List of Hotels
4
Musical Hosts
5-7
Organ Builders—Summary
Organ Builders—Background
Summary of Organs Visited
8
9-11
12
Venues Visited / (Hotel)
Maps
London—St. Stephen's Walbrook (London Regency Hotel)
13
London—Westminster Abbey
14
London—Southwark Cathedral
15
London—St. James’s, Bermondsey
16
London—All Soul’s, Langham Place
17
London—St. Cuthbert’s, Philbeach Gardens
18
St. Barnabas—Dulwich
19
Farnborough-St. Michael's Abbey
20
Winchester—Winchester Cathedral (Mercure Wessex Hotel–Winchester)
21
Bury St. Edmunds—St. Edmundsbury (Best Western Gonville Hotel–Cambridge)
22
Bury St. Edmunds—St. Mary’s, Honey Hill
23
Cambridge—Jesus College Chapel
24
King’s College Chapel—Cambridge
25
Wymondham—Abbey
26
Norwich—Norwich Cathedral
27
Norwich—St. Peter Mancroft
28
Ely—Ely Cathedral
29
King’s Lynn—Minster
30
Boston— St. Boltoph’s, to be finalized (Nottingham Jury’s Inn)
31
Nottingham—Albert Hall
32
Nottingham—St. Mary’s
33
Lincoln—Lincoln Cathedral
34
Derby—Derby Cathedral
35
Southwell Minster
36
Peterborough—Peterborough Cathedral
37
Chelmsford—Chelmsford Cathedral
38
London—St. Bride’s, Fleet Street
39
London—Royal Festival Hall (London Holiday Inn Forum)
40
41-42
ITINERARY
PAGE 3
Tuesday, July 15 — London
Lunch—Regency Hotel
St. Stephen’s Walbrook (III/38, Hill-1872, 1906 / Hill Norman & Beard-1954/1987, Walker & Sons-1970)
Celebrity Recital—Westminster Abbey, Sophie Véronique Choplin-7:00 P.M. (V/109-Harrison & Harrison-1939/2008)
Wednesday, July 16 — London
Southwark Cathedral (IV/61, Lewis-1897 / Willis-1952 / Harrison & Harrison- 2010)
St. James’s, Bermondsey (III/29, Bishop-1829, Gotze & Gwynn-2002)
All Souls, Langham Place (IV/74, Willis-1951 / Harrison & Harrison-2002)
St. Cuthbert, Philbeach Gardens (IV/49, Bishop and Sons-2009)
Thursday, July 17— Dulwich, Reading, Farnborough, Winchester
St. Barnabas-Dulwich (III/36, Kenneth Tickell-1997)
St. Michael's Abbey, Farnborough (II/17, Cavaillé-Coll/Mutin-1905, 1931 / Willis-1951 / Mander-1967 / Klais-2001)
Winchester Cathedral (Southern Cathedrals Festival - Chichester, Winchester, Salisbury)
4:30 P.M. Evensong (Combined Girls Choirs & lay Clerks)
7:00 P.M. Choral / Organ Concert-Durufle Requiem (IV/79, Willis -851 / Harrison & Harrison-1938,1997)
Friday, July 18 — Winchester Cathedral
10:00 A.M. Matins (Chichester Cathedral Choir)
12:00 noon Organ Recital – Robert Quinney (Peterborough Cathedral)
1:00 P.M. Buffet Lunch
4:30 P.M. Evensong (Salisbury Boy Choristers & Lay Clerks)
7:00 P.M. Concert (Girl Choristers & Combined Lay Clerks)
Saturday, July 19 — Winchester Cathedral
11:00 A.M. Festival Eucharist (Combined Choristers & Lay Clerks)
1:00 P.M. Festival Lunch
6:00 P.M. Choral/Organ Concert-—Haydn Lord Nelson Mass (Combined Boy Choristers & Lay Clerks)
Sunday, July 20 — Westminster Abbey, Bury St. Edmunds, Cambridge
Westminster Abbey—Sung Eucharist (Boy Choristers & Lay Clerks)
St. Edmundsbury Cathedral (IV/80, Harrison & Harrison-2010)
Cambridge-Gonville Hotel
Monday, July 21 — Cambridge, Bury St. Edmund’s
St. Mary, Honey Hill, Bury St. Edmund’s, (IV/79, Walker-1885 / Hill-1931 / Compton-1959 / Carter-1988 / Clevedon Organ - 2009)
Afternoon—free time for sightseeing and shopping (and punting)
Evening—Jesus College Chapel , Cambridge (II/33, Orgelbau Kuhn-2007)
Tuesday, July 22— Cambridge, Wymondham, Norwich
King’s College Chapel (IV/80, Harrison & Harrison - 1933,2009)
Wymondham Abbey, (III/46, James Davis-1793 / Hill, Norman and Beard-1953, 1980)
Norwich Cathedral (IV/105, Hill, Norman and Beard - 1899, 1970)
St. Peter’s, Norwich (III/38, Rushworth & Dreaper-1938,1964 / Peter Collins 1982)
Wednesday, July 23 — Ely, King’s Lynn, Boston, Nottingham
Ely Cathedral (IV/86, Harrison & Harrison-1931, 2001)
Kings Lynn Minster (III/44, Rushworth & Dreaper-1962 / Holmes & Swift-2001, 2003)
St. Botolph’s-Boston (III/41, Brindley-1871, Willis-1924, Harrison & Harrison-1933, 1987)
Nottingham-Jury’s Inn
Thursday, July 24 — Nottingham, Derby, Lincoln
St. Mary’s, Nottingham (II/25, Marcussen-1973, 1993)
Albert Hall, Nottingham (IV/58, Brindley & Foster-1883 / Binns-1909 //Willis-1973 / Harrison & Harrison-1993)———to be confirmed
Lincoln Cathedral (IV/63, Willis-1898 / Harrison & Harrison-1960, 1998)
Derby Cathedral (IV/97, Compton-1939 / Rushworth & Dreaper-1992)
Friday, July 25 — Southwell, Peterborough, Chelmsford, London
Southwell Minster (IV/51, Nicholson-1868, 1906, 1922, 1996 & III/46, Wood-1992)
Peterborough Cathedral (IV/86, Norman, Hill & Beard - 1938 / Harrison & Harrison - 1981, 2005)
Chelmsford Cathedral (III/40 & III/24, Mander-1984/1985)
Saturday, July 26—London
St. Bride’s, Fleet Street (IV/John Compton - 1957 / Keith Bance - 1984, 2002)
Evening—Optional BBC Proms Concert
Sunday, July 27—London
Open-but tradition is to have reserved seats under the Dome of St. Paul's Cathedral, for the last of the July Orchestral Eucharists.
Farewell Dinner—Verdi Room, Royal Albert Hall
Evening—Optional BBC Proms Concert
Monday, July 28th
11:00 a.m. - Royal Festival Hall (IV-103, Harrison & Harrison-1954, 2014) Tour ends with this visit.
HOTELS
PAGE 4
London — Nights of Tuesday, July 15 & Wednesday, July 16
Regency Hotel
100 Queen's Gate, South Kensington
(So. Kensington or Gloucester Rd. Tube Stop)
Website: http://www.londonregency.com/index.asp
Email for general enquiries info@londonregency.com
Phone: (+44) (0) 20 7373 7878
Winchester— Nights of Thursday, July 17th to Saturday, July 19th
Mercur Wessex Hotel
Paternoster Row
SO23 9LQ Wincester
(Adjacent to Cathedral & Southern Cathedrals Festival events)
Email for general enquiries : H6619@accor.com
Phone : (+44) 1962 312800 - Fax : (+44)1962/849617
Cambridge—Nights of Sunday, July 20th to Tuesday, July 22nd
Best Western Gonville Hotel
Gonville Place,
CB1 1LY Cambridge, Cambridgeshire
Website: http://www.gonvillehotel.co.uk/
Email for general enquiries info@gonvillehotel.co.uk
Phone : (+44) 1223 366611
Nottingham —Nights of Wednesday, July 23rd to Thursday, July 24th
Jury’s Inn
Station Street
Nottingham, NG2 3BJ
Website: http://www.jurysinns.com/hotels/nottingham
Email for general enquiries : jurysinnnottingham@jurysinns.com
Phone : (+44) 115 901 6700
London—Nights of Friday, July 25th to Monday, July 28th
Holiday Inn Kensington Forum
97 Cromwell Road
London SW7 4DN
(Next to Gloucester Tube Stop)
Website: http://www.hikensingtonforumhotel.co.uk/
Email for general enquiries http://www.hikensingtonforumhotel.co.uk/
Phone : (+44) (0) 871 942 9100
MUSICAL HOSTS
PAGE 5
St. Stephen's - Walbrook
Joseph Sentance —Organist, was born in 1955 and, from 1978-1995 was closely involved with the music at the Chapels Royal,
H.M.Tower of London, first as Assistant Organist and latterly as Master of the Music. Until 2007 he was Director of Music at Sherborne Abbey in Dorset. He has been associated with St. Stephen's Walbrook since 1987 and works closely with the Director of
Music, Emma Corke, in developing the musical mission of the church. Joe is a Fellow of the Royal College of Organists and is also
a barrister, having read law at Peterhouse, Cambridge.
Southwark Cathedral
Peter Wright—Organist and Director of Music at Southwark Cathedral since 1989. He was educated at Highgate School,
the Royal College of Music and Emmanuel College, Cambridge where he served as organ scholar between 1973 and
1976.
St. Cuthbert’s, Philbeach Garden, London
Michael King—Organist
All Souls, Langham Place
Paul Goodman—Organ Curator. Head of Collections Projects, National Media Museum. Paul is responsible for leading on specific
major collections-related activities. Current projects include two large acquisitions – the Impressions Gallery Collection and the
Ray Harryhausen Archive and a digitization program. Paul also oversees the Museum’s collaborative conservation project with the
Getty Conservation Institute.
St. Barnabas-Dulwich
William McVicker—Organ Curator at London’s Royal Festival Hall, Director of Music at St. Barnabas Church Dul-
wich and a visiting professor at the Royal Academy of Music. An experienced musician with a keen ear for organ
tone, he offers advice on matters technical and musical, specializing in acoustics, liturgy, architecture, project
management, HLF funding applications and educational outreach work. William read music as Organ Scholar at
the College of St. Hild & St. Bede, Durham University, subsequently becoming Caedmon Fellow and Director of
Music. He won a scholarship to study the organ in Paris in 1984 and a British Academy Scholarship to study for a
PhD in technical aspects of organ design. As a performer William has appeared throughout the UK and Europe,
including solo appearances with the RPO under Carl Davis and in the Canary Islands in Janácek's Glagolitic Mass, Saint-Saëns's
Third Symphony and Poulenc's Organ Concerto. He has conducted eleven stage productions and has undertaken extensive broadcast and recording work.
St. Michael's Abbey, Farnborough http://www.cavaille-coll.co.uk/
Neil Wright—FRCO studied organ, piano, harpsichord and clavichord at the Royal Northern College of Music with
Dame Gillian Weir, Eric Chadwick and Robert Elliott. He was awarded the RNCM prize for playing Bach. In 1976 he
came to public attention when he was featured on BBC television playing the organ of Manchester Town Hall. In
1979 he became a Fellow of the Royal College of Organists, winning the Dixon Prize for extemporization. He has
given concerts in Europe and the United States not only as an organist but as pianist, harpsichordist and countertenor. In 2003 he directed the Orchestra of the Nord Ostsee Barockmusic Festival, Germany and in 2004 joined
the City of London Chamber Players as harpsichordist. In 2001 Neil was appointed Organist of the recently restored Cavaillé-Coll organ at St. Michael's Abbey, Farnborough, Hampshire.
St. Edmundsbury Cathedral
James Thomas—Director of Music. James was educated at Magdalen College School, Brackley, before going on to
read music at Gonville and Caius College, Cambridge where he was organ scholar. Upon graduating, he spent a
year studying for the Postgraduate Certificate in Education. He gained the FRCO diploma in 1985 and was awarded the prize for extemporization. He spent two years at the Rouen Conservatoire, taught by Louis Thiry, and was
awarded a Premier Prix in organ performance in 1988. He was twice finalist for the Tournemire Prize at the St.
Albans International Organ Festival in both 1987 and 1988. Upon returning to England in 1988, Thomas was appointed Assistant Organist of Blackburn Cathedral, a position he held for three years before moving to Chichester Cathedral as
Assistant Organist, in 1991. Whilst at Chichester Cathedral, Thomas was also Director of Music of The Prebendal School, the choir
school. In September 1997, he left Chichester to become Director of Music at St. Edmundsbury Cathedral. Since then, the choir
has made several CDs and broadcasts on the BBC. In 1998 he was appointed conductor of the Cambridgeshire Choral Society, a
post he held until 2004, Thomas has given recitals up and down the country, as well as in France and Germany.
Jesus College Chapel, Cambridge
Mark Turner Williams—Director of Music was Assistant Organist at St. Paul's Cathedral from 2000 to 2006. Since
2009 he has held the position of Director of Music at Jesus College, Cambridge. Williams was organ scholar at Trinity
College, Cambridge from 1997 to 2000, under Richard Marlow. After graduating from Trinity College he became Assistant Organist at St. Paul's Cathedral, and Director of Music at St. Paul's Cathedral School. At 21 he was the youngest
person ever to be appointed to these positions. In 2009 he succeeded Daniel Hyde as Director of Music at Jesus College, Cambridge. His other conducting roles have included Assistant Conductor to the City of London Choir, Principal
Conductor at the International William Byrd Festival, and Music Director of English Chamber Opera.
St. Mary, Honey Hill
Adrian Marple— Assistant Organist at St. Mary's Church, Bury St. Edmunds. Adrian began studying the Organ when he was a chorister at St. Peter's Collegiate Church, Wolverhampton. Following this, he studied at the Birmingham Conservatoire before undertaking the Organ Scholarship at Hatfield College, Durham University.
HOSTS (Cont’d.)
PAGE 6
Wymondham Abbey
Mike Webb—Assistant Organist. Mike Webb has now been playing the Abbey organ regularly for 18 months or so and has become a familiar
figure around the parish. He has certainly made quite an impression for exploiting the full potential of the organ in his masterful improvisations,
sometimes in quite surprising ways! Mike’s great love is French organ music.
Norwich Cathedral
David Dunnet—Organist. David Dunnett was educated at King Edward's School, Birmingham and Clare College, Cambridge where he assisted
Tim Brown and studied the organ with John Pryer, John Bishop and David Sanger. He continued studying with David Sanger as a postgraduate at
the Royal Academy of Music and also spent a year as Organist of Marylebone Parish Church. He worked in the United States as Director of Chapel
Music and Staff Accompanist at the College of Wooster, Ohio, before becoming Assistant Director of Music at Uppingham School. He became SubOrganist at Winchester Cathedral in November 1991 and subsequently performed with Winchester Cathedral Choir in concerts, broadcasts, recordings and tours to Brazil, USA and Australia. He assisted David Hill with the Waynflete Singers, taught at Southampton University and is a previous conductor of the Southampton University Chamber Choir and Winchester Music Club. He is a busy organ recitalist both here and abroad and
also regularly accompanies singers and instrumentalists on the organ, harpsichord and piano. He features on numerous recordings as conductor, soloist and accompanist and has given recitals in Europe, USA and Russia. He became Organist and Master of the Music at Norwich Cathedral in January 1996. He is the Choral Conductor of the Norwich Philharmonic Society, a previous part time lecturer at the UEA and a busy examiner.
St. Peter Mancroft
Julian Haggett, Organist—Julian’s interest in the organ was ignited by the music of Bach at the age of 13 after spending his formative years
learning piano and flute. Whilst continuing with these instruments, organ quickly became the focal point and a love for the instrument was born.
Whilst studying Music at the University of Durham he held the Organ Scholarship at his college, The College of St. Hild & St. Bede, after Durham the
organ scholarship at Chichester Cathedral.
Ely Cathedral
Paul Trepte, Director of Music—studied organ with Donald Hunt and Nicholas Danby, and composition with Herbert Howells. He became a
member of the National Youth Orchestra at 12 years of age and went up to Oxford in 1972 where he later became Organ Scholar at New College.
His professional career began in 1976 when he was appointed Assistant Organist at Worcester Cathedral where he gained experience working
with the Cathedral Choirs, Choral Society and Three Choirs' Festival Chorus. An early high spot was a commission to write an anthem ("God's
Grandeur") for the three Choirs' Festival Chorus and the City of Birmingham Symphony Orchestra. In 1981 he was appointed Director of Music at
St. Mary's Collegiate Church, Warwick where he continued the long-standing tradition of music-making, undertaking tours and making recordings as well as broadcasting with the choir. He moved to St. Edmundsbury Cathedral in 1985. During an exciting period of change and development, Paul quickly
built up the reputation of the St. Edmundsbury Cathedral Choir as well as implementing the (now somewhat unfashionable) decision of the Cathedral authorities to
reinstate an exclusively all-male singing tradition. In September 1990 he succeeded Arthur Wills as Organist and Director of Music at Ely Cathedral. During his time
at Ely the Cathedral Choir of boys and men have given numerous concerts, made many recordings, and toured widely on both sides of the Atlantic, examples being
Italy, France, Belgium, Poland, Norway, the Southern States of America and Canada.
King’s Lynn Minster
Adrian Richards, Organist
St. Botolph's
David Shepherd, retired Director of Music—organist from 2002-2012. First received organ tuition at school in Stockport, before continuing lessons at College in
Chichester with Dr. John Birch .
Nottingham St. Mary’s
John Anthony Keys —Formerly Assistant Organist of Chester Cathedral and Holy Trinity Church, Geneva and Organist titulaire Eglise de St. Jean, Geneva.
Nottingham Albert Hall
David Butterworth, Organ Curator—Educated at Hurstoieroiunt College, he gain both the FRCO and CHM diplomas at the age of 17. He moved on
to become organ scholar at Jesus College Cambridge and studied organ with David Willcocks and choral conducting with George Guest.. After
attaining his Master of Music degree, he was appointed Organist and Master of Choristers at St. Mary’s Church, Nottingham. As a recitalist, He has
performed both locally and abroad. As an organ consultant, He has been responsible for a number of restorations and new instruments, and has
installed five organs himself. These include the Marcussen organ at St. Mary’s and the organ at Albert Hall in Nottingham.
Lincoln Cathedral
Colin Walsh, Organist—is at the front of his generation of organists in England. He has played many recitals in England in cathedrals, abbeys,
college chapels and two at the Royal Festival Hall. Further afield, he has played in most European countries, Russia, New Zealand, Australia, Canada and the USA. During the summer of 2005 he was involved in the third performance of John Tavener’s ‘The veil of the Temple’ as part of the
Holland Festival in the Oude Kerk, Amsterdam and plays the organ for the Universal Label on a CD entitled ‘The Choirboys’. In 2006 he toured
New Zealand as European artist of the Organists’ Congress and has recently given concerts in the Svetlanov Hall, Moscow, Cologne Cathedral,
Notre Dame de Paris and Saint Sulpice. His three year studies in France with Jean Langlais at St. Clotilde inspired him to specialise in French symphonic and modern music, in particular the works of Franck, Vierne and Langlais. This has brought him wide acclaim throughout the world. In
1988 he played Messiaen in front of the composer himself.
HOSTS (Cont’d.)
PAGE 7
Derby Cahtedral
Peter Gould, Master of Music—was born in Portsmouth in 1952. He studied the piano and cello before going to the Royal Academy of
Music in 1970 where he gained his Associateship of the Royal College of Organists (ARCO) after only ten lessons on the organ. He also won
prizes for harmony, choir training and organ accompaniment. Between 1975 and 1983 he was assistant organist at Wakefield Cathedral. On
his arrival at Derby, Peter brought stability and vision to the musical life of the Cathedral. He immediately started work on the formation of a
traditional cathedral choir of boys and men, which the Cathedral had been without for some decades. The choir of boys and men celebrates
its 25th anniversary in 2008. Its high standing nationally has been evidenced by being invited to take part in national services at St. Paul's
Cathedral and in regular appearances on BBC Radio 3 and BBC Radio 4. In 1997, Peter Gould founded the Cathedral Girls' Choir. They also sing
regularly on BBC Radio 3 and BBC Radio 4 and were invited to sing at a special national celebration at St. Paul's Cathedral in 2006.
Southwell Minster
Paul Hale, Director of Music— before his appointment at Southwell, he was previously Assistant Organist of Rochester Cathedral and Organist
of Tonbridge School. He studied at New College, Oxford where he was Organ Scholar. He studied with Sir David Lumsden and Professor Nicholas
Danby, gaining a Mai n Music. Hale is Conductor of the Nottingham Bach Choir, an Examiner for the Royal College of Organists. He is also Chairman of the RSCM Southwell & Nottinghamshire Area, and a Trustee of the Percy Whitlock Trust And of The Nottingham Albert Hall Binns Organ
Trust. He is Organ Adviser and Consultant to the dioceses of Lincoln and Southwell & Nottingham. He designed and led the restoration of the
organ at Solihull School and has designed organs for Southwell, Rochester and Lincoln Cathedrals; Glasgow University, Bridlington Priory, Glenalmond, Leicester’s De Montfort Hall and designed and led the restoration of many others. He has appeared at both the Three Choirs Festival
and the St. Albans International Organ Festival. As well as this, he was also author of over twenty articles for the second edition of The New Grove Dictionary of
Music and Musicians. He has toured internationally. In 2005 he represented Britain in the Brussels Organ Festival. Recently he has toured Norway, America and was
invited to play at St. Sulpice in Paris.
Peterborough Cathedral
David Humphreys, Assistant Director of Music—spent a gap year at the Royal Academy of Music, studying with David Titterington and hold-
ing the organ scholarship at All Saints Margaret Street. Gaining a First in his final exams, he spent the following year as Organ Scholar at St. Albans Abbey. He then went up to Jesus College, Cambridge as organ scholar, where he accompanied and directed the two chapel choirs, undertook three European tours and appeared on BBC television. Upon graduating with a degree in music in June 2007, winning the college's Renfrew
Music Prize, David was appointed Assistant Director of Music & Arts Coordinator at St. Edmundsbury Cathedral. Away from cathedral music,
David has played both cello and organ at many of the top venues in the United Kingdom and performed concertos for both instruments. He
directed two successful concerts with the Phoenix Singers (Framlingham), and has played continuo for the Britten Sinfonia and the City of London
Sinfonia. Recent organ recitals include Westminster Abbey, King's College, Cambridge, and an appearance at the Buxton Festival. He was made a fellow of the Royal
College of Organists in January 2006. He moved to his current role at Peterborough in October, 2011.
Chelmsford Cathedral
James Davy, Organist and Master of the Choristers. James Davy has been Director of Music at Chelmsford Cathedral since August 2012. Before
arriving in Chelmsford, he spent six years as Assistant Director of Music at Blackburn Cathedral, where he helped to run one of the largest cathedral music departments in the country. James was a chorister at Southwell Minster and a church organist before becoming organ scholar of Portsmouth, Durham and St. Albans Cathedrals, and also Assistant Organist at Winchester College. A published composer, James also has a broad experience of recording and broadcasting, working on BBC Radios 2, 3 & 4, BBC TV and ITV. He is also a keen horserider and enjoys photography,
cookery and gardening.
St. Brides, Fleet Street
Robert Jones, Director of Music, was educated at Trinity School, Croydon, where he gained the FRCO diploma and ran his own parish choir while
still at school - during this period he was also a Junior Exhibitioner at the Royal College of Music as a pianist and was taught harmony by Robert
Langston (then Director of Music at St Bride's). He gave a lunchtime organ recital in the church in 1974 and had the ambition to become Director of
Music from that time onwards. In 1975 he became a Music Scholar at Christ Church, Oxford, where he sang in the Cathedral choir under Simon
Preston, studying singing with David Johnston and organ with the late Nicholas Danby. Following graduation, he held posts as Lay Clerk at St
George's Chapel, Windsor and Westminster Cathedral before embarking on a career as one of Britain's leading consort singers, featuring on award
-winning recordings with the Tallis Scholars, the Orlando Consort and the Gabrieli Consort. He maintains a lifelong interest in piano and organ
playing and choral directing, and realised his ambition to come to St Bride's in 1988. Since then he has directed the choir for numerous services,
concerts and recordings, the high point probably being the service attended by Her Majesty the Queen in November 1997 to mark the fiftieth anniversary of the
church's post-war re-dedication. He also holds a number of teaching posts and has been an examiner for the Associated Board since 2004, working in the Far East
as well as in the UK. He has been associated with many leading British choral societies and has been conductor of the Eastcote Choral Society since January 2009.
Royal Festival Hall
William McVicker — curator, see St. Barnabas above
ORGAN BUILDERS - SUMMARY
BUILDER
BUILDING
Alfred Hunter & Son St. Cuthbert
Philbeach Gardens
All Soul’s, Langham Place
J.J. Binns
YEAR
1890
BUILDER
BUILDING
YEAR
Johannes Klais
Orgelbau
St. Michael's Abbey,
Farnborough
2001
Orgelbau Kuhn
Jesus College Chapel
2007
1938
Nottingham Albert Hall
1909
Brindley /
St. Botolph's
Brindley & Foster Nottingham Albert Hall
1871
1883
Andrew Carter
St. Mary, Honey Hill
1988
Clevedon Organ
St. Mary, Honey Hill
2009
Peter Collins
St. Peter Mancroft
1982
John Compton
Derby Cathedral
St. Bride’s, Fleet Street
St. Mary, Honey Hill
St. Cuthbert’s,
Philbeach Gardens
1939
1957
1959
James Davis
Wymondham Abbey
1793
William Drake
Jesus College, Cambridge
2012
Harrison & Harrison
All Souls, Langham Place
Southwark Cathedral
Jesus College, Cambridge
St. Edmundsbury Cathedral
Winchester Cathedral
King’s College Chapel
Ely Cathedral
St. Botolph's
Nottingham Albert Hall
Lincoln Cathedral
Peterborough Cathedral
Royal Festival Hall, London
PAGE 8
T. C. Lewis
Southwark Cathedral
Mander Organs
St. Michael's Abbey,
Farnborough
Jesus College, Cambridge
St. Michael's Abbey,
Farnborough
Chelmsford Cathedral,
Nave & Chancel Organs
1897
1967
1970
1967
1984/-985
Marcussen & Son
St. Mary, Nottingham
1973, 1993
Mutin
St. Michael's Abbey,
Farnborough
1905, 1931
Nicholson
Southwell Minster
1868, 1906
1922, 1996
1956, 1963
2002
2000
1927
2010
1938, 1997
1933,2009
1931, 2001
1933, 1987
1993
1960, 1998
1981, 2005
1954, 2013
Hill & Son
St. Stephen's - Walbrook
St. John's College Chapel
1872, 1906
1839
Norman, Hill,
& Beard
St. Stephen's - Walbrook
St. Mary, Honey Hill
Wymondham Abbey
Norwich Cathedral
Peterborough Cathedral
1954, 1987
1931
1953, 1980
1899, 1970
1938
Holmes & Swift
King’s Lynn Minster
2001. 2003
Rushworth & Dreaper St. Peter Mancroft
King’s Lynn Minster
Derby Cathedral
1938, 1964
1962
1992
B. C. Shepherd & Sons St. Cuthbert’s,
Philbeach Gardens
2004, 2009
Kenneth Tickell & Co. St. Barnabas-Dulwich
1997
Walker & Sons
St. Stephen's - Walbrook
1970
Henry Willis & Sons
All Souls, Langham Place
Southwark Cathedral
St. Michael's Abbey,
Farnborough
Winchester Cathedral
St. Bodolph’s
Nottingham Albert Hall
Lincoln Cathedral
1951
1952
1951
St. Mary, Honey Hill
Southwell Minster
1885
1992
Wood
1851
1924
1973
1898
ORGAN BUILDERS — BACKGROUND
PAGE 9
James Jepson Binns (c.1855–11 March 1928)
Was a disciple of the early 18th century builder Edmund Scgulz opened a shop in Meanwood, Leeds in 1888. Upon his death in 1929, the firm merged with
Fitton & Haley and continued to build organs until closing in 1963. His work was well made and, in particular, his wood pipes were of excellent quality, He built
many moderately sized organs to two or three standard specifications. His largest organ was that at Yatmouth Parish Church which was destroyed in WWII.
Surviving instruments in Albert Hall and Castlegate Church, Nottingham, Stoke Parish Church, Reading University, and St. Alban’s Church, Leeds.
Brindley / Brindley & Foster
The business was established by Charles Brindley in 1854. He was joined by Albert Healey Foster in 1871 and the company acquired the name Brindley & Foster. Charles Brindley was born in Baslow in the early 1830s. He retired in 1887 and died in 1893. Brindley was a follower of Edmund Schulze. He built solid
instruments with powerful choruses using Vogler’s Simplification system. Pipes placed in chromatic order on the soundboards allowed for a simple and reliable key action and permitted similar stops to share the same bass, keeping both space and cost to a minimum. The Swell organ was often mounted above the
Great in the German manner. After the partnership with Foster they began to manufacture more complex pneumatic mechanisms for stop combinations; he
also concentrated on the production of orchestral effects. The business of Brindley and Foster was bought by Willis in 1939.
Andrew J. Carter
Mr. Carter has been working with church organs for over 30 years. He originally learnt his trade with J. W. Walker and Sons Ltd after leaving school at the age
of 16. During these early days, he worked on many of the famous Walker jobs such as Brompton Oratory, Blackburn Cathedral, Paisley Abbey and Kendal
Parish Church. By his early twenties, he was in charge of many instruments around London and the Home counties. In 1973, he moved to Kettering to become
the Midlands Tuner Representative. Four years later, in 1977, he moved to Yorkshire as Walkers were in desperate need for quality tuner and craftsman to
replace the retiring Arthur Cooper. During this period, he was in charge of rebuilding such Instruments as Bradford Cathedral, Rochdale Town Hall and St.
Olaves, York In 1984, after much deliberation, he decided to break away from Walkers and set up his own company. Since then, he has maintained his position as the Walkers Tuning Representative, on a sub-contracting basis, for the North of England, but has also established a large Tuning connection of his own.
In addition to tunings though, he has also undertaken some very fine rebuilds and restorations over the past ten or so years. Many of these can be seen in the
'Past Work' section of this website. Just click on the relevant icon to the left of the screen.
Clevedon Organs
The Clevedon Group was established in 2006, successor to the amalgamation of Daniel & Co Ltd (Clevedon) and Cawston Organs Ltd. Their customer base of
over 300 churches, educational establishments and civic venues encompasses the South West, Wales, the Midlands, London and even as far north as Edinburgh. They have successfully completed over 200 organ building contracts to date, offering a complete service of tuning and maintenance, cleanings and
overhauls, rebuilds, conservation of historic instruments and the facility to build new organs. They operate from three small craft workshops in Clevedon and
Malvern, with larger workshop facilities available in Wiltshire and Norfolk utilized when required.
Peter Collins
An English pipe organ builder based in Melton Mowbray, Leicestershire. He specializes in tracker action organs. Collins is an advocate of computer-aided design, using it to produce compact instruments and to control material costs. Collins founded his company in 1964. Prior to that, he worked in another established organ building firm. He has built organs varying in size from one stop to over 50 stops. Examples are to be found in Greyfriars Kirk, Edinburgh; Magdalenenkirche Bayreuth; St. Peter Mancroft, Norwich; Turner Sims, Southampton; and a controversial collaboration with digital organ builders Allen in Trönö,
Sweden. A notable commission was for the St. Albans International Organ Festival (IOF), with which Collins has been associated for some time; the IOF organ
was built in 1989 in the style of Andreas Silbermann (1678–1734). Peter Collins's organs are found in a number of other countries, including Australia, France,
Germany, Norway, Korea, and the United States. Peter Hurford has played commissioning recitals on a number of Collins organs, and has also recorded on
some of them.
John Compton (1876 - 1957)
Born in Newton Burgoland, Leicestershire was a pipe organ builder. His business based in Nottingham and London flourished between 1902 and 1965 studied
as an apprentice with Halmshaw & Sons in Birmingham. In 1898 he joined Brindley and Foster in Sheffield. Then he joined Charles Lloyd in Nottingham. He
first set up a business in 1902 in Nottingham with James Frederick Musson, as Musson & Compton; the partnership dissolved in 1904. In 1919, the business
moved to workshops at Turnham Green Terrace, Chiswick, London, which had been vacated by August Gern. He occupied a new factory at Chase Road, Park
Royal, North Acton, London in 1930. Compton worked primarily on electric-action pipe organs and electronic organs. Compton's first electronic instrument
was the Melotone (a solo voice added to theatre organs); next came the Theatrone. The Electrone, an electrostatic tone wheel instrument introduced in 1938,
evolved out of research by Leslie Bourn, an association begun in the 1920s. Throughout his organ-building career, John Compton was assisted by the very
capable and inventive James Isaac Taylor. The company were awarded many original patents in things ranging from simple organ mechanisms to the most
complex, state of the art electronic and electrical inventions. Compton died in 1957, and the business continued under the direction of his right hand man,
James I Taylor. Taylor died the year after in 1958, and the business was wound up around 1965. The pipe organ department was sold to Rushworth and
Dreaper; the electronic department became Makin Organs.
James Davis
The brothers David and James Davis, originally from Lancashire, worked as organ builders for Longman & Broderip. In 1798 David became a partner in Longman, Clementi & Co. James is best known for his organ erected in Wymondham Abbey in 1793. The Abbey record states that James was paid “for his masters Longman & Broderig”, affirming that he was not an independent organ builder at the time. Separating from the firm in 1810, James and David continued
to build organs until 1822. Upon David’s death in 1822 James retired and the firm was run by his nephew and foreman, Samuel Renn. In 1823 he moved to
Stockport to work with John Boston. Technically and tonally Renn continued the tradition and methods established by James Davis in the 1790's and continued to build organs in the 18th Century style until his death in 1845.
William Drake (1944-2014)
The firm of William Drake, Organ Builder manufactures pipe organs in Buckfastleigh, Devon, England, and has an appointment as organ builder to the Queen.
William Drake established the firm in 1974 after completing an apprenticeship, in which he built a small award winning organ. Initially, the company was part
of John Loosemore Centre for Organ and Early Music - an entity that taught a number of subjects concerning the organ - such as playing of the organ, history,
and building of such instruments. Eventually the program was discontinued, but Drake's firm has continued since that time. His firm has built organs, as well
as restored instruments in a number of countries, including New Zealand and the United States. For the design of instruments, the firm takes its inspiration
from English organs of the 18th and 19th centuries. Organs built by Drake's company are mechanical action instruments. William Drake died on 11 January
2014, aged 70. The business continues under the direction of Geert Noppers and Joost de Boer, who have been members of the staff for many years.
ORGAN BUILDERS — BACKGROUND (Cont’d.)
PAGE 10
Harrison & Harrison
Thomas Hugh Harrison founded the shop in 1861 in Rochdake. The business was conducted energetically from the start, and Thomas was soon attracting favorable notice from influential people in the musical world. By 1870, however, the firm had overstretched itself financially, and in 1872, Thomas made a fresh start in
the city of Durham. In this new venture he was supported by his father in London, and the name Harrison & Harrison dates from this time. He purchased an old
paper mill in Cross Street (today’s Hawthorn Terrace), which was enlarged around the turn of the century and served the firm well until 1996. Within twenty-five
years Harrison & Harrison had built more than three hundred organs, predominantly in north-east England and Scotland, but also in Yorkshire and Lancashire, with
rarer examples further south and five overseas. Thomas’s two sons, Arthur and Henry (Harry), joined the firm in the 1880s as apprentices and in due course became partners. Thomas himself retired to London in 1895, leaving them in charge of the business. The rebuilding of the organ in Durham Cathedral was one of the
brothers’ early milestones, in 1905; it was to be followed by more than twenty cathedral organs and many others for churches and concert halls throughout Great
Britain and overseas. Harry Harrison’s son, Cuthbert, took over the leadership of the firm in 1945. Educated at Durham School and Exeter College, Oxford, he first
chose a military career but was persuaded by his parents to join the firm after his uncle’s death. Cuthbert remained Chairman of H & H until his death in 1991. In
1975 Mark Venning took over the management of the firm. On 31st January 2011, Christopher Batchelor succeeded Mark Venning as Managing Director; Mark
remains active as Chairman. In 1996, after 124 years in Hawthorn Terrace, the firm moved to a purpose-built workshop in Meadowfield, still within the Durham
city boundary, where the parish church boasts a Harrison organ of 1882. With a staff of 50 – a number that has varied little since the late nineteenth century – H &
H is now one of the largest firms of organ builders internationally. Their name is on almost half of the organs on this year’s tour.
William Hill & Sons
William Hill was born in Spilsby, Lincolnshire in 1789. He married Mary, the daughter of organ-builder Thomas Elliot, on 30 October 1818 in St. Pancras Parish
Church, and worked for Thomas Elliott from 1825. The company was known as Elliott and Hill until Elliott died in 1832. On Elliot's death in 1832, William Hill inherited the firm. From 1832 William Hill's elder son William joined him in the firm. From 1855 William Hill's younger son Thomas joined the company and took control
after his father's death in 1870. When Thomas died in 1893 the firm continued under Arthur George Hill, the nephew of Thomas, until 1916 when it was amalgamated with Norman & Beard into a huge organ-building concern.
Hill, Norman & Beard
The origins of the company are from a business founded in Diss in 1870 by Ernest William Norman (1851 - 1927). In 1876 he moved to Norwich where he went into
partnership with his brother, Herbert John Norman (1861-1936). In 1887 they went into partnership with George A. Wales Beard, and the company was formed. In
1896 the company opened a second office in London. They worked closely with Robert Hope-Jones and held the patents on many of his developments, including
electro-pneumatic action. The company merged with William Hill & Sons of London in 1916, and became William Hill & Son & Norman & Beard Ltd. Later shortened to Hill, Norman & Beard. Amongst others, it built the four manual organ in Norwich Cathedral (1899, rebuilds and upgrades in 1940–42, 1950 and 1969), and
the 5,038 pipe instrument in Lichfield Cathedral (1899, rebuilds 1908 and 1974).
Holmes & Swift
Established 35 years ago, Holmes & Swift Organ Builders remains a family run business where personal service and quality of work are of prime importance. As
members of the Institute of British Organ Building, their skills are officially recognized in four categories. Based in Fakenham, UK, near the beautiful North Norfolk
coast, much of their work is in local churches, where they have become noted as experts in the authentic restoration of historic pipe organs. Whilst restoration is
our speciality, they also build new organs and undertake rebuilding of non-historic instruments, with soundly judged tonal schemes and reliable new key actions.
Alfred Hunter and Son
Alfred Hunter was born in 1827 and first produced organs with Webb in the years 18561-866. In 1866, he set up his own business, and was joined by his son
Robert in 1885. The Company Hunter & Son continued until 1937 when the firm was taken over by Henry Willis & Sons Ltd. . The largest organ produced under
Alfred's direction was that of St. Cuthbert's, Philbeach Gardens, London SW5 9EB, which was built in 1890. Hunter built several organs per year.
Johannes Klais Orgelbau
Johannes Klais studied organ building in Alsace, Switzerland and Southern Germany. He founded his own organ building workshop in Bonn in 1882. His way of
building organs was closely bound up with traditional construction methods using slider windchests. But as early as before the turn of the century he built high
pressure stops with two mouths on pneumatic cone valve chests. In 1906, together with his son Hans, he introduced electric action. Hans Klais took over in 1925.
In his time facade design began to come under the influence of the modern age, ergonomic console designs were also being developed. Hans Gerd Klais, the
founder's grandson, took charge in 1965. Philipp Klais, the great-grandson of the founder, studied organ building in Alsace, France, in Germany; and overseas. He
now runs the company. The firm has completed many large-scale building and restoration projects around the globe in more than a century of organ building.
Thomas Christopher Lewis (1833-1915)
Although trained as an architect, Lewis founded a firm of organ builders with John Tunstall and John Whitacker in about 1860. In 1866, the firm moved into premises in Shepherds Lane (now Ferndale Road), Brixton. Under Lewis's direction, the firm built instruments ranging from small chamber organs to major cathedral
and concert organs. Lewis was strongly inspired by the organs built in Germany by Edmund Schulze and in France by Aristide Cavaillé-Coll. He was renowned for
instruments that had a bright, vibrant tone. Lewis left the firm before 1900, but it continued to maintain the standards set by its founder. In 1919, there was a
merger with Henry Willis & Sons who moved into the Brixton works and traded as Henry Willis and Son and Lewis and Company Ltd until 1925 when the Lewis
name was dropped. The Willis firm moved its operations to the Lewis factory at Brixton which was later destroyed by enemy action in 1941.
Mander Organs
Noel Percy Mander MBE, FSA (19 May 1912 – 18 September 2005) was a noted organ builder and founder of the firm Mander Organs. A native of Crouch, Kent he
grew up in South London. After dropping out of school early, he went to work for a publisher before using family contacts to secure a job with organ builder Ivor of
Hill, Norman & Beard in the 1930s. Mander started working independently in 1936, and found employment with the diocese of London. On the onset of World
War II, Mander, who saw several of his early works destroyed under German bombardments, first became an auxiliary fireman before joining the Royal Artillery in
1940. He was deployed in North Africa and Italy, and wounded in Salerno. In 1946, he returned to civilian life and resumed his partnership with the diocese of
London, restoring several organs damaged during the war. He founded his own company, Mander Organs, that same year, and married Enid Watson. During the
subsequent years, Mander's craftsmanship gained him wide recognition - as The Guardian's reporter Barry Millington would later write in Mander's obituary, "a
reputation (for himself) as a restorer of quality and sensitivity". His crowning achievement was the rebuilding of the organ in St. Paul's Cathedral, between 1972
and 1977, for which he was appointed in the New Year Honours 1979 as a Member of The Order of the British Empire. Mander retired in 1983 and left his company to his son John.
ORGAN BUILDERS — BACKGROUND (Cont’d.)
PAGE 11
Marcussen
Marcussen builds pipe organs for churches and concert halls, and restores notable historical organs. Their new organs are based on classical organ-building
traditions, with reliable slider windchests, simple mechanical 'tracker' action with precise function and a wide sound spectrum. Jürgen Marcussen (1781–
1860) founded the organ-building company in 1806. Johannes Lassen Zachariassen (1864–1922), a grandson of the founder's daughter, took over the firm
from 1902 to 1922 . Their activity encompasses all the professional organ building skills; they have a drawing office, machine and joiners workshops, workshops for the manufacture of wood and reed pipes, a metal pipe workshop with casting shop, a smith's shop and a staff of voicers. This allows them to manufacture all the component parts in their own workshops according to their own quality standards, from the selection and manufacture of the wood and
metal to voicing of the completed organ. They employ about 60 people and build about 10-12 organs per year.
Charles Mutin (1861-1931)
The son-in-law of Aristide Cavaillé-Coll, Charles maintained the organ firm upon Aristide’s death in 1899. He continued to utilize Cavaillé-Coll’s principles of
first class materials and fine craftsmen to build organs . In 1924, he passed the firm onto August Convers. Convers change to mass production methods led
to the downfall of the firm in the early 1930’s.
Rushworth & Draper
The business was formed in 1828 as a pipe organ builder by William Rushworth. William’s son Edwin later set up a retail musical instrument premises in
Islington, near the Walker Art Gallery, with the name E. Rushworth & Sons. These premises were later expanded and contained the Rushworth Hall, a concert hall which seated 200, a lecture room for 150, a church organ practice studio containing a three manual pipe organ, 24 music teaching studios, a theatre and concert box office, and a lunch and tea room. In 1901 the company bought W.M. & G.M. Dreaper of Bold Street, before merging under the name of
Rushworth & Dreaper Limited. In 1960 the business moved to its Whitechapel premises. The new building comprised five sales floors of musical instruments, televisions, record players and household appliances, together with sheet music, records and workshops, and was known as ‘the largest music house
in Europe’. Since 1828 there was continuous family control, with James Rushworth, representing the fourth generation, having led the firm until his retirement in 1990. Alastair Rushworth, was the fifth generation and final Chairman and Managing Director. The company finally closed in 2002.
B. C. Shepard & Sons
B C Shepherd commenced the business in 1927 at Shepherds Bush, West London, having previously worked for Messrs. A Noterman, J W Walker & Sons,
and the Aeolian Company. In 1958 his eldest son John started to work with his father, and they were joined by the younger son Eric in 1970. B C Shepherd
continued working until his death in 1971, since when his sons have maintained the business under the direction of John who for several years had been in
partnership with his father. Since 1964 the business has been operating from Edgware. The name of the firm was changed to B C Shepherd & Sons in 2000.
At present there are three full time and several part time workers. The firm is currently kept busy with rebuilding and restoration work and with over 150
tuning contracts, mainly in the South East of England, though with 10 in the Republic of Ireland.
Kenneth Tickell & Company
Kenneth Tickell & Company are a small firm of craftsman pipe organ builders. They build new organs to individual contract, ranging in size from portable
continuo organs to large church and recital instruments. From time to time they also undertake historic restoration work. Kenneth Tickell established his
first workshop in 1982, moving to larger premises in 1986. Ten years later the business moved again, to large modern premises at Rothersthorpe Crescent
which have excellent facilities for building and restoring organs of all sizes. Currently, they have a full time staff of nine craftsmen organbuilders, and a number of part time associates. Tickell’s tonal style has its roots in the English tradition, but is also informed by the sounds and repertoire of continental Europe
placing a strong emphasis on good blend between all of the ranks of the organ, allowing unusual combinations of registers to perform well with each other,
and always expecting the instrument to be greater than the sum of its parts.
J. W. Walker
The firm was founded by Joseph William Walker (1802–1870), an apprentice to George Pike England. Walker established his own organ-building business in
Soho, London in 1828, and moved later to Francis Street off Tottenham Court Road. Arguably, the heyday of the company occurred towards the end of the
nineteenth century under the leadership of James John Walker (1846–1922), the youngest and only surviving son of Joseph William. The company developed a reputation in the 1890s for excellence in massive diapason voicing using scales and pressures for flue work greater than those used by Hill or Willis.
After James Walker's death, the reputation of the firm in the "first division" of British organ building lasted through the Second World War before the its
star began to set somewhat. Recognizable revival came to the Walker firm with its move, in stages, from west London to the small town of Brandon, on the
Suffolk/Norfolk border, where the organ building firm and a parts supply business ("P & S") occupied modern workshops. In the 1980s, under the leadership
of Robert Pennells, his German (Klais)-trained son Andrew, B. Q. S. F. Buchanan and head voicer Michael Butler, a number of new and prestigious instruments were made
Henry Willis & Sons
Henry Willis & Sons Ltd. is one of the oldest and most famous organ building companies active in the world today, having been in continuous operation
since 1845 and with an Opus list of over 2,500 organs up to the present day. Five generations of the Willis family continued the tradition of organ building
until 1997. The company is now based in Liverpool under the ownership of David Wyld who is Managing Director. Willis's are regarded as the leading organ
builders of the Victorian era, itself a time when both civic and religious commitment led to the erection of a large number of impressive buildings and other
public works. During the Industrial Revolution many towns equipped themselves with imposing town halls, preferably with a Willis organ, and a substantial
(and similarly equipped) church. Industrialists competed to endow the most lavish halls and instruments. The result was a convergence of both a very fine
and technically proficient organ builder, and a substantial number of commissions for really exceptional instruments.
Wood Pipe Organ Builders
The company founder Philip Wood (1929 - 2011) was born and educated in Huddersfield where he began organ studies with Winifred Smith FRCO. At 17 he
was apprenticed to the local organ-builders, Peter Conacher. In 1954 he was appointed representative for Northern Ireland and subsequently became manager for the whole of Ireland. In 1964, he returned to Huddersfield to take up the position of general manager at Conacher. Two years later Philip established his own firm, Wood of Huddersfield (Organ Builders). The first instrument was built in 1968 and a series of practice/chamber organs followed. The
first major contract was for a three-manual organ of 40 stops in Huddersfield Polytechnic, now the University of Huddersfield. This significant instrument,
completed in 1977, established the reputation for the growing firm. ince then, it has worked on important organs in churches, chapel, cathedrals and educational establishments all over the country. Rebuilds have included St. Asaph Cathedral, North Wales, and the famous Snetzler/Hill in Beverley Minster. The
firm also looks after organs in Wakefield Cathedral, Blackburn Cathedral and Southwell Minster. Its mechanical action instruments include that at Forest
School, north east London. Philip's younger son David joined the firm in 1976. Having come up through the workshop, he has been involved in all aspects of
organ building and for many years has been responsible for the voicing of new pipework. In January 1999, he became managing director.
*No.
16
10
2
No. of Stops
<50
15
50-65
5
>65
11
Stops
38
49
74
29
61
36
17
79
59
33
12
79
46
105
38
80
80
44
41
63
97
58
25
51
44
86
40
24
95
103
1,686
60
No. of Ranks
No, of Pipes
<50
13
<3,000
15
50-75
10
3,000-3,999
7
>75
8
>4,000
9
Summary of Organ Statistics
Builder
Manuals
Hill-1872, 1906 / Hill Norman & Beard-1954,1987 / Walker & Sons-1970
III
A. Hunter & Son-1890 / Compton-1956, 1963 / B. C. Shepherd & Sons-2003, 2009
III
Willis-1951 / Harrison & Harrison-2002
IV
J.C. Bishop-1829, 1877 / Bishop & Sons-1975 / Gotze & Gwynn-2002
III
Lewis-1897 / Willis-1952 / Harrison & Harrison-1991, 2010
IV
Kenneth Tickell-1997
III
Mutin-1905, 1931 / Willis-1951 / Mander-1967 / Klais-2001
III
Willis-1851 / Harrison & Harrison -1938,1997
IV
Wlaker-1860 /Norman & Beard-1914 / Nicholson-1970 / Harrison & Harrison-2010
IV
Orgelbau Kuhn-2007
IV
Bishop-1849 / Harrison & Harrison -1927 / Mander-1970 / Drake 2012
III
Walker-1885 / Hill-1931 / Compton-1959 / Carter 1988 / Clevedon Organ - 2009
IV
James Davis-1793 / Hill, Norman and Beard-1953, 1980
III
Hill, Norman and Beard - 1899, 1970
IV
Rushworth & Dreaper-1938,1964 / Peter Collins 1982
III
Harrison & Harrison - 1933, 2009
IV
Harrison & Harrison - 1931/2001
IV
Snetzler - 1807 / Wordsworth-1895 / Rushworth & Dreaper-1962 / Holmes & Swift-2001, 2003III
Brindley-1871 / Willis-1924 / Harrison & Harrison-1933 / 1987
III
Willis-1898 / Harrison & Harrison-1960, 1998
IV
Compton-1939 / Rushworth & Dreaper 1992
IV
Brindley & Foster-1883 / Binns-1909 / Willis-1973 / Harrison & Harrison-1993
IV
Marcussen & Son-1973, 1993
III
Nicholson-1868, 1906, 1922, 1996
IV
Wood -1992
III
Hill-1894 / Norman, Hill & Beard - 1938 / Harrison & Harrison - 1981, 2005
IV
Mander - 1984/1985
IV
Mander - 1984/1985
II
John Compton - 1957 / Keith Bance - 1984, 2002
IV
Harrison & Harrison-1954, 2013
IV
TOTALS FOR ALL ORGANS
Average Organ
IV
Summary of Organs - 2014 Tour
* Two organs at Jesus College, Southwell Minster and Chelmsford Cathedral
Building
Church
Cathedral
Hall
Building
St. Stephen's - Walbrook
St. Cuthbert, Philbeach Gardens
All Souls, Langham Place
St. James-Bermondsey
Southwark Cathedral
St. Barnabus-Dulwich
St. Michael's Abbey, Farnborough
Winchester Cathedral
St. Edmundsbury Cathedral
Jesus College Chapel Hudleston Organ
Jesus College Chapel Sutton Organ
Bury St. Edmunds St. Mary, Honey Hill
Wymondham
Wymondham Abbey
Norwich
Norwich Cathedral
Norwich
St. Peter Mancroft
Cambridge
King's College Chapel
Ely
Ely Cathedral
King's Lynn
King's Lynn Minster
Boston
St. Botolph
Lincoln
Lincoln Cathedral
Derby
Derby Cathedral
Nottingham
Nottingham Albert Hall
Nottingham
St. Mary the Virgin, High Pavement
Southwell Minster - Screen Organ
Southwell
Southwell Minster - Nave Organ
Petesborough
Peterborough Cathedral
Chelmsford
Chelmsford Cathedral-Nave Organ
Chelmsford Cathedral-Chancel Organ
London
St. Bride's Church
London
Royal Festival hall
City
London
London
London
London
London
Dulwich
Farnborough
Winchester
Bury St. Edmunds
Cambridge
Ranks
39
49
74
35
65
49
17
93
62
35
13
69
55
101
52
84
96
42
37
79
34
63
41
67
47
98
50
30
63
131
1,770
63
Pipes
1,976
2,668
4,288
1,727
3,743
2,428
914
4,995
3,404
1,990
637
3,698
2,844
6,423
3,323
4,429
5,546
2,407
2,134
3,578
2,882
4,052
1,916
3663
2616
5,044
2,636
1,482
3,862
8,469
99,774
3,563
SUMMARY OF ORGANS VISITED
PAGE 12
London — St. Stephen’s, Walbrook
PAGE 13
The present domed building was erected in 1672-79 to the designs of Sir Christopher
Wren following the destruction of its medieval predecessor in the Great Fire of London in 1666. It is rectangular in plan, with a dome and an attached north west tower.
The 63 feet (19 m) high dome is based on Wren's original design for St. Paul's, and is
centered over a square of twelve columns of the Corinthian order. The circular base of
the dome is not carried, in the conventional way, by pendentives formed above the
arches of the square, but on a circle formed by eight arches that spring from eight of
the twelve columns, cutting across each corner in the manner of the Byzantine
squinch. This all contributes to create what many consider to be one of Wren's finest
church interiors. Today, the church's features include: Henry Moore's controversial
massive white polished stone altar, commissioned by churchwarden Lord Palumbo
and installed in 1987, which stands unusually in the center of the church.. A telephone
in a glass box, a tribute to the
founding of the Samaritans at the
church by the rector, Dr. Chad VA
rah, in 1953. This voluntary organization began with this telephone, and today staffs a 24-hour
telephone hot-line for people in emotional need. It is the parish church for the Mayor of London.
In 1765 a new organ was provided by George England. The current organ was built using the
1765 case by William Hill & Son in 1888 and rebuilt in 1906 . Renovations were completed by
Hill, Norman Beard in 1954 and J.W. Walker & Sons in 1970. It was restored with new console
& electronic control in 1987 by Wm. Hill & Son and Norman & Beard ltd.
St. Stephan's - Walbrook
Hill-1872, 1906 / Hill Norman & Beard-1954,1987 / Walker & Sons-1970
38 Stops
39
1,976 Pipes
Great
Choir
Swell
18.
16 Double Open Diapason
56
10.
8
Dulciana
19.
8
Open Diapason
56
11.
8
20.
8
Hohl Flute
56
12.
4
21.
4
Octave
56
13.
2
22.
4
Harmonic Flute
56
14. 1 1/3 Larigot
23.
2
Fifteenth
56
15.
8
24.
III Mixture
174
16.
25.
8
Tromba
56
17.
26.
4
Clarion
56
56
Pedal
27. 8 Open Diapason
56
1.
32 Sub Bourdon
Lieblich Gedackt 56
28. 8 Rohr Flute
56
2.
16 Open Diapason 30
Flauto Traverso
56
29. 8 Salicional
56
3.
16 Violone
30
Flautino
56
30. 8 Vox Angelica
44
4.
16 Bourdon
30
56
31. 4 Octave
56
5.
8 Violoncello
30
Orchestral Oboe 56
32. 4 Suabe Flote
56
6.
8 Bass Flute
30
8
Tromba
Gt
33. 2 Fifteenth
56
7.
16 Bombardon
30
4
Clarion
Gt
34. III Mixture
174
8.
8 Trumpet
30
35. 16 Contra Trombone
56
9.
4 Clarion
Gt
36. 8 Horn
56
37. 8 Oboe
56
38. 4 Clarion
56
Tremulant
Swell to Great
Swell to Choir
Swell octave
Swell to Pedal
Choir to Great
Choir octave
Swell suboctave
Choir to Pedal
Choir suboctave
Swell unison off
Great to Pedal
Choir unison off
Accessories
6 thumb pistons to each manual
reversible thumb piston Gt-Pd, Sw-Gt, Sw-Ch, Ch-Gt, Sw-Pd, Ch-Pd
6 toe pistons Pedal
thumb piston for piston setter
6 toe pistons to Swell
push button control for the player system
reversible toe piston Gt-Pd, Sw-Gt
64 channel piston system
10 general pistons
recording/playback system
general cancel piston
Piston couplers Generals on Sw toe pistons, Sw and Ped, Gr and Ped, Ch and Ped
30
London — Westminster Abbey (Concert, July 16th)
PAGE 14
Just a short walk from the Thames, Westminster Abbey is a must-see and significant structure in British history. This beautiful
gothic church is a UNESCO World Heritage Site popular with many visitors to London. Kings, Queens, statesmen, aristocrats,
poets, priests, heroes and villains are all part of the church’s fascinating history. Many of whom were buried at the Abbey including Charles Dickens, Geoffrey Chaucer, Dr. Samuel Johnson and Charles Darwin. There is a special Scientists corners at the
church which is home to a memorial for Isaac Newton. Since the crowning of William the Conqueror in 1066, Westminster
Abbey has been the nation’s Coronation church. Many Kings and Queens, including the current reigning Queen Elizabeth II,
have been crowned on King Edward’s Chair. The Abbey has also seen many Royal Weddings and Funerals through the years, in
2011 it was the venue for the wedding of Prince William and Kate Middleton. On top of all this rich history, Westminster Abbey
London is a truly stunning building and the exterior offers visitors plenty of photo opportunities. Highlights of this grand building include a statue of the Virgin Mary holding a baby Jesus, the Nave with the grave of the unknown warrior and the Little
Cloister leading the College Gardens.
The organ was built by Harrison & Harrison in 1937, with four manuals and 84 speaking stops, and was used for the
first time at the Coronation of King George VI. Some pipework from the previous five-manual Hill organ was revoiced and incorporated in the new scheme. The two organ cases, designed in the late nineteenth century by J.L.
Pearson, were reinstated and colored in 1959 under the direction of Stephen Dykes Bower. The north case contains
the Choir Organ and Pedal Open Diapason; the south case contains the Great Organ and the other screen Pedal
stops; the Swell and Solo Organs, together with the remainder of the Pedal, are in the south Triforium; and the console is placed centrally on the east side of the screen. In 1982 and 1987 the organ was restored and enlarged. Additions included the unenclosed Choir Organ, and the console was rebuilt with a fifth manual for the Bombarde Organ.
The primary purpose of this new department is to give the organ an extra dimension for great occasions, especially
when there is a large congregation in the nave. The flue chorus is placed in the north Triforium immediately above
the organ case; the three Bombarde reeds, which are celebratory trumpets on ten-inch wind pressure, are placed
one bay further west. In 2006 the console was provided with additional pistons and controls.
Harrison & Harrison -1937 & 2008
109 Stops
120 Ranks
6,918 Pipes
II Great
I Choir
III Swell
IV Solo
V Bombarde
Pedal Organ
Upper
Screen
16
Double Geigen
61
8
Claribel Flute
61
16 Quintaton
61
16 Contre Viole
61
16
Violone
61
16 Open Diapason
32
16
Bourdon
61
8
Stopped Flute
61
8 Open Diapason
61
8 Viole d'Orchestre
61
8
Open Diapason
61
16 Geigen
Gt.
8
Open Diapason I
61
8
Viola da Gamba
61
8 Lieblich Gedeckt
61
8 Viole Celeste
61
4
Principal
61
16 Bourdon
Gt.
8
Open Diapason II
61
4
Gemshorn
61
8 Viole d'Amour
61
4 Viole Octaviante
61
2
Fifteenth
61
8 Principal
32
8
Geigen
61
4
Flauto Traverso
61
8 Salicional
61
III Cornet de Violes
61
305
8 Octave Geigen
Gt.
8
Hohl Flute
61
4
Nason
61
8 Vox Angelica
61
8 Harmonic Flute
61
V
Grand Cornet
305
8 Bass Flute
Gt.
8
Stopped Diapason
61
2
Gemshorn Fifteenth
61
4 Principal
61
4 Concert Flute
61
16
Bombarde
61
4 Fifteenth
32
4
Octave
61
II
Mixture
122
4 Lieblich Flute
61
2 Harmonic Piccolo
61
8
Trumpet
61
4 Rohr Flute
32
4
Geigen Principal
61
8
Cornopean
61
2 Fifteenth
61
16 Double Clarinet
61
4
Clarion
61
2 Open Flute
32
4
Wald Flute
61
1 Twenty Second
61
8 Clarinet
61
16
Contra Posaune
Great
IV Mixture
128
2 2/3 Octave Quint
Lower
IV-VI Mixture
61
16
Bourdon
II Sesquialtera
61
8 Cor Anglais
61
8
Posaune
Great
16 Contra Posaune
Gt.
2
Super Octave
61
8
Open Diapason
61
V Mixture
305
8 Orchestral Hautboy
61
4
Octave Posaune
Great
8 Posaune
Gt.
V
Mixture
305
8
Rohr Flute
61
16 Contra Oboe
61
16 Contra Tuba
61
8
Tuba Mirabilis
Solo
4 Octave Posaune
Gt.
III
Sharp Mixture
183
4
Principal
61
8 Oboe
61
8 Tuba
61
4
Open Flute
61
8 Vox Humana
61
8 Orchestral Trumpet
61
32 Double Open Wood
32
61
16 Double Trumpet
61
8 French Horn
61
16 Open Wood I
32
8 Tuba Mirabilis
61
16 Open Wood II
prep
IV
Harmonics
244
16
Contra Posaune
61
8
Posaune
61
2
Fifteenth
61
8 Trumpet
61
4
Octave Posaune
61
2
Block Flute
61
4 Clarion
61
2 2/3 Nazard
1 3/5 Tierce
Triforium
Bom.
Solo
61
16 Viole
IV
Mixture
244
32 Double Ophicleide
8
Cremona
61
16 Ophicleide
Tremulant
Swell to Great
Tremulant
Choir to Great
Solo to Great
Bombarde to Great
16 Clarinet
Solo
8 Trumpet
32
4 Clarion
12
Swell to Choir
Solo to Swell
Bombarde to Solo
Choir to Pedal
Solo to Choir
Swell Octave
Solo Octave
Great to Pedal
Bombarde to Choir
Swell Sub Octave
Solo SubOctave
Solo to Pedal
Swell Unison Off
Solo Unison Off
Choir Octave to Pedal
Swell to Pedal
Accessories
Bombarde to Pedal
Transfers: Upper Choir on Swell, Lower Choir on Great (motorised rocking
General Cancel piston
tablets, settable on general pistons); Manuals I & II exchange, Upper Choir
Combination Couplers: Great and Pedal combinations coupled, Pedal to Swell
Shutters on Swell (rocking tablets); Bombarde Chorus on Great (drawstop);
pistons, Generals on Swell Foot Pistons, Generals on Great Thumb Pistons
10 foot pistons to Pedal
10 thumb pistons to Choir, Great, Swell, Solo
6 thumb pistons to Bombarde
10 general pistons
Next and Previous thumb and toe pistons for stepper
12
Solo
Tremulant
transfers the 5 chorus stops and Grand Cornet to Great, couples through Gt to Ped);
32
16 Tuba
Tremulant
Bombarde Chorus on Great
12
16 Violone
(rocking tablets);
Reversible thumb pistons: Ch/Ped, Gt/Ped, Sw/Ped, So/Ped, Bomb/Ped, Sw/Ch,
So/Ch, Sw/Gt, Ch/Gt, So/Gt, Bomb/Gt, So/Sw, Double Open Wood 32,
Double Ophicleide 32;
Reversible foot pistons: Gt/Ped, Sw/Gt, Double Open Wood 32, Double Ophicleide 32
London — Southwark Cathedral
PAGE 15
Southwark Cathedral or The Cathedral and Collegiate Church of St. Saviour and St. Mary
Overie, lies on the south bank of the River Thames close to London Bridge. It is the
mother church of the Anglican Diocese of Southwark. It has been a place of Christian
worship for more than 1,000 years, but a cathedral only since the creation of the diocese of Southwark in 1905.
Between 1106 and 1538 it was the church of an Augustinian priory, Southwark Priory,
dedicated to the Virgin Mary. Following the dissolution of the monasteries, it became a
parish church, with the new dedication of St. Savior's. The church was in the diocese of
Winchester until 1877, when the parish of St. Savior's, along with other South London
parishes, was transferred to the diocese of Rochester. The present building retains the
basic form of the Gothic structure built between 1220 and 1420, although the nave is a
late 19th-century reconstruction.
The organ remains essentially as built by T. C. Lewis in 1897. Henry Willis & Sons provided :a new
console. lowered the pitch and altered the voicing in 19S1. Comprehensive restoration was undertaken by Harrison & Harrison in two stages: the Willis console and electrical system in 1986, and
the: main work in 1991. The Cathedral authorities considered it important to retain the modem
pitch, but wished to reverse the changes that had been had been made in the organ's musical
quality. The pipes have been lengthened and the original wind pressures restored, so as to allow
the pipes to speak naturally at the new pitch. In this way it has been possible to re-create Lewis's
characteristic musical style. The evidence has been left clearly visible so that :a return to the original pitch would be possible in the future. The organ chamber is in the angle where the south transept joins the south quire :aisle. The Great and Solo Organs face west into the transept. with a case
designed by Sir Arthur Blomfield; the Pedal and Swell Organs speak into the aisle. The Choir Organ,
originally in the main chamber, was relocated north of choir stalls in 1952, as was the console,
which formerly stood in the south aisle. Southwark is fortunate in having an instrument which has
remained basically unaltered since it was built.
Southwark Cathedral
Lewis-1897 / Willis-1952 / Harrison & Harrison-1991, 2010
61 Stops
65 Ranks
3,743 Pipes
Choir
Swell
Solo
Great
Pedal
25.
16
Contra Viole
44
15. 16 Lieblich Gedackt
61
38. 16 Lieblich Bourdun
61
52. Vox Angelica
8
61
1.
32 Great Bass
5
26.
16
Bourdon
37
16. 8 Geigen Principal
61
39.
8 Open Diapason
61
53. Unda Maris
8
49
2.
32 Major Violon
12
27.
8
Open Diapason No.1
61
17. 8 Salicional
61
40.
8 Viole da Gambe
61
54. Flûte Harmonique
8
61
3.
16 Open Bass
30
28.
8
Open Diapason No.2
61
18. 8 Dulciana
61
41.
8 Voix Celestes
49
55. Flûte Harmonique
4
61
4.
16 Violon
30
29.
8
Stopped Diapason
61
19. 8 Lieblich Gedackt
61
42.
8 Rohr Flöte
61
56. Trombone
16 61
5.
16 Dulciana Bass
30
30.
8
Flûte Harmonique
49
20. 4 Salicet
61
43.
4 Geigen Principal
61
57. Cor Anglais (TC)
16 49
6.
16 Sub Bass
30
31.
4
Octave
61
21. 4 Flauto Traverso
61
44.
4 Rohr Flöte
61
58. Tuba Magna
8
61
7.
8 Violoncello
12
32.
4
Flûte Harmonique
61
22. 4 Lieblich Gedackt
61
45.
2 Flautino
61
59. Trompette Harmonique
8
61
8.
8 Flute
12
33. 2 2/3 Octave Quint
61
23. 2 Lieblich Gedackt
61
46. IV Mixture
244
60. Orchestral Oboe
8
61
9.
4 Viola
12
34.
61
24. III Mixture
47. 16 Contra Fagotto
61
61. Clarinet
8
61
10.
4 Octave Flute
12
Tremolo
2
Super Octave
183
35. III-V Cornet
269
48.
8 Horn
61
11. 32 Contra Posaune
36.
IV
Mixture
244
49.
8 Oboe
12
61
12. 16 Bombarde
37.
8
Trumpet
61
50.
30
8 Voix Humaine
61
13. 16 Posaune
51.
30
4 Clarion
61
14.
12
8 Trumpet
Tremolo
Swell to Great
Choir octave
Swell octave
Solo Octave
Great to Pedal
Swell octave to Great
Choir suboctave
Swell suboctave
Solo Sub Octave
Swell to Pedal
Swell suboctave to Great
Choir unison off
Swell unison off
Solo Unison Off
Swell Octave to Pedal
Choir to Great
Swell to Choir
Solo to Swell
Choir Octave to Great
Solo to Choir
Choir to Pedal
Choir Octave to Pedal
Solo to Great
Solo to Pedal
Solo Octave to Great
Solo Octave to Pedal
Accessories
7 thumb pistons to each manual, plus cancel
Crescendo pedal
7 Swell + 7 toe pistons to Pedal
General Cancel piston
Full Organ toe piston
Octave Coupler cancel thumb piston
Great and Pedal combinations coupled
Solid state system with 8 memory levels for pistons
Balanced Swell and Solo pedals
London — St. James’s, Bermondsey
PAGE 16
Travelers through Bermondsey all know St. James' Church as a landmark - by
road, rail and from the air, the dragon on the steeple rides calmly amid the
tower blocks and acres of housing estates. With a liberal grant on the part of
the parishioners and the gift of the Commissioners, the contract for the building of the church for £21,412.19.5 was signed and the first stone laid on the
21st February, 1827. Dr. Sumner, Bishop of Winchester, consecrated the
church on May 7th, 1829. "The building will hold 2,000 persons, of whom
1,200 are accommodated in free seats". But the spire (copied from Wren's at
St. Stephen's, Walbrook) cost £2,300 more, so in 1831 a new Act of Parliament
had to be passed to borrow this further sum. The Church now built was dedicated to St. James but everyone called it Bermondsey New Church. Its grandeur recalling the days when wealthy merchants still lived in Grange Road and
Jamaica Road.
Built in 1829 by James Bishop, this was one of the largest organs in the country, in
one of the largest new churches, and for a long time had the most complete Pedal
organ, as well as other innovations either unique or most unusual. It had lain partly dismantled for the last 50 years, but amazingly, most of the original parts survived, at least in part or altered, strewn around the unused spaces at the west end
of the galleries of the church. Bishops had made some alterations in 1877, including turning a GG organ into a C organ. In 1975, Bishop & Sons restored the Great
organ, and in 2002 Goetze and Gwynn restored the organ as close as possible to
1829 condition. The organ is a wonderful survival, and will illuminate a period of music when church music was becoming more elaborate, classical forms were being expanded for greater expressive content, and the music of J.S.
Bach was being explored for the first time in Great Britain. The tuning was fixed from Swell pipes which appeared to
have original lengths. It is a modified form of the (approximately 1/5 comma meantone) system described by Bishop in a notebook he started in
1807. The lower of the Swell Open Diapasons is a smaller scale than the upper. The Bassoon is from GG – d°, the Cremona from d# - f3. However,
the pipes change shape (and sound) between b° and c1. Despite the name, the Swell Cornet has no Tierce rank. The Great and Choir Stopt Diapasons, and the Choir Flute, are open wood pipes from c1 up. The Swell Stopt Diapason is stopped (with pierced stoppers) to the top.
St. James-Bermondsey
Great
J.C. Bishop-1829, 1877 / Bishop & Sons-1975 / Gotze & Gwynn-2002
29 Stops
35 Ranks
1,631 Pipes
Choir
Swell
GG-f3, 59 keys
GG-f3, 59 keys
12 Open Diapason
59
4 Open Diapason
59
13 Open Diapason
59
5 Dulciana
59
14 Stop Diapason
59
6 Stop Diapason
59
15 Principal
59
7 Principal
59
16 Twelfth
59
8 Flute
59
17 Fifteenth
59
9 Fifteenth
59
18 Sesquialtera III
177
10 Bassoon Bass
30
19 Furniture II
118
11 Cremona Treble
29
20 Trumpet
59
21 Clarion
59
Swell to Great
Choir to Great
Notes:
Pedal also playable from a small keyboard to left of Choir manual;
Swell manual plays choir from GG-F#;
Tuning modified 1/5 comma meantone Pitch A=432Hz at 15ºC
Accessories
3 composition pedals to great giving:1. Full Great
2. Full Great without reeds
3. Diapasons;
22
23
24
25
26
27
28
29
G-f3, 47 keys
Open Diapason
Open Diapason
Stop Diapason
Principal
Cornet V
French Horn
Trumpet
Hautboy
47
47
47
47
47
47
47
47
Pedal
GG-g, 25 notes
1 Double Pedal Pipes
2 Unison Pedal Pipes
3 Trombone
25
25
25
Choir to Pedal
Great to Pedal
Ratchet swell pedal
Reversing shifting movement shutting off all
swell stops except diapasons;
Further information
Choir Bassoon Bass/Cremona Treble pipework changes between b & c1;
Choir & Great Stop Diaps are open wood pipes from c to top, swell stop diap is stopped (pierced stoppers) to top note;
This organ probably has the earliest unaltered swell box with shutters,
the earliest unaltered composition pedals, complete set of couplers
and independent pedal stops; The swell shifting movement probably never
worked well enough for the mechanism to be used elsewhere;
London — All Souls—Langham Place
PAGE 17
All Souls was designed and built in the 1823 by George IV’s favorite architect John Nash, a
Regency period architect who laid out Regent's Street, Regent's Park and other areas of
London. The church, with its circular tower, sharply pointed steeple and warehouse-like
church building, was mocked and satirized when it was first built. All Souls is an evangelical
Anglican church in Marylebone at the north end of Regent Street on Langham Place. It was
built of Bath stone like the original part of Buckingham Palace. The spire has 17 concave
sides on a base of Corinthian columns. It is the last surviving church designed and built by
Nash. The interior of the church is very beautiful and refined with exquisite columns set
against white walls and gilt tracery. All Souls Church is an Anglican Evangelical church in
central London, situated in Marylebone at the north end of Regent Street, next to BBC
Broadcasting House. As well as the core church membership, many hundreds of visitors
come to All Souls, bringing the average number of those coming through the doors for Services on Sundays to around 2,500 every week.
The first organ was built by Bishop in 1824, in a mahogany case designed by Nash. It was enlarged some forty years later by Bishop & Starr. A new organ was built by Alfred Hunter in
1913, when the case was extended; in 1951 this organ was rebuilt and enlarged to 55 stops by
Henry Willis. Harrison & Harrison rebuilt the organ in 1976, as part of a major reconstruction of
the church. The specification was drawn up by Colin Goulden, in consultation with Noël
Tredinnick and the organ builders. The work included the provision of a new mobile four manual console in the chancel. The three-manual Willis console, suitably modified, was installed in the organ gallery at the back of the church, and controls all stops except 4, 6, 16 and
18. Several tonal changes have taken place since then, and the organ was cleaned and overhauled in 1998. In addition to accompanying the choir and orchestra, the organ leads the singing of congregations which exceed 1,000 at the Sunday services.
All Souls, Langham Place
Great
Positive
Willis-1951 / Harrison & Harrison-2002
74 Stops
74 Ranks
4,288 Pipes
Swell
Solo
Pedal
33.
16
Contra Geigen
37
20.
8
Gedackt
61
47.
8
Open Diapason
61
61.
16
Quintaten
61
1.
32
Sub Bass
12
34.
16
Bourdon
61
21.
4
Prinzipal
61
48.
8
Rohr Flute
61
62.
8
Wald Flute
61
2.
16
Open Wood
32
35.
8
Open Diapason I
61
22.
4
Koppelflöte
61
49.
8
Salicional
61
63.
8
Harmonic Flute
61
3.
16
Open Diapason
32
36.
8
Open Diapason II
61
23.
2
Octav
61
50.
8
Vox Angelica
49
64.
8
Violoncello
61
4.
16
Violone
32
37.
8
Stopped Diapason
61
24.
2
Blockflöte
61
51.
4
Principal
61
65.
8
Viole Céleste
49
5.
16
Bourdon
Gt.
38.
4
Octave
61
25.
61
52.
4
Spitz Flute
61
66.
4
Flûte Couverte
61
6.
39.
4
Stopped Flute
61
26.
II
Sesquialtera
122
53.
2
Fifteenth
61
67.
61
7.
8
Principal
12
61
27.
III
Scharf
183
54.
61
68.
61
8.
8
Flute
Gt.
Super Octave
61
28.
V
Grand Cornet (TG))
210
55.
III
Mixture
183
69.
61
9.
4
Fifteenth
12
Mixture
281
29.
56.
16
Dulzian
61
70.
1
Sifflöte
61
10.
4
Octave Flute
Gt.
57.
8
Oboe
61
71.
8
Regal
61
11.
2
Nachthorn
32
72.
8
Corno di Bassetto
61
12.
IV
Mixture
128
12
40.
2 2/3 Octave Quint
41.
2
42.
IV-V
1 1/3 Quintflöte
Tremulant
1 1/3 Nineteenth
2 2/3 Nazard
2
Open Flute
1 3/5 Tierce
10 2/3 Quint
Gt.
43.
IV
Sharp Mixture
244
16
Contra Posaune
Great
44.
16
Contra Posaune
61
30.
8
Posaune
Great
45.
8
Posaune
61
31.
4
Clarion
Great
58.
16
Double Trumpet
61
13.
32
Contra Trombone
46.
4
Clarion
61
32.
8
Fanfare Trumpet
Solo
59.
8
Trumpet
61
73.
8
Tuba
61
14.
16
Trombone
32
60.
4
Clarion
61
74.
8
Fanfare Trumpet
61
15.
16
Posaune
Gt.
16.
16
Dulzian
Sw.
17.
8
Octave Posaune
Gt.
18.
4
Clarion
Gt.
19.
4
Schalmei
32
Tremulant
Tremulant
Swell to Great
Swell to Positive
Swell octave
Solo Octave
Swell to Pedal
Positive to Great
Enclosed Solo to Positive
Swell suboctave
Solo Sub Octave
Great to Pedal
Swell unison off
Solo Unison Off
Positive to Pedal
Solo to Great
Enclosed Solo to Swell
Solo to Pedal
Accessories
8 general pistons
24-stage crescendo pedal with digital indicator and 3 memories
8 pistons and a cancel to Great
balanced expression pedals to Swell and Solo
8 pistons and a cancel to Positive
balanced general crescendo pedal (with 3 memories)
8 pistons and a cancel to Swell
Solid state capture system
8 pistons and a cancel to Solo
Setter lock
8 toe pistons and a cancel to Pedal
Stepper, operating general pistons in sequence
8 toe pistons and a cancel to Swell (duplicating)
8 divisional and 256 general piston memories
reversible thumb pistons pos-gt, sw-gt, so-gt, sw-pos, so-pos, gt-pd, pos-pd, sw-pd, so-pd;
General cancel piston;
reversible toe pistons Sub Bass 32', Contra Trombone, Trombone, pos-gt, sw-gt, so-gt, gt-pd
London — St. Cuthbert’s, Philbeach Gardens
PAGE 158
St. Cuthbert's, Philbeach Gardens, is much the grandest church to have been built in
western Kensington. Raised under the auspices of the Reverend Henry Westall to a
design by H. R. Gough in 1884–7, it was greatly enriched and beautified over the succeeding thirty years. Next to it stand a clergy house (1883) and the Philbeach Hall
(1894–6). The church was built in 1884-7 by the architect Hugh Roumieu Gough. The
exterior is in red and black brick. The church is remarkable for its interior, which is
very ornate in the Arts and Crafts style of the late Victorian and Edwardian period.
Many of Gough's original fittings have survived, amongst them the pulpit (1887), the
rood screen (1893) and the stations of the cross (1888). The interior was lavishly
embellished between 1887 and 1914 by the vicar, Father
Henry Westall, who added the overwhelming reredos, designed by Geldart (1899), which covers most of the East
wall. The Arts and Crafts designer Bainbridge Reynolds was a member of the congregation, and there are many fine examples of his work in the Church, notably
the extraordinary lectern, which mixes virtually every kind of metalwork imaginable, and was famously described by John Betjeman as 'neo-viking'.
The organ is the largest of London builder Alfred Hunter, installed in 1890. The
organ was renovated in 1956 by John Compton and by J. C. Bishop & Sons in
St. Cuthbert, Philbeach Gardens
A. Hunter & Son-1890 / Compton-1956, 1963 / B. C. Shepherd & Sons-2003, 2009
49 Stops
49 Ranks
2,668 Pipes
Choir
Swell
Solo
Great
Pedal
16
Double Open DiapasonPrep.
11.
8
Geigen Principal 58
29. 16 Bourdon
58
44. 8 Orchestral Flute 58
1. 32 Sub Bourdon
20.
8
Grand Open Diapason 58
12.
8
Lieblich Gedact 58
30. 8 Open Diapason
58
45. 8 Viol
58
2. 16 Open Diapason
21.
8
Minor Open Diapason 58
13.
8
Dulciana
58
31. 8 Stopped Diapason 58
46. 4 Nason Flute
58
22.
8
Clarabella
58
14.
8
Unda Maris
46
32. 8 Keraulophon
58
47. 8 Orchestral Oboe 58
3. 16 Bourdon
30
23.
8
Dolcan
58
15.
4
Flute Harmonic 88
33. 8 Echo Salicional
58
48. 8 Tuba Mirabilis
58
4. 16 Violone
30
24.
4
Hohl Flute
58
16. 2 2/3 Nazard
58
34. 8 Voix Celeste
46
49. 4 Octave Tuba
58
5. 8 Octave Diapason
12
25.
4
Octave
58
17.
2
Flageolet
58
35. 8 Echo Voix Celeste 46
6. 8 Violoncello
12
26. 2 2/3 Octave Quint
58
18.
III
Harmonics
###
36. 4 Octave
58
7. 8 Bass Flute
12
27.
58
19.
8
Clarionet
58
37. 4 Octave Gamba
58
8. 32 Contra Bombarde 12
28.
2
Fifteenth
IV
Harmonics
Prep.
Tremulant
38. 2 Super Octave
58
16
Double Trumpet
Prep.
Spare
39. III Harmonics
174
8
Posaune
40. 16 Contra Fagotto
58
4
Clarion
41. 8 Horn
58
58
Prep.
42. 8 Oboe
Swell to Great
Solo to Great
Choir to Great
Choir octave
Choir suboctave
Choir unison off
Swell to Choir
Swell Octave to Choir
Swell Sub Octave to Choir
Great to Choir
Solo to Choir
Prep.
43. 8 Vox Humana
58
9. 16 Bombarde
10. 8 Tromba
Solo Sub Octave
Solo octave
Swell to Pedal
Choir to Pedal
Great to Pedal
Solo to Pedal
Swell Octave to Pedal
Choir Octave to Pedal
Accessories
8 genera l thumb pi s tons
8 thumb pi s tons ea ch to choi r, Grea t a nd Swel l
6 thumb pi s tons to Sol o
Revers i bl e Thumb pi s tons for s ol o-gt, s w-gt, ch-gt, s ol o-ch, s w-ch,
s ol o-pd, s w-pd, gt-pd, ch-pd;
s equencer < a nd > thumb pi s tons ; on s ol o, s wel l , grea t a nd choi r;
s etter a nd genera l ca ncel thumb pi s tons ;
revers i bl e toe pi s tons for s w-gt & gt-pd
30
16 Open Diapason Gt.-Prep.
58
4 Clarion
Tremul a nt
Swell octave
Swell suboctave
Swell unison off
Tremulant
Res.
s equencer toe pi s tons ;
Ba l a nced s wel l peda l s to Swel l a nd Choi r
Soni c Servi ces s ol i d s tate ca pture s ys tem wi th 8 di vi s i ona l a nd 64 genera l
memori es wi th s epa ra te di a l s a nd a s equencer (s tepper);
Grea t a nd Peda l combi na tions coupl ed (by s wi tch)
Genera l s on Swel l toe pi s tons (by s wi tch)
8 toe pi s tons ea ch to s wel l a nd peda l
30
12
London—St. Barnabas— Dulwich
PAGE 19
There has been a place of worship on this site since the late 19th Century, but
the present structure was completed in 1996 following a fire in 1992 and represents an interesting example of modern ecclesiastical architecture. It has a tall
glass spire that stands out amongst the houses and schools nearby. Inside, the
combination of brick and wood is tastefully done. The rows of wooden beams in
the ceiling make the main auditorium look like the bottom of a boat. Special care
was taken to fit state of the art sound proofing systems to allow great acoustics
in the building making it a wonderful place to go and observe choral services.
Early in 1997 Tickell completed the installation of
a new three manual and pedal tracker organ. The instrument stands at the east end of the
building, behind the choir stalls, while the altar and worship area are in the center of the
church, below the impressive glass and steel spire . The oak organ case stands more than
eight meters tall. The front pipes of the Great and Choir are of polished tin, while the l6ft
front pipes of the Pedal are of flamed copper, with tin mouths. Much effort was taken to
produce warm colors in the flaming process which would integrate with the tones of the
stained glass windows which surround the organ. Inside the case, the Choir division is
placed immediately above the console, with the Pedal divided on either side. Above is the
Great, the casework of which floats in front and slightly overlaps the pedal pipes. The
Swell is enclosed in a substantial box behind the Great at the top level of the instrument.
St. Barnabus-Dulwich
Kenneth Tickell-1997
36 Stops
49 Ranks
2,428 Pipes
Great
Choir
17. # Bourdon
58
18. 8 Open Di a pa s on
Swell
Pedal
8.
8
Geda ckt
58
26.
8
Open Di a pa s on 58
1.
# Open Di a pa s on30
4
Pri nci pa l
58
27.
8
Chi mney Fl ute
58
2.
# Subba s s
30
58
9.
19. 8 Stopped Di a pa s on 58
10.
58
28.
8
Sa l i ci ona l
58
3.
8 Octave
12
20. 4 Pri nci pa l
58
11. 2 2/3 Na za rd
58
29.
8
Voi x Cel es te
58
4.
8 Fl ute
12
21. 4 Spi tz Fl ute
58
12.
Octave
58
30.
4
Pri nci pa l
58
5.
4 Gems horn
30
22. 2 Fi fteenth
58
13. 1 3/5 Ti erce
58
31.
2
Wa l d Fl ute
58
6. IV Mi xture
120
258
7.
30
4
2
Na s on Fl ute
23. II Ses qui a l tera (TC) 116
14.
III
Sha rp Mi xture 174
32.
24. IV Mi xture
224
15.
8
Cremona
33.
16
Doubl e Trumpet 58
25. 8 Trumpet
58
16.
34.
8
Trumpet
58
35.
8
Oboe
58
36.
4
Cl a ri on
58
Tremul a nt
58
IV-V Mi xture
# Trombone
Tremul a nt
Swell to Great
Swell to Choir
Swell to Pedal
Choir to Great
Choir to Pedal
Great to Pedal
Acces s ori es
Grea t a nd Peda l combi na tions coupl ed; Genera l s on Swel l toe pi s tons ;
revers i bl e pi s tons s w-gt, gt-pd;
6 pi s tons to ea ch ma nua l ; 6 genera l pi s tons ;
Adva nce a nd Retard toe pi s tons for Sequencer;
revers i bl e pi s tons for s w-pd, gt-pd, s w-gt, s w-ch, s etter & ca ncel pi s tons ;
16 memeory l evel s for depa rtmental pi s tons , 64 for Genera l s ,
Adva nce a nd Retard pi s tons for Sequencer;
Sequencer wi th 384 s teps ;
6 toe pi s tons Peda l , 6 for Swel l or Genera l ;
Farnborough—St. Michael’s Abbey
PAGE 20
The Abbey was founded in 1881 by the Empress Eugénie
(1826–1920) as a mausoleum for her late husband Napoleon
III (1808–1873), and their son the Prince Imperial (1856–
1879), both of whom rest in the Imperial Crypt, along with
Eugénie herself, all in granite sarcophagi provided by Queen
Victoria. After the church and monastery were founded, they
were initially administered by Premonstratensian Canons. In
1895, the Empress replaced them with French Benedictine
monks from St. Peter's Abbey, Solesmes. The community,
once famed for its scholarly writing and musical tradition of
Gregorian chants, became depleted in number by 1947, and
was augmented by a small group of English monks from Prinknash Abbey in Gloucestershire. The last French monk, Dom Zerr, died in 1956. In 2006 the community elected
the first English Abbot of Farnborough—the Right Reverend Dom Cuthbert Brogan.
The Abbey Church is home to a renowned two-manual organ, installed in 1905, built by
Aristide Cavaillé-Coll & Company. After Cavaillé-Coll's death in October, 1899, Charles
Mutin maintained the business into the 20th century. The internal works are of a quality
which identifies this model with the highest standards of workmanship of the high days
of that company. Several French cathedrals with a large organ in the west gallery have a
smaller Choir organ similar to the Abbey organ. Though relatively small, the unique
stoplist and careful voicing allow it support a large range of the organ literature.
St. Michael's Abbey, Farnborough
Mutin-1905, 1931 / Willis-1951 / Mander-1967 / Klais-2001
17 Stops
17 Ranks
914 Pipes
Grande Org
Récit Exp
Pédale
5
16 Bourdon
56
11
8
Cor de Nuit
56
1 16 Contrebasse
6
8
Montre
56
12
8
Viole de Gambe
56
2 16 Soubasse
G.O.
7
8
Bourdon
56
13
8
Voix Céleste
44
3
8
Bourdon
G.O.
8
8
Salicional
56
14
4
Flûte Octav:
56
4
8
Flûte Ouverte
G.O.
9
8
Flûte Harmonique
56
15
IV Plein Jeu
224
10
4
Prestant
56
16
8
Trompette
56
17
8
Basson Hautbois
56
Appel Grand Orgue
Tremblant
Tirasse Grand Orgue
Copula Récit Unison
Tirasse Recit
Copula Récit Octaves Graves
Accessories
Pedals (left to right)
Hitch down pedals; Appel grand orgue; Comb Recit;
Tirasse G.O.
Expression
mechanical balanced expression pedal
Tirasse Recit
Cop: au G.O. (Copula)
4, 4 composition pedals (see below)
Combinaison G.O.
Recit
2 adjustable composition pedals to Great
Comcr. (Commencer/Appel *)
Oct. Graves Recit
Fnr. (Finir/Renvoi)
Trem.(blant)
The stops of the Grand Orgue are all avaialble by turning the stop knob through 90 degrees on a fre combination by pedal.
They will not sound until a ventil 'Appel Grnade Orgue' is depressed
30
Winchester Cathedral (Southern Cathedrals Festival)
PAGE 21
Winchester Cathedral stands on a site that has been a place of Christian worship
for over a thousand years. In the 1000s, the old Minster was destroyed to make
way for the new cathedral. This is one of the largest medieval churches in the
world thanks to a nave of over 160 meters long and provides a fitting home for the
Bishops of Winchester, some of whom weren't just the wealthiest men in England
but in Europe as well. Winchester Cathedral boasts some of the finest medieval
wood carving in Britain, if not Europe. In the 13th century England's greatest carpenter, William Lyngewode, spent four years decorating the cathedral's stalls. Another outstanding example of its medieval art is the Great Screen. It was erected in
the 1400s but the original statues with their vivid colors didn't survive England's
religious upheavals. Now, only the whitewashed backdrop of the original screen
remains while the current statues are Victorian.
The earliest recorded organ at Winchester Cathedral was in the 10th century; it had 400 pipes
and could be heard throughout the city. The earliest known organist of Winchester Cathedral is
John Dyer in 1402. The current organ, the work of master organ builder Henry Willis, was first
displayed in the Great Exhibition of 1851, where it was the largest pipe organ. Winchester Cathedral organist Samuel Sebastian Wesley recommended its purchase to the dean and chapter;
it was reduced in size and installed in 1854. It was modified in 1897 and 1905, and completely
rebuilt by Harrison & Harrison in 1937 and again in 1986-88. Organists at Winchester have included Christopher Gibbons whose patronage aided the revival of church music after the Interregnum, Samuel Sebastian Wesley, the composer of sacred music, and Martin Neary who arranged the music for the funeral of Diana, Princess of Wales at Westminster Abbey.
Winchester Cathedral
Willis 1851 / Harrison & Harrison -1938,1997
79 Stops
93 Ranks
4,995 Pipes
Great
Choir
Nave
Swell
Solo
Pedal
37.
16
Double Open Diapason
58
18.
8
Open Diapason
58
28.
16 Bourdon
58
54.
16
Double Diapason
58
70. 4 Harmonic Flute
58
1. 32 Double Open Wood
12
38.
8
Open Diapason
58
19.
8
Stopped Flute
58
29.
8
Open Diapason
58
55.
8
Open Diapason
58
71. 8 Viola da Gamba
58
2. 16 Open Wood
30
39.
8
Open Diapason
58
20.
4
Prestant
58
30.
8
Stopped Diapason
58
56.
8
Violin Diapason
58
72. 8 Voix Celeste
46
3. 16 Principal
30
40.
8
Stopped Diapason
58
21.
4
Chimney Flute
58
31.
4
Octave
58
57.
8
Lieblich Gedeckt
58
73. 4 Concert Flute
58
4. 16 Open Diapason
Gt.
41.
8
Claribel Flute
58
22. 2 2/3 Nazard
58
32.
4
Wald Flute
58
58.
8
Echo Salicional
58
74. 2 Harmonic Piccolo
58
5. 16 Violone
Nave
42.
4
Principal
58
23.
58
33.
2
Super Octave
58
59.
8
Vox Angelica
46
75. 8 Clarinet
58
6. 16 Bourdon
30
43.
4
Principal
58
24. 1 3/5 Tierce
58
34.
V
Cornet
195
60.
4
Principal
58
76. 8 Orchestral Oboe
58
7. 8 Octave
30
44.
4
Flute Harmonique
58
25. 1 1/3 Larigot
58
35. IV-V Mixture
269
61.
4
Lieblich Flote
58
77. 8 Tromba
58
8. 8 Stopped Flute
30
45. 2 2/3 Twelfth
58
26.
IV
Mixture
232
62. 2 2/3 Twelfth
58
78. 8 Tuba
58
9. 4 Super Octave
30
46.
2
Fifteenth
58
27.
8
Cremona
58
63.
58
79. 4 Tuba Clarion
58
47.
2
Open Flute
58
48. 1 3/5 Seventeenth
2
Gemshorn
36.
8
Trumpet
Tremulant
Tremulant
58
2
Fifteenth
64. III/IV Mixture
211
Tremulant
10. 4 Open Flute
11. IV Mixture
30
120
58
65.
16
Contra Oboe
12
12. 32 Contra Bombarde
12
49.
IV
Full Mixture
232
66.
8
Oboe
58
13. 16 Bombarde
30
50.
III
Sharp Mixture
174
67.
16
Contra Posaune
58
14. 16 Ophicleide
30
51.
16
Double Trumpet
58
68.
8
Cornopean
58
15. 16 Fagotto
30
52.
8
Trumpet
58
69.
4
Clarion
58
16. 8 Trumpet
30
53.
4
Clarion
58
17. 4 Clarion
30
Tremulant
Swell to Great
Swell to Choir
Swell octave
Solo Unison Off
Swell to Pedal
Choir to Great
Solo to Choir
Swell suboctave
Solo Octave
Choir to Pedal
Swell unison off
Solo Sub Octave
Great to Pedal
Solo to Swell
Great to Solo
Choir Octave to Pedal
Solo to Great
Accessories
Solo to Pedal
Transfers: Gt reeds on Solo, Gt reeds on Pd, Nave on Solo, Nave on Great.
1-8 Great pistons
Combination couplers: Pd to Sw pistons, Gt & Pd pistons,
1-8 Choir pistons
Gens on Sw foot pistons, Nave on Ch pistons.
1-8 Pedal pistons
Rev thumb pistons: So/Ch, Sw/Ch, Ch/Pd, Gt/So, So/Pd, Nave on Solo.'
1-8 Swell toe pistons
Rev. Pedal pistons: Gt/Pd, Sw/Gt, So/Gt, So/Sw, Sw/Pd, Contra Bombarde, Ch/Gt, Double Open Wood.
General Cancel
1-12 General pistons
Setter
1-8 Swell Pistons
Two Ventils - Ophicleide & Bombarde
1-8 Solo pistons
8 memory ss piston system, separate memory switches for division and general (upgraded 1997)
Bury St. Edmund’s—St. Edmundsbury Cathedral
PAGE 22
A church has stood on the site of the cathedral since at least 1065, when St.
Denis's Church was built within the precincts of Bury St. Edmunds Abbey. In the
early 12th century the Abbot, Anselm had wanted to make a pilgrimage along
the Way of St. James to Santiago de Compostela. He was unsuccessful and instead rebuilt St. Denis's and dedicated the new church to Saint James, which
served as the parish church for the north side of Bury St. Edmunds. This church
was largely rebuilt, starting in 1503, with more alterations in the 18th and 19th
centuries. When the Diocese of St. Edmundsbury and Ipswich was created in
1914, St. James Church was made the cathedral. From 1960 onwards, there
was renewed building work designed to transform the parish church into a
cathedral building, with the rebuilding of the chancel and the creation of transepts and side chapels. The cathedral architect from 1943 to 1988 was Stephen
Dykes Bower and he left £2 million for the completion of the cathedral. In the
cathedral grounds a new choir school and visitor's center were built which were
opened in 1990. A Gothic revival tower was built between 2000 and 2005.
The story of the present instrument begins with one built in the north transept by J.W. Walker, in
1860. The organ achieved magnificence in 1914 when rebuilt as a four-manual 50-stop organ of
true ‘cathedral’ stature by the biggest company in East Anglia, Norman & Beard. This grand instrument served the Cathedral well, eventually being dismantled in 1963 and stored when an adventurous plan by architect Stephen Dykes-Bower greatly to augment and enhance the capability and
capacity of the building began to be put into action. In 1970 Nicholsons rebuilt the Walker/N&B
organ with constrained funds and no cases, within the chamber Dykes-Bower had allowed for it. In
2011 Harrison & Harrison completed an instrument which was structurally and mechanically new.
Twenty-one new ranks join forty-one from the previous organ. The colorful cases are also new.
St. Edmundsbury Cathedral
Wlaker-1860 /Norman & Beard-1914 / Nicholson-1970 / Harrison & Harrison-2010
59 Stops
62 Ranks
3,404 Pipes
Great
Choir
Swell
Solo
Pedal
25.
16
Double Open Diapason
61
15.
8
Open Diapason
61
37. 16 Bourdon
61
51. 16 Quintaton
49
1.
32
Contra Bass
12
26.
8
Open Diapason
61
16.
8
Stopped Flute
61
38. 8 Open Diapason
61
52. 8 Viole d'Orchestre
61
2.
16
Open Wood
32
27.
8
Open Diapason
61
17.
4
Principal
61
39. 8 Lieblich Gedackt
61
53. 8 Viole Céleste
49
3.
16
Open Diapason
32
28.
8
Stopped Diapason
61
18.
4
Nason Flute
61
40. 8 Echo Gamba
61
54. 8 Harmonic Flute
61
4.
16
Violone
Gt.
29.
4
Principal
61
19. 2 2/3 Nazard
61
41. 8 Voix Céleste
49
55. 4 Flauto Traverso
61
5.
16
Sub Bass
32
30.
4
Chimney Flute
61
20.
2
Fifteenth
61
42. 4 Principal
61
56. 8 Clarinet
61
6.
16
Echo Bourdon
Sw.
2
Flautino
57. 8 Vox Humana
61
7.
8
Principal
32
8.
8
Bass Flute
12
31. 2 2/3 Twelfth
61
21.
61
43. 4 Flute
61
32.
2
Fifteenth
61
22. 1 3/5 Tierce
61
44. 2 Fifteenth
61
33.
V
Mixture
205
23.
1
Sifflöte
61
45. II Sesquialtera
122
58. 8 Tuba
61
9.
4
Fifteenth
32
34.
16
Trombone
61
24.
8
Cremona
61
46. IV Mixture
244
59. 8 Orchestral Trumpet
61
10.
IV
Mixture
128
35.
8
Trumpet
61
36.
4
Clarion
61
Tremulant
47. 8 Oboe
Tremulant
61
Tremulant
11.
32
Double Trombone
12
Solo Octave
12.
16
Ophicleide
32
48. 16 Contra Fagotto
61
Solo Sub Octave
13.
16
Trombone
12
49. 8 Cornopean
61
Solo Unison Off
14.
16
Fagotto
Sw.
50. 4 Clarion
61
Swell to Pedal
Swell octave
Choir to Pedal
Swell to Great
Swell to Choir
Swell suboctave
Great to Pedal
Choir to Great
Solo to Choir
Swell unison off
Solo to Pedal
Solo to Great
Great Reeds on Choir
Solo to Swell
Great Reeds on Pedal
Accessories
Eight general pistons and general cancel
Generals on Swell foot pistons
Eight foot pistons to the Pedal Organ
Reversible pistons: Ch-Pd, Gt-Pd, Sw-Pd, Solo-Pd, Sw-Ch, Solo-Ch, Ch-Gt, Sw-GtSolo-Gt, Solo-Sw;
Six pistons to the Choir Organ
Reversible foot pistons: Gt-Pd, Sw-Gt; Contra Bass, Ped. Double Trombone;
Eight pistons to the Great Organ
Eight divisional and 128 general memory levels
Eight pistons to the Swell Organ
Stepper, operating general pistons in sequence
Six pistons to the Solo Organ
2 Balanced Swell Pedals Swell (Quire & Transept);
Combination couplers:
Balanced expression pedal for Solo organ;
Great & Pedal pistons
Balanced expression pedals for Swell (Transept), Swell (Quire), and Solo
Bury St. Edmunds—St. Mary’s, Honey Hill
PAGE 23
St. Mary's Church claims to be the fourth largest parish church in England, to have the second
longest aisle and the largest west window. Church records suggest that the first church was built
on the site in 971 when parishes were first formed by King Edgar of England, although this is likely to have been a wood and thatch structure. Churches of this type of construction are thought
to have been used until a church in the gothic style was completed in 1585. Between 1773 and
1780 the main body of this church was demolished and rebuilt leaving only the spire from the
original church. The spire was replaced in 1842 but by 1870 the wood in the rest of the church
had rotted and a new building was needed. The new church designed by the architect J. S.
Crowther, leaving the 1842 spire in place, was officially opened on the Feast of the Annunciation
on 2 February 1876.
Harrison & Harrison built a new organ in 1912 utilizing some old pipework
from the 1867 John Vowles organ. A new stone chamber was built at an
angle between the North Transept and Chancel to house the Swell Organ
The Great Organ is placed on the North side of the Chancel with the console
in the West side. The Choir, Solo and Echo are all in the North Chancel. In
order for the scheme to work the Swell has softer orchestral stops more
normally found on the Solo, while the softer accompaniment stops are allocated to the Echo Organ in the chancel. In 1947 the Swell Organ, which had
St. Mary, Honey Hill
Walker-1885 / Hill-1931 / Compton-1959 / Carter 1988 / Clevedon Organ - 2009
79 Stops
69 Ranks
3,698 Pipes
Choir
Swell
Solo
Great
39.
32
Contra Violone
40.
16
41.
Pedal
-
22.
16
Contra Dulciana
12
57. 16 Bourdon
61
72. 8 Harmonic Claribel
61
1.
32
Contra Bass
30
Violone
12
23.
8
Open Diapason
61
58. 8 Open Diapason
61
73. 8 Viol d'Orchestre
61
2.
16
Open Metal
30
8
Open Diapason I
61
24.
8
Lieblich Gedeckt
61
59. 8 Rohr Flute
61
74. 8 Viole Celeste
54
3.
16
Open Wood
30
42.
8
Open Diapason II
61
25.
8
Dulciana
61
60. 8 Echo Gamba
61
75. 4 Concert Flute
61
4.
16
Violone
30
43.
8
Open Diapason III
61
26.
8
Viola da Gamba
61
61. 8 Voix Celeste
49
76. 8 Orchestral Oboe
61
5.
16
Dulciana
30
44.
8
Open Diapason IV
61
27.
8
Flute Celeste
49
62. 4 Principal
61
77. 8 Clarinet
61
6.
16
Bourdon
30
45.
8
Stopped Diapason
61
28.
4
Geigen Principal
61
63. 4 Lieblich Flute
61
46. 5 1/3 Quint
61
29.
4
Hohl Flute
61
64. 2 Super Octave
61
78. 8 Harmonic Horn
47.
4
Octave
61
30.
4
Dulcet
12
65. 1 Octavin
61
79. 8 Tuba Magna
48.
4
Principal
12
31. 2 2/3 Nazard
61
66. III Mixture
49.
4
Chimney Flute
61
32.
2
Piccolo
61
67. 8 Oboe
50. 2 2/3 Twelfth
61
33.
2
Dulcetina
12
51.
61
34. 1 3/5 Tierce
61
68. 16 Double Trumpet
52. 1 3/5 Seventeenth
61
35. 1 1/3 Larigot
61
53.
IV
Mixture
244
54.
16
Ophicleide
61
36.
8
Tuba Magna
So.
55.
8
Bombarde
61
37.
8
Bombarde
56.
4
Posaune
61
38.
4
Posaune
2
Fifteenth
7. 10 2/3 Quint
30
Sw.
8.
8
Principal
12
61
9.
8
Octave
12
183
10.
8
Violone
12
61
11.
8
Dulciana
12
12.
8
Bass Flute
30
12
13.
4
Fifteenth
12
69. 8 Harmonic Horn
61
14.
4
Viola
12
70. 8 Trumpet
61
15.
4
Flute Octaviante
30
71. 4 Octave Trumpet
12
16.
IV
Furniture
120
Gt.
17.
32
Contra Trombone
12
Gt.
18.
16
Trombone
30
19.
16
Double Trumpet
Sw.
20.
8
Tuba
So.
21.
4
Cornett
30
Tremulant
Tremulant
Tremulant
Choir to Great
Swell to Choir
Swell octave
Solo Octave
Swell to Pedal
Solo to Great
Choir octave
Swell suboctave
Solo Suboctave
Swell to Great
Great octave
Choir suboctave
Swell unison off
Solo Unison Off
Choir to Pedal
Choir unison off
Solo to Swell
Solo to Choir
Great to Pedal
Solo to Pedal
Accessories
Full compliment of pistons
Stepper
250 channel memory
Swell on Swell transposer
Cambridge—Jesus College Chapel
PAGE 24
Jesus College Chapel is the oldest college chapel in Cambridge and it is unique in that it was not
originally designed as a college chapel, since it precedes the foundation of the college by three
and a half centuries, and the university by more than half a century. It was originally a large Norman church dedicated to St. Mary which served the twelfth-century Benedictine convent of St.
Radegund, which is why the plan of the present chapel, like that of the cloisters that surround it,
has a conventual rather than a collegiate character. It also served as the church of the parish of
St. Radegund which grew up around the convent, which was at that time a semi-rural area located just outside the city of Cambridge. When the convent of St. Radegund was dissolved in 1496
by John Alcock, Bishop of Ely, and a new college was founded in its place, the conventual church
of St. Mary was rededicated to the name of Jesus and part of the church was demolished and the
remaining portion was drastically modified. Thus St. Mary’s church became Jesus Chapel.
The Chapel has three organs, two fixed instruments located in the two bays on the north side of the chancel and a movable chamber organ. The
oldest organ, located closest to the altar, dates originally from the mid 19th century and was given to the College by Sir John Sutton. The designs on
the panels are by Pugin. This organ was used as the principal organ for the Chapel until the installation of an instrument by Noel Mander in 1971. The Sutton Organ has recently been restored to its original 1849 state by William
Drake. In 2007, the Mander organ, which had served the Chapel since 1971, was replaced by a new instrument of 33
stops following a generous donation from Mr. James Hudleston. The first instrument in the UK to be built by Orgelbau
Kuhn, Switzerland’s leading organ builder, it is regarded as one of the finest organs in Cambridge. The Hudleston Organ was designed to accompany the daily liturgical life of the Chapel, while also serving as a recital and teaching instrument.
Jesus College Chapel, Cambridge
Hudleston Organ
Orgelbau Kuhn-2007
33 Stops
35 Ranks
1990 Pipes
Swell
Great
Pedal
10.
16
Bourdon
61
21.
8
Geigen Diapason
61
1.
16 Lieblich Bourdon
Gt.
11.
8
Open Diapason
61
22.
8
Lieblich Gedact
61
2.
16 Subbass
32
12.
8
Harmonic Flute
61
23.
8
Salicional
61
3.
16 Violone
32
13.
8
Stopped Diapason
61
24.
8
Celeste
61
4.
8
Principal
32
14.
8
Gamba
61
25.
8
Dolce
61
5.
8
Stopped Diapason
Gt.
15.
4
Prnicipal
61
26.
4
Principal
61
6.
8
Gamba
Gt.
16.
4
Flute
61
27.
4
Chimney Flute
61
7.
4
Octave
32
17.
2 2/3
Quinte
61
28.
61
8.
16 Posaune
32
61
9.
8
Gt.
2 2/3 Nazard
18.
2
Fifteenth
61
29.
19.
IV
Mixture
244
30.
20.
8
Trumpet
61
31.
IV
Plein Jeu
32.
8
33.
8
Tremulant
II - I Sub
II - I
2
Octave
1 3/5 Tierce
Trumpet
61
244
I-P
Oboe
61
II - P
Trumpet
61
II - P Super
Tremulant
Sutton Organ
Bishop-1849 / Harrison & Harrison -1927 / Mander-1970 / Drake 2012
12 Stops
13 Ranks
637 Pipes
Echo
Choir
Pedal
1.
Open Diapason
49
9.
Open Diapason
49
13 notes
2.
Stopt Diapason
49
10.
Stopt Diapason
49
pulldown from Choir
3.
Principal
49
11.
Principal
49
4.
Flute
49
12.
Flute
49
5.
Twelfth
49
6.
Fifteenth
49
7.
Tierce
49
8.
Sesquialtra
98
Cambridge-King’s College Chapel
PAGE 25
King's College is a constituent college of the University of Cambridge in Cambridge, England. Formally named The King's College of Our Lady and Saint Nicholas in Cambridge, the
college lies besides the River Cam and faces out onto King's Parade in the centre of the
city. King's was founded in 1441 by Henry VI, soon after he had founded its sister college in
Eton. King's College Chapel is regarded as one of the greatest examples of late Gothic English architecture. It has the world's largest fan-vault, and the chapel's stained-glass windows and wooden chancel screen are considered some of the finest from their era. The
building is seen as emblematic of Cambridge. The chapel's choir, composed of male students at King's and choristers from the nearby King's College School, is one of the most accomplished and renowned in the world. Every year
on Christmas Eve the Festival of Nine Lessons and Carols (a service devised specifically for King's by college dean Eric Milner-White) is broadcast from the chapel to millions of listeners worldwide.
In 1605-6 Thomas Dallam built an organ in the Chapel. The accounts for his work have survived, showing in
detail the materials and hospitality provided by the College while the work was done. Successive re-buildings
were undertaken by Lancelot Pease (1661), Thomas Thamar (1673-7), Renatus Harris (1686-8), John Avery
(1803-5), and the firm of William Hill (1834,1859, 1889 and 1911). In 1934 the organ was enlarged and rebuilt
in its present form by Harrison and Harrison, with some of the Hill pipework retained and revoiced. The specification, drawn up in consultation with Bernhard Ord (Organist 1929-57), included separate mutations on the
Choir Organ, unusual in England at that time. Minor changes were made in 1950, when the Pedal Fifteenth
and Mixture were added. In 1968 the organ was overhauled and several new stops were provided (I11 12, 22,
49 and 50), four old ranks being displaced. Further restoration work was carried out in 1992, when the console was renovated and the electrical system modernized. There is some uncertainty about the history of the
case, which is one of the oldest in England. The main case is probably a survival from the organ of 1605-6,
while the Choir case may date from 1666. The front pipes were originally colored and patterned; the plain
gilding dates from the eighteenth century. In 1859 the main case was doubled in depth to accommodate the
enlarged organ, the console being moved to its present position on the north side. Today, the Great and Swell
Organs and the Tuba occupy the main case, facing east; the Choir Organ is at the lower level behind the Choir
case; the Solo Organ and most of the Pedal stops are placed within the screen on the south side.
King's College, Cambridge
Great
Choir
Harrison & Harrison - 1933,2009
80 Stops
84 Ranks
4,429 Pipes
Swell
Solo
40.
16
Double Open Diapason
61
23.
16
Double Salicional
49
55. 16 Quintatön
61
70.
16
41.
8
Open Diapason I
61
24.
8
Open Diapason
61
56.
8 Open Diapason
61
71.
42.
8
Open Diapason II
61
25.
8
Claribel Flute
61
57.
8 Violin Diapason
61
43.
8
Stopped Diapason
61
26.
8
Salicional
61
58.
8 Lieblich Gedact
44.
4
Octave
61
27.
8
Dulciana
61
59.
8 Echo Salicional
45.
4
Principal
61
28.
4
Gemshorn
61
60.
46.
4
Wald Flute
61
29.
4
Salicet
61
47. 2 2/3 Octave Quint
61
30.
4
Suabe Flute
48.
2
Super Octave
61
31. 2 2/3 Nazard
49.
2
Open Flute
61
32.
50.
III
Sesquialtera
51.
IV
52.
Pedal
Contra Viola
61
1.
32 Double Open Wood
8
Viole d'Orchestre
61
2.
16 Open Wood
32
72.
4
Viole Octaviante
61
3.
16 Open Diapason
Gt.
61
73.
III
Cornet de Violes
183
4.
16 Geigen
32
61
74.
8
Harmonic Flute
61
5.
16 Bourdon
32
8 Voix Céleste
49
75.
4
Concert Flute
61
6.
16 Salicional
32
61.
8 Vox Angelica
49
76.
16
Cor Anglais
73
7.
16 Echo Violone
SO.
61
62.
4 Principal
61
77.
8
Clarinet
61
8.
8 Violoncello
12
61
63.
4 Lieblich Flute
61
78.
8
Orchestral Hautboy
61
9.
8 Flute
12
Dulcet
61
64.
2 Fifteenth
61
10.
4 Fifteenth
12
183
33. 1 3/5 Tierce
61
65. IV Mixture
32
Mixture
244
34. 1 1/3 Larigot
61
66.
16
Contra Tromba
61
35.
53.
8
Tromba
61
54.
4
Octave Tromba
61
2
Tremulant
244
79.
8
French Horn
61
11.
4 Rohr Flute
61
80.
8
Tuba
61
12.
2 Open Flute
13.
V Mixture
8 Oboe
Tremulant
12
32
1
Twenty Second
61
160
36.
8
Corno di Bassetto
61
67. 16 Double Trumpet
61
14. 32 Double Ophicleide
37.
16
Contra Tromba
Gt.
68.
8 Trumpet
61
15. 16 Ophicleide
32
38.
8
Tromba
Gt.
69.
4 Clarion
61
16. 16 Trombone
Gt.
39.
4
Octave Tromba
Gt.
12
17. 16 Double Trumpet
Sw.
Swell to Great
Swell to Choir
Swell octave
Solo Unison Off
18.
8 Cor Anglais
So.
Choir to Great
Solo to Choir
Swell suboctave
Solo Octave
19.
8 Posaune
12
Solo to Swell
Solo Sub Octave
20.
8 Tromba
Gt
Great to Solo
21.
4 Octave Tromba
Gt.
22.
4 Schalmei
32
Solo to Great
Accessories
8 thumb pistons to Great
general cancel
Swell to Pedal
8 thumb pistons to Swell
toe piston for Doubles off
Choir to Pedal
8 thumb pistons to Choir
reversible toe pistons for Gt-Pd (twice), Solo-Pd, Sw-Gt
Great to Pedal
6 thumb pistons to Solo
Pedal for Solo Tremulant
Solo to Pedal
8 toe pistons to Pedal
Pedal to Great pistons
8 toe pistons to Swell
Pedal to Swell pistons
8 general thumb pistons
Great to Pedal toe pistons
Generals on Swell toe pistons
Pistons instantly adjustable with 16 divisional and 512 general memories
reversible thumb pistons for Ch-Pd, Gt-Pd Sw-Pd, Solo-Pd, Sw-Ch, Solo-Ch, Ch-Gt, Solo-Gt, Sw-Gt, Ophicleide
"Stepper" system
Wymondham—Wymondham Abbey
PAGE 26
Wymondham Priory - it was raised to the status of an Abbey a mere ninety
years before its suppression - was founded in 1107 as a community of Benedictine monks. The new community was made a Priory, or dependency, of the
great Abbey of St. Alban's, and was dedicated in honor of St. Mary the Virgin
and St. Alban the Martyr. The building was on an ambitious scale. Stone was
shipped across the English Channel from Caen, in Normandy, and the original
Nave - a scaled-down version of the Nave of Norwich Cathedral - was twelve
bays long. The Priory Church was cruciform, with a central Tower and two low
Towers at the western end; it had Aisles and Transepts, and the monastic Quire
was flanked by chapels. The monastic buildings - of which very little remains
above ground, with the exception of the east wall of the Chapter House - lay on
the south side of the church. Notable features of the church are the twin towers
(a landmark for miles around), the Norman nave, the splendid 15th century
angel roof in the nave and fine north aisle roof.
Looking west down the Nave, the vista is closed by the main organ, framed in the magnificent Tower
arch, built in the 1440s, and standing upon an elegant stone bridge which bears the date 1903. The
bridge replaced the eighteenth century wooden gallery which formerly projected into the Nave. The
organ was given by Miss Ann Farmer in 1793, a condition of the gift being that the Parish should appoint and pay an organist. The instrument cost £687.3.0 including cartage and beer for the carters. It
was built by James Davis of Preston, although the case bears the name of Longman and Broderip who
acted as agents. It has three manuals and a pedal board, and the survival of the major part of the original eighteenth century pipe-work makes it an instrument of considerable interest. Many smaller organs of the period survive, but the near-complete survival of a late eighteenth century organ of this
size is unusual. Equally important is the mahogany casework, which shows the ‘Gothicizing’ of the
usual classical form of organ case. The instrument underwent major restorations in the mid 1950s and
1970s, with the casework being completely cleaned in 2007.
Wymondham Abbey
James Davis-1793 / Hill, Norman and Beard-1953, 1980
46 Stops
55 Ranks
2,844 Pipes
Choir
Swell
Great
Pedal
22.
16
Double Stopped Diapason
61
13.
8
Viola da Gamba
61
35.
8
Open Diapason
61
1.
16
Open Wood Bass
32
23.
8
Open Diapason
61
14.
8
Chimney Flute
61
36.
8
Hohl Flute
61
2.
16
Contra Gamba
32
24.
8
Stopped Diapason
61
15.
4
Principal
61
37.
8
Salicional
61
3.
16
Bourdon
32
25.
8
Dulciana
61
16.
4
Stopped Flute
61
38.
8
Voix Celeste
49
4.
8
Octave
32
26.
4
Principal
61
17.
2
Flageolet
61
39.
4
Principal
61
5.
8
Gamba
32
27.
4
Block Flote
61
18.
61
40.
2
Fifteenth
61
6.
8
Gedeckt
32
61
19.
III
Cymbel
183
41.
III
Cornet
183
7.
4
Fifteenth
32
61
20.
8
Trumpet
Gt.
42.
II
Mixture
122
8.
II
Mixture
64
61
21.
4
Clarion
Gt.
43.
16
Contra Hautboy
61
9.
32
Sackbut
32
28.
29.
30.
2 2/3 Twelfth
2
Fifteenth
1 3/5 Seventeenth
1 1/3 Larigot
31.
II
Mixture
122
44.
8
Trumpet
61
10.
16
Ophicleide
32
32.
III
Sharp Mixture
183
45.
8
Basset Horn
61
11.
8
Clarion
32
33.
8
Trumpet
61
46
4
Clarion
61
12.
4
Shawm
32
34.
4
Clarion
61
Swell to Great
Tremulant
Swell to Choir
Swell octave
Choir to Pedal
Swell suboctave
Great to Pedal
Swell unison off
Swell to Pedal
Accessories
Balanced Swell pedal
6 toe pistons to Great and Pedal
6 pistons to Great and Pedal
6 toe pistons to Swell
6 pistons each to Swell and Choir
Toe pistons for Sw-Gt, Gt-Pd
Pistons for Sw-Gt, Gt-Pd, Sw-Pd, Ch-Pd
Norwich Cathedral
PAGE 27
The cathedral was begun in 1096 and constructed out of flint and mortar and faced with a cream-colored Caen
limestone. A Saxon settlement and two churches were demolished to make room for the buildings. The cathedral was completed in 1145 with the Norman tower still seen today topped with a wooden spire covered with
lead. Several episodes of damage necessitated rebuilding of the east end and spire but since the final erection
of the stone spire in 1480 there have been few fundamental alterations to the fabric. The large cloister has
over 1,000 bosses including several hundred carved and ornately painted ones. Norwich Cathedral has the second largest cloisters, only outsized by Salisbury Cathedral. The cathedral close is one of the largest in England
and one of the largest in Europe and has more people living within it than any other close. The cathedral spire,
measuring at 315 ft or 96 m, is the second tallest in England despite being partly rebuilt after being struck by
lightning in 1169, just 23 months after its completion, which led to the building being set on fire. At completion,
it measures 461 ft or 140.5 m long and, with the transepts, 177 ft or 54 m wide
The first known references to an organ in the Cathedral date from the 14th century.
Since that time numerous famous organ builders - Dallam, Renatus Harris, Byfield and
Bishop - have been associated with instruments built here. In 1899 a new five manual
organ was built by Norman and Beard and this instrument was badly damaged by fire
during a dramatic evensong on 09 April 1938. The present organ is one of the three
largest cathedral organs in the country, having 105 speaking stops. It has 4 manuals
and dates from the Hill, Norman & Beard rebuild of 1940-1942; the fine casework,
erected in 1950, was designed by Stephen Dykes Bower. The longest
pipes measure 32 feet and the smallest have a speaking length of less than an inch.
The Solo Tuba which speaks magnificently into the Nave is on 18 inches of wind pressure and the organ is now equipped with 256 channels of memory and a stepper sequencer to help visiting organists manage the stops.
Norwich Cathedral
Great Primary
Choir-Swell
Hill, Norman and Beard - 1899/1970
105 Stops
101 Ranks
6,423 Pipes
Swell
Solo
52.
32
Double Gedeckt
12
29.
8
Violoncello
61
73.
16
Contra Geigen
61
91. 16 Contra Viole
53.
16
Double Open Diapason
61
30.
8
Dolce
61
74.
16
Bourdon
61
92.
8 Viole d'Orchestre
54.
8
Open Diapason Large
61
31.
8
Cor de Nuit
61
75.
8
Open Diapason
61
93.
8 Viol Celeste
55.
8
Open Diapason Medium
61
32.
8
Unda Maris
61
76.
8
Rohr Gedeckt
61
94.
56.
5 1/3
Quint
61
33.
4
Gemshorn
61
77.
8
Salicional
61
57.
4
Octave
61
34.
2
Flageolet
61
78.
8
Voix Celeste
110
58.
2 2/3
Twelfth
61
35.
1
Octavin
61
79.
4
Principal
61
97. 16 Cor Anglais
Pedal
12
1.
32
Double Open Wood
12
61
2.
16
Open Wood
32
110
3.
16
Open Wood Minor
32
8 Harmonic Claribel
61
4.
16
Open Diapason
32
95.
4 Octave Viole
61
5.
16
Open Diapason Minor Gt.
96.
4 Flauto Traverso
61
6.
16
Violone
32
49
7.
16
Contra Viole
So.
59.
2
Fifteenth
61
36.
16
Schalmei
61
80.
4
Stopped Flute
61
98.
8 Orchestral Oboe
61
8.
16
Bourdon
32
60.
IV
Mixture
244
37.
8
Trumpet
61
81.
2
Fifteenth
61
99.
8 Clarinet
61
9.
16
Gedackt
Gt.
61.
16
Bass Trumpet
61
38.
16
Bass Trumpet
Gt.
82. 1 1/3 Larigot
61
10.
16
Dulciana
32
62.
8
Tromba
61
39.
8
Tromba
Gt.
83.
II
Sesquialtera
63.
4
Clarion
61
40.
4
Clarion
Gt.
84.
V
Mixture
305
101. 8 Orchestral Horn
61
12.
8
Octave Wood
12
85.
IV
Sharp Mixture
244
102. 16 Orchestral Trumpet 12
13.
8
Principal
12
Great Secondary
Choir-Positif
64.
16
Gedeckt
61
41.
16
65.
8
Principal
61
42.
66.
8
Stopped Diapason
61
67.
4
Octave
68.
4
69.
61
98
100. 8 Vox Humana
Tremulant
11. 10 2/3 Quint
32
Quintaten
61
86.
16
Contra Fagotto
61
103. 8 Orchestral Trumpet 61
14.
8
Violoncello
12
8
Open Diapason
61
87.
8
Horn
61
104. 4 Orchestral Trumpet 12
15.
8
Bass Flute
12
43.
8
Chimney Flute
61
88.
8
Trumpet
61
105. 8 Tuba Mirabilis
16.
8
Octave Dulciana
12
61
44.
4
Principal
61
89.
8
Oboe
61
17. 5 1/3 Twelfth
Spitz Flute
61
45.
4
Nason Flute
61
90.
4
Clarion
61
18.
4
Superoctave
12
2
Wald Flute
61
46. 2-2/3 Nazard
19.
4
Fifteenth
12
70.
II
Quartane
61
47.
2
Superoctave
61
20.
4
Octave Flute
71.
V-VI
Fourniture
463
48.
2
Blockflute
61
21.
IV
Mixture
72.
V
Mounted Cornet
185
49. 1-3/5 Tierce
61
Tremulant
61
12
12
128
61
22.
32
Bass Trombone
50.
III
Cymbal
183
23.
16
Ophicleide
32
51.
V
Mounted Cornet
245
24.
16
Bass Trumpet
Gt.
25.
16
Contra Fagotto
Sw.
26.
16
Schalmei
Ch.
27.
8
Clarion
12
28.
4
Octave Clarion
12
Cymbelstern
Swell to Great
Swell to Choir
Swell octave
Solo Octave
Swell to Pedal
Choir to Great
Choir octave
Swell suboctave
Solo Sub Octave
Choir to Pedal
Solo to Great
Choir suboctave
Swell unison off
Solo Unison Off
Great to Pedal
Choir unison off
Choir on Swell
Solo to Choir
Solo to Swell
Solo to Pedal
12
Norwich-St. Peter Mancroft
PAGE 28
The present building was begun in 1430, on the site of an existing church, and consecrated in 1455. It is an ambitious building, 180 feet long and ashlar faced with a tower at the west end. It has a Norman foundation dating
from 1075, a 1463 font, a 1573 Flemish tapestry, medieval glass and a memorial to most famous parishioner
Thomas Browne, author of Religio Medici. The small lead-covered spire with flying buttresses was added by A.E.
Street in 1896. After the two cathedrals, it is the largest church in Norwich. It stands on a slightly elevated position, next to the market place. As well as an exceptional building, St. Peter Mancroft has a fine collection of medieval and renaissance treasures, 18th century monuments and is well-known for the English art of change ringing on church bells. Simon Jenkins writes in England’s Thousand Best Churches: “Few who enter St. Peter’s for
the first time can stifle a gasp. The sense of space and light is overwhelming. To those who find Perpendicular
bland or lacking in shadow or mystery, Norwich answers with a blaze of daylight, as if the sky itself had been
invited to pray.”
The organ at the west end of the church was built by Peter Collins, of Redbourn, Hertfordshire, in
1984. The specification of the instrument is rooted in the great classical tradition: the organ is entirely
mechanical in its action and is voiced and constructed in accordance with the ideals of eighteenth century organ practices. Its pipework, action, stop-list, resonant casework, diagonal bellows and tuning, all
reflect the conception of the organ as a serious instrument for the proper artistic interpretation of
music. When the organ was built a suitable means of support had to be devised to minimize the impact on the fabric of the historic building. In the final solution only two holes were cut into the tower
walls for a steel support girder. The 10 ton weight of the organ is balanced on this beam. The underside of the organ acts as a sounding-board for musicians performing beneath. The carved screens of
lime wood were designed and carved by Sigfried Pietszch, who trained in Oberammergau. The words
‘Soli Deo Gloria’ (to God alone be the Glory) are carved into the screen above the Echo organ. The stop
-list, together with various features of the design, including the visual layout of the keyboard section,
was conceived by Kenneth Ryder (organist at the time) in consultation with Peter Collins.
St. Peter Mancroft
Rushworth & Dreaper-1938,1964 / Peter Collins 1982
38 Stops
52 Ranks
3,323 Pipes
Positive
Echo Swell
Great
Pedal
19.
16
Bourdon
61
9.
8
Gedact
61
31.
8
Stopt Diapason
61
1.
16
Principal
32
20.
8
Principal
61
10.
8
Quintadena
61
32.
8
Salicional
61
2.
16
Subbass
32
21.
8
Spitz Flute
61
11.
4
Principal
61
33.
8
Celeste
49
3.
8
Octave
32
22.
4
Octave
61
12.
4
Rohr Flute
61
34.
4
Koppel
61
4.
8
Wood Flute
32
23.
4
Hohl Flute
61
13.
2
Gemshorn
616
35.
2
Principal
61
5.
4
Tenor Octave
61
14.
1
36.
1
Octave
61
6.
IV
Mixture
128
Sesquialtera
122
37.
II
Tertian
183
7.
16
Posaune
32
38.
8
Vox Humana
61
8.
8
Trumpet
32
24.
2 2/3 Quint
1 1/3 Tapered Quint
25.
2
Octave
61
15.
II
26.
2
Block Flute
61
16.
IV-V
Scharf
268
61
17.
16
Curtall
61
18.
8
Cremona
61
27.
1 3/5 Tierce
28.
IV-V
Mixture
268
29.
II
Cymbal
122
30.
8
Trumpet
61
Tremulant
Tremulant
Tremulant
Echo to Great
Great to Pedal
Positive to Great
Positive to Pedal
Positive Octave to Pedal
Echo to Pedal
Accessories
3 adjustable combination pedals to Great
3 adjustable combination pedals to pedal
centre balanced swell pedal
32
ELY CATHEDRAL
PAGE 29
Worship has been offered to Almighty God on this site for nearly 1400 years. The cathedral is built from stone
quarried from Barnack in Northamptonshire (bought from Peterborough Abbey, whose lands included the
quarries, for 8000 eels a year), with decorative elements carved from Purbeck Marble and local clunch. The
plan of the building is cruciform (cross-shaped), with an additional transept at the western end. The total
length is 537 feet (163.7 m), and the nave at over 75 m long (250 ft) remains one of the longest in Britain. The
west tower is 66m high (215 ft). The unique Octagon 'Lantern Tower' is 23 m (74 ft) wide and is 52 m (170 ft)
high. Internally, from the floor to the central roof boss the lantern is 43 m (142 ft) high.
In 1908, Harrison and Harrison built a virtually new organ, incorporating some
of the old pipe work. Most of the organ was placed in the North choir triforium,
with the console below, on the stone gallery behind the top of the choir stalls.
The restoration of 1974-75 included some tonal changes, a new Positive division
in the lower part of the Scott case, development of the Pedal Organ and modernization of the action and console. The new scheme was drawn up by the Cathedral Organist, Dr. Arthur
Wills, in consultation with Mr. Cecil Clutton and the organ builders. Restoration work on the fabric of the
building of the last three bays of the North Choir Aisle meant that the massive Cathedral organ needed to
be removed. The Dean and Chapter took this opportunity to ask Harrison and Harrison to carry out an extensive programmed of restoration. The proposals for this rebuild increased the versatility of the instrument, and enhanced its musical integrity. The restoration work to the organ cost in the region of £400,000
and was funded by the Order of St. Etheldreda.
Ely Cathedral
Great
Choir
Harrison & Harrison - 1931/2001
80 Stops
96 Ranks
5,526 Pipes
Swell
Solo
Pedal
34.
32
Sub Bourdon
61
24.
8
Open Diapason
61
54. 16 Bourdon
61
69. 16 Contra Viola
61
1. 32 Double Open Wood 12
35.
16
Double Diapason
61
25.
8
Gedackt
61
55. 8 Open Diapason
61
70. 8 Viole d'Orchestre
61
2. 32 Sub Bourdon
Gt
36.
16
Bourdon
12
26.
8
Fiffaro
61
56. 8 Echo Gamba
61
71. 8 Viole Celeste
49
3. 16 Open Wood
32
37.
8
Large Open Diapason
61
27.
8
Unda Maris
49
57. 8 Vox Angelica
49
72. 4 Viole Octaviante
61
4. 16 Open Diapason
Gt
38.
8
Small Open Diapason
61
28.
4
Principal
61
58. 8 Gedackt
61
73. III Cornet de Violes
183
5. 16 Violone
So
39.
8
Hohl Flute
61
29.
4
Flauto Traverso
61
59. 4 Principal
61
74. 8 Harmonic Flute
61
6. 16 Bourdon
12
40.
8
Salicional
61
30.
2
Fifteenth
61
60. 4 Nason Flute
61
75. 4 Concert Flute
61
7.
8 Principal
32
61
31.
1
Flautino
61
61. 2 Fifteenth
61
76. 16 Clarinet
61
8.
8 Violoncello
12
9.
8 Flute
12
41. 5 1/3 Quint
42.
4
Octave
61
32.
III
Mixture
183
43.
4
Principal
61
33.
8
Cremona
61
44.
4
Wald Flute
61
Tremulant
Positive
62. II Echo Cornet
122
77. 8 Orchestral Hautboy
61
63. V Mixture
305
78. 8 Cor Anglais
61
64. 8 Oboe
61
65. 8 Vox Humana
61
45. 3 1/5 Double Tierce
61
46. 2 2/3 Twelfth
61
16.
8
Chimney Flute
61
61
17.
4
Principal
61
66. 16 Double Trumpet
61
4
Spitzflute
61
67. 8 Trumpet
61
61
68. 4 Clarion
61
47.
2
Fifteenth
48.
III
Sesquialtera
147
18.
49.
V
Fourniture
305
19. 2 2/3 Nazard
50.
V
Cymbale
305
20.
51.
16
Trombone
61
21. 1 3/5 Tierce
52.
8
Trumpet
61
22. 1 1/3 Larigot
53.
4
Clarion
61
23.
2
IV
Blockflute
Sharp Mixture
Tremulant
Tremulant
10. 4 Fifteenth
11. 4 Octave Flute
61
12. IV Mixture
80. 8 Orchestral Trumpet
61
13. 32 Bombardon
12
14. 16 Bombarde
32
15. 8 Trumpet
12
61
61
244
Swell to Great
Swell to Positive
Swell octave
Solo Octave
Swell to Pedal
Positive to Great
Solo to Positive
Solo to Swell
Solo Unison Off
Great to Pedal
Solo Sub Octave
Positive to Pedal
Swell to Solo
Solo to Pedal
Accessories
Great reeds on Pedal
8 pistons to Great;
Great reeds on Solo
8 pistons to swell (duplicated by toe pistons)
Great and Pedal combinations coupler
6 pistons to Solo;
Pedal to Swell pistons
8 General thumb pistons
Choir on Swell transfer;
general cancel piston
8 foot pistons to Pedal;
General Cancel
10 pistons to Positive and Choir organs;
Manuals I and II exchange
reversible pistons: pos-pd, gt-pd (dup by toe), sw-pd, solo-pd, pos-gt, sw-gt (dup by toe), sw-pos.sw-gt (dup by toe), sw-pos.
12
79. 8 Tuba
61
Solo to Great
32
128
King's Lynn—Minster
PAGE 30
The church was established by Herbert de Losinga Bishop of Norwich in 1095 as a Benedictine Priory. After the
English Reformation it became the parish church for the town of King's Lynn, and its property was used as an
endowment for Norwich Cathedral. Prior Drake was made Prebend of the fourth stall in Norwich Cathedral.
The central lantern and south-west spire collapsed in 1741 and there was a programmed of rebuilding in 174546 by the architect Matthew Brettingham. The church was further restored in 1875 by George Gilbert Scott who
added the spire. Some of the bench ends and misericords dating from around 1419 are now found in the Victoria and Albert Museum, but the church still retains some. The church is notable for the two-story porch and the
angel roof. The church was renamed as King's Lynn Minster in 2011.
The Minster organ is one of the most written about organs and it is without doubt a landmark in the development of organ building in this country. John Snetzler’s first large instrument, only ever exceeded by a small margin, by his organ for Beverley Minster, this organ was acclaimed the finest in the country – a claim too often
made for many organs, but in this case, one affirmed by Holdich when he repaired and added pedals to the organ 100 years later. It established Snetzler’s reputation as the leading organ builder of the second half of the
18th century and organ maker to the King. The organ was famous for having the first “Dulciana” stops. The organ
as it stands should not be described as a “Snetzler;” it is essentially by Wordsworth of Leeds dating from 1895
incorporating 12 ranks of unaltered Snetzler pipes in a Snetzler case. However, the respect that has been shown
to Snetzler’s pipes over nearly 260 years of use means that it remains among the most important survivors of
Snetzler’s large instruments. The firm of Rushworth and Dreaper rebuilt the organ with a new console and action
in 962 and in 2001 a further rebuild, with new action and some additional stops, was undertaken by Holmes and
Swift, Fakenham.
King's Lynn Minster
Snetzler - 1807 / Wordsworth-1895 / Rushworth & Dreaper-1962 / Holmes & Swift-2001, 2003
44 Stops
42 Ranks
2,407 Pipes
Great
Choir
Swell
Pedal
21.
16
Contra Geigen
58
10. 8 Open Diapason
58
1. 32 Double Open Diapason
12
22.
8
Open Diapason I
58
11. 8 Stopped Diapason 58
33.
8 Open Diapason
58
2. 16 Open Diapason
30
23.
8
Open Diapason II
58
12. 8 Dulciana
58
34.
8 Lieblich Gedeckt
58
3. 16 Violone
Gt.
24.
8
Stopped Diapason 58
13. 8 German Flute
58
35.
8 Salicional
58
4. 16 Sub Bass
30
25.
4
Octave
58
14. 4 Principal
58
36.
8 Voix Celestes
58
5. 8 Octave
12
26.
4
Principal
58
15. 4 Octave Dulciana
58
37.
4 Principal
58
6. 8 Violoncello
Gt.
27.
4
Harmonic Flute
58
16. 4 Flute
58
38.
4 Stopped Flute
58
7. 8 Bass Flute
12
58
17. 4 Fifteenth
58
39.
2 Fifteenth
58
8. 16 Trombone
12
9. 8 Trumpet
Gt.
28. 2 2/3 Twelfth
58
32. 16 Lieblich Bourdon
29.
2
Fifteenth
58
18. 8 Cremona
58
40. IV Mixture
232
30.
IV
Mixture
232
19. 8 Trumpet
58
41. 16 Double Trumpet
25
31.
8
Trumpet
58
20. 4 Octave Trumpet
12
42.
8 Cornopean
58
43.
8 Oboe
58
44.
4 Clarion
58
Tremulant
Choir to Great
Swell to Great
Swell to Choir
Swell octave
Swell to Pedal
Swell suboctave
Choir to Pedal
Swell unison off
Great to Pedal
Accessories
Great and Pedal pistons coupled
6 toe pistons to Pedal
balanced swell pedal;
Generals to Swell toe pistons
6 thumb pistons to each manual
reversible pistons gt-pd, sw-gt, sw-pd, ch-pd, Trumpet, 32'
6 General thumb pistons
General Cancel
6 toe pistons to Swell
Boston—St. Botolph’s
PAGE 31
The church is one of the largest parish churches in England, and it has has one of tallest Medieval tow-
ers in England. The tower is approximately 272 feet (83 m) high. The nickname, The Stump or Boston
Stump, is often used affectionately as a reference to the whole church building or for the parish community
housed by it. The formal name is Saint Botolph's Parochial Church of Boston. The nave is 242 feet (74 m)
long and 104 feet (32 m) wide, making the internal space of the building impressive by sheer size. The existing church was begun in 1309. The relatively short period of construction for such a large church is fairly
unusual in England and an indication of the wealth of Boston. Most similarly sized churches, largely cathedrals, took hundreds of years to build due to constant fund shortages, giving them a variety of different
styles as exhibited by other East Anglian churches such as Ely or Peterborough. The Stump, however, was
built in less than 150 years, giving it a rare sense of architectural coherence and unity. St. Botolph's has a
stunning array of sixty two misericords dating from 1390. St. Botolph's Church is the widest parish church
in England, the tallest to roof, and also one of the largest by floor area.
In the church's early days each of the various guilds had their own organ but the guilds were suppressed in
1547 and by 1589 all existing organs in the church had been disposed of. The church was subsequently
without an organ for more than a century and a quarter during Puritan days, until Christian Smith was engaged to build one in 1717. Some of Smith's pipes still survive in the present instrument but, over the
years, various builders have had a hand in its development, namely Nicholls, Hill, Bishop, Brindley, Norman
& Beard and Henry Willis. The last major rebuild was in 1940 by Harrison & Harrison of Durham. In 1987,
Harrisons carried out a restoration making some slight tonal changes and taking advantage of modern solid
-state technology to increase the facilities. In April 2007, they carried out some routine maintenance and
cleaning, and up-graded the combination capture system
St. Botolph
Great
Brindley-1871, Willis-1924, Harrison & Harrison-1933 / 1987
41 Stops
37 Ranks
2,134 Pipes
Choir
Swell
Pedal
17.
16
Double Diapason
58
9.
16 Contra Dulciana
58
30.
8 Violin Diapason
58
1.
16 Open Wood
30
18.
8
Open Diapason I
58
10.
8 Open Diapason
58
31.
8 Lieblich Gedeckt
58
2.
16 Diapason
Gt.
19.
8
Open Diapason II
58
11.
8 Lieblich Gedeckt
58
32.
8 Echo Gamba
58
3.
16 Dulciana
Ch.
20.
8
Open Diapason III
12
12.
8 Viole d'Orchestre
58
33.
8 Voix Célestes
58
4.
16 Sub Bass
30
21.
8
Stopped Diapason
58
13.
4 Gemshorn
58
34.
4 Principal
58
5.
8 Octave Wood
12
22.
8
Hohl Flute
58
14.
2 Piccolo
58
35.
4 Lieblich Flute
58
6.
8 Flute
12
23.
4
Octave
58
15.
8 Orchestral Oboe
58
36.
2 Fifteenth
58
7.
16 Ophicleide
30
24.
4
Wald Flute
58
16.
8 Clarinet
58
37. III Mixture
174
8.
8 Posaune
12
25.
2 2/3 Octave Quint
58
Tremulant
38.
8 Oboe
58
26.
2
Super Octave
27.
III
Mixture
174
39. 16 Double Trumpet
58
28.
8
Tromba
58
40.
8 Trumpet
58
29.
4
Octave Tromba
12
41.
4 Clarion
12
58
Tremulant
Choir to Great
Choir octave
Swell to Great
Swell to Choir
Swell octave
Choir to Pedal
Great to Pedal
Great Reeds to Choir
Swell to Pedal
Accessories
6 adjustable pistons to Pedal
Combination setter piston
6 adjustable pistons each to Great and Swell
General Cancel
5 adjustable pistons to Choir
Reversible pistons for Gt-Pd, Sw-Gt, Pd Ophicleide
3 adjustable general pistons
Reversible toe piston for Gt-Pd
Rotary selector switch enabling each of the above pistons to
Great and Pedal combinations coupled
have 8 combination settings
Balanced pedals to Swell and Choir
Nottingham—St. Mary the Virgin, High Pavement
PAGE 32
The main body of the present building (at least the
third on the site) dates from the end of the reign of
Edward III (1377) to that of Henry VII (1485–1509). The
nave was finished before 1475 and it is notable for its
uniformity of gothic perpendicular style. It is likely that
the south aisle wall was the first part of the building to
be constructed in the early 1380s, with the remainder
of the nave and transepts being from the early 15th
century. The tower was completed in the reign of Henry VIII. For several years from 1716, the church was
used to house the town fire engine. It was kept at the
west end, and was still there until at least 1770. St.
Mary's pioneered Sunday School education for those
children unable to attend a day school. Pupils were
taught reading, writing and arithmetic, as well as religious knowledge. The church was closed for 5 years from 1843 for a major restoration. It re-opened on 19 May 1848 .
The Organ is by Marcussen & Son of Denmark and is a fine example of a neo-classical
style instrument. It was installed in 1973 by the organist of the time, David Butterworth. It has 25 speaking stops and is a small organ for a church of this size. Nevertheless, it is a remarkable instrument which adequately gives musical support to choir and
congregation as well as being a fantastic solo instrument.
St. Mary the Virgin, High Pavement
Marcussen & Son-1973, 1993
25 Stops
41 Ranks
1,916 Pipes
Brystvaerk
Hovedvaerk
Pedal
8.
8
Principal
56
17.
8
Gedakt
56
1.
16
Subbas
30
9.
8
Rørfløjte
56
18.
8
Spidsgamba
50
2.
8
Oktav
18
10.
4
Oktav
56
19.
4
Principal
56
3.
8
Gedakt
12
11.
4
Spidsfløjte
56
20.
4
Kobbelfløjte
56
4.
4
Oktav
30
56
21.
56
5.
VI
Mixtur
180
56
22.
56
6.
16
Fagot
30
304
7.
8
Trompet
30
12.
13.
14.
2 2/3 Nasat
2
Oktav
16.
8
Gemshorn
56
23.
V-VI
392
24.
16
Krumhorn
56
56
25.
8
Vox Humana
56
1 3/5 Ters
15. VI-VIII Mixtur
2
1 1/3 Quint
Trompet
Scharf
Tremulant
Brystvaerk to Hovedvaerk
Hovedvaerk to Pedal
Brystvaerk to Pedal
Balanced swell pedal to Brustaevrk
Nottingham—Albert Hall
PAGE 33
The original Albert Hall was started in 1873 as a Nottingham Temperance Hall. Watson Fothergill, a
local architect won the commission. On completion the building cost around £15,000 (£1,125,360 as
of 2014),. It was the largest concert hall in Nottingham and a major venue for political rallies but it
had frequent financial crises. It was put on the market in 1901 and was bought by a syndicate of local
businessmen for £8,450 (£776,740 as of 2014), opening as a Wesleyan Methodist mission in September 1902.
Although the outstanding debt was a millstone, the work of the mission went from strength to
strength until 22 April 1906, when fire swept through the building. The Methodists then realized that
the Hall was under-insured. This time, a prominent local Methodist, Albert Edward Lambert, who had
been responsible for Nottingham Midland Station was asked to produce a plan. His new Albert Hall
Methodist Mission was built in the style of an Edwardian Theatre or Music Hall and, in the practice of
temperance halls, concerts and other events were staged in the building. The new Hall was dedicated
in March 1909 and officially opened on 15 September 1910 by Lady Florence Boot, wife of Jesse Boot
of the Boots pharmacy chain. The Hall continued to be used as a Methodist mission and remained the
city's largest concert venue until 1982. The congregation then merged with that at Parliament Street Methodist Church. Nottingham
City Council purchased the Albert Hall in 1987 and a major refurbishment was undertaken. A new floor was inserted at the level of
the front of the circle to reduce the volume of the main hall, and thus created
a new separate ground floor hall. The building was linked with the adjacent
Nottingham Playhouse and the bar block of the theatre was updated at the
same time to allow the creation of a multipurpose center. The work was completed in 1988 and Her Royal Highness the Princess of Wales unveiled a
plaque on 23 February 1989 to commemorate the refurbishment.
The organ was built in the Albert Hall Methodist Mission by J.J. Binns ill 1909. It
was a gift to the City of Nottingham by Sir Jesse Boot; the walnut casework was
made by Boots' shopfitters. A full restoration was completed by Harrison &
Harrison in 1993. The restoration was inspired and financed by the “Binns Organ Company”, a local group form for that purpose. No alterations have been
made and the Binns pneumatic actions have been retained in their entirety.
Nottingham Albert Hall
Brindley & Foster-1883 / Binns-1909 / Willis-1973 / Harrison & Harrison-1993
58 Stops
63 Ranks
4,052 Pipes
Choir
Swell
Solo
Great
Pedal
23.
16
Double Open Diapason
61
12.
16
Lieblich Gedact
61
37.
16
Contra Gamba
61
51.
8
Harmonic Flute
61
1.
32
Double Open Diapason
12
24.
8
Large Open Diapason
61
13.
8
Lieblich Gedact
61
38.
16
Quintaton
61
52.
8
Lieblich Gedact
61
2.
16
Open Diapason
32
25.
8
Medium Open Diapason
61
14.
8
Hohl Flute
61
39.
8
Open Diapason
61
53.
4
Flauto Traverso
61
3.
16
Contra Bass
32
26.
8
Small Open Diapason
61
15.
8
Dulciana
61
40.
8
Lieblich Gedact
61
54.
2
Piccolo
616
4.
16
Bourdon
32
27.
8
Claribel Flute
61
16.
8
Viol di Gamba
61
41.
8
Dolce
61
55.
8
Bassoon
61
5.
16
Dulciana
32
28.
8
Stop Diapason
61
17.
8
Viole Celeste
61
42.
8
Viol d'Orchestre
61
56.
8
Orchestral Oboe
61
6.
8
Octave Diapason
32
29.
4
Octave
61
18.
4
Gemshorn
61
43.
8
Vox Angelica
54
57.
8
Clarionet
61
7.
8
Violoncello
32
30.
4
Wald Flute
61
19.
4
Harmonic Flute
61
44.
4
Octave
61
8.
8
Bass Flute
32
61
20.
2
Flautina
61
45.
2
Fifteenth
61
61
9.
8
Dolce
32
183
32 notes
10.
16
Trombone
32
11.
8
Euphonium
32
31.
2 2/3 Dulciana Twelfth
32.
2
Fifteenth
61
21.
16
Bassoon
61
46.
III
Mixture
33.
IV
Mixture
244
22.
8
Vox Humana
61
47.
16
Double Trumpet
61
34.
16
Trombone
61
48.
8
Cornopean
61
35.
8
Tromba
61
49.
8
Oboe
61
36.
4
Clarion
61
50.
4
Clarion
61
Tremulant
Tremulant
58.
8
Tuba Harmonic Trebles
Carillon
Tremulant
Tremulant
Choir to Great
Solo to Choir
Solo to Swell
Solo Octave
Choir to Pedal
Solo Sub Octave to Great
Swell to Choir
Swell octave
Solo Octave to Great
Great to Pedal
Solo to Great
Swell octave to Great
Solo Sub Octave
Solo to Pedal
Swell suboctave to Great
Swell suboctave
Swell to Pedal
Swell to Great
Accessories
Balanced Crescendo pedals to Solo, Choir and Swell.
Full Organ piston
4 changeable composition pedals to Great and Pedal
Full Swell piston
4 interchangeable combination pistons to each manual with duplicating combination pedals.
Lincoln Cathedral
PAGE 34
Building commenced in 1088 and continued in several phases throughout the medieval period. It was reputedly
the tallest building in the world for 238 years (1311–1549). The central spire collapsed in 1549 and was not rebuilt. It is highly regarded by architectural scholars; the eminent Victorian writer John Ruskin declared: "I have
always held that the cathedral of Lincoln is out and out the most precious piece of architecture in the British
Isles and roughly speaking worth any two other cathedrals we have.“ Lincoln Cathedral features two major rose
windows, which are a highly uncommon feature among medieval architecture in England. On the north side of
the cathedral there is the “Dean's Eye” which survives from the original structure of the building and on the
south side there is the “Bishop's Eye” which was most likely rebuilt circa 1325–1350. This south window is one of
the largest examples of curvilinear tracery seen in medieval architecture.
The organ, completed in 1898, proved to be the last cathedral organ finished by ‘Father’ Willis himself, and
one of his finest instruments. It also has the distinction of being one of two Willis organs in English cathedrals
to retain its original tonal scheme. The new organ was based on Willis’s 1885 design, and incorporated a few
pipes from the earlier Allen instrument. Much larger than its predecessor, it required the enlargement of the
Allen case, and the siting of the largest pedal pipes in the north Triforium, along with the swell organ and the
blowing plant. The organ was dedicated on St. Hugh’s Day, 17 November, 1898, before a congregation of
4,700. It was to be the first British cathedral organ to be blown by electricity, but at the time of its inauguration, Lincoln’s power station had not yet entered service, so it was pumped manually by soldiers of the Lincolnshire Regiment. No changes were made until 1960, when Harrison and Harrison Ltd carried out a complete
rebuild at a cost of £14,000. Six new registers were added, but the Willis pipework was left unaltered. The
action and blowing equipment were renewed, and a new console provided. A further restoration was undertaken by the same firm in 1998, and the organ was rededicated on 20 November, just over a century after it
was first played in public.
Lincoln Cathedral
Great
Choir
Willis-1898 / Harrison & Harrison-1960, 1998
63 Stops
79 Ranks
3,578 Pipes
Swell
Solo
Pedal
28.
16
Double Open Diapason
58
14.
16
Lieblich Bourdon
58
42. 16 Double Open Diapason
58
57. 8 Claribel Flute
58
1. 32 Double Open Diapason
30
29.
8
Open Diapason I
58
15.
8
Open Diapason
58
43. 8 Open Diapason I
58
58. 8 Gamba
58
2. 16 Open Wood
12
30.
8
Open Diapason II
58
16.
8
Lieblich Gedeckt
58
44. 8 Open Diapason II
58
59. 8 Voix Celéste
46
3. 16 Open Metal
30
31.
8
Open Diapason III
58
17.
8
Dulciana
58
45. 8 Lieblich Gedeckt
58
60. 4 Harmonic Flute
58
4. 16 Violone
30
32.
8
Stopped Diapason
58
18.
8
Viola da Gamba
58
46. 8 Salicional
58
61. 8 Orchestral Oboe
58
5. 16 Bourdon
30
33.
8
Claribel Flute
58
19.
8
Hohl Flöte
58
47. 8 Vox Angelica
46
62. 8 Orchestral Clarinet 58
6. 16 Dulciana
30
34.
4
Principal
58
20.
4
Gemshorn
58
48. 4 Principal
58
7.
8 Octave
12
35.
4
Flute Harmonique
58
21.
4
Concert Flute
58
49. 4 Lieblich Flöte
58
63. 8 Tuba
58
8.
8 Violoncello
30
36. 2 2/3 Twelfth
58
22. 2 2/3 Nazard
58
50. 2 Fifteenth
58
64. 4 Tuba Clarion
58
9.
8 Dulciana
30
37.
2
Fifteenth
58
23.
51. III Mixture
174
10. 4 Super Octave
30
38.
III
Mixture
174
39.
16
Trombone
58
25.
III
Mixture
40.
8
Tromba
58
26.
16
Cor Anglais
41.
4
Clarion
58
27.
8
Corno di Bassetto
2
Piccolo Harmonique 58
24. 1 3/5 Tierce
Tremulant
Tremulant
52. 16 Double Trumpet
58
11. 32 Contra Posaune
30
53. 8 Trumpet
58
12. 16 Ophicleide
30
58
54. 8 Oboe
58
13. 8 Clarion
30
58
55. 8 Vox Humana
58
56. 4 Clarion
58
58
174
Tremulant
Choir to Great
Solo to Choir
Solo to Swell
Great to Solo
Choir to Pedal
Solo to Great
Swell to Choir
Swell octave
Solo Octave
Great to Pedal
Swell to Great
Great Reeds on Choir
Swell suboctave
Solo Sub Octave
Solo to Pedal
Swell unison off
Solo Unison Off
Swell to Pedal
Accessories
8 general pistons and general cancel
reversible thumb pistons ch-pd, gt-pd, sw-pd, so-pd, ch-gt, sw-gt, so-gt,
8 thumb pistons each to Great and Swell
Pedal Double Open Diapason 32';
6 thumb pistons to Choir
reversible toe pistons for sw-gt, gt-pd, Pedal Double Open Diapason 32';
5 thumb pistons to Solo
Pedal to Great pistons
4 additional thumb pistons
Pedal to Swell pistons
8 foot pistons to Pedal, 8 to Swell (duplicating thumb pistons);
generals on Swell foot pistons
3 additional toe pedals
8 general and 8 divisional memories
Gt-Pd toe pedal
balanced pedals to Swell and Solo
Derby Cathedral
PAGE 35
The current cathedral dates from the 14th century, although it appears to be based on an earlier medieval building,
which drawings show was about the same size as the present church. The 212-foot (65 m) tower dates from 1510 to
1530 and was built in the popular Perpendicular Gothic style of the time. Apart from the tower, the building was
rebuilt in a classical style to the designs of James Gibbs of 1725, and it was further enlarged in 1972. At the same
time, the ciborium was added over the altar. The building, previously known as All Saints' Church, became a cathedral by Order in Council on 1 July 1927. In late 2005, it was discovered that a pair of Peregrine Falcons had taken up
residence on the cathedral tower. In 2006 a nesting platform was installed, and they nested here in April. The same
pair successfully reared chicks in 2007, 2008, 2009 and other pairs continue to do so. Webcams were installed in
2007 and 2008 to enable the birds to be seen at close range without being disturbed by human contact.
The organ, job number A502, was built in 1939 by the famous John Compton Organ Company Ltd
and is one of the few remaining instruments by this firm to retain the Compton patent luminous
stop control system. As is typical of Compton organs, the organ is built using the extension principal
and the pipework contained in 3 fully enclosed chambers. However, some straight ranks of pipes
have been incorporated from previous instruments here - 2 stops (the Lieblich Gedackt 8 and
Stopped Flute 4 on the choir manual) from an organ by Elliot which lasted from 1808 to 1879 and
1,535 pipes from an instrument by Stringer which was built in 1879 and replaced by the Compton
on 1939. Most of these latter pipes are found on the swell manual. Due to the beginning of the
second world war in 1939, the organ was installed without any form of casework and it wasn't until
1963 when a case of dummy display pipes was designed by Sebastian Comper and installed. In 1992
the organ was overhauled by Rushworth and Dreaper who had taken over the pipe division of the
Compton company in the mid 1960s. New solid-state action was installed and some tonal alterations made. The organ is a wonderful example of a large church instrument built by the John Compton Organ Company Ltd.
Derby Cathedral
Great
Compton-1939 / Rushworth & Dreaper 1992
97 Stops
34 Ranks
2,882 Pipes
Choir:2nd
Swell
Choir
B 50. Double Diapason
16
12
22. Gemshorn
8
61
G 38. Contra Dulciana
12
12
A 51. First Diapason
8
61
23. Vox Angelica
8
61
C 39. Third Diapason
Gt
Gt.
B 52. Second Diapason
8
61
24. Lieblich Gedeckt
8
61
F 40. Hohlflote
Gt
C 53. Third Diapason
8
61
25. Stopped Flute
4
61
G 41. Dulciana
F 54. Hohlflote
8
61
26. Nazard
2 2/3
61
G 55. Dulciana
8
61
27. Flautino
2
B 56. First Octave
4
12
28. Tierce
1 3/5
C 57. Second Octave
4
12
F 58. Open Flute
4
12
C 59. Twelfth
2 2/3
-
F 60. Quint Flute
2 2/3
-
B 61. First Fifteenth
2
12
C 62. Second Fifteenth
2
F 63. Octave Flute
2
61
F 1. Sub Bass
32 Res.
8
54
H 2. Open Wood
16 32
4
12
A 3. Diaphone
16 12
M 87. Violes Celestes
4
12
B 4. Contra Bass
16 Gt.
61
L 88. Viol Fifteenth
2
12
F 5. Bourdon
16 12
4
61
N 89. Concert Flute
8
61
N 6. Echo Bourdon
16 12
76. Waldflöte
4
61
N 90. Harmonic Flute
4
12
G 7. Dulciana
16 Gt.
77. Fifteenth
2
61
N 91. Harmonic Piccolo
2
12
H 8. Octave Wood
8
12
78. Cymbale
IV 244
V 185
F 9. Flute
8
Gt.
Gt.
71. Open Diapason
8
61
Gt.
72. Salicional
8
61
8
Gt.
73. Voix Celestes
8
49
C 42. Principal
4
Gt.
74. Stopped Diapason 8
61
F 43. Open Flute
4
Gt.
75. Principal
61
B 44. Octave
2
Gt.
C 45. Quint
1 1/3 Gt.
Gt.
B 46. Octavin
1
A 30. Octave
4
Gt.
P 47. Double Clarinet
16
12
AB 31. Plein Jeu
III
Gt.
P 48. Clarinet
8
So.
D 32. Cymbale
IV
Gt.
O 49. Orchestral Oboe
8
So.
12
E 33. Contra Posaune
16
Gt.
Tremulant
12
E 34. Posaune
8
Gt.
III
48
I 35. Tromba
8
Gt.
D 65. Cymbale
II
24
I 36. Clarion
4
Gt.
E 66. Contra Posaune
16
61
8
So.
E 67. Posaune
8
E 68. Clarion
69. Tromba
Gt.
Pedal
8
61
8
ABC 64. Plein Jeu
Solo
16
Choir:Bombarde
A 29. Diapason
K 70. Bourdon
J 79. Contra Fagotto
80. Trumpet
J 81. Fagotto
82. Hautboy
J 83. Clarion
L 84. Viole d'Orchestre
M 85. Violes Celestes
L 86. Viola
92. Cornet (Sw. Box)
16
61
O 93. Bassoon
16 12
G 10. Dulciana
8
8
61
P 94. Clarinet
8
61
H 11. Super Octave Wood
4
12
8
12
O 95. Orchestral Oboe
8
61
F 12. Octave Flute
4
Gt.
8
61
4
12
Tremulant
8
61
AB 13. Fourniture
Q 97. Tuba
96. Vox Humana
8
61
BC 14. Acuta
Q 98. Tuba Clarion
4
12
IV 48
II
24
I 15. Contra Trombone
32 Res.
I 16. Trombone
16 32
E 17. Posaune
16 Gt.
12
J 18. Fagotto
16 Sw.
4
12
P 19. Clarinet
16 Sol
8
61
I 20. Tromba
8
12
I 21. Clarion
4
12
Q 37. Tuba
Tremulant
Solo to Great
Choir octave
Swell octave
Choir to Pedal
Swell to Great
Choir suboctave
Swell suboctave
Great to Pedal
Choir unison off
Swell unison off
Solo to Pedal
Swell to Choir
Solo to Swell
Solo Octave to Pedal
Great to Choir
Swell to Pedal
Solo to Choir
Accessories
3 expression pedals with mechanical indicators:
8 toe pistons to Pedal
(1) Great+
4 toe pistons each to Great and Swell
Choir+Pedal (except Open Wood/Polyphone), (2) Swell, (3) Solo.
Reversible toe piston for Gt-Pd
Crescendo pedal (60 stages, 4 levels) with illuminated bar graph.
Ventil Switches
8 general thumb pistons
Double touch canceller switch
8 thumb pistons to each manual (with double touch pedal combinations)
General Cancel
Reversible thumb piston to each Pedal coupler
Lockable setter
Thumb piston to each Pedal coupler (with double touch cancel of other couplers)
"SSL" digital control panel for 8-level capture system.
Reversible piston for Sw-Gt
Sustainers to Choir and Solo
"Tremulants Off" thumb piston
Note: Capital letters next to stop numbers show source of stops that are duplexed across divisions or extended to different pitches.
Southwell Minster
PAGE 36
A church has occupied the site at Southwell since Anglo-Saxon times. However, in 1108, the Archbishop of York
authorized the rebuilding the church and the building as we know it today was started. Very little of the early rebuild
remains (on account of later construction) but, by the 1120s, work had reached the arches below the central tower
which still survive. Southwell became the cathedral church for Nottinghamshire in 1888 and maintains a choir school
and daily choral services to this day.
Organs by ‘Father’ Smith, Bishop, and Hill Norman & Beard pre-dated the current two instruments in the cathedral,
the first of which was installed in the Nave in 1992. Discussions regarding a new Screen Organ took place from 1989
and in 1994 Nicholson were invited to tender for the design of a tracker-action organ to fit within the existing 18th
century-style screen case (1934, by Caroë). The Screen Organ scheme
was approved by the Cathedrals Fabric Commission in March 1995
and Nicholson commenced the work almost immediately. By mid
November, the organ was ready to be erected in the Minster and the work proceeded steadily into the
New Year when three months of voicing and regulating began. The specification, drawn up in consultation
with Paul Hale, includes 46 new ranks and 21 ranks of Nicholson pipework from an 1868 tracker organ
formerly housed in St. Peter’s, Malvern Wells. The console has a full complement of playing aids including a sequencer and stepper. The nave organ can be played from the screen organ console by means of
the ‘Nave organ on’ and ‘Screen organ off’ drawstops.
Southwell Minster - Screen Organ
Great
Nicholson-1868, 1906, 1922, 1996
51 Stops
67 Ranks
3,663 Pipes
Swell
Choir
25.
16
Bourdon
61
12.
8
Gedeckt
61
26.
8
Large Open Diapason
61
13.
8
Viol d'Amour
61
27.
8
Small Open Diapason
61
14.
8
Voix Celeste
49
28.
8
Stopped Diapason
61
15.
4
Gemshorn
61
29.
4
Principal
61
16.
4
Spitzflute
61
30.
4
Wald Flute
61
61
31.
2
Fifteenth
61
32.
IV
Full Mixture
244
17. 2 2/3 Nazard
18. 2 Fifteenth
19. 2 Blockflute
33.
III
Sharp Mixture
183
8
Trumpet
61
20. 1 3/5 Tierce
21. 1 1/3 Larigot
22. III Mixture
61
34.
183
23.
8
Clarinet
61
24.
8
Vox Humana
61
Tremulant
Swell to Great
61
61
61
Solo
Pedal
35. 8 Open Diapason
36. 8 Lieblich Gedeckt
37. 8 Salicional
61
49. 4 Concert Flute
50. V Mounted Cornet
61
Tremulant
38. 8 Vox Angelica
39. 4 Principal
40. 4 Nason Flute
49
51. 8 Bombarde
61
4. 16 Bourdon
5. 8 Principal
6. 8 Bass Flute
41. 2 Fifteenth
42. II Sesquialtera
43. III Mixture
61
7.
122
61
1. 32 Sub Bass
2. 16 Open Bass
3. 16 Open Diapason
61
185
61
61
4 Fifteenth
44. IV Plein Jeu
45. 16 Contra Posaune
46. 8 Cornopean
244
8. IV Mixture
9. 32 Contra Posaune
10. 16 Ophicleide
61
11. 16 Bassoon
47. 8 Oboe
48. 4 Clarion
61
183
61
Swell suboctave to Great
Tremulant
Swell to Choir
61
Choir to Great
Swell Octave to Choir
Choir to Pedal
Solo Sub Octave to Great
Solo Sub Octave to Choir
Great to Pedal
Solo to Great
Solo to Choir
Solo to Pedal
Swell to Pedal
Tremulant
Southwell Minster - Nave Organ
Wood -1992
44 Stops
47 Ranks
2,616 Pipes
Great
Swell
Solo
Pedal
12.
16
Double Open Diapason
61
27.
16
Bourdon
61
42. 8 Clarinet
61
1. 32 Double Open Wood
13.
8
Open Diapason No.1
61
28.
8
Open Diapason
61
43. 8 Tuba
61
2. 16 Open Diapason Wood
32
14.
8
Open Diapason No.2
61
29.
8
Gedackt
61
44. 4 Clarion
12
3. 16 Open Diapason Metal
Gt.
15.
8
Hohl Flute
61
30.
8
Salicional
61
4. 16 Bourdon
32
16.
8
Rohr Flute
61
31.
8
Voix Celeste
49
5.
8 Principal
32
17.
8
Gamba
61
32.
4
Geigen Principal
61
6.
8 Bass Flute
12
18.
4
Principal
61
33.
4
Flauto Traverso
61
7.
4 Fifteenth
12
19.
4
Gemshorn
61
34.
2
Fifteenth
61
8.
4 Stopped Flute
12
20.
4
Harmonic Flute
61
35.
2
Piccolo
61
9. 32 Contra Trombone
elect.
21. 2 2/3 Twelfth
61
36.
II
Sesquialtera
122
10. 16 Trombone
32
22.
2
Fifteenth
61
37.
III
Mixture
183
11. 8 Clarion
12
23.
IV
Full Mixture
244
38.
16
Double Trumpet
61
24.
III
Sharp Mixture
183
39.
8
Trumpet
61
25.
8
Posaune
61
40.
8
Oboe
61
26.
4
Clarion
61
41.
4
Clarion
61
Tremulant
Tremulant
Swell to Pedal
Swell to Great
Swell octave
Great to Solo
Great to Pedal
Solo to Great
Swell unison off
Swell to Solo
Solo to Pedal
elect.
elect.
elect.
30
30
30
30
30
120
elect.
30
30
Peterborough Cathedral
PAGE 37
Peterborough Cathedral, properly the Cathedral Church of St. Peter, St. Paul and St. Andrew – also known as Saint Peter's Cathedral in the United Kingdom – is dedicated to Saint Peter, Saint Paul and Saint Andrew, whose statues look
down from the three high gables of the famous West Front. Founded in the Anglo-Saxon period, the architecture is
mainly Norman, following a rebuilding in the 12th century. With Durham and Ely Cathedrals, it is one of the most important 12th-century buildings in England to have remained largely intact, despite extensions and restoration.
Peterborough Cathedral is known for its imposing Early English Gothic West Front (facade) which, with its three enormous arches, is without architectural precedent and with no direct successor. The appearance is slightly asymmetrical,
as one of the two towers that rise from behind the façade was never completed (the tower on the right as one faces the
building), but this is only visible from a distance, while the effect of the West Front upon entering the Cathedral Close is
overwhelming.
The Cathedral’s four-manual Hill organ is arguably one of the finest of its kind in the country, equally versatile for
accompanying and playing the solo organ repertoire. It was originally built in 1894, although it has since undergone a
number of refurbishments, most recently following the fire of 2001, which necessitated a major restoration of the
organ before its reinstallation in 2005. Like other Hill instruments of the period, the Peterborough organ is set considerably sharper than modern ‘concert’ pitch. The present instrument can be traced back to 1894 when William Hill built
a new organ incorporating some pipework from previous instruments. Hill was one of the two most celebrated organ
builders of the nineteenth century, and his instruments were designed in a somewhat more classical style than the
more symphonic organs of his rival Henry Willis. The main organ is situated in the north triforium, behind a case designed by Dr. Arthur Hill, and the Choir Organ and two pedal ranks are in the north choir aisle. In 1981 the organ was
restored by Harrison & Harrison. Following the fire in the Cathedral in November 2001, the organ was dismantled,
restored and reinstated in 2004/2005, the opportunity being taken to provide new electrical systems. The Choir section was moved one bay to the west, bringing it directly beneath the main organ case.
Peterborough Cathedral
Hill-1894 / Norman, Hill & Beard - 1938 / Harrison & Harrison - 1981, 2005
86 Stops
98 Ranks
5,044 Pipes
Choir
Swell
Solo
Great
Pedal
34.
16
Double Open Diapason
61
22. 16 Bourdon
61
53. 16 Bourdon
61
71. 16 Quintatön
61
1.
32 Double Open Diapason
30
35.
16
Bourdon
61
23. 8 Open Diapason
61
54. 8 Open Diapason I
61
72. 8 Viole
61
2.
16 Open Diapason
30
36.
8
Open Diapason I
61
24. 8 Dulciana
61
55. 8 Open Diapason II
61
73. 8 Viole Céleste
49
3.
16 Open Diapason
30
37.
8
Open Diapason II
61
25. 8 Stopped Diapason 61
56. 8 Rohr Flöte
61
74. 8 Unda Maris
110
4.
16 Violone
30
38.
8
Open Diapason III
61
26. 4 Principal
61
57. 8 Salicional
61
75. 8 Concert Flute
61
5.
16 Bourdon
30
39.
8
Spitz Flöte
61
27. 4 Flute
61
58. 8 Voix Céleste
49
76. 4 Octave Viole
61
6.
16 Dulciana
30
40.
8
Hohl Flöte
61
28. 2 Fifteenth
61
59. 4 Principal
61
77. 4 Flauto Traverso
61
7.
8
Principal
30
41.
8
Stopped Diapason
61
29. 2 Flautina
61
60. 4 Salicet
61
78. 2 Piccolo
61
8.
8
Bass Flute
30
42.
4
Principal
61
30. 1 Flageolet
61
61. 4 Wald Flute
61
79. 16 Double Clarinet
61
9.
8
Violoncello
30
43.
4
Geigen Principal
61
31. III Mixture
1
62. 2 Fifteenth
61
80. 8 Orchestral Oboe
61
10.
4
Gemshorn
30
44.
4
Harmonic Flute
61
32. 16 Bassoon
61
63. III Mixture
183
81. 8 Clarinet
61
11.
II
Twelfth & Fifteenth
60
45. 2 2/3 Twelfth
61
33. 8 Trumpet
61
64. IV Cymbal
244
82. 8 Vox Humana
61
12. III Mixture
90
46.
2
Fifteenth
61
13. 32 Contra Trombone
30
47.
IV
Full Mixture
244
48.
III
Sharp Mixture
183
49.
IV
Cornet
196
67. 16 Double Trumpet
61
85. 8 Tuba
50.
16
Contra Posaune
61
68. 8 Trumpet
61
86. 8 Tuba Mirabilis
Prep.
17. 16 Clarinet
Solo
51.
8
Posaune
61
69. 8 Horn
61
87. 4 Clarion
Great
18. 16 Contra Oboe
Swell
52.
4
Clarion
61
70. 4 Clarion
61
Tremulant
65. 16 Contra Oboe
61
66. 8 Hautboy
61
Tremulant
Tremulant
83. 16 Contra Posaune Great
14. 16 Trombone
84. 8 Posaune
15. 16 Contra Posaune
Great
61
16. 16 Contra Tuba
Solo to Choir
8
Trumpet
30
20.
8
Posaune
Great
4
Clarion
Great
Swell octave
Solo Octave
Swell to Pedal
Swell to Choir
Swell suboctave
Solo Sub Octave
Choir to Pedal
Choir to Great
Swell unison off
Solo Unison Off
Great to Pedal
Solo to Great
Solo to Swell
Solo to Pedal
Accessories
8 thumb pistons to Great
reversible toe pistons: Gt-Pd, Sw-Gt, Ped Double Open Diapason, Contra Trombone
8 thumb pistons to Swell
general cancel piston
8 thumb pistons to Choir
balanced expression pedals to Choir, Swell and Solo
8 thumb pistons to Solo
Great and Pedal combinations coupled
8 general thumb pistons
generals on Swell foot pistons
8 toe pistons Pedal
8 divisional and 128 general piston memories
8 toe pistons to Swell
stepper button, operating general pistons in sequence
reversible thumb pistons: Ch-Pd, Gt-Pd, Sw-Pd, So-Pd, Sw-Ch, Sw-Gt
12
19.
21.
Swell to Great
30
Great
Chelmsford Cathedral
PAGE 38
The church of St. Mary the Virgin in Chelmsford was probably first built along with the town eight
hundred years ago. It was rebuilt in the 15th and early 16th centuries, with walls of flint rubble,
stone and brick. There is also a tower with a spire and a ring of thirteen bells, twelve of which were
cast by John Warner & Sons at Cripplegate. The nave partially collapsed in 1800, and was rebuilt by
the County architect John Johnson, retaining the Perpendicular design, but using Coade stone piers
and tracery, and a plaster ceiling. The upper part of the chancel was rebuilt in 1878. In 1914 the
church became the cathedral for the newly created diocese of Chelmsford. The south porch was
extended in 1953 to mark Anglo-American friendship after the World War II and the many US airmen stationed in Essex. In 1954, the cathedral was additionally dedicated to Saints Peter and Cedd.
In 1983, the interior of the cathedral was extensively refurbished, with a new floor, seating, altar, Bishop's throne, font and artwork.
The Nave Organ was built on a specially constructed gallery at the west end of the Cathedral. Interestingly, when
the new gallery was constructed, evidence was found that a similar gallery had existed previously, and there remained indications that a door had been blocked up from the spiral staircase now used to gain access to the gallery. For choir accompaniment and also for smaller congregations a second organ has been built in the East end of
Chelmsford Cathedral, from which much of the main organ is playable for the accompaniment of congregational
singing in larger services utilizing electric action. The key and pedal actions of the Chancel Organ itself are of mechanical, the drawstop action being electric with a full complement of registrational aids. Shortly before the organ
was ordered, an instrument from a redundant church in Cambridge, St. Andrew the Great became available. This
was fortunate because it was looking as if the Chancel Organ was going to exceed the budget available to the Cathedral. This instrument was a Holditch of 1844 and some of the pipework was made available to Chelmsford Cathedral and formed the basis of the new organ. The new and old married very successfully.
Chelmsfotd Cathedral-Nave Organ
NAVE GREAT
Mander - 1984/1985
40 Stops
50 Ranks
2,636 Pipes
NAVE SWELL
NAVE CHOIR
NAVE SOLO
15.
16
Bourdon
58
8.
8
Stopped Diapason
58
28.
8
Stopped Diapason
58
16.
8
Open Diapason
58
9.
8
Salicional
58
29.
8
Viola da Gamba
17.
8
Gamba
58
10.
4
Principal
58
30.
8
18.
8
Stopped Diapason
58
11.
4
Flute
58
31.
19.
4
Principal
58
12.
2
Flageolet
58
20.
4
Flute
58
13.
21. 2 2/3 Twelfth
58
14.
22.
58
2
Fifteenth
1 1/3 Mixture II-III
8
Cromome
Tremulant
8 Ophicleide
NAVE PEDAL
1.
16 Open Diapason
30
58
2.
16 Bourdon
30
Vox Angelica
58
3.
8 Principal
30
4
Principal
58
4.
8 Flute
30
32.
4
Flauto Traverso
58
5.
4 Fifteenth
30
153
33.
2
Fifteenth
58
6.
16 Bombarde
30
58
34.
174
7.
8 Trumpet
30
1 3/5 Mixture III
40.
58
35.
16
Contra Fagotto
58
Great to Pedal
23. 1 3/5 Sesquialtera III
116
36.
8
Trumpet
58
Choir to Pedal
24.
1
Mixture III
174
37.
8
Hautboy
58
Choir Octave to Pedal
25.
8
Cornet V
185
38.
8
Vox Humana
58
Swell to Pedal
26.
8
Posaune
58
39.
4
Clarion
58
Solo to Pedal
27.
4
Clarion
58
Choir to Great
Tremulant
Swell to Choir
Swell to Great
Solo to Great
Chelmsfotd Cathedral-Chancel Organ
Mander - 1984/1985
24 Stops
30 Ranks
1,482 Pipes
CHANCEL SWELL
CHANCEL GREAT
CHANCEL PEDAL
5.
16
Bourdon
58
15.
8
Open Diapason
58
1. 16 Subbas
6.
8
Open Diapason
58
16.
8
Stopped Diapason
58
2. 16 Bourdon (Great)
7.
8
Stopped Diapason
58
17.
8
Echo Gamba
58
3. 8 Flute
30
8.
8
Dulciana
58
18.
8
Voix Celeste
58
4. 16 Trombone
30
9.
4
Principal
58
19.
4
Principal
58
Great to Pedal
10.
4
Wald Flute
58
20.
2
Fifteenth
58
Swell to Pedal
58
21.
III
Mixture
174
11. 2 2/3 Twelfth
12.
2
Fifteenth
58
22.
16
Contra Fagotto
58
13.
III
Mixture
174
23.
8
Cornopean
58
14.
8
Trumpet
58
24.
8
Oboe
58
Swell to Great
Tremulant
30
London-St. Bride’s Fleet Street
PAGE 39
St Bride's building's most recent incarnation was designed by Sir Christopher Wren in 1672 in Fleet
Street in the City of London, though Wren's original building was largely gutted by fire during the
London Blitz in 1940. Due to its location in Fleet Street, it has a long association with journalists
and newspapers. The church is a distinctive sight on London's skyline and is clearly visible from a
number of locations. Standing 226 feet (69m) high, it is the second tallest of all Wren's churches,
with only St Paul's itself having a higher pinnacle. The famous spire was added later, in 1701-1703.
It originally measured 234 ft but lost its upper eight feet to a lightning strike in 1764; this was then
bought by the then owner of Park Place, Berkshire, where it still resides. The design utilises four
octagonal stages of diminishing height capped with an obelisk which terminates in a ball and vane.
In 1703 when Thomas Rich, a baker’s apprentice from Ludgate Hill, fell in love with the daughter of
his employer and asked her to marry him. He wanted to make an extravagant cake, and drew on
the design of St Bride's Church for inspiration .
Built by the John Compton Organ Company, and arguably their finest work, the organ was ready for
the rededication of the church in November 1957. It has recently been completely overhauled and
cleaned by Keith Bance, who has carried out some modest tonal updating. This included remodeling
the positive division, adding new mixture stops to the great and pedal divisions and the provision of a
new Vox Humana for the solo division. These changes have further increased the resources of an already versatile instrument. The organ has four manuals, 98 speaking stops, close to 4,000 pipes, a
multi-level capture system and the wind is provided by four blowing installations. Most of the organ
is invisible, but if you stand in the center of the Nave and look to the west you wil be able to see the
pipes of one section, the Positive Division, behind the Minstrels' Gallery. Behind that is the Choir division, enclosed in one of four swell boxes. The Great and Swell divisions occupy the South chamber;
they are placed side by side - against the Rectory wall. The North chamber contains the Solo division
and the loudest stops on the organ, the Tuba and Fanfare Trumpet.
St. Bride's Church
Great
John Compton - 1957 / Keith Bance - 1984, 2002
95 Stops
63 Ranks
3,862 Pipes
Positive
Swell
Choir
43.
16
Double Open Diapason
97
27.
16
44.
16
Bourdon
61
28.
45.
8
First Diapason
61
46.
8
Second Diapason
47.
8
Third Diapason
48.
8
Stopped Diapason
73
49.
8
Hohl Flote
50.
4
Principal
51.
4
Octave
# 43
35. 2-2/3 Dulcet Twelfth
# 27
52.
4
Stopped Flute
# 51
36. 2-2/3 Nazard
# 33
Solo
Pedal
Double Dulciana
91
88.
8
Principal
73
62.
16
Contra Salicional
85
77.
8
Viole d'Orchestre
61
1.
32 Sub Bass
8
Geigen
61
89.
8
Nason Flute
61
63.
8
Open Diapason
61
78.
8
Viole Celestes
49
2.
16 Double Open Diapason
Gt
29.
8
Dulciana
# 27
90.
4
Principal
# 88
64.
8
Salicional
# 62
79.
8
Harmonic Flute
85
3.
16 Contra Bass
44
61
30.
8
Vox Angelica
49
91.
4
Koppel Flute
61
65.
8
Voix Celeste
49
80.
4
Concert Flute
# 79
4.
16 Sub Bass
#1
# 43
31.
8
Claribel Flute
61
92.
73
66.
8
Lieblich Gedeckt
61
81.
2
Piccolo
# 79
5.
16 Salicional
Sw
32.
4
Gemshorn
61
93.
2.
Flageolet
61
67.
4
Principal
61
82.
8
Clarinet
61
6.
16 Dulciana
Ch
61
33.
4
Flauto Traverso
61
94.
2.
Terz
61
68.
4
Salicet
# 62
83.
8
Orchestral Oboe
61
7.
16 Bourdon
Gt
61
34.
4
Dulcet
# 27
95.
-
69.
4
Zauberflote
61
84.
8
French Horn
61
8.
8 Octave
#3
70.
2
Fifteenth
61
85.
8
Vox Humana
61
9.
8 Salicional
Sw
71.
III
Cornet
183
86.
8
Tuba
61
10.
8 Stopped Octave
44
# 27
72.
III
Mixture
122
87.
8
Fanfare Trumpet
61
11.
8 Flute
Gt
# 27
73.
16
Contra Hautboy
12.
4 Superoctave
#3
183
4 Major Flute
# 10
53. 2 2/3 Twelfth
61
37.
2
Flautina
54.
61
38. 1 3/5 Tierce
2-2/3 Quint
1 1/3 Larigot
73
Tremulant
44
2
Fifteenth
55.
2
Superoctave
# 43
39.
III
Acuta
74.
8
Trumpet
61
13.
56.
III
Mixture
183
40.
16
Double Clarinet
73
75.
8
Hautboy
# 73
14.
4 Flute
57.
III
Cymbale
183
41.
8
Clarinet
# 40
76.
4
Clarion
# 74
15.
IV Mixture
58.
16
Contra Trombone
73
42.
8
Tuba
Solo
16.
IV Fourniture
128
59.
8
Tromba
73
17.
VI Grand Cornet
32'
60.
8
Posaune
# 58
18.
16 Hautboy
Sw
61.
4
Clarion
# 59
19.
16 Bombarde
12
20.
16 Posaune
21.
16 Double Horn
Solo
16 Clarinet
Solo
Tremulant
Tremulant
Gt
Gt
12
Swell to Great
Swell to Choir
Positive on Choir
Swell octave
Solo Super Oct
22.
Choir to Great
Choir octave
Positive on Great
Swell suboctave
Solo Sub Octave
23.
8 Tuba
Solo to Great
Choir suboctave
Swell unison off
Solo Uni Off
24.
8 Posaune
Gt
Solo to Choir
Solo to Swell
25.
8 Clarinet
Solo
26.
4 Clarion
Gt
Great Reeds on Choir'
Accessories
Swell to Pedal
Pedal on Swell pistons
Solid state logic action (part) together with Compton electric action switches
Choir to Pedal
Pedal on Great pistons
4 expression pedals
Great to Pedal
Pedal on Choir pistons
Solo to Pedal
Solo Octave to Pedal
Solo
London—Royal Festival Hall
PAGE 40
The Royal Festival Hall is a 2,500-seat concert, dance and talks venue within Southbank Centre in
London. It is situated on the South Bank of the River Thames, not far from Hungerford Bridge. The
London Philharmonic Orchestra, the Philharmonia Orchestra and the Orchestra of the Age of Enlightenment are resident in the hall. The hall was built as part of the Festival of Britain for London
County Council, and was officially opened on 3 May 1951. Following the opening of the hall, there
was some criticism of certain aspects of the acoustics. This was partially attributable to the fact
that some of the original specifications for room surfaces determined by the acoustic consultants
were ignored in the building process. A specific problem for performers was the difficulty of hearing each other on the platform. Both the angled ‘blast’ side walls and the plywood reflectors projected sound away from the stage The building underwent a substantial renovation between 2005 and 2007 aimed at improving the poor acoustics and building layout,.
The 7,866 pipe organ was built during 1950–1954 by Harrison & Harrison in Durham, to the specification of the London County Council's consultant, Ralph Downes, who also supervised the tonal
finishing. It was designed as a well-balanced classical instrument embracing a number of rich and
varied ensembles which alone or in combination could equal the dynamic scale of any orchestra or
choral grouping, in addition to coping with the entire solo repertoire. The design principles enshrined in its construction gave rise to a whole new school of organ building, known as the English
Organ Reform Movement, influencing in the UK alone the cathedral organs of Coventry and Blackburn and the concert hall organs of the Fairfield Halls, Croydon and the Bridgewater Hall, Manchester: there are also innumerable organs in other countries which have been influenced by it. However, the design of the organ in its housing made maintenance difficult, and by 2000 it had saliently become unusable. It was consequently completely removed before restoration of the Hall itself began in 2005-7, and after restoration and updating by Harrison and Harrison, a third of the organ was reinstalled at that time. The remainder was reinstalled between 2012 and 2013, and voicing completed in 2014.
Royal Festival hall
Great organ
54. 16
55. 16
56. 8
57. 8
58. 8
59. 8
60. 5 ⅓
61. 4
62. 4
63. 4
64. 2 ⅔
65. 2
66. 2
67. 1 ⅗
68. 2
69. ⅔
70. 8
71. 16
72. 8
73. 4
Principal
61
Gedacktpommer
61
Diapason
61
Principal
61
Harmonic Flute
61
Rohr Gedackt
61
Quintflute (stopped) 61
Octave
61
Gemshorn (conical) 61
Quintadena
61
Quint
61
Super Octave
61
Blockflute
61
Tierce
61
Mixture V
305
Sharp Mixture IV
244
Cornet V
185
Bombarde
61
Trumpet
61
Clarion
61
Harrison & Harrison-1954, 2013
103 Stops
131 Ranks
7,589 Pipes
Choir organ
Swell organ
Positive organ
26.
27.
28.
29.
30.
31.
32.
33.
34.
35.
36.
37.
38.
39.
8
8
8
4
4
2⅔
2
1⅗
1⅓
2
1
½
8
8
Principal
Gedackt
Quintadena
Octave
Rohrflute
Rohrnazard
Spitzflute
Tierce
Larigot
Mixture V
Sharp Mixture V
Carillon II
Dulzian
Trumpet
61
61
61
61
61
61
61
61
61
305
305
122
61
61
40.
41.
42.
43.
44.
45.
46.
47.
48.
49.
50.
51.
52.
53.
(on Positive keys-Enclosed)
16 Salicional
8 Open Wood
8 Stopped Wood
8 Salicional (conical)
8 Unda Maris (conical)
4 Spitzoctave (conical)
4 Open Flute
2 Principal
1 ⅓ Quint
1 Octave
2/3 Sesquialtera II
½ Mixture IV
8 Cromorne
4 Schalmei
61
61
61
61
61
61
61
61
61
61
122
244
61
61
74.
75.
76.
77.
78.
79.
80.
81.
82.
83.
84.
85.
86.
87.
88.
89.
90.
16
8
8
8
8
8
4
4
2⅔
2
2
1⅗
1
1
1/5
8
8
Quintadena
Diapason
Gemshorn (conical)
Quintadena
Viola
Celeste
Principal
Koppelflute
Nazard (conical)
Octave
Open Flute
Tierce (tenor F)
Flageolet
Mixture IV
Cymbel III
Hautboy
Vox Humana
XVI Tremulant
91. 16 Bombarde
92. 8 Trumpet
93. 4 Clarion
Solo organ
61
61
61
61
61
61
61
61
61
61
61
44
61
244
183
61
61
94.
95.
96.
97.
98.
99.
100.
101.
102.
103.
(Enclosed)
8
Diapason
8
Rohrflute
4
Octave
2
Waldflute (conical)
2 ⅔ Rauschquint II
1 ⅓ Tertian II
1 ⅓ Mixture VI
16 Basset Horn
XIX Tremulant
8
Harmonic Trumpet
4
Harmonic Clarion
61
61
61
Pedal organ
61
61
61
61
122
122
366
61
61
61
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
32
16
16
16
16
16
10 ⅔
8
8
8
5⅓
4
4
2
3⅕
5⅓
2⅔
32
16
16
8
8
4
4
2
Principal
Major Bass
Principal
Sub Bass
Quintadena
Salicional
Quintflute (stopped)
Octave
Gedackt
Quintadena
Nazard (conical)
Superoctave
Spitzflute (conical)
Open Flute
Septerz II
Rauschquint II
Mixture V
Bombarde
Bombarde
Dulzian
Trumpet
Cromorne
Clarion
Schalmei
Kornett
XI Sub Octave
V Tremulant
IX Tremulant
XVII Octave
I Positive and Choir to Pedal
XII Reeds and Cornet on Solo
VI Positive on Great
X Choir on Solo
(16ft, 8ft and 4ft stops only)
II Great to Pedal
XIII Positive and Choir to Great
VII Swell to Positive
XVIII Solo to Swell
III Swell to Pedal
XIV Swell to Great
VIII Solo to Positive
IV Solo to Pedal
XV Solo to Great
Accessories
XX Great and Pedal Combinations coupled
Reversible foot pistons: I - IV
XXI Swell on General Foot Pistons
Full organ piston and foot piston, with indicator
Eight foot pistons to the Pedal Organ
Sequencer, operating general pistons
Eight pistons to the Choir and Positive Organs (combined)
General crescendo pedal, with indicator
Eight pistons to the Great Organ (duplicated by foot pistons)
Balanced expression pedals to Choir, Swell and Solo Organs
Eight pistons to the Swell Organ
The pistons are instantly adjustable, with 8 divisional memories and 128 general memories
Eight pistons to the Solo Organ
The general crescendo pedal has one fixed and three adjustable settings
Eight general pistons and general cancel
The manual compass is 61 notes; the pedal compass is 32 notes
Reversible pistons: I - IV, VII, VIII, XIII, XIV, XV, XVIII
12
32
32
32
Sw
Ch
32
32
32
Sw
32
32
32
32
64
64
160
12
32
12
32
Ch
32
Ch
32
Hotels & Organs Visited in London
PAGE 41
A. Regency Hotel
B. Kensington Holiday Inn Forum
3
Organs Visited:
Tuesday, July 15th
1
1. St. Stephen’s, Wallbrook
Wednesday, July 16th
2. Southwark Cathedral
3. St. James’s, Bermondsey
7
4. All Souls, Langham Place
8
5. St. Cuthbert’s, Philbeach
Gardens
Thursday, July 17th
4
6. St. Barnabas, Dulwich
6
Saturday, July 26th
7. St. Bride’s Feet Street
North
Monday, July 28th
8. Royal Festival Hall
A
B
2
5
Map of Sites Visited outside London
PAGE 42
Thursday, July 17th — London-Reading-Farnborough-Winchester
Wednesday, July 23rd — Cambridge-Ely-Kings Lynn-Boston-Nottingham
Sunday, July 20th — Winchester-London–Bury St. Edmunds, Cambridge
Thursday, July 24th — Nottingham-Lincoln-Derby-Nottingham
Monday, July 21st — Cambridge-Bury St. Emunds-Cambridge
Friday, July 25th — Nottingham-Southwell-Peterborough-ChelmsfordLondon
Tuesday, July 22nd — Cambridge-Wymondham-Norwich-Cambridge