The New Organ
We think of the project as a “new” organ, incorporating the major parts, such as the blowers, reservoirs and console chassis, and almost all of the pipework, most of which is in good condition. Since 1877, when the organ was moved to the Leigh chapel, the main design of the organ has remained the same. Despite the extent of work undertaken in the 1960s, almost the entire organ that Sir Edward Bairstow would have known is still here, in tact. Much of the Great and Swell organs were completely unaltered in the 60s, despite brightening of the choruses. The Pedal organ also contains all of Bairstow’s stops, completely unaltered. Some of the worst pipework in the organ, in terms of its condition, can be found in these ranks. Of course as in any major work to a pipe organ like this, all of the pipework will receive attention to ensure its condition is excellent when it is re-installed.
Most of the winding system from 1901/2 was retained in 1963, with only minor alterations for the conversion of the tubular pneumatic action to the present electro-pneumatic action. The blower is thought to be the most reliable piece of equipment in the organ, and has given almost no trouble at all since its installation in 1906, and again this was retained in 1963. The Positif was typical of organ building at the time. Only the Dulciana and some of the flute pipework remained from the previous choir. This was a step in the right direction, as “English” choir organs are much less flexible, but it was still very limiting, the most limiting factors being it’s low wind pressure (only 2⅛”) and location, being in the same position as the original Choir organ which greatly reduces its ability to speak into the building.
In the new organ, the most notable change will be the completion of the current Positif organ to give it independence. This will include the provision of a 16’ Gedackt, an 8’ Open Diapason, and a three rank mixture. The Rohr Shalmei will be replaced with a new Cromorne stop, offering greater flexibility in a wider range of repertoire and also being more useful in choral accompaniment.
The Great will remain much as it is now, although a new Seventeenth may be provided to compliment the current chorus. This will add the unique tierce quality to the plenum, and also allow two independent Cornet combinations to be used, for echo effects.
The Swell will remain as it is now. Originally it was our intention to add a two rank Sesqualtera stop to the swell. This would be more desirable on this division as the 8’ flute in the Swell is stopped, unlike the open flute on the Great. However after an assessment by Mr Wood, it was decided that this would not be possible because all of the available space in the Swell box is already taken, and the organists would not like to sacrifice the luxury of two three rank mixtures. The 1901/2 Swell also contained a Vox Humana stop, but again, space prevents us from re-instating this stop without sacrificing one of the mixtures.
The Pedal organ was enlarged significantly in the 60’s. The Gemshorn, Nachthorn, mixture and the 8’ and 4’ octaves of the reed were added at this time, and we intend to keep all of this pipework. Hopefully, we will increase the flexibility of this division by re-voicing the Gemshorn as a Spitzflöte, and removing the 4’ rank from the mixture allowing it to be used independently.
The 2’ flute will be retained, although it will be most likely re-named “Open Flute”, which is more appropriate.
Across the organ, the stop names were changed in the 1963 work, in keeping with the style of organ building at the time, in favour of more European names such as those found on the Positif organ. These names will be anglicised, (for example the replacement of Positif with Positive, and the replacement of Flöte with Flute) and where necessary, stops will be given a more appropriate name that more accurately describes the sound the pipes make.
It is hoped that, when the work is complete, the organ will be more versatile both as a recital instrument and for accompaniment, and will be able to provide another century of music making in this historic building.
Most of the winding system from 1901/2 was retained in 1963, with only minor alterations for the conversion of the tubular pneumatic action to the present electro-pneumatic action. The blower is thought to be the most reliable piece of equipment in the organ, and has given almost no trouble at all since its installation in 1906, and again this was retained in 1963. The Positif was typical of organ building at the time. Only the Dulciana and some of the flute pipework remained from the previous choir. This was a step in the right direction, as “English” choir organs are much less flexible, but it was still very limiting, the most limiting factors being it’s low wind pressure (only 2⅛”) and location, being in the same position as the original Choir organ which greatly reduces its ability to speak into the building.
In the new organ, the most notable change will be the completion of the current Positif organ to give it independence. This will include the provision of a 16’ Gedackt, an 8’ Open Diapason, and a three rank mixture. The Rohr Shalmei will be replaced with a new Cromorne stop, offering greater flexibility in a wider range of repertoire and also being more useful in choral accompaniment.
The Great will remain much as it is now, although a new Seventeenth may be provided to compliment the current chorus. This will add the unique tierce quality to the plenum, and also allow two independent Cornet combinations to be used, for echo effects.
The Swell will remain as it is now. Originally it was our intention to add a two rank Sesqualtera stop to the swell. This would be more desirable on this division as the 8’ flute in the Swell is stopped, unlike the open flute on the Great. However after an assessment by Mr Wood, it was decided that this would not be possible because all of the available space in the Swell box is already taken, and the organists would not like to sacrifice the luxury of two three rank mixtures. The 1901/2 Swell also contained a Vox Humana stop, but again, space prevents us from re-instating this stop without sacrificing one of the mixtures.
The Pedal organ was enlarged significantly in the 60’s. The Gemshorn, Nachthorn, mixture and the 8’ and 4’ octaves of the reed were added at this time, and we intend to keep all of this pipework. Hopefully, we will increase the flexibility of this division by re-voicing the Gemshorn as a Spitzflöte, and removing the 4’ rank from the mixture allowing it to be used independently.
The 2’ flute will be retained, although it will be most likely re-named “Open Flute”, which is more appropriate.
Across the organ, the stop names were changed in the 1963 work, in keeping with the style of organ building at the time, in favour of more European names such as those found on the Positif organ. These names will be anglicised, (for example the replacement of Positif with Positive, and the replacement of Flöte with Flute) and where necessary, stops will be given a more appropriate name that more accurately describes the sound the pipes make.
It is hoped that, when the work is complete, the organ will be more versatile both as a recital instrument and for accompaniment, and will be able to provide another century of music making in this historic building.