Organ Cases 3
David Bridgeman-Sutton muses about organ cases - big and small, old and new. The third in a series.
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Organ cases, in respect to their surroundings, may be classified all the way from Perfect Fits to Regrettable Happenings. All have been either designed for or adapted to their site.
That is, all but one. The exception is in the Memorial Hall, Methuen, Massachusetts USA. This hall was designed and built solely to house an existing instrument that had become homeless. The full history of the organ, together with its present specification, may be found at www.mmmh.org |
Pic. 1
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Its original specification appears in the 1877 edition of Hopkins & Rimbault (see
bardon-music.com ). This includes fascinating asides on the work of the period. Walcker of Ludwigsburg (Germany) used pure English tin for the principal stops, as did many other Continental builders both before and after. Wind for the 89 speaking stops was provided by hydraulic engines and screw tuning was used for some of the reeds. (Anyone who has encountered reeds where tuning wires have become worn will appreciate the value of this ~ albeit expensive ~ alternative.)
bardon-music.com ). This includes fascinating asides on the work of the period. Walcker of Ludwigsburg (Germany) used pure English tin for the principal stops, as did many other Continental builders both before and after. Wind for the 89 speaking stops was provided by hydraulic engines and screw tuning was used for some of the reeds. (Anyone who has encountered reeds where tuning wires have become worn will appreciate the value of this ~ albeit expensive ~ alternative.)
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Picture 1 shows the organ in its original home at Boston Music Hall. It is a splendid piece of Victorian furniture, 60 feet high and 47 feet wide.
The human figures supporting the entablature (caryatids when female, telamon when male) were favourite forms of household and public decoration at the time, but seem to have been regarded as too pagan - or improper - for church purposes. Further figures appear above the elegantly curved top rails, and plaques of Bach and Mozart and a full bust of the former (picture 3) may also be seen. (Close ups appear on the Methuen website.) Picture 2 is of the organ after removal to Methuen. The crown finials above the outer towers have been removed, perhaps in deference to republican feeling! |
Picture 2: The organ in Methuen
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The provision of a detached console makes it easier for audiences to watch players at work ~ the sole purpose of this building. Otherwise, little has changed externally.
Twice in its life, once after its removal from Boston and again after World War II, the survival of this organ was in doubt. The first time a wealthy amateur saved it, the second, a group of public-spirited citizens.
Twice in its life, once after its removal from Boston and again after World War II, the survival of this organ was in doubt. The first time a wealthy amateur saved it, the second, a group of public-spirited citizens.
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Over the years, the specification has been slightly modified. The loss of some of the less usual romantic voices that were much admired when the organ was first installed in 1863, as well as of the small pedal section enclosed in the main swell box will be regretted by some, but all organ lovers will be delighted that painstaking restoration and maintenance preserves one of the world's great instruments.
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Pic. 3
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David Bridgeman-Sutton,
2002
2002
FOOTNOTE: In the Great Hall of Winchester College, England, stands a small eighteenth-century instrument. Perhaps, with its doubtful reputation it is lucky to have survived. Ian Skidmore told the story in a recent obituary of a former master at the school.
(A pupil)..... ‘hid in the rafters with a fire-extinguisher which he squirted on the porter below as he was lecturing a group of tourists. The porter disappeared under a cone of foam from which his hand eventually emerged. Wiping his mouth, he told his startled audience “ That will be the organ. It’s always doing that”.'
(A pupil)..... ‘hid in the rafters with a fire-extinguisher which he squirted on the porter below as he was lecturing a group of tourists. The porter disappeared under a cone of foam from which his hand eventually emerged. Wiping his mouth, he told his startled audience “ That will be the organ. It’s always doing that”.'
Acknowledgements:
Pics 1 & 2 CW Laycock archive - with permission
Pic 3: With permission of the Board of Trustees, Methuen Memorial Music Hall Inc, Methuen, Mass., USA.
Pics 1 & 2 CW Laycock archive - with permission
Pic 3: With permission of the Board of Trustees, Methuen Memorial Music Hall Inc, Methuen, Mass., USA.
