Seeing Double ~ Part 2
David Bridgeman-Sutton continues his double-take on organ consoles
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The use of slider windchests means that twin consoles are not independent of each other. A register drawn on one sounds on both and a player who fails to cancel every stop when leaving can cause problems when the other console is in use.
Pistons "Other Console Cancel" are sometimes introduced as safeguards. Technical failures can be more of a problem, as an audience at Melbourne Town Hall discovered in 2006, when a master-class by Frederick Swann was interrupted by a "glitch" of this kind. (Thanks to Joy Hearne who reports that the resourceful Dr Swann turned out to be as entertaining and informative without an organ as with one).
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1: Melbourne Town Hall
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2: The dual consoles at St George's, Windsor
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When Walford Davies supervised rebuilding of the instrument in St George's Chapel, Windsor (1930), he wanted two consoles with a more flexible system. Walkers applied an action devised by Frederick Rothwell that gave, in effect, two completely independent actions to the same organ. Two players could use different registrations, even while playing on the same manual. (Such independence could not, of course be applied to swell shutters).
Stephen Keeble* quotes ; "When large choral works were performed [Walford Davies and George Thalben-Ball] would together provide the orchestral parts, often with one taking the brass [and woodwind?] and the other the strings". A former lay-clerk at the chapel claimed that they usually played from full orchestral score. The same man recalled the tremendous effect of extemporisations with Sir Walford at one console and Henry Ley, then Director of Music at nearby Eton College, at the other; the players appeared to read each the others' mind. It's a pity that this happened too early to be captured on a portable sound-recorder.
The two consoles, placed side-by-side (picture 2) were a curious sight with their swivel chairs; plain benches were available as alternatives. The stop control was Rothwell's own. Stop-keys were placed above the manual they controlled, as may be more clearly seen in picture 3. The right hand group in each case governed speaking stops of the manual concerned; those in the centre, sprung to return to the "off" position, were, in effect pistons. At the extreme left of Great, Swell and Choir were keys controlling the pedal stops. These were repeated for each manual - except Solo - and were linked in such away that movement of any key - say the Bourdon - on one manual moved the corresponding key on the others. Examination of the picture shows how identical pedal combinations are registered. |
3: Close up of the Rothwell System on the St George's organ
5: Sir Walford Davies
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4: Console of St George's Church, Headstone, Harrow
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This arrangement lasted until 1966, when standard action and a single console replaced the work of 1930. The Rothwell stop system was very much liked by those who knew it well, though its relative complexity and non-standard nature means that few examples survive. One that does and is in regular use is at St George's church, Headstone, Harrow, near London - see picture 4.
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David Bridgeman-Sutton,
August, 2007
August, 2007
* The vicar of St George's, Stephen Keeble has written a history of Frederick Rothwell and his work: this includes much technical detail about his inventions. Details can be found here
Picture credits:
with thanks
1: Jenny Setchell
2, 3 and 5: used by permission of the Royal College of Music.
4: Philip Wells
with thanks
1: Jenny Setchell
2, 3 and 5: used by permission of the Royal College of Music.
4: Philip Wells
