Pipe Organs of England - Pipedreams - American Public Media

PAGE 6 HISTORICAL TOUR DISCOGRAPHYBACKGROUNDITINERARY HOSTSHarvard’s Busch-Reisinger Museum, upon which Biggs mademany influential recordings.Frobenius Orgelbyggeri: (www.frobenius.nu)Frobenius Orgelbyggeri was founded in 1909 in Copenhagenby Theodor Frobenius (1885–1972), and moved to Lyngby in1925. Theodor’s sons Walther and Erik joined the company in1944, at the same time that they began to build organs in theclassical tradition, with mechanical actions and slider windchests.They build organs with characteristic modern casework,usually arranging the pipework of each manual such that threeto six repeating arrangements of front pipes are shown in thefaçade. Their organ development after 1925 was in the best traditionof neo-classical design, and their very traditional organfrom 1965 at Queen’s College, Oxford (the first major importedinstrument with mechanical action) set a new standard fororgans in England.Goetze & Gwynn: (goetzegwynn.co.uk)Martin Goetze and Dominic Gwynn set up their firm in 1980 tohelp revive interest in the classical tradition of British organbuilding,to revitalize pre-Victorian British organ and choralmusic, and assist congregational singing and provide a suitableinstrument for modern liturgies. The workshop has restored asignificant number of the nation’s most historically importantinstruments, but also builds new church and chamber organs.We shall hear their restorations at St. Botolph’s Aldgate and St.James Bermondsey.Grant, Degens & Bradbeer:Grant, Degens and Bradbeer was probably the most influentialBritish firm of the late 1960s, as their aurally and visuallydistinctive organs caused polarized views amongst organistsand audiences alike. Maurice Forsyth-Grant built his first organat the age of 22, having learnt his craft by hanging aroundorgan-builders in his spare time. It was strictly a hobby until1960, when a meeting in a pub with three men from the failingCompton organ firm led to the creation of a remarkable newcompany. Inspired by tours of continental organs, Grant, Degensand Bradbeer, as it was to become, developed an uncompromisingstyle of neo-classical organs. Although only aboutforty organs were built, the effect they had on the British organscene was significant. Though their organs often were toobright for conservative tastes, they always were coherent andinnovative, and arguably more successful than their imitators,though a number subsequently have been ‘tamed’, probably totheir detriment.Gray & Davison:First active in the 1840s and 50s, the firm was founded inLondon out of a partnership of John Gray and Frederic Davison,and in its early years probably was the most prominent organbuilder after Hill. They rebuilt earlier instruments to the newstandard C-compass and added Pedal divisions in the Europeanmanner. The firm adapted to the changes of taste and technology,experiencing something of a hey-day between 1905-1930,and continued until 1973. The Limehouse organ is a fine andunaltered example of their work, recently restored by Drake.The Harris Family:Thomas Harris (fl. 17th cent.) was the son-in-law of Robert Dallam,and lived in France during the Commonwealth. Upon theRestoration of the monarchy in 1660, he returned to England,building various significant instruments (including Worcesterand Gloucester cathedrals). His son, Renatus Harris (ca. 1652- 1724) , born while the family was in France, followed in his father’sfootsteps as a master organ maker in England, one of thetwo most prominent organ builders of his generation. Harris,along with his hated rival, “Father” Bernard Smith, establisheda style that was to last in England for over a century. RenatusHarris had a flair for publicity and was not above using underhandedtactics against Smith.Harrison & Harrison: (www.harrison-organs.co.uk)The firm was founded in 1861 in Rochdale by Thomas Harrison(1807-1893) but moved to Durham in 1872. Coming to greaterprominence in the early 20th century, the sons Arthur Harrison(1868-1936), a voicer, and Harry Harrison (1871-1957), adesigner, built or substantially rebuilt instruments in no fewerthan nineteen English Cathedrals (as well as King’s College,Cambridge, Westminster Abbey, and Royal Albert Hall). Thewarm and exquisitely blended tone perfected by Arthur Harrisonremains a characteristic of the firm’s work. GrandsonCuthbert Harrison (d. 1991) undertook significant projects afterWorld War Two, including the influential neo-classical instrumentat Royal Festival Hall. The current firm, under the directionof Mark Venning and more recently Christopher Batchelor,rebuilds and restores organs across Europe and with a staff of50, is currently Britain’s largest organ builder.William Hill:William Hill (1789-1870), along with Willis, was the most significantorgan builder in 19th century Britain. He became theleading advocate of the now standard C-compass manual keyboardsand the provision of adequate pedal divisions. He builtmany prominent instruments, and his son Thomas Hill (1822-1893) continued the tradition, retaining a certain conservativeattitude while experimenting with electric action and creatingwhat for a time was the world’s largest organ, his magnumopus with 127 stops, including a 64’ Pedal reed, for the SydneyTown Hall, Australia. William’s grandson Arthur Hill (1857-1923)was the author of a standard work on organ cases. The firmamalgamated with Norman and Beard Ltd. in 1916 and ceasedtrading in 1998.Kenneth Jones & Associates:(www.kennethjonesorgans.co)Founded in the early 1970s, Irish based Kenneth Jones hasbeen responsible for more than 90 new instruments of varioussizes, featuring mechanical action and often noted for their in-