ORGANS IN & AROUND CHESTERFIELD
ST. MARY & ALL SAINTS, CHESTERFIELD
PART THREE: 1940 - 1958 HENRY III PAYS A VISIT
In 1940 Henry Willis & Sons Ltd. took over the tuning and maintenance of the organ. In 1945 the tenor-C Gedact on Great was replaced by a tenor-C 4ft. Harmonic Flute, a solo stop "on quite powerful lines". The organist, Dr. Reginald Cooper, commented that "it should have been installed many years ago". In 1952 a new pedalboard was fitted and the position of the swell pedals altered.On Sunday 4th November 1956 Henry Willis III visited the church and listened to the morning choral eucharist. He met the organist, Charles Bryars, and discussed several options for rebuilding the organ. For some years there had been dissatisfaction with the location of the console, which was still 'en-fenetre' with the organ in the north transept loft. In 1944 the choirstalls had been moved west of the crossing into the nave, and an unsatisfactory loud-speaker system was installed in the organ-loft to overcome the resulting problem of co-ordination. From his perch in the north transept the organist had to accompany services held in the nave, the chancel, and in chapels to the north and south of the sanctuary in the broad east-end of the church. Communication was chronically difficult. A detached console was contemplated; the only musically practical position for it would have been behind the choir stalls on the south side, but an altar occupied the site and could not be moved. Nor would this position have permitted the player to communicate with the east-end chapels. In a report to the church dated 13th November 1956 Henry III wrote:
The likely cost for such a scheme was in the region of £8,000, more than twice the available budget.The ideal disposition would be for the main organ - an adequate two-manual and pedal to be placed at the West End where ample space exists - console adjacent to Nave Choir - with a small but complete accompanimental section on the site of the organ as now with its own Console - the Nave console controlling both instruments.
Willis played the organ, and in a personal memo expressed his opinions in characteristically forthright style:
In his report to the church Willis set out his ideas for the organ. Here are some extracts, with syntax and punctuation unaltered:Tried organ.
Great. Snetzler work weak but pleasing. Major Open Diapason 8ft. ridiculous and out of place.
Swell. Pleasant but feeble.
Choir. Pleasant but feeble. O. Oboe an unpleasant stop.
Pedal. Inadequate - all "boom" no upper-work.
Problem. Job not powerful enough for the church.Mr. Bryars said some visiting organist (Lady Jeans) had advised removal of Choir swell box, asked if he would like to lose expression - "No" but power too feeble - H.W. said he would take care of that.
Pointed out that restoration only - remaking pneumatic action and C & O, would cost about £1,000 but inadequate agreed that tonal revision necessary. H.W. to prepare advices at early date.
The instrument is in an exceedingly dirty and worn condition.The organ itself is feeble in tone and inadequate for the accompaniment of Nave services. There are many characteristic Snetzler stops but these are small in effect. The tubular-pneumatic action is worn out, being of an obsolescent type restoration alone would not meet modern requirements of attack and repetition. The pitch of the organ is very high C.540. Old Philharmonic - should be lowered to modern standard C.523 (A.440).
...there is no other practical position for the organ and console than that as now existing and concentration upon a design that would ensure a cohesive tonal design with added power output and the development of upper work so necessary for the effective and efficient accompaniment of Nave Services.
The existing pipework would be treated to give an enhanced output of approximately 33 1/3% (sic - j.r.) - the Snetzler stops being treated by the fitting of my Compensator-Amplifier, a simple attachment which in this use would retain the quality unimpaired but giving the added power so necessary.
Great Organ.
The existing Major Diapason 8ft. is removed; it takes no part in the re-designed tonal picture and its scale and treatment being inimical to correct blend in the revised chorus.The Bourdon, a stop with little character, would be revoiced as a Quintade - that is a voice half-way between a Bordun and a Quintaten - having a definite development of its first upper partial (5 1/3ft.) to the great advantage of blend in ensemble together with individual beauty.
The old Large Open Diapason revoiced on brighter but diapason lines - with a fairly strong development of its first upper partial, the octave; the stop would be of singing and permeating quality.
Open Diapason No.2 would be the old Snetzler stop unaltered in tonal quality - but made more powerful by the use of compensator-amplifier.
Stopped Diapason - old Snetzler stop - brought up in power to the required extent without any alteration in quality.
Principal 4ft. Twelfth 2 2/3ft. Fifteenth 2ft. and Mixture 15.19.22: the same applies.
The Harmonic Flute 4ft. unwisely replacing a Gedact in 1945 - goes and its place is taken by a Gemshorn 4ft. a conical stop which sings its octave, twelfth, with a trace of the seventeenth, so providing a voice of individual beauty to act as a small second Principal in ensemble use.
The Mixture work is completed by the insertion of the Acuta composition 24.26.29 of silvery character.
The whole capped by the Posaune (old Trumpet revoiced) as an ensemble stop.
The Clarion - only an extension goes as such and the drawstop renamed, correctly, "Tromba in Octaves" (sic - j.r.).
This superb ensemble would permeate the entire church.
Swell Organ.
The general treatment would be on parallel lines to that of the Great, but with that treatment necessary for a Swell division.The old Double goes - it has little value and the space taken up is needed for essential development in the right direction - more upperwork.
The Open Diapason revoiced to give greater power and pure quality.
The Stopped Diapason converted to a Rohr Flöte - the half-stopped variety of greater interest and tonal translucence.
The Viol d'Orchestre remodelled as a Viola da Gamba of moderate string tone with a singing quality, the Voix Celestes similarly.
The Fugara is the old Principal remodelled with higher harmonic development - half-way between a Principal and an Octave Geigen with its own characteristic - leading up to the Doublette, the old Fifteenth suitably treated.
A new Sesquialtera 12.17 is introduced to provide harmonics hitherto absent and re-inforce the upper-work.
The Mixture 15.19.22 is the old stop revoiced.
Reeds. All revoiced on Willis lines - the Contra Fagotto 16ft. taking the place of the old Double and so derived to the Pedals. The Cornopean as a Trumpet with typical Willis vitality and fire. The Oboe revoiced with more character for dual use, in solo, and as a minor 8ft. chorus reed.
A fine and thrilling ensemble would be obtained without the use of Octave Couplers to which recourse would seldom be required.
Positif Section.
The old enclosed Choir re-modelled in accordance. The old Snetzler stops retained at greater power. The Nazard 2 2/3 and Tierce 1 3/5ft. new stops - flute mutations not only enabling a minor ensemble to be obtained but providing - in continental use - a multitude of exquisite effects for solo use.The Krummhorn - old Clarinet remodelled and revoiced, of hollow quality for both ensemble and Solo use.
The entire division re-vitalised for use in ensemble and variety.
Pedal Organ.
This division, of equal importance to those of the manuals - developed as follows:-Sub Bass (derived) 32ft. readjustment to best effect.
Contra Bass 16ft. Old Open Bass revoiced to a firm and precise tonality.
Bordun-Pommer 16, 8 and 4 Old - revoiced to precision of speech with development of the first upper partial - the 4ft. being added 12 top notes to this unit.
Bordun 16 old Swell Double revoiced on new chest.
Principal 8ft. and Super Octave 4ft. Major Diapason from Great, used on Pedals with new chest and mechanism.
Fagotto 16. from Swell - in place of old Double.
Trombone 16. revoiced on higher pressure.
In addition it would be most desirable to add a Mixture - composition 12.19.22 or even better 12.19.22.26.29.
THE WILLIS REBUILD, 1957-8
The rebuild was carried out in 1957-8, and left the stoplist as follows. The previous console was retained with re-engraved drawstops; the compass was 58/30. The action was overhauled.
GREAT (3 5/8in. w.g.) 16 Quintade Old; revoiced 8 Open Diapason No. 1 Old; CC 6 1/2in., 2/7 mouth. 8 Open Diapason No. 2 Snetzler; CC 5in., 1/4 mouth. 8 Stopped Diapason Snetzler; CC 4 3/4 x 4 1/8in., 24 lowest cut up 1/4. Mid C up stopped metal, solid stoppers. 4 Principal Snetzler; C 3 7/16in., 1/4 mouth. 4 Gemshorn New; C 3 1/8in. conical (2 in 1), no nicks. 2 2/3 Twelfth Snetzler; C 2 5/16in., 1/4 mouth. 2 Fifteenth Snetzler; C 2in., 1/4 mouth. III Mixture 15.19.22 Snetzler; C 15.19.22, treble F 8.12.15 III Acuta 24.26.29 New; CC 24.26.29, tenor F-sharp 22.24.26, Middle A 19.22.24, Treble F-sharp 17.19.22, High C-sharp 10.12.15 8 Posaune Old; revoiced, CC 5 1/4in., harmonic from middle C, 6 1/4in w.g. - Posaune in octaves Top octave of 4ft. present (extension chest) SWELL (4in. w.g.) 8 Open Diapason Old; CC 5 5/8in., 1/4 mouth. 8 Rohr Flöte Old; CC 3 1/4 x 2 5/8in, 12 notes. Stopped metal with chimneys from tenor C. 8 Viola da Gamba Old; CC 2 7/8in., 1/5 mouth. 8 Voix Célestes tc Old; TC 1 5/8in., 1/4 mouth. 4 Fugara Old; C 1/38in., 1/4 mouth. 4 Flute Couverte New; stopped wood, C 1 3/4 x 1 3/8in. 2 Doublette Old; C 1 11/16in, 4 1/2 mouth. II Sesquialtera 12.17 New; no break, both ranks open metal. III Mixture 15.19.22 Old. 16 Contra Fagotto Old; CCC 5 14in, 1-12 half-length tubes. 8 Trumpet Old; CC 5 1/4in. 8 Oboe Old; CC 4in. at bell. 4 Clarion Old;, c 3 1/4in. Tremolo POSITIF (3 3/4in. w.g.) 8 Stopped Diapason Snetzler; CC 4 3/8 x 3 7/8in, low 24 cut up 1/4. Stopped metal with chimneys from middle C. 8 Dolce Snetzler; CC 3 3/4in., 1/4 mouth. 4 Nason Flute Snetzler; C 2 7/8 x 2 3/8in., 1-12 stopped wood, cut up 1/4. Stopped metal with chimneys from tenor C. 2 2/3 Nazard New; C 2 1/2in., conical 1/2, 1/4 mouth. 2 Fifteenth Snetzler; C 1 15/16in., 1/4 mouth. 1 3/5 Tierce New; C 1 5/16in. 4 1/2 mouth. 8 Krummhorn Old; CC 1 1/2in., eschallots long openings. Tremolo PEDAL 32 Sub Bass (derived) 16 Contra Bass Old; CCC 15 1/2 x 14 1/2in., 6 1/4in w.g. 16 Bourdon Old; CCC 7 3/4 x 6in., 6 1/4in. w.g. 16 Bordun-Pommer Old Swell; unit; CCC 5 5/8 x 4 1/2in.; 1-24 st. wd., bearded CCC 3/4in., 4ft. C up st. mtl. 8 Principal Old Great Major Open; CC 6 1/in., 1/4 mouth, 6 1/4in w.g. 8 Bordun-Pommer ext. 4 Super Octave or Choral Bass New; C 3 1/8in., 1/4 mouth, 6 1/4in. w.g. 4 Bordun-Pommer ext. 16 Fagotto Swell 16 Trombone Old; CCC 8 3/4in., open eschallots, 6 1/4in. w.g. Couplers: 6 unison; Swell 8ve & sub8ve; Swell 8ve & sub8ve to Great; Great reeds on Choir. Thumb pistons: 4 to Great and Pedal, 4 to Swell, Great to Pedal (reversible). Pedal pistons: 4 to Great and Pedal, 4 to Swell, Great to Pedal (reversible). Balanced pedals: 1 to Swell, 1 to Positif. Tubular-pneumatic action.The above details are taken from W.L. Sumner's article in 'The Organ' quarterly, April 1960. Sumner remarked that:
Sumner's strictures against "block registration" apply to most British organs, not just such mongrels as the Chesterfield rebuild. In the 1940s George Dixon had written articles making precisely the point that the fewest stops sounding at any one time often produced the best effect.No useful impression of the organ can be gained while sitting at the console, which is exactly where that of Snetzler was. The organ has to be heard from the nave of the church. The general impression of the full organ effect is that of a brilliant Cavaillé-Coll organ. The Snetzler stops, which do not count for much in full organ except for the mixtures, have been restored by Mr. Willis, as far as possible. Their tone is transparent and bright and they were worth restoring. Some of the new and revoiced work such as the pedal bordun-pommer is baroque in conception and treatment. There is pronounced initiation characteristic to the tone which will not be to the taste of everyone. When an organ contains such a mixture of pipework of various styles and dates, block-registration, such as "great to fifteenth" is not satisfactory. Each register has to be considered in relation to all others, the minimum of stops must be used at any time to secure the effect desired. The organ then seems to have very much larger resources. The pipework was rather dull, uninteresting and repetitive in character before (Willis) dealt with it, and even the sparkle of Snetzler's pipes had gone. Mr. Willis would not expect every organist to believe that this is a perfect organ, but it is both interesting an effective when its somewhat complex nature is understood.
The "brilliant Cavaillé-Coll" effect was largely produced by the new Acuta mixture and the revoiced Great reeds. Willis had been anxious to increase pressures throughout the instrument, but the winding system was not up to it. He managed to squeeze another inch for the Choir/Positif; it had stood on 2 3/4in. and was now 3 3/4in.; in the 1963 rebuild it would rise as high as 4in., which perhaps helps to explain why the delicate Snetzler ranks sounded rather forced and undistinguished when I knew the instrument in the late 1970s.
Part four continues the story of the organ to the present day. Return to the index of organs
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