For much of
Queen Victoria's reign, size of instrument mattered more than
appearance. Cases, where provided, were often ill-proportioned
and overburdened with detail. More often, a simple pipe-rack,
that seemed to have just “happened” appeared instead.
Reaction occurred,
largely under the influence of A.W Hill. His firm set a lead
in making well-proportioned cases, often influenced by mediaeval
models. Later, it was not uncommon to commission designs from
architects. Not all members of this profession understood the
basics of organ-building, however, and the results could be amusing – if
you weren't the organ-builder!
The years
1914-.1945 were lean- with a few worthy exceptions. Bombing in
WWII destroyed many organs, especially in London. Noel
Mander was instrumental in saving a number of cases for re-use
and led the post-war interest in the subject.
The 1960s
saw dreadful things done to tonal schemes: cases suffered too,
in a period defined as “the new Brutalism”. Little
effort was made to arrange pipework pleasingly and mechanism
was often all-too-visible. (Ever merciful, John Norman does not
illustrate the results obtained at Kendal Parish Church, where
a fine Father Willis was tonally eviscerated and then spread
on the west wall in open-sided boxes, reminiscent of tea-chests;
these rattled and buzzed merrily. Fernando Germani gave the opening
recital and later whispered to your reviewer “What dreadful
things you English do to your organs!”)
So to better
days and some good recent cases. John Norman's long experience,
considerable learning and clear writing make him an excellent
guide in exploring many ways and byways in the story of the organ.
Organ-lover, students of design and those responsible for existing
or new instruments will read this with great pleasure and much
profit.
