Murrurundi
B. Unknown [William Davidson?] Largely destroyed by fire 23.3.1921 [?]
Res. & swell added c. 1923 C.W. Leggo Res. 1963 S.T. Noad & Son.
2 manuals, 13 speaking stops, 2 couplers, tracker action
Gt: 16.8.8.8.4.4.2-2/3.2. Sw: 8.8.8.4. Ped: 16.
Peter Jewkes writes (Sept. 07):
As to the provenance, I would stake my life on the original one manual being Davidson. The pipes, soundboard and Swell shutters (now on the Richardson Swell) are beyond doubt. The case (as in the old sepia photo) is virtually identical to Cobbitty, and very similar to Noumea. The specification is identical to Morpeth, with the addition of the Twelfth, and the sound is remarkably similar. The Great keys are obviously the original single manual, and identical to Morpeth. With reference to the fire of 1921 - unless the present material is some other Davidson - I would say that the original organ wasn't all that badly damaged. I doubt the fire can have been all that severe, as the rather striking Minton tiles in the sanctuary nearby are entirely unscathed.
Received wisdom (via Noad and Brown) is that the rebuild to 2 manuals (including the new case) was by Richardson, though the added wooden pipework doesn't look like his, the quality isn't great and there are other doubts in my mind. Leggo is a definite possibility, especially for the Gedackt, so it could also be an early example of his work, or done while he worked for Richardson. (Again I don't know the basis for his name in the entry - Rushworth?). The metal pipework for the Swell is by Palmer of London, with whom we know Richardson dealt occasionally (though Leggo dealt with them almost entirely). The case and the square-drop console lid look like Richardson however, so I think that is probably the safest attribution, unless someone has researched the church records (or the organ itself yields up some clues from deep within one day!).
The 1960s Noad restoration doesn't appear to have done much for the organ (other than that infelicitous Rohr Flute 8 stop knob for the 4' Flute - a real trap for noteholders, as the Stop Diapason is also called Rohr Flute, but without any pitch designation!).
We are adding a new blower late this year [installed May 2008], in place of an incredibly noisy external one. Hopefully one day the church will think about restoration......
The specification is:
|
GREAT
Bourdon Open Diapason Stop Diapason Keraulophon Principal Flute Twelfth Fifteenth Swell to Great SWELL Horn Diapason Lieblich Gedackt Labial Oboe Gemshorn Tremulant PEDAL Bourdon Great to Pedal |
16 8 8 8 4 4 2-2/3 2 [8] [8] [8] [4] 16 |
Ft Tone Tenor C Knob says "Rohr Flute" [no feet] but it is probably unoriginal. Davidson used "Stop Diapason 8 Ft Tone" at Morpeth et al Bass from Stop Diapason Tenor C. Knob says "Rohr Flute 8" so definitely unoriginal. Davidson used "Flute 4" at Morpeth Bass from Gedackt. (There are no feet markings on the actual knobs) (Just a Gamba really, with pipes marked as such. Probably trying to imitate the Dodd stops of the same name) Surprisingly flutey in tone, not the usual stringy sound of the period. Not unlike a tapered 1960s Spitzflute. |
