Photo: Thomas Pinnegar 2008
Each month, often on a weekday evening or Saturday afternoon we organise a concert in the Library which usually starts at 7.45pm or Saturday afternoons at 4pm. The range includes piano recitals, string duets and quartets, organ recitals, choral works and, normally once each summer a full orchestra in the Staircase Hall.
Sometimes there are additional concerts during public opening, starting at 4pm and on those days, the tour is usually curtailed at 3.40pm.
INTERVAL
Local history: talk at Stoke Brunswick – the Dewar Estate next door . . . 29th June
Details here
Hammerwood Church – St Stephen’s - Sunday – Surrey Harp Ensemble
This is a concert which we have been looking forward to for a long time – the magic of a thousand strings! 20 young harpists under the direction of Luisa-Maria Cordell will be performing in the acoustic of the Church at Hammerwood. The ensemble was founded by Luisa to quash the myth that the harp is a lonely closet instrument only played by older upper class ladies, bringing this mysterious instrument to a wider audience with a modern twist! They have to be crazy about the harp and the youngest member of the ensemble has just turned five. The repertoire of the ensemble is versatile and they will prove that it’s possible to play almost anything on the harp.
All funds will be donated to the church: many churches are forced with closure and St Peter’s Church at Holtye, where at least two generations of Hammerwood owners are commemorated or buried (Oswald Augustus Smith’s family and the Whidbornes) is to be declared redundant. We hope that support from concerts will make the difference at Hammerwood.
Jerzy Owczarz - Piano
Jerzy has been playing at Hammerwood since the age of 12. He's a genius. Still in his teens he brings freshness to the classical repertoire whilst being able to turn the whole lot into brilliant jazz. So it will be a varied concert. . . Last year, he diverted to the Harpsichord for both classical items and later for some jazz. Jazz harpsichord is brilliant! Come! <>
Liz Dennis – Flute and Guitar recital
Liz performed on the flute with two other musicians, Jon
Rattenbury (guitar) and Charlotte who is a singer. They play in various combinations - voice and guitar, flute and
guitar and also join forces as a trio for lighter music including jazz
standards.
Sambucca Peter Martin & Michael Copley - 4pm
From
deeply authentic baroque to wilfully unauthentic Mascagni, Sambuca
present four hundred years of music plundered from all over Europe and
beyond. Peter Martin performs on
guitar, baroque guitar and theorbo with Michael Copley on recorder, ocarina,
flute and other woodwind instruments.
Whether classic Handel sonatas, virtuosic Vivaldi concertos, sultry
tangos by Piazzolla, or lively world music from Bolivia and Macedonia, Sambuca's
eclectic range of music has an immediate appeal to audiences of all ages. BOOKING CONCERTS:
BY INVITATION ONLY - please email or telephone if you are interested in coming - 01342 850594
PLEASE TELEPHONE 01342
850594 TO LET US KNOW THAT YOU ARE COMING
More
concerts . . .
Among others we hope to host Jong-Gyung Park,
the amazing Liszt pianist who also performs Chopin; Kate Elmitt and John
Railton with their “Three hands at one piano” (John lost an arm due to cancer
years ago) who play anything from Bach and Mozart to Ravel and Cyril Smith; the
young award wining pianist Miyuki Kato from Japan; Masa Tayama who plays
Rachmaninov; and finally, organists including ex-St Pauls Cathedral organist Mark
Blatchly . . . and hopefully other fine performers on a regular basis.
Please entice the enthusiasm of your friends
for Hammerwood music with
http://www.jungleboffin.com/mp3/
where you can now find favourites for your (or your younger generation's)
iPods!
2007 HOUSE
NEWS:
We apologise for our quietness. The winter
was exceptionally hectic with a good team of volunteers and the house and
garden saw a lot of work.
Having replaced the cills of 47 out of 101
window frames last year, we have been working on repairs to the French Bedroom,
cleaning and repainting of the Brucciani copies of the Parthenon Frieze in the
Elgin Room and installing new hidden lighting. Outside had seen the removal of
rhododendron roots in the gardens and sowing new grass, creating a new leveled
area beyond the Italian garden offering a prospect over the Rhododendron
gardens, replacing the gravel on the terraces and installing drains.
Beyond physical restoration, most
excitingly, we have acquired the 3 manual Makin organ which served in Derry
Cathedral in Northern Ireland for a dozen years after vandals smashed up the
pipe organ there. After this St Columb’s Cathedral in Londonderry was a focus
for conciliation and Protestant-Catholic ecumenicalism and now that a new pipe
organ has been built, this instrument which was described by visitors as
"remarkably effective" became available and we are privileged to have it at
Hammerwood. We hope to use it in concerts outside on the South Terrace,
familiarizing audiences with symphonies beyond Mahler and Beethoven, for
instance Vierne, Widor and bringing great composers such as Pierne, Guilmant
and Lefebure-Wely to the concert platform. These composers are little heard
enough and their music needs to be dissociated from its traditional context if
it is to survive in modern society. Powered by nearly a kilowatt of amplifiers,
with the deepest pedal notes represented by a seven foot high speaker nicknamed
"the earth mover", we hope that the sounds of this organ will appeal even to the nightclub
generation. We are hoping to use the instrument for community fundraising for
churches and music related school projects associated with our visiting
organists. Come and bring your friends to hear the sounds of heaven! Concerts
will probably be on Saturday afternoons. More details will be available on
email, the Hammerwood website, and if you are not on email please telephone. If you like hearing pipe-organs, http://www.organrecitals.com gives lists of organ recitals throughout the country.
Best wishes from the Hammerwood family.
RECORDINGS OF CONCERTS - MP3 files to download
The temperament which we have chosen is the Kellner Bach temperament devised from a variation of Werkmeister III in the mid 1960s. As a teenager David Pinnegar experimented with Werkmeister III as one of the mildest "universal" well temperaments and came to hate it for the horrible sound of the keys of C sharp / D flat and A flat. Upon trying the Kellner temperament, it was apparent that Dr Kellner had ironed out the problems of Werkmeister and produced a very workable tuning scheme which allows performance in all keys, none being horrible at all, and yet produces the characters and moods traditionally associated with each key. We have chosen the Kellner temperament because it sounds good and not for any overriding desire for historical authenticity. Music is what it sounds, not what any dogma says it ought to sound . . . and the temperament produces a wonderful effect. It makes musical sense, with a successive progression of strangeness proportionate to the remoteness of the key. Kellner has been ridiculed by recent temperament researchers for esotericism, basing his inspiration on symbolism of the coronet of Bach's signet ring - but who cares? It works . . . and it sounds good in all keys and works well for all music, even those composed in the 20th century. We have looked at alternatives and especially the Bradley Lehman Bach Temperament. This is based very rationally upon the figure which Bach drew at the top of the title page of his Well Tempered Clavier manuscript. However, in practical terms, whilst it is suitable for Bach, it does not depart significantly enough from Equal Temperament to make enjoyable contrasts between keys, it doesn't make the sense of each key in the moods which are documented to have been expected from each key from other composers. Others have given different condsideration to analysing scrawled figure, notably Andreas Sparshuh, Charles John Francis, Michael Zapf, Kenneth Mobbs, and Alexander Mackenzie of Ord. http://www.eunomios.org/contrib/francis5/francis5.pdf is a good article that show the diagram and the Bach seal upon which Dr Kellner worked. Interestingly, Charles Francis' conclusion is similar to Dr Kellner's in the effect on intervals of major and minor thirds which are critical in supplying sweetness, sadness or unpleasantness to keys . . . so the Kellner temperament is as good as any.
The evidence for playing Chopin and other 19th Century composers in unequal temperaments is not only a hunch upon listening to Chopin's works and key choices, but the knowledge that he played a Broadwood. Although Hipkins tuned for Chopin and liked Equal temperament, this was not standard. Broadwoods were not tuning to equal temperament as late as the 1880s and had their "usual" and "best" temperaments which are documented in 1885. The correspondence between Chopin's keys and mood matching is too much of a coincidence to think that he did not make use of temperemant in his key choices. Interestingly the two string cottage Broadwood grands favoured by Chopin, of which we have an example at the house, are particularly easy to tune and change when required: the tuning of two strings rather than three per note throughout the middle register saves a lot of work.
Tuners, players and composers have all had their pet tunings. None are definitively correct whilst some are better than others and some are better for some particular purposes. The Kellner tuning that we have chosen provides a good universal choice and avoids the discord of the major thord beat frequencies produced by Equal Temperament which makes it sound universally harsh in all keys.
Jill Crossland's 2006 concert was glorious:
Peter Maxwell Davies remarked in 2006 that Classical music is
dying out - for that reason we offered children to come to our concerts
without paying. Few have come. For goodness sake can't you grab your
grandchildren away from their computer games, by the scruff of the neck if
necessary?
The week of 1st October is "ClassicFM arts and Kids week" so why not make a
difference by resolving to bring your children and grandchildren to events
that might shape their future lives? Do you really want them to know
nothing but what they see on computer games? Have you seen their computer
games? Most are training our young people to wage war and kill people,
training them as terrorists. Then we are surprised that our civilisation
breeds terrorists. Whilst we condemn Bin Laden and the sources of terrorism,
the future terrorists will be our own children, trained in our own homes.
We avert our eyes to the terror course in our living room and allow the new
"Playstation" to be the most revered of objects. People queue to buy them
and to worship them with a high price. And what mind-food do they give our
kids? "Oh don't worry about it - it keeps him quiet" and we turn our face
away.
Music, and classical music is the language, philosophy and practice of
peace. So make the difference. If you don't have children, bring somebody
else's children.
Only one person has asked for the Jerzy Owczarz CD. Why not interrupt your
grandchildren's obssessive diet of ephemeral pop-music and give them a
classical CD performed by a 16 year old? You can even sample it on the net
. . .
The Hammerwood mural tells us that there is no bewinged angel flying down
from the clouds to rescue us: the future is ours to paint. The future is
not big politicians trying to do things too big for them: the future is us.
So make the difference.
Civilisation will die - from complacency if nothing else. What the
terrorists cannot achieve, Nature and complacency will finish off.
A couple of weeks ago, we had one of the country's finest pianists, Jill
Crossland, performing at Hammerwood - with an audience of only 20. She was
gracious enough to allow the recording of the concert which we have put
online at http://www.jungleboffin.com/mp3 . The feedback (lack of) suggests
it was not worth the bother.
Many people tell us that they don't like driving at night. So we have put
some concerts in a 4pm on Saturday afternoon slot.
Many people tell us that they prefer the warmth of summer to winter. So
forget the log fires, we have produced a good range of concerts in summer.
Is it that Schostakovich or Scriabin might be on the programme for Saturday? Do we really
have to have an undiluted diet of Chopin billboards to fill the room? Or
waste money on a whizz-bang fireworks extravaganza?
"Oh I can't come to concerts - I've got children!" BRING THEM! "The children won't be interested" - Not surprisingly really if we as a society are not interested enough to BRING THEM! If you don't, the children won't have the opportunity of becoming interested. And children come free . . . .
If people are complacent about coming, we'll be complacent about organising
concerts, and performers will be complacent about performing, and young
people won't see the point of practice, and classical music will die out.
And the young generation will say that life is boring - "let's have some
excitement and go and kill some people like on the screens" - or perhaps
that teenage "I can't be bothered" syndrome actually comes from roots
inside us older generations . . .
Perhaps our teenage "I can't be bothered" comes from "I can't be bothered to break the kids away from their screens" - "I can't be bothered to interest the children" - "I can't be bothered to bring the children" - "I can't be bothered to enlighten the children".
16 year old Jerzy Owczarz - www.jungleboffin.com/mp3/jerzy-owczarz/ - wants
to become a lawyer. Can you imagine why? Can one be surprised? How can we
possibly discourage his musical talent and tell him that in reality yes it
is commonsense to go and be a lawyer? And if his talent is to be
encouraged, does he have to be enslaved playing an endless diet of Chopin?
We live in an age of mobility never experienced before in the history of
the human race. And yet that mobility seems to leave people imprisoned by
their busyness and no-one goes to events any more. Chaplin made that
observation in the 1940s:
"We have developed speed but we have shut ourselves in"
see his text in full - http://www.hammerwood.mistral.co.uk/chaplin.htm
Jan Zak was the most incredible pianist I have ever heard - luckily we were
able to record him - www.jungleboffin.com/mp3/jan-zak/ - and no-one has
ever heard of him performing since.
We rely on the machinery of ClassicFM and recordings - and after they have
made their recordings, the performers starve for lack of audiences.
Chaplin: "machinery that gives abundance has left us in want"
Hammerwood nearly fell down for complacency. Hammerwood is more than
restoring stones and enjoying concerts. It is about how we live, what we
do, and how we think.
Come and enjoy it, see it, be it, do it. Don't let it not exist. Whatever
it that is good is . . .
Chaplin had more to say about our society. He'd say the same about our
increasing hardness in society, our increasing reliance on CCTV, an armed
police force and other measures which will be insidiously introduced and
accepted one by one, and then wonder why the result he predicted will
happen:
Dates of concerts are at http://www.hammerwood.mistral.co.uk/concerts.htm .
Please come, and whatever you do, don't let complacency win!
With best wishes,
Yours ever,
David P and the Hammerwood Family
There are two pipe organs at Hammerwood which are played regularly and all organists are welcome to play during public opening! In the Elgin Room there is a house organ which was made by Hunter in the 1890s and subsequently given to the Royal School of Church Music which we purchased and rebuilt here in 1994. Although small (9ft cube with 11 ranks of pipes) it will play anything - from Handel to Widor. The tremulant transforms it into quite a cinema style if one wants it. We are most grateful to both Matthew Copley of Organ Design, Surbiton and Paul Rayner Brown of Wood Brown Organ Builders, Burgess Hill, for their generous assistance with the pipe organs.
(From Echo II)
Additions
ORGANISMS . . .
During the setting up of our Makin organ, I
made a classic mistake and crossed two speaker wires and blew an amplifier
board. Makin Organs http://www.makinorgans.co.uk/
, have lived up to their reputation for helpfulness with information and
stunningly fast in sending out a new amplifier board. We are particularly
delighted with the Derry Cathedral instrument. It is superlative as a working
instrument on a realistic scale which will work happily both in the Staircase
Hall at Hammerwood as well as outside on the terrace in the open air.
The intellectual trouble with the most
modern technology is that organists have long had the follie de grandeur
disease in the realm of specification fantasies and computer electronics makes
it possible. :-) http://www.ondamar.demon.co.uk/essays/flat.htm
relates how an organist of a Methodist Church had an 111 stop instrument
installed which was a theoretical copy of the instrument at Durham Cathedral!
If anyone has the fantasy organ bug, there is an utterly ridiculous
"dream" 5 manual instrument for sale . . . . http://www.anthonybogdanorgans.co.uk/Wyvern5manual.htm. More realistically, this three manual instrument looks excellent, although how it compares technologically to the Makin might be another matter and there is an instrument on a slightly smaller scale to Carlo Curley's large 1970s
instrument that he took to the Royal Albert Hall and Alexandra Palace for sale - http://www.musicalinstrumentsales.co.uk/photoad.php?adId=1591
. However, such an organ is being built for real - a real air-shifter with pipes - in Edinburgh by
Matthew Copley http://www.matthew-copley.co.uk/
which includes not just one but three 32ft stops! We hope to have news of the first recital on http://www.organrecitals.com
Finally, we would like to thank Henderson
Music in Northern Ireland http://hendersonmusicireland.com
for making the St Columb's Cathedral instrument available to Hammerwood and we
were surprised at the good value and efficiency of their music instrument
"Delivery Services" in which they specialise.
We have just been given a pianola. It's a basic one and it needs some repair to pneumatic motors but the piano is good and great fun . . .
If you'd like to be notified when this page changes, enter your address, click on the button, and www.Changedetection.com will send you an e-mail when the page is updated. They do not distribute email addresses.
UNEQUAL TEMPERAMENT IN USE AT HAMMERWOOD
Mozart and his contemporaries linked different keys with different moods. This was no romantic stroke of imagination - it was the product of the tuning schemes in use at the time. F minor denoted anguish and upheaval whilst D major was celebratory, shining like the sun. A major was rich. Will Bruce (who clearly has good taste in liking Django Reinhart) has documented the whole set of keys and the related moods:
The F minor / F major contrast was demonstrated by a piece of Mozart played by Jill Crossland at one of our concerts. What is interesting is that even the keys of Chopin's works fall into such mood categorisations including, most spectacularly the shifting of chords to promote unease in his celebrated funeral march. We beleive that we are the first to have made this observation and are now tuning the main concert piano at Hammerwood Park to an unequal temperament in order for pianists and audiences to test the theory.
MUSIC ONLINE
- PLEASE NOTE - OUR MP3 FILES ARE TASTERS AND THE CDs ARE MUCH BETTER QUALITY.
Often the MP3 files are clipped slightly at each end and so joins between tracks don't happen properly as they do on a CD.
We have put taster MP3 files of Jerzy Owcarcz's recent concert on the internet. We recommend the Chopin and the JazzChopin files first . . . The original CD recording is better quality and is available from us at £10 . . . and would make a good Christmas present.
Also in the MP3 archive is the most fantastic 1991 performance by Jan Zak of Bach-Busoni, Liszt, Chopin and De Falla. Of a very different sort not performed here, you might also enjoy dipping into the PamPam library of live recordings which we produced for the Pam Pam especially to capture the live atmosphere. If you enjoy them please let us know and a CD is available.
Jill is often heard on Classic FM and is known in particular for her performances of Bach. Last year her programme at Hammerwood included Rameau and Chopin and was one of the most serene performances ever . . . This year she is using the Viennese piano in the Drawing Room. Mozart and Haydn composed for such pianos and their music takes on a new life because the piano action gives an entirely different feel and rhythm to the performer. This instrument is on the cusp between the fortepiano and the pianoforte, with an iron frame but still with leather faced hammers. We have chosen an unequal temperament not for any reasons of historical authenticity dogma but because it sounds nice and the effect can be stunning. . . . as the recording demonstrates. It's usable in all keys and even 20th century music comes to life with it . . . PLEASE SEE BELOW FOR MORE INFORMATION ABOUT TEMPERAMENTS
This concert was the first to be given at Hammerwood in an unequal temperament. Jill deserves the Hammerwood Medal for performance bravery - there had been little rehearsal time available to adjust to the strange action of this instrument and the sound resulting from the unequal tuning, a "well" temperament. The concert was astounding, in particular in the Mozart variations on Twinkle Twinkle Little Star in which the change from major to minor was shockingly dramatic and also in the Mozart Fantasia where the tuning produced the darkest rendition ever heard in modern times. This concert is very well worth downloading from our MP3 library for this recital. Her fantastic performance last year is here
HAMMERWOOD RESTORATION 2006
LATROBE, HOUSE AND FAMILY NEWS:
We expect a definitive book about Latrobe to be published this year in America with which we have helped with proof-reading at the different stages. However new discoveries are made all the time and we found recently that Latrobe's father assisted the 18c. Egyptian explorer James Bruce in the publication of his memoirs. This explains Egyptian influences at Hammerwood and Ashdown. We look forward to doing a talk about Egyptian architecture in the Autumn.
http://www.info-world.com/egypt might whet your appetite in the meantime.
The summer has progressed rapidly with much being achieved. Pavel and Petra invited their friend Daniel to come to help Starki in the garden and in places 60 years of overgrowth has been swept away. They also invited more friends Milan and Indra, carpenters, who have been rebuilding rotting window frames on the top floor.
We are now assisted by additional mechanisation including the acquisition of a crane as well as a front bulldozer bucket for the UniMog. This will enable us to flatten the former areas of lawn ruined by rhododenron roots which have prevented maintenance by mowing . . . Meanwhile the mower has ploughed through 8ft high clumps of brambles and saplings and the transformation has been miraculous in places.
NEW ORLEANS
A member asked me to distribute a personal account of recent events in New Orleans. It puts the propaganda in perspective and we have placed it on
http://www.holiday-place.com/neworleans/ .
Water problems in New Orleans are not new. Latrobe's son Henry lost his life from yellow fever whilst installing the city water supply system to his father's design in 1817 and having taken over the task Benjamin Henry Latrobe died there in 1820.
Concert Performers' links
Alternatively please use the update form at the bottom of this page.
DON'T JUST SIT THERE - DO SOMETHING!
Dear Friends
I prepared the following email about possibly abandoning the concert on
Saturday . . . but then heard that luckily the 'Cellist is bringing 30
people. This email, however, has a wider message than merely next Saturday.
"Use it or lose it" . . . "We, us - you, us - the children that we produce
- we, us are the future" . . . "Make the difference" . . . Classical music
trains people to think, to practice peace, not war. If we do not make the
difference, we cannot be surprised at the outcome . . . So I hope that you
will indulge me by reading on . . .
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
Other than the 'cellist's audience, we have one person so far who has
booked for the Cello recital on Saturday. On future concerts, if we don't
have 20 telephone calls by two days before the concert, we will be
cancelling. Should we not have those 20 telephone calls (01342 850594), if
we have 20 emails saying
"we can't come but we'll enjoy the MP3 recording at
http://www.jungleboffin.com/mp3 so please continue"
we might think it's worthwhile not to abandon the event.
The excuses come . . . but the audiences don't . . . and this is a malaise of society.
>We have developed speed but we have shut ourselves in:
>machinery that gives abundance has left us in want
>Our knowledge has made us cynical,
>our cleverness hard and unkind.
>We think too much and feel too little:
>More than machinery we need humanity;
>More than cleverness we need kindness and gentleness.
>Without these qualities, life will be violent and all will be lost
The organ is dead. The organ is only heard in Church. The Organ is boring.
No it's not. It's alive. It's fun and it is played at Hammerwood Park!
Organs at Hammerwood
The other pipe organ is in the library and is a chamber organ in 18th century style made by Sprague in 1854. It has four ranks of pipes, is without a pedal board and is tuned to an unequal temperament most suitable for the works of John Stanley and many other 18th century composers.
There is also a 1937 Hammond E electric organ (one of the very first) in the Elgin Room which plays through two ex-Compton speakers but this pales and sounds dull and disappointing next to the pipe organ. It formerly served the Founder's Chapel of Charterhouse School.
Former specification of 1993 Makin organ at Hammerwood Park, formerly at LondonDerry Cathedral
GREAT
SWELL
CHOIR
PEDAL
Contra Salicional 16
Open Diap 8
Stopped Diap 8
Wald Flute 4
Principal 4
Twelfth 2 2/3
Fifteenth 2
Fourniture IV
Posaune 8
Voix Celeste 8
Geigen Diap 8
Echo Gamba 8
Lieblich Gedekt 8
Stopped Flute 4
Principal 4
Fifteenth 2
Mixture V
Oboe 8
Clarion 4
Trumpet 8
Contra Fagotto 16
Gedekt 8
Dulciana 8
Hohl Flute 8
Chimney Flute 4
Nazard 2 2/3
Block Flute 2
Larigot 1 1/3
Tierce
Clarinet 8
Tuba 8
Bourdon 16
Violone 16
Open Wood 16
Bass Flute 8
Octave 8
Choral Bass 4
Trumpet 8
Trombone 16
Notes:
Great: Fourniture IV is very bright and arguably should be drawn only on top of the Posaune
Swell: Mixture V goes brilliantly alone with the Geigen Diapason for Bach
Pedal: Trumpet and Trombone combined is as good as an Ophicliede
Sound: the instrument is 12 channel and speaks through 10 internal 60 watt amplifiers with the addition of a 100 watt per channel unit for some stops on the Pedal organ and the Tuba on the Choir. As currently installed, internal reverberation is ignored and a further output feeds controlled multi-channel reverberation. This controlled acoustic arrangement provides optimum listenability together with an excellent dry sound source when required, for instance, for film sound track recordings.
Specification of enlarged 5 manual organ at Hammerwood Park, formerly at LondonDerry Cathedral
GREAT
SWELL
CHOIR
SOLO
ECHO / POSITIF
PEDAL
Contra Salicional 16
Open Diap 8
Stopped Diap 8
Wald Flute 4
Principal 4
Twelfth 2 2/3
Fifteenth 2
Fourniture IV
Posaune 8
For use as French Grand-Orgue
Small Open Diapason 8
Flauto Mirabilis 8 (tuned flat for use with Vox Humana)
Concert Flute 4
Quint Flute 2 2/3
Piccolo 2
Vox Humana 8
Voix Celeste 8
Geigen Diap 8
Echo Gamba 8
Lieblich Gedekt 8
Stopped Flute 4
Principal 4
Fifteenth 2
Mixture V
Oboe 8
Clarion 4
Trumpet 8
Contra Fagotto 16
Holzflote 8'
Gamba 8'
Vox Celeste 8'
Flute 4'
Waldflote 2'
Quinte 1 1/3'
Sesqualter II
Vox Humana 8'
For use as French Recit
Bourdon 16
Principal 8
Flûte à cheminée 8
Unda Maris 8
Octave 4
Spitzflöte 4
Nasard 2 2/3
Superoctave 2
Gedekt 8
Dulciana 8
Hohl Flute 8
Chimney Flute 4
Nazard 2 2/3
Block Flute 2
Larigot 1 1/3
Tierce
Clarinet 8
Tuba 8
For use as French Grand-Choeur
Cello 8
Cello Celeste 8
Cornet des Bombardes IV
Cornopean 16
Clarinet 8
Salizional 8
Quintadena 8
Cor Anglais 8
Tuba Mirabilis 8
Clarion 4
Gedackt 8
Gamba 8
Nachthorn 4
Cymbale III
Cornet III
Oboe 8
Contregambe 16
Diapason 8
Bourdon 8
Quintadena 8
Flûte harmonique 8
(Tuned as Unda Maris with Bourdon for use with the 4ft Flute and Corno di Basetto as an Italian Vox Humana)
Flûte octaviante 4
Terz 1 3/5
Larigot 1 1/3'
Septime 1 1/7
Scharff III
Bombarde 16
Trompette 8
Corno di bassetto 8
Clairon 4
Tuba Mirabilis 8
Tubular Bells (2 octaves)
Echo I
Principal 8'
Rohrflote 8'
Octave 4'
Quinte2 2/3'
Octave 2'
Mixture IV
Trumpet 8'
Coupler to floating Echo II
Bourdon 16
Violone 16
Open Wood 16
Bass Flute 8
Octave 8
Choral Bass 4
Trumpet 8
Trombone 16
Soubasse 32
Contre Basson 32
Contrebombarde 32
Contre Violone 32
Violone 16
Contre Gambe 16
Ophicleide 16
Bombarde 16
Subbass 16'
Bombarde 16'
Gedekt 8'
Octave 4'
Trumpet 8'
Notes:
Sound: the instrument is now in excess of 20 channels in addition to reverberation channels.
Specification of 1893 Hunter organ at Hammerwood Park, formerly at Addington Palace, RSCM
orginally made for a house in Dorking and subsequently given to C F Waters at Ewell Congregational Church
GREAT
SWELL
PEDAL
Open Diapason 8
Stopped Diapason 8
Dulciana 8
Principal 4
Harmonic Flute 2
Open Diapason 8
Lieblich Gedakt 8
Voix Celeste 8
Salicional 8
Principal 4
Oboe 8
Bourdon 16
Notes:
Great:
Swell:
Sound Recording at Hammerwood
Be updated if you would like . . .