Survey Stops and Pictures
(Text extract mainly by the late David Walters - previously Diocese of Coventry Organ Advisor [DOA])
Casework 1661 (probably) Thomas Thamer
Position N Chancel Type Architectural
Made originally for St.John's College, Cambridge. A Chair case was added in 1661, possibly by the same maker. The instrument was broken up when the new chapel was built and the Victorian Hill Organ installed in 1869 but rescued by the then Rector Revd. Richard Asheton with the help of the famous Victorian Organ consultant Rev. F.H.Sutton. He supervised the re-erections in Bilton and Brownsover churches in the 1870's (See form N00965 for details of the Brownsover organ). At Bilton the Great organ lost the lower half of its case but gained gothick open work pinnacles and lower coving, whilst at Brownsover, the Chair case gained a lower case of fine carved woodwork.
Console The console seems deliberately archaic with non-overhanging keyboards and ornate keyboard ends. It is sited in the thickness of the chancel wall with all the mechanical action running up the back to soundboard level. Even so, a decent responsive action has been provided to control the widespread sections, except when the heavy Sw/Gt coupler is used.
Pitch for Middle A was, 442.5 Hz from BIOS entry about 1990, this was BEFORE 1999 the restoration.
Currently The pitch is, 440.7Hz. [ This is about 15% of a semitone sharp at 200 C. - Tested with Yamaha PSR500 Keyboard Pitch shift ]
The 'Pitch Pipe' is Middle C on Great Open Diapason.
It is interesting to note that the two competing local Organ builders competing with Nicholsons who provided competitive quotations for the 1999 restoration confirmed that the organ at its 1990 pitch could NOT be set to A 440Hz without scrappage of most ranks of the top note pipes and a new sets of Bottom C pipes provided with transposition of the existing pipes one hole up. THEY WERE RIGHT !!
Console & Stop Jambs
The Poem on the music desk is painted and dated 1908, composed by the then Rector, Rev. H. O. Assheton:
"Mid all th'uneven Strokes of Time
And man's Discord, One Strain of Love
In Diapason rules sublime
The Melody of JESU's LOVE
Take then my Lips, Good Lord, my Heart,
My Skill of Hand, whate'er it be,
And weave them with that leading Part
Into a perfect Harmony"
STOP LIST
Couplers Swell to Great, Swell to Pedal, Great to Pedal.
Accessories Balanced Swell pedal (1962).
3 composition pedals to Swell fixed:
1) Voice Celeste 8' & Salicional 8'
2) Open Diapason 8', Principal 4', Fifteenth 2'
3) Full Swell - except Celeste
Further information
Comments from David Walters DOA during 1980's and 1990's
"Positive Aspects
This is a fine sounding John Nicholson instrument.
The 1962 additions have transformed a 4-stop village organ department into a virile full Great.
The Nazard goes from Diapason to Flute tone as pitch ascends.
The wood Stopped Diapason has bored stoppers - a Rohr Flute of non-extreme tone.
The Swell is a decent mid-victorian specimen – good trenchant Cornopean - pleasant Oboe - excellent old type Sesquialtra/Cornet Mixture - singing 8'4'2' diapasons - non-extreme strings.
Negative Aspects
Great and Swell can only speak across the Chancel and the Pedal is completely blocked by the Swell box.
The Instrument has been stuffed into a highly restricting attic over the choir vestry and voiced to give a good strong sound from large scales e.g. Pedal 8' C is 200mm diameter, but still stiffled by the Swell box.
The pedal pipes stand on a 2-rank, 30 note soundboard, but due to the restricted height, the lower Bourdon and Principal pipes are stacked horizontally above the wind supply on a solid framework, with conveyancing".
Sectional Drawing of organ layout looking EAST
Drawing by David Walters Diocesan Organ Advisor 1999