DIAGRAM OF ORGAN CONSOLE:

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DIAGRAM OF ORGAN CONSOLE.doc

Marlborough College’s first organ was constructed in 1876 by Forster & Andrews of Hull for the then new Chapel. The organ was sited in the gallery of the old Chapel and then moved to its current position when the Chapel was extended and rebuilt. At this time the organ had a mechanical action and the console was located under the instrument, behind the choir stalls.

In 1914 Forster and Andrews further enlarged the organ, converting the action to tubular pneumatic. In 1955 the most substantial work since its birth was carried out by Hill Norman & Beard and electro pneumatic action was installed in a new detached console. Over the course of the years the pipe work had been extensively modified in an attempt to make it speak more strongly from the new, unintended site. Not only was the original tonal scheme now heavily compromised but the lack of space in the chamber meant that additions to the instrument were squeezed into unsuitable spaces. Minor additions have subsequently taken place in 1977 and 1988, the latter being the generous gift of a 32’ reed from the Clarke family. 

Parts of the organ were thus 130 years old. We were faced with an instrument that had been added to and modified so extensively that there was little left of its original integrity.

We knew that the next substantial organ work was scheduled for 2005, fifty years on from the HN&B rebuild. So the question was: do we continue to

maintain what was becoming an increasingly unsatisfactory instrument, or had the time finally come to redesign and rebuild the organ; to install an instrument designed and voiced specifically for its permanent site on the north wall above the vestry? And if we did go for this, could we return the organ to having mechanical action, very much the modern norm where the site allows? 

In 2001 Ian Crabbe and Tim Ridley initiated the procedure of gaining quotes for the proposed restoration of the organ in 2006. Various UK builders were invited to inspect the organ and provide schemes for dealing with its problems. Sadly these builders didn’t share our excitement at the opportunity being presented. Many British organ builders seemed unhappy to take the plunge and we were surprised at the ease with which they seemed content to continue working with the unsatisfactory set-up. Of this initial foray only two builders emerged with any credence: Harrison & Harrison and J W Walker & Son.

So it was decided to see if any European builders shared our belief that a mechanical action was the way ahead. Over the course of the Lent Term 2004, representatives from Marcussen, Rieger, Klais, von Beckerath and Flentrop all visited Chapel and spent time assessing the current state of the organ and taking on board our ideas. Harrison & Harrison, Walker, Rushworth & Dreaper, Wood, van Heuvel and Kenneth Tickell were all also invited to submit tenders, though subsequently R&D, Wood and van Heuvel declined the invitation.

It was fascinating from the Marlborough organists’ perspective to have the chance to meet some of the greatest organ building minds in the world.

The existing two members of the Organ Committee had now been joined by Ian Sutcliffe, our new Director of Music. It was fascinating from the Marlborough organists’ perspective to have the chance to meet some of the greatest organ building minds in the world. At last we had support from the Organ Building fraternity. Harrisons aside, each of our tendering organ builders agreed with us that a mechanical action was undoubtedly the way ahead. A period of detailed tender analysis followed based on musicianship, workmanship, response to our ideas, proposed specification, excitement about the job and, of course, cost. A shortlist was drawn up: Walker, Rieger and von Beckerath. During Half Term in the summer of 2004 we visited Rieger instruments in Düsseldorf, Bensberg and, most impressively of all, Essen Cathedral. Trips to St Chad’s RC Cathedral, Birmingham and St Martin in the Fields to view and play Walker instruments were less exotic, but still very exciting. Our final field trip to Wichita, Kansas and New York with von Beckerath proved decisive. Virtually unheard of in the UK it had been necessary for von Beckerath to fly us to the USA to enable us to appreciate their latest work. We were absolutely bowled over by the quality of workmanship, the sensitivity of their mechanical action and the beauty and musicianship of their sound. The committee was unanimous in its decision to recommend to the College Council the awarding of the contract to von Beckerath of Hamburg.

There is a Beckerath at Clare College, Cambridge, though that instrument will

have little in common with our mighty new machine. The Clare instrument is an experiment in the Baroque Werkprinzip tradition. Our instrument blends those north German traditions with the French Symphonic School and the great Victorian era of British organ building. Several ranks from the old organ have been retained in the new instrument, but every other part of the instrument has been built from new – thousands and thousands of hand crafted parts. The retained pipe work is predominantly wooden, Beckerath’s principle being to retain pipe work which they did not believe they could improve by making anew. The cost of restoring a pipe and building a new one was fairly comparable, so decisions were made purely on tonal and quality grounds.

Truckloads of pipes began filling Chapel; some, like the console, arrived in Beckerath’s trusty van having endured the sea crossing and the considerable suspicion of Ramsgate’s customs officials.

Over the course of January and February 2006 most of the pipe work from the existing organ not being retained in the new instrument was removed by British organ builders and a few local churches. The entire instrument was then demolished and removed through the Bodley façade and down a huge scaffolding stairway, affectionately nicknamed the Stairway to Heaven. For almost all of 2006 worship in the Chapel was led by a 3 manual Makin electronic instrument which had previously resided in Peterborough Cathedral for the duration of their organ building works. The committee made two visits to Hamburg to inspect and monitor construction. In late June the scaffolding reappeared and installation work began. Initially the chamber was completely lined withwood to create a better sonic quality and to allow the temperature within the instrument to be regulated rather more successfully. Then the new frame of seasoned oak was assembled, then the boxes, followed by all the wind and blower apparatus. Due to its location behind the Solo and Swell boxes the 32’ Untersatz had to be installed with the rest of the organ being built around it. Trackers followed before the console arrived on the last day of August. Truckloads of pipes began filling Chapel; some, like the console, arrived in Beckerath’s trusty van having endured the sea crossing and the

Personnel involved in the Project

 General

for Marlborough College

for Rudolph von Beckerath GmbH