@ far too many of the so-called Neo Baroque instruments had stops that were nothing more than rungs on a on a vertical ladder. In most cases, the stops individual individually were not very beautiful. This type of instrument is the complete opposite every stop is beautiful in and of itself standing alone. And the bonus is that they all combine in so many different directions. What a warm rich sound!
Thanks for showing this instrument! Great to hear Bruce playing it! The original Great Diapason chorus from the 1898 rebuild was 8,4,2 2/3, 2 -- Mr. Taylor added the 1 3/5 on the 2 2/3 slide as a half-draw and the Mixture ranks on the 2' slide as a half-draw. The 16' Trombone was new in 1987 and was voiced by Fred Oyster. The combination pedals are all functional, with those to the left of the Swell expression controlling the left drawstops and those to the right of the expression shoe controlling the right side drawstops.
A fine demonstration of a beautiful sounding instrument. Here in Manchester UK and other parts of Northern England, we still have a number of Wadsworth organs remaining although out of over 1000 built, many have disappeared or been incorporated into rebuilds. Encouraging to see this one has survived and is obviously cherished
Interesting to see an organ where the purpose of the Choir department (as the Brits would say), is truly as an accompanying instrument for the choir… thinking to British choral music of the 1860s and before, much of it was direct and straightforward, nothing more than those few stops needed. You could think of it as a quite complete 2 manual organ with a separate choir organ. Lovely instrument, played quite beautifully!! Having read the listing on the OHS database, we are truly fortunate that it was rescued and didn’t end up as scrap metal!!
This is a nice sounding organ. Another English organ builder based out East is Robjohn. A fine example of a Robjohn organ is the 1859 instrument rebuilt by Bigelow and now at the Musical Instrument in Scottsdale, AZ. I believe this was installed in 2021.
Edward Wadsworth was born in Chorlton, near Manchester in 1839. The family were Unitarians, and his first organ building factory was in Manchester City Centre on Cross Street. Incidentally, Edward Wadsworth was a member of that *very* influential, wealthy and well-connected congregation the minister of which was Rev. William Gaskell, husband of Mrs Elizabeth Gaskell, the novelist. It is *very* likely that the capital to start in business as an organ builder came from the Congregation and his first major commission was a new three-manual organ for Cross St. Chapel. He also won the contract for many other large instruments for Non-conformist churches around Manchester. The Cross St. Chapel organ cost £1,000 and was opened in June 1864 and it was really his spring-board to fame. Sadly, it was destroyed in the Manchester Blitz, but it's from 1864 onward that the Wadsworth company really develops, in no small part to the Cross St. organ and his wealthy backers in the congregation. Edward Wadsworth trained with Frederick Jardine who was the in business as Kirtland and Jardine, setting up his own firm on Cross St. in 1861. He was later joined by his younger brother Edward in 1874. Incidentally, Edward was an ace cricketer who represented Lancashire. Edward emigrated to Canada in 1886 leaving his brothers Edward and Ernest. The family connection ended in 1918; the firm ceased trading in 1946 when it was taken over by Jardines. The Wadsworths were, out side of organ building, fairly well off and moved in upper middle class circes - as were a great many Manchester Unitarians of the period. Wadsworth was one of the more expensive organ builders in Manchester, compared to the likes of Jardine or Alexander Young. Like Fred. Jardine he was greatly inspired by the Cavaille-Coll organ in Manchester Town Hall, and indeed like some F W Jardine schemes were heavily inspired by Cavaille-Coll.
It’s not uncommon for Victorian era organs to have a Choir manual that doesn’t couple to the Great at all. I’m not quite sure why, but that’s how a lot of Anglophone organs back then worked.
I’m betting the choir can couple. It’s possible that it may have disconnected in favor of making a change to the organ when it was moved. But it’s not un-heard of for organs of its time to not have it.
The Choir does not couple to the Great. However there is a Swell to Choir coupler along with the Swell to Great coupler. The Choir also does not have it's own separate windchest, but is placed together with the Great on a single, very large, windchest immediately behind the case front facade.
I’d like to see an illustration of that. While sharing chest frames isn’t uncommon, if the Great and Choir shared the same chest cavity they would both play from one manual. They are separate actions thus two different chest cavities that share a wind supply, while sharing a chest frame.
Absolutely gorgeous instrument in which every rank is one more beautiful than the other. A real lesson in tonal design!
In total agreement here! What gorgeous diapason sound, and the room really enhances it.
@ far too many of the so-called Neo Baroque instruments had stops that were nothing more than rungs on a on a vertical ladder. In most cases, the stops individual individually were not very beautiful. This type of instrument is the complete opposite every stop is beautiful in and of itself standing alone. And the bonus is that they all combine in so many different directions. What a warm rich sound!
What an organ - and from the best city in the world, Manchester!
I love the British-ness of this instrument! Thanks for showing us this unique organ. Keep up the great work.
This parish is truly gifted to have such a fine organist as Bruce - truly gifted.
A magnificent organ in a gracious acoustic! It doesn’t get any better than this!
Thanks for showing this instrument! Great to hear Bruce playing it! The original Great Diapason chorus from the 1898 rebuild was 8,4,2 2/3, 2 -- Mr. Taylor added the 1 3/5 on the 2 2/3 slide as a half-draw and the Mixture ranks on the 2' slide as a half-draw. The 16' Trombone was new in 1987 and was voiced by Fred Oyster. The combination pedals are all functional, with those to the left of the Swell expression controlling the left drawstops and those to the right of the expression shoe controlling the right side drawstops.
A fine demonstration of a beautiful sounding instrument. Here in Manchester UK and other parts of Northern England, we still have a number of Wadsworth organs remaining although out of over 1000 built, many have disappeared or been incorporated into rebuilds. Encouraging to see this one has survived and is obviously cherished
Gorgeous!
An unexpected pleasure to hear the great Bruce Bengtson again!
What a witty organist, seems like a nice guy!
Another gem in the series !
What a splendid instrument, and beautifully played
Interesting to see an organ where the purpose of the Choir department (as the Brits would say), is truly as an accompanying instrument for the choir… thinking to British choral music of the 1860s and before, much of it was direct and straightforward, nothing more than those few stops needed. You could think of it as a quite complete 2 manual organ with a separate choir organ. Lovely instrument, played quite beautifully!! Having read the listing on the OHS database, we are truly fortunate that it was rescued and didn’t end up as scrap metal!!
The stops blend really well on this instrument! And the reverb lends a lot to the ambience.
What a sound !! Beautiful organ brought to life by a remarkable, gifted organist. Thanks Bruce !
Well, there's the 1871 Father Willis organ at St. Joseph's in Seattle. Similar size three-manual organ with Barker lever!
Absolutely amazing. This sounds between C and D flat Major. 🎹🎹☘️
Thank you for sharing nice sounding organ
Stunning organ. A 16 Foot Reed in the Swell would be useful
What a find! Thank you for doing this demo. 😁
Heavenly sounds!
This is a nice sounding organ. Another English organ builder based out East is Robjohn. A fine example of a Robjohn organ is the 1859 instrument rebuilt by Bigelow and now at the Musical Instrument in Scottsdale, AZ. I believe this was installed in 2021.
Edward Wadsworth was born in Chorlton, near Manchester in 1839. The family were Unitarians, and his first organ building factory was in Manchester City Centre on Cross Street. Incidentally, Edward Wadsworth was a member of that *very* influential, wealthy and well-connected congregation the minister of which was Rev. William Gaskell, husband of Mrs Elizabeth Gaskell, the novelist. It is *very* likely that the capital to start in business as an organ builder came from the Congregation and his first major commission was a new three-manual organ for Cross St. Chapel. He also won the contract for many other large instruments for Non-conformist churches around Manchester. The Cross St. Chapel organ cost £1,000 and was opened in June 1864 and it was really his spring-board to fame. Sadly, it was destroyed in the Manchester Blitz, but it's from 1864 onward that the Wadsworth company really develops, in no small part to the Cross St. organ and his wealthy backers in the congregation.
Edward Wadsworth trained with Frederick Jardine who was the in business as Kirtland and Jardine, setting up his own firm on Cross St. in 1861. He was later joined by his younger brother Edward in 1874. Incidentally, Edward was an ace cricketer who represented Lancashire.
Edward emigrated to Canada in 1886 leaving his brothers Edward and Ernest. The family connection ended in 1918; the firm ceased trading in 1946 when it was taken over by Jardines. The Wadsworths were, out side of organ building, fairly well off and moved in upper middle class circes - as were a great many Manchester Unitarians of the period.
Wadsworth was one of the more expensive organ builders in Manchester, compared to the likes of Jardine or Alexander Young. Like Fred. Jardine he was greatly inspired by the Cavaille-Coll organ in Manchester Town Hall, and indeed like some F W Jardine schemes were heavily inspired by Cavaille-Coll.
5:54 is that from an actual piece? If he came up with that on the spot, it's brilliant.
I wonder if double-draw was Taylor's.
I don't think I've heard of British builders incorporating double-draw at all, let alone in the 19th Century.
The upper ranks of the double draw were added by Taylor
It’s not uncommon for Victorian era organs to have a Choir manual that doesn’t couple to the Great at all. I’m not quite sure why, but that’s how a lot of Anglophone organs back then worked.
I’m betting the choir can couple. It’s possible that it may have disconnected in favor of making a change to the organ when it was moved. But it’s not un-heard of for organs of its time to not have it.
The Choir does not couple to the Great. However there is a Swell to Choir coupler along with the Swell to Great coupler. The Choir also
does not have it's own separate windchest, but is placed together with the Great on a single, very large, windchest immediately behind the case front facade.
I’d like to see an illustration of that. While sharing chest frames isn’t uncommon, if the Great and Choir shared the same chest cavity they would both play from one manual. They are separate actions thus two different chest cavities that share a wind supply, while sharing a chest frame.