Restoration Of Civic Organ And New Small Instrument Advocated

Press, Volume CIX, Issue 31923, 26 February 1969, Page 12

Restoration Of Civic Organ And New Small Instrument Advocated

Restoration of the to the argument on Civic Theatre organ, provision of an organ for which could be modern- ie

ised tonally, and the purchase of a new small organ, both to be used in the Town Hall, are seen by Mr A. Ross Wards, a Christchurch organ architect and acoustics consulant, as the answer

Mr Albert Gillett had done well to question the need of an expenditure of perhaps $lOO,OOO on an organ, Mr Wards said. Christchurch was not at all in favour of the organ as an instrument, judging by attendances at public recitals, admittedly on out-dated and in many cases worn-out instruments.

Even the Organists’ Association, numbering only 64 in a city with more than 90 pipe organs, to say nothing of innumerable electronic substitutes, rarely raised more than 25 to a meeting, whatever the event, he said. It was no use, as Cr H. G. Hay, chairman of the Town Hall Committee seemed to wish to do, to compare Christchurch with Sydney or London, where the populations were so vastly greater.

The Civic Theatre organ was of a style, tone and action quite unsuited to today’s needs, Mr Wards continued. It was intended for orchestral transcriptions, not for organ music. He had a programme of the opening recital which listed nine items of operatic and orchestral transcriptions, with no hint of music actually written for the organ. “It is quite absurd to suggest that a satisfactory rebuild of the present organ need cost little less than a new instrument, or that a new organ altogether is the only answer.”

He proposed that the theatre organ should be restored, slightly modernised

tonally and installed in the“chambers” to be provided in the Town Hall, with the console in a more useful position than it was at present. Then there should be a new small, movable organ of classic design and tracker action. If desired, the great and pedal of the main organ could be playable from the console, from contacts under the keys.

Mr Wards saw the benefits that the Civic Theatre organ would be retained and able to support large choral festivals or gatherings. The new organ—perhaps only about 12 stops over two manuals and pedals—would be of ideal tone and design for the accompaniment of choirs, for the continuo line in operatic and orchestral works, and for the solo line in orchestral works, sadly neglected at present. Although the organ might not be “in tune” according to current practice this was no stumbling block. Any competent builder could i adjust it within a few weeks. Mr Gillett had not criticised the idea of an organ, but merely the idea of building a very large expensive instrument at this stage, Mr Wards continued. “If a new organ were given, perhaps well and good, but it is senseless Jonesmanship to purchase an instrument that would be little used.” Cr Hay had suggested that a new organ would be the most up-to-date in the country, but this was not a criterion of worth or suitability. “Cr Hay’s advisers, the Organ Committee, have little knowledge of overseas developments in the organ world or of organ-building generally, whatever their undoubted merits in musicmaking,” he added. There is not one good instrument in good condition anywhere in the South Island, according to Mr Wards. The Cathedral organ, from a brief orchestral period of organ-building style, was merely a larger version of the Civic Theatre organ. The organ in the Roman Catholic Cathedral, although of infinitely better general design and placement, suffered from being in bad condition and in a building double the size for which it was intended. Mr Wards said his scheme need cost only a third or less than it would cost for a new organ.

Ratepayers should ask for the design of the proposed new organ, its builder and general layout and tonal principles. Public support was essential if there was to be such a big outlay.