These photographs show the original slider seal rings on an organ we have repaired. These have crept over the years, due to the self-stick adhesive used. This caused blockage of air and created a great deal of leakage. These were replaced with teflon impregnated rings (the picture shows this underway). Many of the telescopic seals were binding, and therefore replaced (not shown). The stop action linkages were adjusted to ensure that the sliders were open fully when pulled.
The Great division was covered in plaster dust at the start of this work, making cleaning necessary. The Swell box roof was collapsing, and had to be better supported. (Photos of the Great and Swell divisions are on our "Restorations" page).
Recent events and work
As part of a recent "Organ Triathalon" given by the Northeast Connecticut chapter of the American Guild of Organists, Mr. Walton performed the Prelude and Fugue in C Minor (BWV 545) of Bach, and gave a talk on organ construction and tuning. Various types of actions , pipe metal alloys and temperaments were discussed including the ditonic and syntonic commas, how they are created, and how they are dispersed for different temperaments. The Organ Triathalon consisted of a members recital, presentation, and concert in Storrs, Connecticut.
Before
During work, showing new teflon rings
Carving detail from Dr. Flummerfelt's table organ
Replacing rear spring tension rail on a pedalboard. The block had cracked in line with the tensioning screws. All felts were also replaced and pedal caps were re-lacquered.
Pipework for a single 8' Continuo organ now listed for sale or rental. Note the integral mitres on the lower four pipes.
The single 8' continuo organ has wooden bass pipes to tenor c. At c#, the pipes are metal. This photo shows the flute on the voicing machine.
Photos showing the removal of a small slider chest in need of repair
This French barrel organ is part of the Pease Collection of Historical Instruments, housed in Palmer, Massachusetts. The Barrel organ, although in good condition overall, was in need of some mechanical and tonal repair. During our research, is was noted that many of the finer details of this instrument are illustrated and discussed in L’art du Facteur Des Orgues by Dom Bedos de Celles. This organ includes a tambourine/drum and triangle, and therefore deviates from the specific examples given in the 1760 treatise. We have found no obvious name that may be the builder, nor have we found a date.
The organ was originally supplied with three barrels, only one of which is extant. There are 10 tunes on the surviving barrel, which, based on the tune list glued to the inside of the barrel access panel informs us we have either Barrel number 1 or 2. Barrel number 3 has only one tune listed. During the cleaning, a handwritten “No 2” appears on the barrel cradle. This same script, however, appears on the supports that hold the pipe racks. It is quite possible that the three barrels shared the same cradle and this organ was simply numbered.
There are three ranks, with 19 pipes in each. The stopped pipes are of both wood and metal. Open pipes are cone and/or ear tuned, and the stopped pipes are ear tuned, with one exception, which is a single wood pipe. The other has no stopper handle and had a flap of copper placed near the mouth to tune it. This detail was likely not original. The pipes appear to be of lead, although there is much barrel organ documentation that mentions pewter pipes, which would contain copper. The toes of the pipes terminate in a most abnormal manner compared with average organ pipes, but then, this was an instrument made to be moved. Instead of a traditional toe, they are gradually shaped into cylindrical tubes which slide into the toe holes a considerable distance. These were most likely cemented in place originally. Over the years, as they came loose, several different adhesives were used including white glue and an epoxy like substance which looks like burnt shellac, but had proved very difficult to remove. We installed them using burnt shellac. The pipes were thoroughly cleaned. The pitch of the instrument is approximately A=435Hz. The Scale is: D# - G# - A – C - C# - D - D# - F – G - G# - A# - C - C# - D - D# - F – G - G# - A#.
The bellows were in good condition and had clearly been releathered at some point in the last thirty to fifty years. The decision was made to leave them intact at this time. The pressure regulation is accomplished as many mechanical instruments are, through the means of a relief valve which opens as the bellows reaches its upper limit.
The drive mechanism is naturally worn due to its age, and although the worm/crank spindle is sprung in such a way that it is in constant contact with the barrel gear, it was fully depressed, allowing the barrel to skip at the same point in its rotation. To alleviate this, the worm was dressed by Mike South of Bolton Woodturning, and we shimmed the barrel up slightly with pieces of reed brass cut to fit the cradle. This allowed the drive to mesh very well. The grease in which the wood gears were covered was removed and replaced with melted wax, which was painted on to both gears, as well as the linkage to the bellows.
some of the cleaned pipework
Barrel gear showing pins
All parts of the organ were cleaned with great care. Metal pieces were cleaned, however left as they were with their patina intact.
The windchest was made of pine, and seemed to be mostly from scrap material. This gave the impression that this may have been by a French organbuilder who built these as a supplement to their church instruments. This type of application would be an obvious use for wood left over from the construction of larger instruments.
The Veneer posed something of a dilemma. The veneer is a bookmatched crotch grain walnut which is cracked in places, due in part to its age and the fact that the substrate that it was glued to is solid wood and indeed in places is joined in a cross grain fashion. This caused the veneer to tear along the joint as the pieces of substrate moved. In many places it was bubbled and chipping. Chips were glued back in place and some missing pieces were replaced with veneer taken from the original lid. This lid was in extremely rough condition and was replaced with a new lid of walnut. Based on the advice of several people, it was decided to leave the veneer intact and gently clean the case. This exposed a beautiful grain pattern which was largely obscured by years of dirt built up in handling, etc.
The original temperament is unknown. Certain guesses could be made if we had the age of the instrument, however we chose equal temperament.
Restored windchest
Barrel end view
