"Within the radius of half a mile in Central London are four organs all restored with conspicuous success by Bishop and Sons:
St James, Spanish Place (1982), Hinde Street Methodist Church (1984), The Immaculate Conception (1988) - often referred to as 'Farm Street Church' and The Annunciation, Bryanston, Street (1989).
All four bear the hallmarks of this company's sound approach to their work: well balanced choruses, discreet and sympathetic tonal work and a respect for the instrument itself. These qualities are well displayed in the completion of the original Rothwell organ at Bryanston Street. The church itself is of considerable interest, being designed by Sir Walter Tapper, a pupil of Bodley. It displays magnificence on a relatively small scale, despite the limitations of the site, the lofty vaulted roof, clerestory windows with their elaborate tracery and beautifully carved chancel screen, all help to create an interior full of atmosphere. The organ in its ornate and well proportioned case, is at last entirely worthy of its setting. Since its installation in 1915 nothing had been done to complete the specification as given in The Organ, April 1932. Plans to replace it (but not the case) with a Marcussen instrument in 1968 were fortunately shelved through lack of money; later ill-conceived attempts to 'improve' the tone of the chorus reeds resulted in most of the Swell reeds having to be replaced. The two Choir reeds, originally enclosed, were at some time deprived of their swell box and pedal. The ingenious but idiosyncratic Rothwell console remained to mystify the visitor and frustrate the tuner's access for servicing and repair. The skilled attention of Bishop's London workshop has expanded and modified the original limited tonal scheme very much in sympathy with the work of its first builder. For when considering the completion of an organ built 74 years ago certain questions arise: was the original scheme worth completing? And has the eventual completion proved to be musically satisfying as well as retaining the best of the original instrument? In Bishop's work very little has been lost but musically it has gained enormously. Every department is an entity; choruses blend well and stops balance easily. Its action makes the organ a joy to play, both on manuals and pedals - it is firm, crisp and responsive; everything works promptly and quietly within the handsome new console. Preservationists who call for the retention of original and 'historic' consoles conveniently ignore the problems they cause when faults develop!"
ROTHWELL's 1915 SPECIFICATION
GREAT SWELL CHOIR PEDAL
Double Diapason Chorus 16 Bourdon 16 Dulciana 8 Bourdon 16
Open Diapason No.1 8 Echo Gamba 8 Lieblich gedackt 8 Open Diapason 16
Open Diapason No.2 8 Voix Celestes 8 Gamba 8 Flute 8
Aeolian 8 Stopped Diapason 8 Suade flute 4 +Trombone 16
Wald Flute 8 Open Diapason 8 Vox Humana 8
Harmonic Flute 4 Principal 4 +Orchestral oboe 8
Principal 4 Fifteenth 2 Clarinet 8
Fifteenth 2 Mixture III
Trumpet 8 +Contra fagotto 16
Tremulants to Swell & Choir Oboe 8
Cornopean 8
+Clarion 4
Choir reeds enclosed
+indicates prepared for
"In its restored and completed state this is now a very satisfying organ, combining personality with a sound and rational specification.
On the Swell is a well balanced flute chorus with a variety of quiet, refined sounds. For romantic music the Celeste blends happily with both the Stopped Diapason and the Echo Gamba. The latter stop and the Diapason possess a gentle but pervasive quality devoid of the edginess often encountered. The Bourdon, which might so easily have been discarded, is a stop of character forming an excellent 8' bass an octave higher for other stops of the flue chorus. Bishop's replacing and supplementing of the chorus reeds has been highly successful: individually and in full Swell they have plenty of vigour, the upperwork combining well to produce an exciting sound without the need for couplers.
When rebuilding the organ, it must have been tempting to consider discarding two of the three Great Diapasons. What Bishop's have done is to transform the effectiveness of the former chorus by the addition of a three rank Mixture and careful regulation of the existing pipework. Such a procedure is the acid test of a builder's tonal work. All too often a generous bestowal of mutations and mixtures shouts defiance at its older, lower pitched neighbours, resulting in a state of unhappy coexistence. Here, Bishop's have achieved a coherent blend of old and new: the Great chorus, based on the No.2 Diapason, is now bright, pervasive and satisfying. What had been previously described as 'unmemorable and undistinguished' now has definite character - essentially traditional but lively and versatile. This means that almost any combination works well, including the use of the gentle but sonorous 16' Double Diapason, whose upper register blends with Principal, Fifteenth and Mixture to provide a glittering range of sounds. The No.1 Diapason has lost its woolly ponderousness and has its place when diapason tone on the grand scale is required.
The 8' and 4' Flutes are somewhat on the bold side for today's taste, but the Wald Flute forms an excellent bass for the chorus and blends well with its 4' counterpart. The Harmonic Trumpet has been half-capped after its previous mutilation and, in its new position, speaks directly into the north aisle which is as lofty as the nave. It is a very useful stop - commanding in sound, it tops the Great Chorus very happily. Used on its own it is equally telling in single notes and chords, sounding more exciting in the church than it does at the console. Its new 16' octave on the Pedal matches the 8' register well and has most usefully been made available at 4' pitch in that department. The Pedal organ has been successfully completed within the constraints of finance: the 16' Open Wood is magnificently firm and prompt, while the ubiquitous Bourdon suits registration up to forte quite happily. With its lively reed available at 16' and 4' and a Swell Octave to Pedal coupler, the instrument can do full justice to the baroque and modern repertoire, including trios and chorale preludes.
Bishop's most innovative work is to be found on the Choir organ. This is a section where some builders either lose interest or insert 'tonal improvements' completely out of character with the existing instrument. Fortunately, in this instance, neither course was adopted. As previously stated, the original two reeds became unenclosed some years ago".