Southampton Guildhall / Richard Hills CD 'Grand Variety'

[Lucien Nunes]

To mark the 75th anniversary of the opening of the Guildhall and its organ, we're proud to bring you 'Grand Variety' with Richard Hills at the (two) consoles of Compton's magnum opus - playing classics, show tunes, novelties and more. The Guildhall organ is a comprehensive 50 rank + Melotone instrument with two entirely different 4-manual consoles, one designed for performing classics (the Grand console) and one for light music (the Variety console). Richard has masterful control of this beast whichever console he is seated at, however when at the Variety console he has use of the Melotone which I am obliged to say is the best bit.

What you won't hear is extensive use of the Melo's tenor octave as a solo voice, which (nice though it is) has been ably demonstrated by such great Melotonists as Dudley Savage. Instead you can find it woven into various registrations throughout the recording, but more remarkably used in an exciting '101 strings' arrangement of Trevor Duncan's 'Girl from Corsica'. Unique and atmospheric but don't just take my word for it: Visit the website, listen to the preview clips, buy the CD, support the organ and most of all enjoy Richard Hills' wonderful music...

Review of Grand Variety by Carlo Curley: http://www.ssfweb.co.uk/silverst/html/c ... eview.html
Hear samples and buy the CD online: http://www.ssfweb.co.uk/silverst/html/g ... riety.html
Guildhall organ's own website: http://www.guildhall-compton.org.uk/
See us on Facebook: http://www.facebook.com/groups/211948242234668/

Lucien

[highlandelectrone]

I agree wholeheartedly - and I can honestly say, that having played the piano since the age of seven and the organ since twelve - and having been fascinated by organs since then - I have never heard such a "complete audio spectacle". The organ is in tune, beautifully voiced and so wonderfully orchestral when required - nobody could argue that John Compton "had it sussed" !!! Richard's performance is exemplary as always and the recording and production is perfect. Lucien's handiwork speaks for itself through the Melotone horn.

[Lucien Nunes]

I'm glad Grand Variety gets your approval! We must give John Leeming credit for the lion's share of the Melo work, I just tweak it from time to time. Probably 95% of my time there is spent on the action generally and only 5% on the Melo. Rarely in fact do any references to the Melo appear on the to-do list that I write during the first half-hour at the consoles. Because of the trek from hall to chambers, it makes sense to spot as many issues as possible before carting the tools upstairs. A couple of dozen specifics usually show up for starters e.g. notes off, sticky reversers, pistons that won't set or recall particular stops.

That is not to say there is nothing more to do on the Melo, as it is quite a prolific grower of dendrites that need regular scavenging to minimise crackles. Like everything on that organ, it has been a matter of slowly catching up with years of insufficient maintenance, in lieu of the rebuild that would have been so beneficial. Little things like contact strikers coming off the expression relays with metal fatigue, drifty leak resistors etc. that can be done in the heat of the moment but are better pre-empted by the occasional proper maintenance session. What the Melo 'enjoys' most of course is being played.

Lucien

[Kevin Wood]

Well, my copy quickly arrived in the post so I warmed the KT88s and put it on..

I forgot I was supposed to me making myself dinner that evening, forgot everything, including my rumbling stomach, and was immersed in it.

From someone with zero musical talent and htherto little appreciation of organ music I think that says it all.

Really great to hear the organ preserved functionally and, now, as a recording. Well done to all involved.

Kevin