Methodist in her madness

Thus did Martin Setchell introduced his personal history. He’d had young years in UK with a Methodist grandmother so attended churches like this one (Uniting Church, Daylesford). In chruch, he’d observed the pulpit in prime place, but the choir above and the organ above all. Thus he determined to play the organ. Most likely apocryphal, but amusing. This was Daylesford and it was a day of organs. First up was Martin playing Italian music on a mechanical action William Anderson organ, installed 1888. Two manuals, 3 couplers, tracker action, restored by George Fincham 1909 (to quote the language of the historical organ community). As with several other concerts, local organ repairer Ken was working till the last moment, and repairs held up the performance for ~15 minutes. Hot weather cracking joints, I think it was. Martin played Italians from 1550s and a few Germans who were influenced by the Italians and further developed the tradition (not least JS Bach). But the trills and varied notes were there, thanks to the tracker action.

Martin Setchell (organ) performed at the Uniting Church Daylesford.

An uncommon pairing

Well, a concert of harp and pipe organ is a concert of relatively obscure and uncommon instruments. As proof, I discovered a list of 44 pipe organs in Canberra and there wouldn’t be too many harps, although we do have an aggregation, mostly around Alice Giles. But they didn’t play together, just a segment each. Martin Setchell presented two small sets of English Edwardiana d Victorian music for organ, with names including Lemare, German, Clark, Bache Bridge and Hollins. Not a well known repertoire although the Lemare piece, Andantino in Db, had been ripped off for Moonlight and roses, so the melody was known for that and Lemare made considerable monies from the copyright case. The Scotson Clark Vienna March sounded all the world like a barrel organ – a very complex and expensive one in this case. The organ had problems with some stops so the second set was delayed, but this festival has an organ tuner on call to make repairs – the second one I’ve seen on the fly in few days. Visiting Venetian harpist Elisabetta Ghebbioni performed a spectacularly mixed set: from Phillip Glass Metamorphosis Two, through Albeniz to Handle Chaconne in Gmaj, which is a set of variations. I enjoyed this set, if more for the two ends, the Glass and Handel, but I felt the harp was lost in this space. Elisabetta has a great CV but she’s playing on a borrowed instrument. Well, as is Martin, but I felt this instrument really felt and sounded good here. Perhaps it’s the space or perhaps the organ’s relative youth or maybe its maintenance (if it’s maintained anything like the perfect gardens around the chapel). It’a Fincham & Sons of 1903, and apart from the breakdown, the sound was lively and fresh and big. The arched ceiling and surfaces may have helped acoustics. Again, I measured the organ slightly sharp, ~A=444, like the other organs other than St Pat’s which was similarly flat. Interesting.

Martin Setchell (organ) and Elisabetta Ghebbioni (harp) performed sets at Loreto College Chapel.

Strange view

So it is when you attend an organ concert in a church. In concert halls they are up the front, but in churches, the organs are usually up the back, over the entrance, and the pews face forward. It’s a good opportunity to listen, and I saw some closed eyes for this concert, but also perchance to dream. This was New Zealander Martin Setchell playing the George Fincham & Sons, built 1930 with tubular, pneumatic action. It’s highly regarded. MS introduced his works, a Bach prelude, an air and gavotte by Samuel Wesley, Elgar Pomp & Circumstance no.4, a fountain reverie and four more works in the form of a symphony, but by four composers. An interesting caprice. This was a large organ, ably filling this huge space, varying though all manner of gentle tones through to the grand, deep pitches. I tested with some apps. The low notes seemed to be ~50Hz and the pitch was well below A=440. But that’s just tech. I feel there’s an artefact in organs with slow formation, especially of low notes. I guess it’s the nature of moving that air. But how satisfying is a big tone, the deep notes and the high floating tones ad what’s this festival without it.

Martin Setchell (organ) performed in St Patrick’s.