I don't understand why Jonathan Holmes seems to have experienced such
a drubbing in expressing his opinion on this matter.  The MMD is a
discussion forum amongst other things and we need lively discussion
and vociferous opinions.  Surely it is these that keep our enthusiasm
and our minds fresh and alert.  It is this same passionate enthusiasm
that drove a preservationist to save the organ in the first place, the
same enthusiasm that spurred its current owner to have it rebuilt and
the same enthusiasm with which its new owner acquires it.

Whilst I appreciate the argument that a well-known instrument is off
to America for the next chapter in its life, we in England should
perhaps not focus on it as if it were a total bereavement loss to the
UK.  Why not think of it as an old friend who's emigrating to America
to entertain new audiences.  Good luck to both seller and purchaser!
Who knows, in years to come the missing original top half of the façade
may one day be rebuilt even.  It would then become truly the most
spectacular instrument anywhere.

On another important issue about fair organs in their historical
context, I would like to raise the plight of not one but four organs
operating in a genuine historical context.

A fortnight ago I visited the Hollycombe Steam Collection at Liphook in
Hampshire.  The collection has many vintage steam-driven fairground
rides and incorporates four organs.  The only music in the fairground
is from the organs : exactly their original historical context.

Visitors can genuinely experience an idea of an Edwardian-era funfair
visit.  Huge numbers of visitors descend there every week : they go to
enjoy the fair, miniature railways, gardens and other attractions.
They don't go because they are mechanical music fans.

What idea the general public gets of old-time mechanical music in its
historical context on visits there is currently deplorable.  The
87-key Gavioli on the Gallopers is partially out of tune but severely
so in the notes affected.  It otherwise was playing passably.  The
small Limonaire on the Chair-o-Planes ride was missing notes and the
tympani lacked enough wind to operate.  The 98-key Marenghi was
extremely asthmatic and you could cry listening to it play if you've
heard what the similar Anderton and Rowlands instrument can do.

The Gavioli barrel organ on the fixed-horse Gallopers is a total
tragedy and should be disconnected until fixed.  It was fitted with an
Odeon computer playing system which was malfunctioning.  To my ears
half of the notes were not playing and of those that were playing about
half were aligned to a wrong note.  It was utter cacophony and just
looking at the expressions on the faces of visitors on the ride as they
circled past the organ spoke volumes.  Of course, perhaps I am entirely
mistaken and the organ was merely playing Schoenberg's "Pierrot
Lunaire".

For every member of the general public who visits a steam rally, heard
the Jonas 110-key Gavioli (or any other fine playing instrument) and
came away with a positive view of mechanical music there is another
average-Joe who just left Hollycombe with 4 negative views of
mechanical music.  I know a lot of stuff at the collection is done on
a shoe-string budget by volunteers and their priority is primarily
steam engines; this is no criticism of the folk at Hollycombe at all.
The fact that such a place exists and operates is a superb achievement
in itself.

If we care genuinely about instruments in their historical context, will
someone who is able to help please consider getting in touch with them
and offer their services perhaps.  The instruments all probably need
just minor servicing and adjustment.

Sincerely,
Adam Ramet
http://www.themodist.com/

 [ Amusement parks never have enough funds for adequate maintenance.
 [ If old-timers were asked about the condition of the organs, they
 [ would likely reply, "They sounded the same fifty years ago!"
 [ -- Robbie