Organbuilding is not just the physical act of making an instrument with a set of pipes, action and wind system. The actual basis for the concept is founded on a philosophy of the craft. What types of sounds are used and how are they blended? What sort of music is capable of being played on the organ? Is it a question of an historical model or is it an avant-garde approach?<\/p>\n
Here are some of my thoughts on organbuilding philosophy. Small Organs – A Perspective<\/a><\/p>\n What type of instrument is most suitable for a particular place and purpose? Budget limitations will often lead people to assume that any pipe organ at all would not be a feasible option. Restoration Philosophy<\/a><\/strong> discusses some of the options available at the time of a rebuild or restoration.<\/p>\n In 2001, Simon was awarded a Churchill Fellowship to study modern organbuilding in the U.S.A. This involved visiting 18 organbuilders, playing 75 instruments, participating in the O.H.S. Convention in North Carolina and a String Voicing workshop in Chicago. Here is his U.S.A. Churchill Report<\/strong>.<\/a><\/p>\n A visiting writer and organ afficionado reported on Queensland organbuilding from a German perspective four years ago in an interview with Simon<\/a>.<\/strong> Whilst much has progressed with our firm, including the new workshop, it is still an interesting view of what we do and who we are.<\/p>\n