As someone who has played the real instrument in recital, and posted MANY recordings on the Salisbury Willis, I can tell you that there is no need or want for "further expression" - at least from my perspective.
I can understand how playing with an unenclosed Choir is a different experience, but this is the classic way that virtually ALL English cathedral organs are built.
The Salisbury Choir is a "romantic" division. It has great warmth and color, and is very different from the Hereford Choir, which is much "brighter," but also more nasal, and positiv-like. You have to make a lot of your "sound gradation" with subtle stop changes. That's why it's so important to have a console with full "divisional" pistons. If you want to play an English-style sample set, you've got to be completely at home with the divisional pistons and the "Great & Pedal Combinations" knob.
When I was at Ripon Cathedral, I played the wonderful 4-manual Harrison (where there were NO GENERAL PISTONS) of the same approximate size. I was immediately intimidated by the fact that the Choir was unenclosed, as I'd never dealt with this before. To make matters "worse," the Choir division was located immediately behind the choir stalls on the north side, making it sound "louder" in the Quire, but not so in the Nave, which was on the other side of the stone screen. The specification of the Choir was similar to the Salisbury specs, but a little smaller, with a rather prominent mixture that really could not be used in the Quire, except for playing organ voluntaries. Even the 8' Flute sounded "big". The whole division was more "immediate" and was used sparingly, although it could be highly effective when listening to it in the Nave, and at a much greater distance.
My point of saying all this is because this is the way the English organs are built, and there are very few of the "older" instruments that have enclosed Choirs. I suppose some modern "rebuilds" have provided enclosed or partially enclosed Choirs, assuming space (and funding) was available, but after you get used to using the exposed division, you'll find it works beautifully, and actually is very easy to use. There is already plenty of "expression" in it.
Not to go on and on, but there is a difference in "scaling" in these organs. A 60 rank Willis can sound grander than a 100 rank American organ. The scale and voicing is "broader and more open," and there is no padding in the specs. Of course, the perfect acoustic also helps.
Also, there are times when you can and should use the Solo as the "Choir", letting the Swell be the "Solo". Along the same lines, sometimes the Swell is the "Choir" while the Solo carries the lead. The "solo" stops are also "broader," and sit perfectly against the "open" Choir.
I think if you search my recordings on the Concert Hall, you'll see that I've played a lot of American "romantic" stuff like Searle Wright, or Sowerby, or Saxton, etc., and I don't think you'll find expression, color, or warmth to be wanting.
My advice to anyone seriously contemplating the Salisbury sample set is to GET IT!
I've played both Hereford (recital and evensong) and Salisbury (recital) IRL, and they are both magnificent instruments. I think most would agree that Salisbury is the "better" instrument, but there is nothing "wrong" with Hereford!
Both of them are superb sample sets, but in my opinion, Milan REALLY got this about as perfect as is possible. From the sound, the "position" of the recording, the "mechanical" noises, it really IS like playing the REAL thing! Despite the fact that it is an "old" set, nothing has equaled it from my perspective and usage.
I just hope they will do another English organ at some point, because I would get it without hesitation!
Peace,
David
I can understand how playing with an unenclosed Choir is a different experience, but this is the classic way that virtually ALL English cathedral organs are built.
The Salisbury Choir is a "romantic" division. It has great warmth and color, and is very different from the Hereford Choir, which is much "brighter," but also more nasal, and positiv-like. You have to make a lot of your "sound gradation" with subtle stop changes. That's why it's so important to have a console with full "divisional" pistons. If you want to play an English-style sample set, you've got to be completely at home with the divisional pistons and the "Great & Pedal Combinations" knob.
When I was at Ripon Cathedral, I played the wonderful 4-manual Harrison (where there were NO GENERAL PISTONS) of the same approximate size. I was immediately intimidated by the fact that the Choir was unenclosed, as I'd never dealt with this before. To make matters "worse," the Choir division was located immediately behind the choir stalls on the north side, making it sound "louder" in the Quire, but not so in the Nave, which was on the other side of the stone screen. The specification of the Choir was similar to the Salisbury specs, but a little smaller, with a rather prominent mixture that really could not be used in the Quire, except for playing organ voluntaries. Even the 8' Flute sounded "big". The whole division was more "immediate" and was used sparingly, although it could be highly effective when listening to it in the Nave, and at a much greater distance.
My point of saying all this is because this is the way the English organs are built, and there are very few of the "older" instruments that have enclosed Choirs. I suppose some modern "rebuilds" have provided enclosed or partially enclosed Choirs, assuming space (and funding) was available, but after you get used to using the exposed division, you'll find it works beautifully, and actually is very easy to use. There is already plenty of "expression" in it.
Not to go on and on, but there is a difference in "scaling" in these organs. A 60 rank Willis can sound grander than a 100 rank American organ. The scale and voicing is "broader and more open," and there is no padding in the specs. Of course, the perfect acoustic also helps.
Also, there are times when you can and should use the Solo as the "Choir", letting the Swell be the "Solo". Along the same lines, sometimes the Swell is the "Choir" while the Solo carries the lead. The "solo" stops are also "broader," and sit perfectly against the "open" Choir.
I think if you search my recordings on the Concert Hall, you'll see that I've played a lot of American "romantic" stuff like Searle Wright, or Sowerby, or Saxton, etc., and I don't think you'll find expression, color, or warmth to be wanting.
My advice to anyone seriously contemplating the Salisbury sample set is to GET IT!
I've played both Hereford (recital and evensong) and Salisbury (recital) IRL, and they are both magnificent instruments. I think most would agree that Salisbury is the "better" instrument, but there is nothing "wrong" with Hereford!
Both of them are superb sample sets, but in my opinion, Milan REALLY got this about as perfect as is possible. From the sound, the "position" of the recording, the "mechanical" noises, it really IS like playing the REAL thing! Despite the fact that it is an "old" set, nothing has equaled it from my perspective and usage.
I just hope they will do another English organ at some point, because I would get it without hesitation!
Peace,
David