From a tonal perspective, one of the key aims is to return the instrument towards Arthur Harrison’s musical aesthetic of 1910, when his firm first carried out major work to the Organ. The reinstatement and addition of certain stops will lend the Organ more presence and gravitas in the Nave, as well as a wider, more orchestral palette of tone colours.
The Pedal Organ will gain new flue and reed registers at 32ft pitch as well as a 16ft Open Wood. A new diapason chorus will augment the Great Organ, voiced on heavy pressure and sited at the top of the organ case where their sound will reflect off the stone vault and down into the building. In the same position, an 8ft Orchestral Trumpet will be added to complement the fine 1910 Tuba. Further tonal additions will include new mutations and mixtures, imitative reeds, and various foundations at 8ft pitch to add to the variety and breadth of colour available to the player.
All of the new pipework will be integrated into a cohesive and complete tonal scheme which will incorporate the best of the existing material by Henry Willis, Arthur Harrison and Samuel Greene.
The Swell and Solo Organs will have shutters facing both East and West, and it will be possible to isolate each set to create directness (or indeed distance) in either direction. This, alongside other aspects, takes inspiration from two of H&H’s recent cathedral organs situated on a central pulpitum: York Minster (2021) and Norwich Cathedral (2023).
The case, designed by Alan Rome and added in 1974, has become an important part of the internal appearance of Wells Cathedral and will remain so, accommodating every rank of the organ. Except for this and the retained pipework, the instrument will be new, including all winding, soundboards, actions, electronics, and the building frame. The console, built in the traditional H&H style, will have curved stop jambs, inertia-weighted swell pedals, clam-shell lights and a wealth of modern playing aids.
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