I have been asked by Judith Howard to forward this letter in its
entirety, for the interest of everyone involved in or interested in
historical restoration work.  The letter is addressed to the editor
of "World's Fair" newspaper.  It concerns the condition of a newly
restored organ appearing at the recent Great Dorset Steam Fair.

The views expressed in the letter are very worrying, but are not yet
officially approved by Fair Organ Preservation Society.  We in the
committee will debate this topic at the earliest opportunity.  In the
meantime I would welcome comments from other members of the mechanical
musical instruments community.

John Page
Fair Organ Preservation Society

 - - -

Statement on Restoration
6th September 2001
Letter to the editor of "The World's Fair"

Dear Sir,

1.  We the undersigned are very worried at the recent trend in
so-called "organ restoration" which results in virtually brand new
instruments, where mass-produced new pipework replaces the old original
pipework, so that the original sound is lost and the tone of the organ
is changed sometimes out of all recognition.

2.  This represents the erosion of our heritage of old organs.  They
are a finite resource which, once destroyed, can never be retrieved.
(This is particularly true of the larger Gavioli and Marenghi
instruments, of which relatively few were built and even fewer
survive!)

3.  It also means the loss of vital historical and technical data,
such as pipe scales, action design and dimensions, which could have
been used as reference for future restorations.

4.  For the owner, there must be a loss of value, as he no longer
owns a genuine antique, but a replica.  In that case, why not get a
superb new organ built in the first place, if that is what is required,
and leave the old instruments in the hands of those who have a genuine
interest in preservation, and will carefully restore the original
material.

5.  The problem is further compounded by the use of standardised
computer-generated music arrangements, which further disguises the
different character of individual instruments -- but that is subject
matter for a separate discussion!

6.  Most organs will outlive individual owners.  As with any work of
art, we are temporary custodians, with a responsibility to posterity
to preserve these instruments and pass them on to the next generation
to enjoy in good and original condition.  Surely, the privilege of
ownership brings with it responsibility.

7.  This is a matter of the ethics of restoration: as organ builders
we have a duty to treat all old instruments with respect, and to advise
our clients that the conservation and protection of this heritage
should be paramount.

8.  Do we just sit back and wait until there is nothing left?
Where will it all end?

Yours truly,

Kevin Meayers (organ builder)
Paul Davies (organ builder)
Judith Howard (pipemaker and voicer)
Bob Ince (organ builder)
Robert Harris (organ builder)
Russell Wattam (organ builder)
Jory Bennett (organ historian)

 [ "World's Fair" is published by the World's Fair Group,
 [ http://www.worldsfair.co.uk/wf/welcome/index.tpl
 [ -- Robbie