By Dr Colin H Parsons
(Chairman, Ashton Hall Organ Restoration Project)

1909
The organ was installed in 1909 by Norman & Beard of Norwich. At the time, the company was one of the largest in the UK both during the Edwardian period and for some time thereafter.

The organ was one of the first, if not the first, to benefit from electrically blown wind. The instrument employed Norman &Beard's own design of an operating system known as exhaust pneumatic. The exception to this action was the Swell division, housed separately in a brick chamber with a wrought iron facade to the right and at 90 degrees of the organist. This department had electro-pneumatic action. Initially this system for the Swell action was powered by batteries and some historians have speculated that it was a system developed by Hope Jones - but there appears to be no evidence to support this notion.

It was not until 1915 that Norman and Beard William Hill amalgamated with William Hill & Son to form Hill, Norman & Beard of London.

Despite being an instrument of the Edwardian period, the tonal characteristics are those of the late Victorian era. The scale of the pipework is generous and the tone is full and mellow. Today the organ is capable of performing most schools of organ composition in a convincing manner. The organ is an excellent accompanying instrument, but is equally well suited to use at ceremonial occasions. Notwithstanding, it can also sound convincingly like a cinema organ.

1930's
Some minor changes were made in the 1930 and are as follows. An expression chamber was added to the Choir department and this undoubtedly afforded greater versatility for the three 8' ranks and one 4'. A three rank mixture was added to the Swell division. The Swell Contra Gamba 16' was made available via the electric action, and on the Pedal department as a Geigen Bass 16. Being enclosed, there are distinct advantages in this provision. The Choir Gamba 8' was re-scaled and tonally re-voiced to the present Geigen Principal 8'

Post Fire Restoration in 1975
In 1975, a fire to the rear of the console caused considerable damage. Pneumatic couplers were destroyed as well as the four keyboards. It is debatable that the organ would still be playable if the repairs following the fire had not been carried out. The pneumatic couplers were replaced with electric switches and the necessary electromagnets to operate the pneumatics under each soundboard. A side benefit of this was to release more space at the rear of the console and cut the demand for wind. Despite the fire, the stop and pedal combination actions remain original. The repairs were effected by Hill, Norman & Beard of London. It is believed that a humidifier (sited high above the organ) was also installed in this period.

1981-1983
During this period, all but two of the wind regulators were re-leathered by Hill, Norman & Beard, who had continued the tuning and maintenance on the instrument. It appears that the re-leathering was part of a planned 'phased' operation to restore the organ. Apart from the fitting of the high pressure stop ventil, no later work was carried out and Hill, Norman & Beard ceased trading in 1997.

2003
The organ's stop and pedal actions are continuing to become less efficient. The pedalboard return springs are in a state of collapse. The Pedal Reeds have not worked for about 20 years and the Tuba action is start to show signs of irreversible wear. The Swell thumb pistons are no longer usable and those on the other manuals are becoming increasingly unreliable.

There can be little doubt that this instrument has a most magnificent tone, even in its current state of decay! This instrument has to be one of the few in its original state and clearly demonstrates the high quality of craftsmanship and tone by this company at the time. As such, it is an irreplaceable masterpiece equivalent to any instrument produced by rival companies at the time.

The manual actions work efficiently and when one considers that much of the underaction dates back to 1909, this is quite surprising and testifies to the excellence of materials and craftsmanship at the time.

There is sufficient evidence and support from some professional organists and organ builders to make a case for this unique instrument to be thoroughly restored for historical reasons.

It is clear that no tonal or structural changes should be attempted and that the fine Gillow (Lancaster) casework should be professionally restored along with the re-gilding of the front pipes.

It is generally agreed that the instrument would benefit from electrification on the stop control and piston systems. At the present time it is not possible to change any ‘set' combinations and there are no general pistons. There is some debate if the organ would also benefit from an Advancer system for concerts and recitalists. One thing that has universal agreement is that the current organ bench needs to be replaced by an adjustable seat.

It is clear that the best way forward is to raise the profile of the instrument and use it as much as possible. In 2003 Robert Munns launched the Restoration Programme and various musical and social events continue to be organised on a regular basis. The Chairman of the Restoration Committee is Dr Colin H. Parsons who, with his enthusiastic team of colleagues and supporters, is working closely with Lancaster City Council in a bid to see this magnificent historical organ fully restored and used for educational, concert and civic events in the magnificent surroundings of the Ashton Hall, which is part of Lancaster Town Hall.

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