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The inclusion of papers about the work of John Compton at the forthcoming BathResidential Conference and the November BIOS Day Conference is welcome recognition of an organ-builder who, while pursuing a line of design and construction that islatterly seen to have had shortcomings, did it with a sense of conviction and sure-footedness that is deserving of closer attention. In his best work, of which Downside Abbey is a magnificent example, Compton's abilities both as a tonal designer and as an organ engineer make an indelible impression. Using the extension system, Compton demonstrated that, by adherence to strict disciplines, it was possible for such an instrument to succeed and that the effect could be musical. From what, conventionally, would be classed as a small organ, artistically produced pipe tones could be combined to create other sounds, equally satisfying, without resorting to extra separate stops. The best Compton instruments come very close to this ideal but require the player to be equally disciplined in the way he uses such an organ. From comparatively few ranks considerable variety of tonale ffect was created. Rebuilding older instruments might seem to be alien to Compton's tightly integrated tonal schemes, but he was not one to fall into the still prevalent trap of 'enlarging and updating an instrument while retaining the character of the original'. An example of how Compton approached such a task is to be found at St. Martin's, Roath, Cardiff,where a severely bomb-damaged Hill was transformed. Compton's organs represent an important phase in twentieth-century British organ-building, but their conservation and restoration raise problems. His practice of enclosing most if not the entire organ in swell boxes certainly contributes to the instrument's longevity and inner cleanliness even if it conflicts with accepted notions about tonal egress. Compton's switching systems were durable pieces of British electrical engineering, although his double touch stop tabs can leave organists buzzing furiously on a 16' reed instead of a Full Swell. As insulation breaks down, or components fail, should they be replaced by modem switching methods (solid state, infra-red beams or whatever), or should his original parts be repaired or replaced with exact copies? We accept that pneumatic actions are worthy of close attention and are an integral part of an instrument. Compton's organs raise the same point on behalf of electric actions, for without electricity Compton's art would not have been possible.
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