Chris Gibbs

Rather a late reply, but I came across this thread whilst "googling" for something else. As a Canterbury O/C (1959-64) I am quite sure that the story (and the other two) are based around Canterbury. As I open my 1957 edition, at the heading of Chapter 1 is an engraving of the Christchurch Gate (albeit showing the postern on the wrong side). On page 7 is an engraving showing the kitchen exactly as I remember it including the opening into the passage behind it into which I once climbed up into! The figure ("Mr Ardent") in clerical garb tossing an omlette is undoubtedly the Rev. Clive Pare, Headm

Perhaps I can add two further points on the life of Allan Wicks. Looking back as a choirboy, one was conscious of his attention to detail in the singing of the Psalms. Other canticles too of course, but the Psalms with their vibrant descriptive language are what I remember. Whether it be a few short ones or the 15th evening they were a joy to sing. I am pleased to report that David Flood continues this attention to detail and should also mention- as this is an organ forum- how important and sympathetic the role of the organist is in accompanying the Psalms The other point

My first post here as a member having been viewing for a year or two. With all the tributes to Allan Wicks here I feel moved to add my own from a different and privileged perspective. First of all though I am not an organist, (although I did play it in my later school years) but I am an avid enthusiast of the organ and its music, inspired I am sure by Allan Wicks during my time as a choirboy at Canterbury Cathedral from 1959-64. (Allan came in 1961). Even as young choristers we were aware of his enthusiasm for "modern" music and French in particular especially Messiaen. As others hav