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Rowland Wateridge

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About Rowland Wateridge

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  1. Martin, The time-lag problem at St Paul’s is for the organist (or some of them) between the Chancel organ and the West End organ. John Scott said he had great difficulty adjusting to it, whereas he said his assistant (Andrew Lucas?) mastered it easily. At Winchester the relevant time lag is due to the organ being so distant from everyone, and I recall congregation synchronisation problems in the time of Alwyn Surplice, which is now long ago. My ‘suggestion’, with qualifications, would give Winchester the equivalent support at the west end comparable to St Paul’s - but no possibility
  2. Thank you, Martin. Intriguing! I could not open a link on Paul Hale’s website, and on further attempts can’t even open that! This thread started in York Minster, moved to Canterbury and I make no apology for repeating myself about Winchester which, on the whole, has not been treated very kindly by some people on earlier threads. I’m not clear whether Paul Hale is referring to relocating the existing nave organ or further enlargement of the instrument by the addition of a new division. If the latter, we would be talking of entering the realms of more than 90 speaking stops. Having kno
  3. Perhaps a pedantic point to make, Canterbury, Winchester and Durham, to name just three, were all monastic cathedrals before Henry VIII’s reforms. There would have been no congregational participation on either side of the pulpitum and organ accompaniment would have been very limited. Winchester is a good case in point of what is expected of the organ in a vast building. When the Father Willis was first put in for Samuel Sebastian Wesley in 1854 (and I’m sure he - not the Dean and Chapter - did the promoting at which he was highly adept, getting donations from, among many others, Quee
  4. Curious, as today a recital by Richard Cook is advertised there on November 5th.
  5. I later realised this. Frankly it’s astonishing that as recently (in our lives!) as 1959 the visual quality of the film Is so poor. I had to ‘freeze’ the picture to locate the Willis on Wheels, which was exactly where I remembered it at the Sunday evening services from 1960 onwards, and screened off from the view of the congregation. My recollection was of Harry Gabb and Richard Popplewell coming from the north choir aisle and disappearing behind the left hand end of the screen. In the film the organ is positioned in the opposite direction to how I had assumed. I remember its naked and ra
  6. Another recollection about hoods, this time Westminster Abbey. Not sure where I read this (possibly Watkins Shaw’s ‘The Succession of Organists’ which I can’t currently access). After his appointment to the Abbey, Ernest Bullock wore his Durham DMus robes only to be admonished and told by the then Dean that only those of Oxford and Cambridge were permitted to be worn in the Abbey. I wonder whether that rule still holds. This must have been around the time of his appointment in 1928. I recall reading that he was, understandably, distressed by this, and never wore them again.
  7. As must now be obvious, Martin and I were writing at the same time, but he got in first. I will let my comment below stand as originally written. Well, this is something of a mystery as I have never been to the Chapel Royal, and the only place I ever saw Harry Gabb or Richard Popplewell in the flesh was the ‘extra’ 6.30 pm Evensong at St Paul’s, as I said, circa 1960, and my recollection of the winged collar and white tie remains clear. My other recollection is of no one conducting at that service. A lay vicar at the end, western position, on each side kept the beat. At this service t
  8. I feel I ought to acknowledge that S_L was correct in originally attributing the re-design of the hood to Francis Jackson. As recounted elsewhere, I used to see Harry Gabb at St Paul’s Cathedral in the very early 1960s, but didn’t pay much attention to his hood. It was only a glimpse before he disappeared behind the screen surrounding the ‘Willis on Wheels’ in use at the time of the last pre-Mander rebuild. If it was his FRCO hood, it must have been the original one. In those days both he and Richard Popplewell wore a winged collar with white bow tie with cassock and full-sleeved surplice
  9. Thanks for that link which totally escaped me when searching earlier today. If £225 was the asking price ten years ago, it will certainly be more by now. We now have the accurate description, and justification for its cost: “Red Tudor Rose Silk Damask and the lining of 'Pearl', a shot silk of three colours woven together”.
  10. The vendor is based in Leeds, if that provides any clue. There’s an earlier thread on this very topic, and the asking price (new) from Ede & Ravenscroft was then £220, I think. I’m certain that Martin contributed with his recollections of Harry Gabb having the new version of the hood! As I recall, it was John Birch who inaugurated it, possibly as President of both the RCO and the Burgon Society, and thus Chichester connections all round. Burgon was a 19th century Dean of Chichester and a stickler for correct formality in clerical dress and everything connected with the Cathedral
  11. Your programme wasn’t essentially very different from what I had in mind. Bruhns and Messiaen are hardly ‘chocolate box’ and could clearly be seen as missionary work for some audiences. ‘Dieu parmi nous’ would have most people on the edge of their seats from its sheer excitement, especially in my neck of the woods due to a certain 32’ pedal reed which happens to be the work of Hele! My examples were all Town Hall lunchtime recitals. Each of the four organists introduces the pieces during the programme. Thomas Trotter always launches straight into the first, and then speaks about it afterwa
  12. I can see that I will be unpopular for saying this but I like to see a major work by Bach Included in ‘popular’ recitals. Not necessarily every time. How else are we going to wean the public away from the belief that BWV 565 is ‘The’ Toccata, and the only one which Bach composed (and, of course, that is equally true of Widor V)? Classic FM have been guilty of aiding and abetting this idea. Ian Tracey, Thomas Trotter, Darius Battiwalla and Gordon Stewart all know how to put on a programme which is both enjoyable and can at the same time include a missionary element to introduce people to the
  13. Of course it’s not unknown for later composers to substitute their own descant in place of the original composer’s, although some contributors on earlier threads here have disapproved of such things! It may be that there was a copyright issue in this case. I don’t know whether ‘Ora Labora’ appeared in the UK Volumes of “Free organ accompaniments to well-known hymns” by Tertius Noble. His own descant in the US version is very fine. I wish I could track down the publisher’s details.
  14. VH: Thank you for that link. A fascinating contrast to the service I attended only four years earlier. Some of the choir, in the back row at least, could have been the same people. Given the recording quality, I thought the organ sounded rather fine in the closing voluntary, cut short in best BBC fashion of former times. It would be interesting to know how the playing was shared between Sidney Campbell and Clement McWilliam and, if both, whether they played from separate consoles. I knew Clement McWilliam, although not intimately, when he came to Winchester as assistant to Alwyn Surp
  15. Tertius Noble composed very fine hymn tune variations, some of them lengthy and suitable as short preludes or interludes. Some details on the separate current thread about him.
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