Rowland Wateridge

Curious, as today a recital by Richard Cook is advertised there on November 5th.

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 rather unlovely totally unenclosed appearance, but, for its size, astonishingly effective sound in that huge space. It was later given a rather heavy-looking case by Mander, and I wonder whether the effect was the same afterwards. I don’t remember the canticles, or for how long I attended these services - some were in the winter months, and I remember buying hot roast chestnuts from a street-vendor afterwards! The Grand Organ seemed to be out of action for a long time - this was the final work done by Willis. I do remember the Rogationtide anthem by Maurice Greene “Thou visitest the earth, and blessest it” more than once, maybe even three times, during my visits. I saw the Willis on Wheels, not in use, in the north transept at other times, but those would have been subsequently.

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.

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 the choristers were released before the sermon which was at the end of the service, and the final hymn was sung by the Gentlemen of the Evening Choir alone, with the congregation of course. The film clip is fascinating, but unfortunately I am not getting any sound. I can’t imagine why the Willis on Wheels was played. Was the Grand Organ already out of action in 1959? The clergy procession includes Bishop Henry Montgomery-Campbell (who had confirmed me about five years earlier), and afterwards, senior clergy of other denominations, including General Booth (?) of the Salvation Army, descending the western steps followed in the rear by Archbishop Geoffrey Fisher in his cassock looking quizzically at the camera. Martin Cooke will also be familiar with this kind of occasion with all the grandees of the City of London, Lord Mayor and Common Serjeant in his fur cap with the sword and Aldermen. Very nostalgic! As an afterthought, as I understand, there would have been no lay vicars at the 6.30 pm Evensong, so the beat was kept by two members of the Gentlemen’s Evening Choir. That could also account for other differences from the ‘main‘ Sunday services.

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 (which reached well ‘below the knees’) and academic hood.

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”.

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 (he is known to have harangued the lay vicars on, as he considered, their poor singing!). His name was adopted by the Society, which was founded in 2000, for promoting study of academic dress. As a postscript, I’m sure that both Martin and S_L contributed to the earlier thread which included some discussion of the cost of different academic hoods. To the best of my recollection, the ‘new’ FRCO hood was described as of crimson damask with a special and very expensive lining of shot-silk, hence the expense. Ede & Ravenscroft appeared to have a monopoly. The thread was started by ‘Justadad’, but I can’t track it down today!

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 afterwards when introducing the second - a formula which works well, I think.

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 wider organ repertoire. I have heard the above players wow audiences with Buxtehude, Franck, Reger and, yes, Dupré alongside lighter works. Almost invariably something toe-tapping has been included like a Lemare transcription (horror of horrors to some people). Virtuosic playing will grip any audience. A few years ago, I persuaded colleagues to come to lunchtime recitals in our local cathedral. Initially wary of the idea, they became ‘regulars’, but the most telling remark was from one of them after the very first: “I had no idea that an organ could sound like that”.

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.

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 Surplice. For a brief period, he and Graham Matthews held that role alongside one another. Clement was later Sub Organist. In retirement he returned as Choir Music Librarian and general factotum in the Music Department. I had forgotten his time at Windsor. In fact there has been much interchange between St George’s Windsor and Winchester over the years: with intermediate posts in all cases. In that direction came Winchester Cathedral organists Harold Rhodes and Alwyn Surplice, assistants Clement McWilliam and Philip Scriven (Windsor Organ Scholar), and in the other direction, Roger Judd (Winchester chorister and organ pupil) and Tim Byram-Wigfield to Windsor. I don’t have Roger Judd’s book about the Windsor organs and organists, and it may well include this nugget about the Rothwell ‘re-arrangement’. As is well known, this was the personal project of Sir Walford Davies. Originally the plan was to employ Harrison & Harrison working with Rothwell to rebuild the organ, but that fell through, ostensibly due to perceived difficulty of their working together (I believe Harrison’s claim never to have built an organ without drawstops), and Walker’s were instructed to take over in their place. Then, it seems, the Dean and Canons had anxieties about the cost and the scheme seemed likely to founder. This was overcome by Walford Davies personally donating £1,000 (at the time his stipend was apparently £600 per annum plus the organist’s house in the Castle), thus saving the day. For Windsor aficionados, E H Fellowes’ “Organists and Masters of the Choristers of St George’s Chapel in Windsor Castle” (from 1406 to 1991 - there are 120 pages!) is available on line, as below: https://www.stgeorges-windsor.org/wp-content/uploads/2019/08/Monograph-Vol-3.pdf

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.

Tertius Noble also composed and published in two volumes of 100 and 50 respectively “Free organ accompaniments to well-known hymns” for use in this country. I haven’t seen them, but they seem to be readily available. After moving to St Thomas’, New York he published a similar edition based on hymn tunes used in America, which I have. Some inevitably overlap: examples Breslau, Bangor, Stuttgart, Hanover, Adeste Fideles, “Hark the Herald“, St Anne, Eventide, etc., and some familiar hymns and carols in their American tunes and settings, e.g., “O little town of Bethlehem”, our National Anthem as “My country ‘tis of thee” and, inevitably, his own “Ora Labora” of which a former Rector of St Thomas’ said it “is sung all over America”. Several pieces are extended and can be used as a short prelude or interlude, e.g., “In Babilone”. They vary in difficulty, but all are very fine. Unfortunately I can’t quote the publisher details for the American edition. Having had the house upside down trying to find it yesterday, I think I must have left it at church where I last played in February. Noble achieved respect and recognition in America. “An Episcopal Dictionary of the Church” (from the official website of the Episcopal Church in America) contains a half-page about him.

As a teenager guest of the East Surrey Organists’ Association I joined them on a visit to St George’s Chapel, Windsor in about 1958. We were greeted by one of the lay clerks, and attended Evensong for which we sat in the quire in stalls beneath the banners of the Knights of the Garter, a scene of unparalleled splendour which was matched by the service music. As I recall, the service settings and psalms were all by Stanford on that occasion. To my youthful ears this was simply wonderful - musical heaven! There was no conductor; the beat was kept by a lay clerk on each side. The voluntary was César Franck’s Third Choral in A minor, a wonderful performance by Sir William Harris which I remember to this day. After the service our host lay clerk reappeared and escorted us up some stairs to the organ loft where we emerged from inside the organ through a pointed gothic door in the north organ case. There we were met by Richard Greening, Sir William’s affable young assistant, later to be Organist of Lichfield Cathedral (and who, sadly, died at a young age). Sir William was at the further far end of the organ loft standing with his back to the south case, studying a book or score. He seemed very surprised (at first possibly not entirely pleased!) by this invasion of his organ loft, but came over and joined the group. After his initial shock, Sir William was a warmly welcoming host. He had the additional distinction of having taught piano to the Queen and Princess Margaret as children. At that time, the organ was still the Gray and Davison as built for Sir Walter Parratt (also containing older historic pipework), in turn rebuilt by J W Walker in conjunction with Frederick Rothwell with the two unique Rothwell consoles. These were positioned at right angles in an 'L' at the north end of the choir screen/ organ loft, the organists facing south and east respectively. It was explained to us that the two consoles could be played simultaneously with different registrations, thus affording greater scope than a duet on a normal single console. Sir William and Richard Greening demonstrated some of the Rothwell's unique features. The two consoles appeared to be identical, with Rothwell's duplicated inter-manual tab stops. Sir William Harris showed that for the pedal stops these could be operated from any position and automatically activated the other corresponding stop (above or below) by direct mechanical linkage. Other unusual features were the Rothwell locking lever swell pedals at the extreme right of the pedal board. There were no thumb pistons. These, again, took the form of five centrally-positioned reversible tab stops with a spring action. On a second touch they reverted to the “off” position. Two players could play simultaneously on the same manual using different registrations. Effectively the organ had two completely independent actions, but that independence did not extend to the swell shutters. Another strange feature was the organ bench incorporating a swivel chair, rather in the style of a ‘captain’s chair’ positioned centrally in the bench. Apparently conventional benches were also available, but I did not see them, and the swivel chairs were at both consoles that day. Sir William related that for the annual Order of the Garter Service the pipes in the Chaire case were removed - I forget the reason, but had the impression that he considered it an inconvenience! The Walker/ Rothwell organ at Windsor had been provided in this form for Sir Walford Davies, he having previously had Rothwell's stop arrangements installed at The Temple Church in London. My next visit to St George’s Chapel was 40 years later in 1998 with the Winchester Assciation. By then the Rothwell consoles had gone, the organ having been rebuilt by Harrison & Harrison to the design of Sidney Campbell, and tonally very different, with a new H&H console placed centrally on the screen facing west. Sadly, I believe the Rothwell consoles were, for want of a better word, scrapped. I borrowed “Seeing Double” for my title from a very informative article from New Zealand by David Bridgeman-Sutton (hereby acknowledged) which includes photographs of the Rothwell consoles - and those extraordinary swivel chair benches. See https://www.pipelinepress.com/seeing-double---part-2.html

It’s a divided organ rather than two seemingly identical ones. The church website confirms that it is a Willis two-manual and pedal “with sound provided via two circular clusters of pipes”. The name of the organist is not listed (both churchwarden positions are indicated as being vacant). Someone with local knowledge may be able to supply an answer; otherwise David Wyld may have a file with details. As Tony Newnham regularly has to remind people, NPOR can’t list details which aren’t available or reported to them - in this case doubtless due to a locked console and no one on hand to provide information.

Was this during the Psalm(s)? Surprising, as Norwich has exceptionally gifted organists, but like anywhere else, they don’t necessarily play at all services. I have to say that my experience at Norwich has been different with organ-playing which was brilliant, particularly considering that the organist had to ‘work round’ parts of the instrument which were failing. I gathered from him that the rebuild is necessary and long overdue. Indeed the Dean said much the same when the restoration project was announced; incidentally that mentioned a period of 75 years since the last major restoration. That must be something of a record for a major Cathedral organ! The organ’s layout is very similar to York’s and other cathedrals where it is physically Impossible to contain all of a large instrument in the main case. That said, surely in a large cathedral where services take place in both the quire and the nave (and at Norwich they are both among the largest) the central position on the pulpitum is best? Of course, some re-arrangement is possible, and we will have to wait for details of the restoration.

I may have missed something, but is there any news about the original premises in Bethnal Green and the extensive equipment (including casting table)? Will any of that be available to the new company? Kent and Sussex organists will be familiar with the Mander name: Canterbury and Chichester Cathedrals, the latter especially successful both visually and for the organ’s sympathetic restoration and enlargement. As to clergy, my (admittedly pretty limited) experience is that few know anything much about organbuilders except, perhaps, the instrument in their own church - and some of them not even that!

He composed a considerable amount, and in different genres including songs and service settings, but, as you surmise, much of it is unpublished. He was an alumnus of Jesus College Cambridge, and they publish a catalogue of his personal papers listing 135 compositions. Inexplicably the version I have has introductions in Spanish! A trawl through this would produce a sizeable list. This is the rather strange link. There may be another, more direct, one: https://collegecollections.jesus.cam.ac.uk/index.php/informationobject/browse?page=3&names=47317&sf_culture=pt&sort=identifier&view=table&levels=233&showAdvanced=1&topLod=0&media=print However, I haven’t been able to track down any specific source for the ‘French Carol ‘.

S_L: This is very helpful! Thank you. People should now be able to work out the derivations.

To my knowledge, Compton’s published a booklet about the Downside organ - but I don’t possess a copy! I guess it ought to be possible to track it down somewhere. MM is, of course, the expert on Compton’s, and may be able to throw some light on this.

Actually, the announcement refers to the importance of taking some time to find a new place and formulate a plan for the move. It specifically mentions undertaking local consultation “whilst securing the future care of Downside’s Abbey Church, Library and Archives”. Clearly there is no risk of the Abbey Church being left abandoned. The likelihood, surely, is that the organ will remain. It’s now a case of “watch this space”.

I feel rather named and shamed here. ‘Acerbic’ was not meant in an unkind way, and I have thanked S_L in a private email, acknowledging the breadth of expertise that he has brought to the forum in more than just organ matters, and I’m happy to repeat that publicly here.

I have just worked out what you meant by “the Dean of a large church in London”! A plum appointment and congratulations to Dr Hoyle.

Dave, A non-organ matter, possibly one of the last on the present forum. I knew about Dean Pigou at Chichester, although unaware that he moved to Bristol. His predecessor (as already mentioned) at Chichester, Dean Burgon, had a decidedly stormy passage there, always at odds with his Chapter, and the dislike seems to have been mutual. The contrast with your description of Dean Pigou's experience is stark! Interestingly, although not exact contemporaries - a few years between them - both Dean Pigou at Chichester and Dean Garnier at the next-door cathedral, Winchester, both had Huguenot ancestry.

I don't know whether Adnosad was motivated to make that comment as a result of mine, quoted by Dave Harries in an entirely different context, nor do I think he is in a position to assume who has or has not joined the new site. I'm only aware of one existing member deciding that, after all, he is choosing to "call it a day". That does not make him (or anyone else) "a martyr". I shall miss his knowledgable comments - sometimes acerbic, as he has freely admitted! - and I speak as one having been on the receiving end!