Rowland Wateridge

Even more remarkable, when I told the Coventry and Liverpool bellringers where I live (a small village of 700 souls in Hampshire), I received from both the same instant reply: “Twelve bells” - and they had both rung here.

A bell ringer. I’m intrigued as during my travels in 2018 I met bellringers in the audience at organ recitals in Coventry Cathedral and St George’s Hall Liverpool - incidentally both those places have stupendous English organs! I think you could realise Bach, César Franck or Naji Hakim successfully on either of them - Reger perhaps better at Coventry. The player does, of course, have to interpret his/ her performance on the instrument available to him/ her. Other members of this Board are far more expert than I to enlarge on that. Very interesting that you mention the vox humana which I would not consider a ‘typical’ stop on most English organs. They went out of fashion and were removed from several major instruments where they would now like to have them back! Leeds Town Hall, St George’s Hall Liverpool (again) and Winchester Cathedral are three examples which I know. But my ‘plug’ for the English organ was in the context of the performance, more than 60 years ago, when Sir William Harris produced the most wonderful and spiritual interpretation of the Franck A minor Choral on an organ which could not have been more English. A vindication, if any is necessary, that the artistry of the player will overcome the limitations of the instrument.

Well, I don’t want to appear to be monopolising this thread, but your mention of the Chaire case brought back another memory of my visit to the organ loft at St George’s, Windsor circa 1957. Among many other things, Sir William Harris told us that for the annual Order of the Garter service the pipes in the Chaire case were temporarily removed. I don’t now recall his explanation of the reason for this. He seemed to look on it as only a minor irritant. This was, of course, when the organ was in its Walker/ Rothwell incarnation with the Rothwell double consoles. Sir William demonstrated for us the unusual pistons and the duplicated stop keys between the manuals. Both consoles had a bench incorporating a central swivel chair - also surely unique. Richard Greening, Assistant Organist (later Organist of Lichfield Cathedral), was also present on that occasion. I believe he was preceded at Windsor by Lionel Dakers and followed by Clement McWilliam.

Of course! A ‘senior moment’! I should have checked. I’m now unsure whether Robin Richmond’s dinner jacket was tartan - possibly plum red. It rather stood out, and the contrast with MD resplendent in white tie and tails and Madame Dupré in full length evening gown could hardly have been greater. This I am not sure of, but think MD wore a sash or some other insignia, and Madame was presented with a bouquet. It’s intriguing that David Drinkell’s experience was a different occasion. Mine was definitely ‘billed’ as MD’s final appearance at the RAH, but, as I said in an earlier post, there have been instances of more than one happening.

Well, we don’t have the luxury of many Cavaillé-Coll organs in England to hear live performance of the Trois Chorals on them. There has been discussion on other threads about the future of the C-C organs at Manchester Town Hall and the Parr Hall, Warrington. Manchester is playable, and Jonathan Scott has made memorable recordings there. Unless I am mistaken, Paisley Abbey has substantial C-C pipework, restored under the direction of Ralph Downes, and the French Church, Notre Dame, Leicester Square in London certainly has some. Farnborough Abbey in Hampshire has a most remarkable organ - much debated whether Cavaillé-Coll or Mutin - but certainly the authentic instrument for this repertoire. (To further enhance the French authenticity, the organ stands directly above the Imperial Mausoleum containing the tombs of Emperor Napoleon III, his wife the Empress Eugénie and their son Prince Louis. Recitals during Summer on the first Sunday of the month.) But I’m going to make a plug for the English organ. The performance by Sir William Harris which I experienced at St George’s Windsor, over 60 years ago, was life-changing for me. That was on the ‘old’ organ, about as English as you could get, but a superlative interpretation. Under the direction of his successor Sidney Campbell, the organ was rebuilt by H&H with definite French sympathies, and SC made a memorable recording of the first Choral (which you like). Someone, I forget who, told me that SC scoured the length and breadth of France to locate the ‘best’ vox humana (I suppose that should read “voix humaine”), and H&H were instructed to produce an exact replica for Windsor! Our ‘Vox Humana’ may know more.

I think this must be a case of there having been more than one “final appearance” by Dupré at the RAH! But they must have taken place around the same time as, sadly, his death occurred very soon afterwards. The concert I attended was somewhat “down-market” compared with yours: no Carlo Curley, Nicolas Kynaston, Christpher Dearnley or Jane Parker-Smith present. It was, essentially an evening of light/ popular music played by various performers on electronic organs (I guess that these pre-dated digitals), hosted by Robin Richmond who wore a tartan dinner jacket. But the climax of the evening was the appearance of Marcel and Madame Dupré, both elegantly attired in full evening dress, who came walking slowly from a box at the rear of the hall, MD then climbing the stairs to the organ to an accompaniment played by Charles Blackmore (FRCO) - a kind of dignified triumphal march which I think he improvised, and which MD acknowledged with a gracious wave. The Maître’s performance on the RAH organ was (again) BWV 565, which he played very fast. He was then given a theme by Robin Richmond for improvisation, which turned out to be “The British Grenadiers” - in truth an uninspiring choice for the player and the occasion. In all honesty, the RAH organ didn't sound very well that evening, but it was an historic occasion. My only regret was the choice of subject for the improvisation.

On the contrary, the A minor has a deeply spiritual meaning and a final destination. The best explanation I have come across was from programme notes by the late Felix Aprahamian. I guess there are other purely musical ones which I leave to musicologists. The A minor was, according to Felix Aprahamian, literally César Franck’s musical “will and testament” and “he corrected the proofs on his death bed”. It is a depiction of the life of man starting from birth; the opening well conveys the drama and pain of childbirth which eventually resolves. The middle section starting with the solo trompette, moving to the tenor, is the transition to adulthood and ‘serene’ approaching old age. The bold pedal entries, 16’ and 32’ are almost the end of life, followed by the agitated death throes (or, perhaps, Purgatory). Then the final page leading to the destination, “the soul winging its way to Heaven”, according to Felix Aprahamian, and, when the final chords resolve, its arrival there. I don’t know whether others think this fanciful, but I find it totally convincing. I recall once, at St Albans, Bernard Lagacé saying in a masterclass that this piece had to be approached and performed with reverence. I don’t recall Felix Aprahamian’s exact words, but he considered Franck’s Trois Chorals to be the summit of French Romantic organ music. It’s rather stating the obvious, but to work the A minor has to be played with all of the above in mind. The central section, in particular, has to be played spaciously. Sixty years later I still remember the sheer beauty of the way this was played by Sir William Harris. Many years afterwards I discussed this with Lionel Dakers who remarked on Sir William’s lyrical and poetic playing. But one final cautionary note. I have heard a noted organist who specialises in the French schools rattle off the A minor at speed - a kind of virtuosic gallop - and it loses all meaning. Anyone hearing that performance for the first time would have no idea what the music - and its message - are really about. Apologies for the length of this, which might sound a bit like a sermon! I would be interested to hear the views of others.

A warm welcome back, MM. Although a relatively new member, as a guest I have been reading your posts for years, and they have been greatly missed in recent times. I wish we could get Pierre Lauwers, pcnd5584 and some others back on board. There is also the matter of the BBC Compton(s). So far no information is forthcoming about what will happen to the Maida Vale Compton. RW

I can’t go back as far as the Goss-Custards, but I met and heard Sir William Harris at St George’s Windsor in about 1957 - a memorable experience - and he explained and demonstrated the former Rothwell dual consoles which could be played together using different registrations. Sir William’s playing of the Franck Choral No 3 in A Minor remains with me to this day as one of the most beautiful performances of that work I have ever heard. I also attended what was claimed to be the last appearance in England by Marcel Dupré at the Royal Albert Hall - some years later, in the 1970s I think, and, later still, a private demonstration of the Royal Festival Hall organ by Ralph Downes who, at the time, said it would be his final appearance there. On that occasion a friend and I accompanied RD inside the organ and admired the sumptuous and immaculate H&H finishing of absolutely everything. From a small cupboard RD produced two copies of ‘Baroque Tricks’ which he inscribed and signed for both of us. The only qualification to these ‘final’ appearances is that I have heard people saying the same - on other occasions!

Using an iPad it’s even easier. Holding any letter character on the on-screen keyboard brings up all the accents and symbols one can possibly need, e.g., for e or E there are seven options including é in Dupré and for u or U five options including the Umlaut in Orgelbüchlein. Having pressed the character, whether upper or lower case, you simply slide your finger to the accent or symbol you want to get the result instantly - but there must be continuous contact with the screen. It won’t work with two separate touches. When you are used to it, it is simplicity itself.

I think another, and possibly major, factor was Mr Tovey’s sad death at the very time he was about to oversee the removal of the organ, hoping to find, in his words, “a suitable home ... where it can be restored to its former glory.”

Thank you for that contribution which brings back balance to the debate as far as local authorities are concerned. They come in for a lot of stick (which sometimes can be deserved), but they have a huge diversity of functions and responsibilities far beyond the examples which you quote, and in addition to budgetary limits they have to work within a complex and strict legal framework. Practically every aspect of local government work is the subject of one or more separate statutes.

Some of your points are valid. In his first post above, Contrabombarde said that National Lottery funding was not available implying that it had been explored. I have the impression, but hope I may be wrong, that retention of the organ within the Civic Halls was never part of the plans. We recently discussed the not dissimilar scenario of the BBC’s planned move to Olympic Park from Maida Vale - interestingly also potentially involving a Compton organ - and, thus far, no indication that there is to be an organ at Olympic Park.. In answer to your point about local authority highway terminology, LA officers tend to use in everyday communications the language of the Highways Act 1980 (and other legislation) in which ‘footway’ and ‘carriageway’ have defined meanings. A ‘footway’ is an entirely different animal from a ‘footpath’. ‘Bridleway’, ‘cycle path’ or ‘cycle way’ and ‘rights of way’ similarly all have distinct statutory meanings. ’Sidewalk’ isn’t proper English usage! It’s American (and possibly Australian, although not certain about the latter).

Newspaper articles aren’t always a completely reliable source, but the two posted above by S-L indicate a somewhat different picture. The removal of the organ was part of the scheme for upgrading the venue. The budget was the not inconsiderable sum of £14.4 million. It’s by no means clear that the Council was ever committed to spending £2 million on the restoration of the organ. Mr Tovey’s brief was to supervise “the removal of the organ and find it a new location, with the hope it can remain in Wolverhampton.“ His own quoted words were “I'm delighted I will be personally supervising the careful removal of this historical organ and ensuring it is safely stored until a suitable home can be found where it can be restored to its former glory." Sadly, Mr Tovey died during 2016. It is stated that by 26th September 2016 “The first enabling phases of the building works at the Civic Halls have now been completed, including structural surveys and other investigations, asbestos removal” ... etc. From that one cannot say whether the asbestos had been removed or was something which the structural survey identified as yet needing to be done. You are absolutely right about the parlous state of local government finances - practically everywhere. Equally, what you say about a potential purchaser is, I am sure, perfectly valid. In circumstances like these, “a reasonable offer” might have been a quite nominal sum which would only have had to satisfy the District Auditor. But the other difficulties you mention would remain.

Thank you for this. I searched in vain for a demonstration of the organ in classical mode.

This must be in the post-2001 format with theatre organ additions. The 2001 additions included Wurlitzer and Conacher pipework, (some of the latter subsequently replaced) according to NPOR R0070, percussions and grand piano! The original number of speaking stops increased from 81 to 125. Presumably everything has gone? Can anyone with local knowledge tell us more? Arnold Richardson mentioned above was a classical organist of distinction. It was at his invitation that Messiaen gave the first complete performance in England of “La Nativité du Signeur” in 1938 at St Alban, Holborn where Richardson was organist before being appointed to Wolverhampton in that same year.

I don’t have local knowledge or necessarily the full up to date local picture, but a Google search for Wolverhampton Civic Hall (then interior and then images) produces photographs showing far-reaching changes - modernising the venue. One’s impression is that ‘classical’ organ music doesn’t seem to have been likely in the scheme of things. A further search on the organ brings up more photographs, mostly of the post-2001 ‘theatre’ additions, including a new console, and a few nostalgic ones of the Hall and organ as they were originally. The NPOR entries are worth a look. The original 1937/ 38 Compton: N04867 2001 and beyond with ‘theatre’ additions by various other builders: R00070

As a post script, an unusual feature of the organ was that the chambers were above the interior ceiling of the hall. It wasn’t free-standing at a lower level. Without knowing the location of the asbestos and the logistics involved in removing the organ, it can only be surmise whether the organ could have been salvaged, but it would be interesting to know whether any thought was given to doing so.

The organ was greatly enlarged as recently as 2001 with many additions of ‘theatre organ’ character and in this form wasn’t all-Compton. However, the original 1937 Compton 81 stops organ (of entirely classical character) remained intact and had its own original console which was illustrated in either Sumner’s ‘The Organ’ or Whitworth’s ‘The Electric organ’ - or possibly both. I’m pretty certain that Sumner included a description and the full specification. Arnold Richardson was the Borough Organist here, and I have a distant memory of several classical organ recitals by him being broadcast by the BBC from Wolverhampton, in the 1950s I think. He was also one of the four players at the inauguration of the Royal Festival Hall organ in 1954.

I understand that the Maida Vale organ is to be used in the near future for a performance with the BBC Symphony Chorus - so there will be a clear need for an organ at Olympic Park. To move the Maida Vale organ there would be feasible if room was provided for it - the point made in my first post above. How do we persuade the BBC? Does anyone here have contacts? There is also the much larger Compton (approximately three-times as many ranks) at Broadcasting House. At present I don’t know whether this is played - or playable.

As many of us know, Allegro is the husband and wife team of Richard and Barbara Priest, well-named as Richard is now in the ordained Ministry and Vicar of the Stour Vale (Dorset) Group of Churches where he has responsibility for eight mediaeval churches! Allegro have given outstanding service to their customers over the years. I remember visiting their shop in Birmingham when the IAO Congress was held there - not certain of the year, late 1990s, I think - and John Scott was the IAO President. Thereafter they developed the international mail-order business, appearing with their ‘shop’ at IAO Congresses (as they were then known) and the annual ‘London Organ Day’, and took on the Organists’ Review subscriptions and distribution. Anyone with experience of being a local association secretary or treasurer would immediately realise what a daunting task in itself that must have been. With best wishes and thanks to Richard and Barbara.

A lot of information can be found by Google searches of both Chapels Royal. I guess that both Directors of Music are busy today, but I’m sure you will get an authoritative answer soon from a prominent member of this Board! The Queen’s Chapel of the Savoy is sometimes included in some ‘lists’, but we will wait for the reply anticipated above.

Salford is a long way from Olympic Park! This is to be HQ for the BBCSO and the others mentioned above. If it’s feasible, surely we would wish to see a pipe organ at Olympic Park. Possibly ptindall might know more. I recall his saying how well the Maida Vale organ sounded at Christmas (2017?) considering how little it is used.

To add to the above, a Google search reveals that the Olympic Park site “will contain recording and rehearsal studios, providing a purpose-built base for the BBC Symphony Orchestra and Chorus and the BBC Singers, as well as being used regularly by the BBC Concert Orchestra.” Other arts neighbours on the site will include the V&A, Sadler’s Wells and the London College of Fashion. In his post ptindall said that Maida Vale “is almost certainly going to be replaced with housing” - possibly a source of some potential funding?

To clarify my earlier post, my question was why don’t the BBC move the Maida Vale organ there? Not a ‘new’ pipe organ as such, just moving one which they already own. Of course there will be a cost in doing so, but even with the credentials of the HW which you mention, isn’t a pipe organ to be preferred - and expected - from a broadcaster with an international reputation?