THE ORGAN OF WESTMINSTER ABBEY PROGRAMME NOTE example, Ivor Atkins, demonstrated a particular MUSIC BY EDWARD ELGAR (1857–1934) liking for the instrument Atkins played. Elgar wrote very little solo music for the organ, despite the fact that he was for a short time Most of the music on this disc has been arranged 1 March ‘Pomp and Circumstance’ Op 39 no 3 arr. Iain Farrington [6.58] a professional organist. He encountered the from orchestral originals. I have not included instrument while watching his (not much loved) the smaller scale organ music, namely the early 2 Nimrod from Variations on an Original Theme Op 36 arr. W.H. Harris [3.58] father, whom in 1885 he briefly succeeded as Vesper Voluntaries; the Sonata – which both Sonata in G Op 28 Organist of St George’s Roman Catholic Church, technically and formally far surpasses all 3 i. Allegro maestoso [9.03] Worcester. Around the turn of the 20th century, Elgar’s other writing for the organ as a solo or 4 ii. Allegretto [4.12] the social status of an organist of a small ensemble instrument – is the starting point of 5 iii. Andante espressivo [6.14] provincial Catholic church was about as far away the programme rather than its apogee. As the from Elgar’s eventual eminence – OM, Master work’s disastrous premiere suggested, Elgar’s 6 iv. Presto (comodo) [6.51] of the King’s Music, what we would now call ‘a writing pushed the technical capabilities of 7 Sospiri Op 70 arr. Robert Quinney [4.58] national treasure’ – as a musician could hope the late-Victorian organ to the limit – perhaps to travel in his career; and Elgar certainly did because his actual conception was orchestral. Severn Suite Op 87 arr. Iain Farrington hope. An expert manipulator of his public image, But the successful Elgar did not, it seems, 8 i. Introduction (Worcester Castle) [2.29] he sought to cover the tracks of his origins as utterly disdain the organ: there were sketches of 9 ii. Toccata (Tournament) [4.47] a provincial jobbing musician, and it is perhaps a second organ sonata left at his death, and it 0 iii. Fugue (The Cathedral) [3.09] significant that his connection with the organ has been suggested that he sometimes had q iv. Minuet (Commandery) [5.36] reached its peak just before his first unequivocal recourse to the instrument to try out new w v. Coda [2.01] national success – the Organ Sonata predates works, perhaps in particular to hear the score the Variation on an Original Theme ‘Enigma’ ‘coloured in’ in quasi-orchestral fashion. Given e Solemn Prelude: For the Fallen arr. Harvey Grace [6.46] by four years. As he began to achieve national the ambiguous nature of Elgar’s relationship from The Spirit of England Op 80 and international recognition, Elgar maintained with the organ, and with the church culture r March ‘Pomp and Circumstance’ Op 39 no 5 arr. Iain Farrington [7.30] friendships with a number of (Anglican) organists, of his time, it seemed reasonable in constructing but these men were Establishment figures whose this programme to look beyond the works Total timings [74.36] patronage could help to advance the composer, originally conceived for organ. In any case, professionally and socially; it would be silly the organ of Westminster Abbey, built three ROBERT QUINNEY to pretend that Elgar’s friendship with, for years after Elgar’s death and substantially

www.signumrecords.com - 3 - rebuilt in the 1980s, is not an ‘authentic’ almost twice as long as its celebrated counterpart from the same world as Chanson de matin and scored for strings, harp and organ (an example instrument for music composed in the 1890s; in the first march (universally known as ‘Land of Salut d’amour, and perhaps originally intended of Elgar’s frequent use of the organ in ensemble); but it is brimming with colour, its tonal Hope and Glory’). Perhaps, behind those bristling for strings (the accompanimental writing is here the solo violin part is transferred to the resources ranging from the delicate Swell moustaches, the composer’s tongue is in his cheek. unusually unidiomatic for the keyboard); the flutes of the Abbey organ. The haunting, strings to the commanding Tuba Mirabilis (1937) first movement to be composed, it was initially other-worldly quality of the piece derives partly and brilliant Bombarde trumpets (1986). The sub-standard first performance of Elgar’s entitled Intermezzo. The Andante espressivo is from its modal harmony; indeed, the solo Organ Sonata on 8 July 1895 was probably nearly of the scale and gravitas of a symphonic melody begins in a manner reminiscent of a Purely by coincidence, the works that begin and not down to the drunken state of Hugh Blair, slow movement: a noble melody (originally a plainchant incipit. This is an odd echo to hear end the disc were originally connected to the as is often alleged. Blair had received the cello theme in a movement called ‘Träumerei’) in ultra-sophisticated late Romantic music – organ, if only through their dedications: ‘Pomp completed score only five days previously, alternates with a hushed tranquillo section, but, given Elgar’s early knowledge of chant, and and Circumstance’ March No 3 is dedicated to and the Sonata makes considerable demands the latter first appearing in the distant key of F his desire to incorporate it thematically into Elgar’s friend Sir Ivor Atkins, who succeeded of the performer – not only in terms of sharp major. The main theme of the third large-scale works such as The Dream of Gerontius Hugh Blair as Organist of Worcester Cathedral keyboard and pedal technique, but also in its movement is reintroduced in the development and The Apostles, it is less distant than might in 1897, continuing in the post until his death in highly original and quasi-symphonic use of section of the Presto finale, and later reappears be expected. 1950; No 5 is dedicated to Percy Hull, Organist the instrument. The conventional three-manual (on ‘Full Organ’) as a bridge to the thrilling of Hereford and successor to Elgar’s friend Hill organ in the South Transept of Worcester coda. The main subjects of the finale stand in The Severn Suite began life as a brass band George Sinclair, whose dog Dan is immortalized in Cathedral (not the Hope-Jones instrument into stark contrast to each other: the first is tense, its piece, in B flat major, composed for a ‘Enigma’ Variation XI. The third is the darkest which it and another Hill organ were disastrously jumpy repetitive rhythmic figure driven along by competition in 1930 and scored from Elgar’s of the marches, though the jaunty Trio provides combined in 1896) afforded Blair only a limited a pizzicato bass; the second subject is jaunty outlines by Henry Geehl. Elgar disapproved of light relief from its sinister surroundings, which number of ‘composition pedals’ and perhaps and confident; the two are combined in the coda. Geehl’s work, and two years later orchestrated are martial in every sense. The fifth march was the hands of an assistant at his disposal; so it The opening movement, by far the best known of (and recorded) a new version in C major. The sketched around the same time as the first is perhaps no surprise that, given the severely the four, displays another distinctive Elgarian Suite’s dedicatee, George Bernard Shaw, on four, but completed much later, in 1929-30 – a limited time allowed for preparation, Blair’s quality: a yearning sadness not far beneath the hearing the second version, wrote to Elgar, ‘What fond return to old haunts. It is nearly a parody, or performance was not a success. bravura surface. a transfiguration! Nobody will ever believe that perhaps a satire, of a ‘Pomp and Circumstance’ it began as a cornet corobbery. It’s extraordinarily March: it sets off briskly, apparently in the usual The Sonata is symphonic in its formal plan as That yearning melancholy never found a better beautiful.’ The later version is the source for Iain 2/4 metre, but the fourth bar reveals that the well as in its sound-world: two sonata form vessel than the beautiful miniature Sospiri Farrington’s transcription, which differs both music is actually bowling along, rather raffishly, movements frame a linked pair of movements. (‘sighing’) – surely the most eloquent of Elgar’s in key and in a number of details from the in 6/8; and the Trio is the biggest of Big Tunes, The Allegretto is a lightweight character piece, many short orchestral works. It was originally arrangement made of the B flat version by Ivor

- 4 - - 5 - Atkins and entitled Organ Sonata no 2 (Op composer par excellence is belied by music such 87a). Atkins omitted the fourth movement – as this, where the emotional power is not a BIOGRAPHIES perhaps regarding it as too fey for the manly, function of some banal pride, but lies in an stiff-upper-lipped organ – and added a cadenza intense inner conflict. before the Coda. Much of the Suite has its ROBERT QUINNEY origins in previously composed music, including Robert Quinney, 2011. the Fugue, initially sketched for piano but Robert Quinney is Sub-Organist of Westminster Robert Quinney read music at King’s College, first performed by Atkins on the organ of Abbey. In addition to his daily work at the Abbey, Cambridge, where he was Organ Scholar from Worcester Cathedral in 1925. he maintains a busy freelance schedule as a 1995 to 1998. After a year as Acting Sub-Organist soloist and ensemble player. Since October 2009 at Westminster Abbey, he moved to Westminster Elgar was a brilliant composer of Preludes: he has been Director of Oundle for Organists, Cathedral as Assistant Master of Music in the opening movements of large-scale choral whose residential courses offer inspiring tuition September 2000. Since returning to Westminster works such as The Dream of Gerontius and The for organists of all ages. He is also frequently Abbey in 2004 he has performed with the Apostles are so evocative, and formally so well to be heard performing with period ensembles Abbey Choir on concert tours to the USA and proportioned, that they stand perfectly well on such as The English Concert, The Sixteen, and Australia, on an acclaimed series of recordings their own. In the oratorio The Spirit of The Cardinall’s Musick. for Hyperion, and at several televised services – England (1915-17) he achieved this again in including the Marriage of TRH The Duke and the third and final part of the work, ‘For the His double compact disc The Grand Organ of Duchess of Cambridge in April 2011. During the Fallen’ (though in this case the piece played Westminster Cathedral was Instrumental Disc Michaelmas term 2010 he was Acting Organist here was not originally a discrete movement, the of the Month in BBC Music, earned a five-star and Master of the Choristers, during which chorus entering halfway through). The Solemn review in the French journal Diapason, and was period he directed premiere performances of choral Prelude is a grandiloquent elegy without a an Editor’s Choice in Gramophone: ‘Alongside works by Richard Rodney Bennett, Jonathan trace of triumphalism; Elgar repudiated the his impeccable performances, Quinney’s greatest Dove, Grayston Ives and Matthew Martin. jingoistic anti-German sentiment prevalent in achievement is to produce music-making which the UK during the First World War. The mood is really communicates itself to the listener’. In restless, with distant, sinister trumpet fanfares 2011 he began a series of Bach recordings for provoking a long, trudging crescendo toward a Coro with the six Trio Sonatas, played on the climax at which no harmonic or thematic goal organ of The Queen’s College, Oxford. is reached. Elgar’s image as the nationalist © Eric Richmond

- 6 - - 7 - THE HARRISON AND CHOIR ORGAN Swell to Choir* Octave HARRISON ORGAN Solo to Choir* Unison Off OF WESTMINSTER ABBEY Upper Choir (enclosed) Bombarde to Choir Sub Octave (1937 / 1982 / 1986) Claribel Flute 8’ Lower Choir on Great ## Stopped Flute (tuned sharp) 8’ Manuals I & II exchange # Solo to Swell* GREAT ORGAN Viola da Gamba 8’ Gemshorn 4’ SWELL ORGAN SOLO ORGAN Double Geigen 16’ Flauto Traverso 4’ Bourdon 16’ Nason (tuned sharp) 4’ Quintaton 16’ Contre Viole 16’ Open Diapason I 8’ Gemshorn Fifteenth 2’ Open Diapason 8’ Viole d’Orchestre 8’ Open Diapason II 8’ Mixture 19.22 II Viole d’Amour 8’ Viole Céleste 8’ Geigen 8’ Cornopean 8’ Salicional 8’ Viole Octaviante 4’ Hohl Flute 8’ Vox Angelica 8’ Cornet de Violes 10.12.15 III Stopped Diapason 8’ Upper Choir on Swell ## Lieblich Gedeckt 8’ Harmonic Flute 8’ Octave 4’ Upper Choir Shutters on Swell # Principal 4’ Concert Flute 4’ Geigen Principal 4’ Lieblich Flute 4’ Harmonic Piccolo 2’ Wald Flute 4’ Lower Choir Fifteenth 2’ Double Clarinet 16’ Octave Quint 2 2/3’ Bourdon (prepared for) 16’ Twenty Second 1’ Clarinet (from 16’) 8’ Super Octave 2’ Open Diapason 8’ Sesquialtera 12.17 II Cor Anglais 8’ Mixture 15.19.22.26.29 V Rohr Flute 8’ Mixture 15.19.22.26.29 V Orchestral Hautboy 8’ Harmonics 17.19.21.22 IV Principal 4’ Contra Oboe 16’ Tremulant Sharp Mixture 29.33.36 III Open Flute 4’ Oboe 8’ Contra Posaune 16’ Nazard 2 2/3’ Vox Humana 8’ French Horn 8’ Posaune 8’ Fifteenth 2’ Tremulant Orchestral Trumpet 8’ Octave Posaune 4’ Blockflute 2’ Contra Tuba 16’ Tierce 1 3/5’ Double Trumpet 16’ Tuba (from 16’) 8’ Choir to Great* Mixture 22.26.29.33 IV Trumpet 8’ Tuba Mirabilis (unenclosed) 8’ Swell to Great*^ Cremona 8’ Clarion 4’ Solo to Great* Tremulant Bombarde to Great*

- 8 - - 9 - Octave PEDAL ORGAN Unison Off Sub Octave On the Screen Open Diapason 16’ Bombarde to Solo Geigen (from Great) 16’ Bourdon (from Great) 16’ BOMBARDE ORGAN Principal 8’ Octave Geigen (from 16’) 8’ Violone 16’ Bass Flute (from 16’) 8’ Open Diapason 8’ Fifteenth 4’ Principal 4’ Rohr Flute 4’ Fifteenth 2’ Open Flute 2’ Mixture 19.22.26.29 IV–VI Mixture 19.22.26.29 IV Grand Cornet 1.8.12.15.17 IV–V Contra Posaune (from Great) 16’ Bombarde 16’ Posaune (from Great) 8’ Trumpet 8’ Octave Posaune (from Great) 4’ Clarion 4’ Contra Posaune (from Great) 16’ In the Triforium Posaune (from Great) 8’ Double Open Wood*^ 32’ Octave Posaune (from Great) 4’ Open Wood I 16’ Tuba Mirabilis (from Solo) 8’ Open Wood II (from 32’) 16’ Violone 16’ Bombarde Chorus on Great Viole (from Solo) 16’ Double Ophicleide*^ 32’ Ophicleide (from 32’) 16’ Tuba (from Solo) 16’ Clarinet (from Solo) 16’ Trumpet 8’ Clarion (from 8’) 4’

- 10 - - 11 - Choir to Pedal* Next and Previous thumb and toe pistons Harrison instrument now stands. The two organ with distinctive colour and sensitivity. It is also Choir Octave to Pedal Reversible thumb and toe pistons to * and ^ cases, built originally for the Hill organ in 1895 a powerful and versatile solo instrument. Organ Great to Pedal*^ Rocking tablets to # by the architect J.L. Pearson, were coloured recitals take place every Sunday, given by the Swell to Pedal* Motorised, settable rocking tablet to ## and reinstated in 1959. Abbey organists and visitors from across the Solo to Pedal* world, and each year the Summer Organ Bombarde to Pedal* 512 memory levels for General Pistons No significant changes were made to the Festival brings leading international performers 16 memory levels for Divisional Pistons original specification until a major overhaul to the Abbey. COMPASS in 1982. A second, unenclosed choir division The Harrison and Harrison Organ of Westminster was installed in the north case, and new Manual: CC – c (61 notes) Abbey was installed for the Coronation of King stops added to the Great and Pedal divisions. Pedal: CCC – g (32 notes) George VI in 1937. With four manuals and 84 At the console, a fifth manual was added in speaking stops, it incorporated some of the preparation for the Bombarde division located COMBINATION COUPLERS pipework from the previous five-manual in the north triforium. Completed in 1986, this instrument, built by William Hill in 1848. new department comprises fanfare reeds and Great and Pedal combinations coupled# a robust chorus, giving the organ a greater Generals on Swell Foot Pistons# The earliest evidence of any organ in the presence and supporting large congregations Pedal to Swell Pistons# Abbey dates from 1304, referring to ‘a pair of on major occasions. Generals on Great Thumb Pistons# organs’ in the Lady Chapel. From the late 16th century there was an organ in the quire, of 2006 saw a complete overhaul of the console. ACCESSORIES which no accurate details survive, but it was The memory capacity was doubled to 512 certainly played by John Blow and Henry channels; ten thumb pistons serve each of the 10 toe pistons to Pedal Organ Purcell – two of the most eminent names four main manuals; new reversible thumbs 10 thumb pistons to Choir Organ among the list of distinguished Organists of pistons are in place for 32’ stops; and the music 10 thumb pistons to Great Organ Westminster Abbey. A new organ, built for the desk is now fully adjustable. In 2008 a new rank 10 thumb pistons to Swell Organ Coronation of George II in 1727, was relocated of pipes was added in the North Triforium: a 10 toe pistons to Swell Organ (duplicating) and placed on the central screen at the entrance Violone 16’, playable on the Bombarde and Pedal. 10 thumb pistons to Solo Organ to the quire. This was replaced in 1848 by the 6 thumb pistons to Bombarde Organ Hill organ, built on the north and south sides The organ plays a central role in the Abbey’s 10 General thumb pistons with stepper facility of the nave screen where the Harrison and daily liturgy, accompanying the choral music

- 12 - - 13 - Producer - Adrian Peacock Recorded and Edited - David Hinitt

Cover Image - Shutterstock Organ images - © Dean and Chapter of Westminster Design and Artwork - Woven Design www.wovendesign.co.uk

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- 14 - - 15 - ALSO AVAILABLE on signumclassics

The Organ of Westminster Cathedral Robert Quinney plays Brahms, Wagner & Dupré SIGCD089

“His supreme artistry at the Organ of Westminster Cathedral transcends the boundaries of organ-playing, giving the listener a moving, magical experience.” Gramophone

“Quinney’s technique is impeccable and his registration spot on.” ★★★★★ – Performance and Recording BBC Music Magazine

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN MAGENTA Customer SignumClassics YELLOW Catalogue No.SIGCD266 BLACK Job Title Organ of Westminster Abbey

SIGNUM CLASSICS SIGCD266

THE ORGAN OF WESTMINSTER ABBEY ABBEY WESTMINSTER OF ORGAN THE ELGAR:

QUINNEY MUSIC BY EDWARD ELGAR

1 March ‘Pomp and Circumstance’ Op 39 no 3 arr. Iain Farrington [6.58] 2 Nimrod from Variations on an Original Theme Op 36 arr. W.H. Harris [3.58] 3 - 6 Sonata in G Op 28 [26.20] 7 Sospiri Op 70 arr. Robert Quinney [4.58] 8 - w Severn Suite Op 87 arr. Iain Farrington [18.02] e Solemn Prelude: For the Fallen arr. Harvey Grace [6.46] from The Spirit of England Op 80 r March ‘Pomp and Circumstance’ Op 39 no 5 arr. Iain Farrington [7.30]

Total timings: [74.36] QUINNEY ELGAR: THE ORGAN OF WESTMINSTER ABBEY

ROBERT QUINNEY

LC15723

Signum Records Ltd, Suite 14, 21 Wadsworth Road, SIGCD266

CLASSICS Perivale, Middx UB6 7JD, United Kingdom. P 2011 Signum Records DDD SIGCD266 © 2011 Signum Records www.signumrecords.com 24 bit digital recording 6 35212 02662 5 SIGNUM