The PipeLine

Journal of the YDOA September Edition

Patron: Dr Francis Jackson CBE (Organist Emeritus, Minster) President: Nigel Holdsworth, 01904 640520 Vice President: Joan Johnson, Secretary: Renate Sangwine, 01904 781387 Treasurer: Cynthia Wood, 01904 795204 Membership Secretary: Helen Roberts, 01904 708625 The PipeLine Editor, Webmaster and YDOA Archivist: Maximillian Elliott

www.ydoa.co.uk

The York & District Organists’ Association is affiliated to the Incorporated Association of Organists (IAO) and serves all who are interested in the organ and its music. Contents

1. Introduction ...... 3

2. YDOA Events ...... 4

3. The Ebor Organ Album……………………………………………… ...... 5

4. Previous Event ...... 6

5. Next Event ...... 7

6. Upcoming Recitals & Concerts………………………………………………… 8

7. Article I ...... 10

8. Article II ...... 20

9. Article III ...... 27

10. Article IV ...... 30

11. Organ of the Month ...... 34

12. The People Section ...... 38

13. Next Edition ...... 39

14. List of YDOA Presidents ...... 40

2 1. Introduction

York & District Organists’ Association 1945 - 2015 70th Anniversary

Welcome to the September Edition of ‘The PipeLine’. At forty-pages long, this is the most extensive edition that has ever been produced and it will be my penultimate edition as Editor. There are four articles featured this month by three different authors: the first article outlines the history of Summers & Barnes (Organ Builders from York) and examines some of the instruments that the firm produced. This is followed by an article examining the history of the St Lawrence Male Voice Choir, which later became known as the Railway Institute Male Voice Choir (an organisation with which many members will be acquainted). The third article has been written by Stephanie and Nigel Holdsworth and details some of the exciting plans that Stephanie (next Editor of ‘The PipeLine’) has for the publication. I am so pleased that Steph has agreed to take on this role for the forthcoming year and I greatly look forward to reading her first edition (which will be published in November). The final article has been written by James Ratcliffe and takes a whistle-stop tour through the connections between mathematics and music. If members find James’ article interesting, please do attend his lecture on the same topic at 13:10 in Bootham School on Thursday the 17th of September. The ‘Organ of the Month’ for September, features the organs of Holy Trinity, Heworth. I am immensely grateful to Chris Poole for providing the photographs of himself, fellow choristers and their organist Edmund Stanley Walton (8th YDOA President 1952-1953), who had been organist at the church for a remarkable forty-one years! The summer series of organ concerts in York is now coming to an end, but it won’t be long until the concerts at St Columba’s United Reformed Church return. It also gives me great pleasure to announce that an organ recital will be held in St Barnabas’ Church (featured as ’Organ of the Month’ in the August Edition) on Saturday the 20th of February at 19:00 (one week after the series at St Columba’s URC has finished). This is a new venue in the organ concerts series and features the church’s rather unknown, yet lovely Thomas Hopkins & Sons organ. If the concert is well supported, it may be possible to host future concerts in the church, so please invite all of your friends and put the date in your diaries now!!

3 2. YDOA Events

**DIARY DATES** Upcoming Association Events 2015

70th Anniversary September Tuesday 22nd (17:15) () AGM Saturday 24th (11:30) October Lecture ‘Painted Pipes make Merrier Music’ by Paul Hale. (14:00) (Central Methodist Church, York)

**2015-2016 Events available at AGM**

YDOA Event October 24th 2015

Central Methodist Church

AGM followed by Lecture Rector Chori Paul Hale

Paul Hale delivering his lecture entitled ‘Painted Pipes make Merrier Music’.

4 3. The Ebor Organ Album

**NOW AVAILABLE**

The Ebor Organ Album 7 Pieces for 7 Decades

2015 marks the 70th Anniversary of the YDOA. In order to celebrate this important milestone in the association’s history, we commissioned 7 new compositions from composers associated with York. Francis Jackson, Philip Moore, John Scott Whiteley, Peter Moger, Andrew Carter, Nigel Holdsworth and Frederick Viner, have each contributed a piece. The album is entitled ‘The Ebor Organ Album: 7 Pieces for 7 Decades’ and was officially launched at the Annual Dinner on the 20th of March 2015 by Gordon Stewart (Guest Speaker).

‘The Ebor Organ Album: 7 Pieces for 7 Decades’ has been mostly financed by thirty subscribers, whose names will appear at the beginning of the album. All of these subscribers have now received their copies. The remaining costs associated with the album have been covered by the general fund. This money will gradually be recouped through royalties received from Banks Music Publications every time a copy is sold.

For those members of the YDOA who are interested in buying the album, but didn’t subscribe to the project, it is now available from the website of Banks Music Publications for £9.95 or from Nigel Holdsworth.

http://www.banksmusicpublications.co.uk/

5 4. Previous Event

Our August meeting was ‘Summer Outing to Filey’

Renate Sangwine, Secretary, gives an account of the event:

 YDOA member Bob Firth started off the day’s events with a brief explanation of the organ at Filey Methodist Church and a performance of Mendelssohn’s Prelude & Fugue in G. This was followed by a composite recital by various YDOA members and included the following pieces:

Wedding Fanfare Arthur Bliss Prelude on Londonderry Air Noel Rawsthorne Elegy George Thalben-Ball Overture to the Occasional Oratorio George Frideric Handel arr. Rawsthorne Popular Song William Walton Prelude on East Acklam Francis Jackson Fanfare for Francis Noel Rawsthorne Concerto in D minor after Vivaldi Johann Sebastian Bach BWV 596  St John’s Church was the next stop on our itinerary. Members were given free access to the Makin electronic organ by the Vicar, who had also prepared some refreshments for us.

Fantasia and Fugue in C minor Johann Sebastian Bach BWV 537 Prelude and Fugue in C Johann Sebastian Bach BWV 553 Wir glauben all an einen Gott Johann Sebastian Bach BMV 680 Praeludium and Chaconne in C Dieterich Buxtehude BuxWV 137 Fanfare Jacques-Nicolas Lemmens Adagio Samuel Barber Berceuse (from 24 Pièces en style libre) Louis Vierne  We visited St Oswald’s Church at the end of the day and members performed the following pieces:

Liebster Jesu, Wir sind hier Johann Sebastian Bach BWV 731 Prelude and Fugue in E-flat ‘St Anne’ Johann Sebastian Bach BWV 552 Chanson de Matin Edward Elgar Gavotte Samuel Sebastian Wesley Toccata (from Suite Gothique) Léon Boëllmann Vocalise Rachmaninov Trumpet Tune Andrew Carter Sarabande (from Three Pieces for Withycombe) Philip Moore

6 5. Next Event

OUR NEXT EVENT: Tuesday 22nd September ‘70th Anniversary Evensong’ 17:15

Maximillian Elliott, Editor, writes:

 On Saturday the 22nd of September 1945, the York & District Organists’ Association was founded by Sir Edward Bairstow at a meeting of York’s musicians in St William’s College. The Gazette and Yorkshire Evening Press both released similar statements about the association’s founding:

 Yorkshire Gazette – Friday 28 September 1945.

‘YORK ASSOCIATION OF ORGANISTS. Sir Edward Bairstow as First President. At a meeting in St William’s College on Saturday, organists from a wide area decided to form an organists’ association for York and district. Canon C C Bell, Precentor of York Minster, presided, and Sir Edward Bairstow, Master of the Music at the Minster, warmly advocated the formation of the Association. The following officials were elected: President Sir Edward Bairstow; vice-president, who will be the next year’s president, Mr Reginald Rose, St Olave’s, York; hon. secretary Mr B Summerton (Tadcaster); hon. treasurer Mr W Adamson, York. Those elected to the committee were: Messrs A Allan (Easingwold); A Bland; K Fredricks; R Mason; J S McElheran; A W Sargent; B C Seymour; and Miss Alice Knight, York; Mrs Knyvett, Bolton Percy and Miss Hilda Milvain, Scarborough.’

 Yorkshire Evening Press – Monday 24 September 1945

‘Organists To Unite. A LARGELY attended meeting was held in St William’s College to discuss the formation ofan Organists’ Association for York and district. Canon C C Bell, Precentor of York Minster, in the chair, said that organists not only did great service in their special work, but were a potent influence in music generally. Sir Edward Bairstow, Master of the Music at the Minster, strongly urged the formation of such a society for it helped organists to avoid getting into a groove, and by being purely social and cultural engendered valuable friendships. Mr B Summerton, Tadcaster, proposed and Mr Aubrey Bland, St Peter’s School, seconded the formation of a local society, and this was carried. The following officials were elected: President, Sir Edward Bairstow; vice-president, who will be next year’s president, Mr Reginald Rose, St Olave’s, York; hon. secretary, Mr B Summerton; hon. treasurer Mr W Adamson, York. Those elected to the committee were: Messrs A Allan (Easingwold); A Bland; K Fredricks; R Mason; J S McElheran; A W Sargent; B C Seymour; and Miss Alice Knight, York; Mrs Knyvett, Bolton Percy and Miss Hilda Milvain, Scarborough.’

 The first official ’meeting’ held by the YDOA, on the 24th of October 1945, was Evensong in York Minster. After the service, members were given a brief tour around the organ. This was followed by refreshments and a lecture on choir-training by Sir Edward Bairstow. To mark the YDOA’s 70th Anniversary, the committee thought that it would be fitting to return to York Minster on the exact day of our founding (which is why the event is being held on a Tuesday). Members are encouraged to attend evensong and listen to the wonderful music that has been selected by Robert Sharpe (Director of Music - York Minster) for the occasion.

 We thank the Chapter of York for allowing us to celebrate our 70th Anniversary in York Minster and we extend particular thanks to Peter Moger (Precentor), who made the initial suggestion. We also thank Robert Sharpe (Director of Music), David Pipe (Assistant Director of Music) and the choir for providing the music.

Responses Smith

Psalms 108&109

Canticles Stanford in C

Anthem Harris Bring us, O Lord God

7 6. Upcoming Recitals & Concerts

Locally

North Yorkshire

Here is a selection of recitals taking place in North Yorkshire:

Bolton Abbey (Priory) (15:30): Sunday - 06 September Jonathan Eyre.

Everingham (Coffee House) (18:30): Wednesdays - 09 September John Scott Whiteley (1865’s Popular Edwardians).

Ripon (Cathedral) (13:15): Thursdays - 15 October Edward Taylor, - 19 November Marilyn Harper and Norman Harper.

Scarborough (St Martin-on-the-Hill Church) (19:00): Fridays - 04 September Colin Walsh.

Skipton (Christ Church) (11:00): Bank Holidays - 02 May Simon Russell.

York (All Saints’ Church, North Street) (13:10): Fridays - 25 September Tim Hone.

York (Central Methodist Church) (12:30): Thursdays - 03 September Maximillian Elliott,- 17 September David Pipe.

York (St Columba’s URC) (12:00): Saturdays - 09 January Nigel Holdsworth, - 16 January Nigel Ogden, - 23 January Christopher Newton, - 30 January Alexander Woodrow, - 06 February Maximillian Elliott, - 13 February Simon Lindley.

York (St Helen’s Church) (13:10): Wednesdays - 23 September Robert Sharpe.

York (St Martin’s Church) (13:10): Thursdays - 10 September Joan Johnson (organ) & Wiebke Mackay-Engel (flute).

South Yorkshire

Here is a selection of recitals taking place in South Yorkshire:

Doncaster (Minster) (13:10): Fridays - 25 September Laurence Caldecote, - 23 October Christopher Beaumont, - 27 November Keith Hearnshaw.

Ranmoor (St John’s Church) (20:00): Mondays - 28 September George Parsons, - 26 October Richard Longman.

Swinton (St Margaret’s Church) (18:00): Sunday - 06 September Chris Reader-Viney.

Sheffield (St Marie’s Cathedral) (13:30): Saturday - 19 September Hugh Finnigan.

Sheffield (St Mark’s Church, Broomhill) (18:00): Thursdays - 17 September Jullian Gunn, - 22 October Peter Heginbotham, - 19 November Jonathan Eyre, - 17 December Andrew Linn.

East Yorkshire

Here is a selection of recitals taking place in East Yorkshire:

Bridlington (Priory) (18:00): Saturdays - 26 September Colin Walsh.

Hull (City Hall) (12:30): Wednesdays - 02 September Kemp English, - 07 October James Parsons, - 04 November Philip Rushforth, - 02 December Roger Fisher.

8

West Yorkshire

Here is a selection of recitals taking place in West Yorkshire:

Bradford (Cathedral) (13:00): Wednesdays - 09 September Jack Spencer, - 16 September Richard Walker, - 23 September Jonathan Eyre, - 30 September Colin Druce, - 07 October Jonathan Lilley, - 14 October Christopher Newton, - 21 October Jason Roberts, - 28 October Sean Montgomery, - 04 November Alexander Woodrow, - 11 November Colin Andrews, - 18 November Katherine Dienes-Williams, - 25 November Jonathan Eyre, - 02 December Jon Payne, - 09 December Alexander Woodrow and Jonathan Eyre, - 13 January James Lancelot, - 20 January Steven Maxson, - 27 January David Davies, - 03 February Jonathan Hope, - 10 February Charles Wooler, - 17 February Jonathan Hope.

Brighouse (St Martin’s Church) (19:30): Friday - 04 September Robert Gower and Martin Singleton.

Fulneck (The Moravian Church) (11:00): Thursdays - 03 September Simon Lindley, - 01 October Simon Lindley, - 05 November Simon Lindley, - 03 December Simon Lindley.

Halifax (Minster) (13:00): Thursdays - 03 September George Parsons, - 10 September Sam Barber, - 17 September David Barker, - 24 September Christopher Brown.

Halifax (St Paul’s Church) (19:30): Saturday - 05 September Christopher Brown.

Huddersfield (Town Hall) (13:00): Mondays - 07 September Gordon Stewart, - 14 September Margaret Phillips, - 21 September Gordon Stewart, - 05 October Gordon Stewart, - 19 October Robert Sharpe, - 02 November Gordon Stewart with George King, - 16 November Daniel Cook, - 30 November Gordon Stewart, - 14 December Nigel Ogden, - 21 December Gordon Stewart, - 11 January Gordon Stewart with Tom Osborne, - 25 January Daniel Moult, - 08 February Gordon Stewart, - 29 February Gordon Stewart.

Ilkley (St Margaret’s Church) (12:30): Fridays - 04 September Christopher Rathbone, - 02 October Christopher Rathbone, - 06 November Christopher Rathbone, - 04 December Christopher Rathbone.

Leeds (Mill Hill Chapel) (13:00): Tuesdays - 10 November Anthony Norcliffe, - 15 December Anthony Norcliffe.

Leeds (Minster) (12:30): Fridays - 04 September Christopher Newton, - 11 September Christopher Newton, - 18 September Christopher Newton, - 25 September Christopher Newton, - 20 November Anthony Gritten.

Leeds (Town Hal) (13:05): Mondays - 21 September Simon Lindley, - 28 September Robert Gowers, - 05 October Simon Lindley with Angelina Warburton, - 12 October Simon Lindley with Margaret McDonald, - 19 October Simon Lindley, - 26 October Jason Roberts, - 02 November Simon Lindley with Phillip McCann, - 09 November Simon Lindley, - 16 November Simon Lindley with Claire Strafford, - 23 November Simon Lindley with Christopher Trenholme, - 30 November Simon Lindley, - 07 December David Houlder, - 14 December Simon Lindley.

Mirfield (St Mary’s Church) (15:00): Saturdays - 12 September Alexander Woodrow, - 10 October Paul Dewhurst.

Ossett (Town Hall) (14:30): Sundays - 04 October David Lobban.

Pontefract (St Giles’ Church) (13:00): Fridays - 04 September Adrian Self, - 11 September Paul Dewhurst, - 18 September Christopher Rathbone, - 25 September Joseph Sentence, - 02 October Paul Dewhurst, - 09 October Paul Bowen, - 16 October Paul Dewhurst, - 23 October Robert Poyser, - 06 November Andrew Bryden, - 13 November Paul Dewhurst, - 20 November Christopher Newton, - 27 November Tim Campain, - 11 December Jonathan Eyre, - 18 December Paul Dewhurst, - 01 April Maximillian Elliott, - 08 April Steven Maxson, - 27 May Paul Dewhurst.

Saltaire (Victoria Hall) (14:30): Sundays - 11 October Simon Gledhill, - 08 November Robert Wolfe, - 13 December Nicholas Martin.

9 7. Article I

Summers & Barnes Organ Builders

1924 - 1958

Introduction Harold Francis Summers, Albert Henry Barnes and Francis Duncan Ward were partners in the organ- building firm of F D Ward. The business operated from Back Athol-street in Middlesbrough and 46A Coney Street (pictured above). In 1924, the partnership was dissolved and Francis Duncan Ward started to trade purely on his own account from Back Athol-street in Middlesbrough. Harold Francis Summers and Albert Henry Barnes founded Summers & Barnes and opened a factory in St Saviour’s Place, Peasholme Green (the assembling room from this factory is shown on the following page). In 1935, Summers & Barnes acquired a new factory on Ambrose Street in Fulford. Albert Henry Barnes died on the 29th of September 1942, but the business continued to be operated by Harold Francis Summers until his retirement in 1958. Walker and Sons purchased Summers & Barnes after Harold Francis Summers’ retirement and incorporated the business into Walker & Sons.

10 Biography - Harold Francis Summers Harold Francis Summers was born in 1885 at Gloucester, the son of Arthur James Summers (Railway Engineer) and Sarah Jane Belsten. His brother Arthur H Summers had been born the previous year and his sister Rose E Summers was born in 1887. At some point before 1891, the family moved to 64 Maes-Y- Dderwen in Llangyfelach, Swansea. In 1899, Harold’s youngest brother Frederick W Summers was born and the family moved back to Gloucester later in the year. At the same time, Harold started an apprenticeship with Hele’s of Plymouth, but he continued to live with his parents at their new 18d Market Street address. In 1904, Harold left his position at Hele’s and proceeded to work for firms in Canterbury, Leeds, Manchester and . He spent a short period working for Henry Willis & Sons and also Spurden Rutt in Leyton (London). According to the 1911 Census, Harold was living as a lodger (with a fellow organ- builder called Stanley Fargher) at 109 Barclay Road, Walthamstow and it must be assumed that he was still in the employ of Spurden Rutt at this time, due to his accommodation’s close proximity to their factory. In 1914, Harold married Lily Emma Tapley (whom he had met in Plymouth) and, during the First World War, he worked as an aircraft and furniture manufacturer. After the war, the couple moved to York and Harold quickly became a partner (alongside Albert Henry Barnes) in the organ-building firm of F D Ward. In 1924, Harold and Albert dissolved their partnership with Francis Duncan Ward and established their own business (Summers & Barnes). After sixty years as an organ builder, Summers retired in 1958 and died on October 31st 1968 at his son’s house in Bullingdon, Oxfordshire.

Biography - Albert Henry Barnes Albert Henry Barnes was born in 1895 at Leicester. Sadly, it has not been possible to find out much about Albert’s life. However, it is known that Albert and his wife Elsie May Barnes lived on Stockton-Lane in York. Albert died on the 29th of September 1942 at the County Hospital and left £898 19s. 9. to his widow.

I acknowledge my grateful thanks to Geoffrey Coffin, for his help in assembling this article.

1930 - Assembling Room (Peaseholme Green)

11 Organs by Summers & Barnes Below, is a list of organs built or rebuilt by Summers & Barnes.

York

Baptist Church, Priory Street Undated Rebuild Centenary Wesleyan Church (Central Methodist Church) 1953 Rebuild Electrified action and alterations (including new Tromba unit). Holy Redeemer Church, Acomb 1952 Transplant William Denman organ transferred from St Stephen’s Church, Acomb into the church hall. It was later moved by Walker & Sons from the church hall into the new church building in 1964. Monkgate Methodist Church (Trinity Methodist Church) 1936 Rebuild ‘Cleaned and rebuilt by Summers and Barnes, formerly of York, and some very lovely ‘strings’ installed by Mr Barnes in 1936. I remember his telling me that these pipes looked so lovely that it seemed a shame to put them away in the dark! Walkers, who succeeded Summers and Barnes, have recently installed a balanced swell pedal’. (Archie Sargent) St Martin-le-Grand Church, Coney Street 1935 Rebuild ‘Messrs. Summers & Barnes, of York, have just installed a three -manual electric organ of forty-four stops in the church of St. Martin-le-Grand, York. Mr. H. Vincent Garrett opened the instrument’. (Musical Times) The organ was rebuilt at a cost of £450. The new console was an almost exact copy of a Harrison & Harrison design. Dr Francis Jackson recounts that Summers & Barnes were particularly proud of it. In his youth, Dr Jackson was shown around the organ by the firm and played the instrument on several occasions. It was destroyed in WWII. St Mary’s Church, Bishophill Junior Undated Transplant Forster & Andrews organ installed by Summers & Barnes. St Oswald’s Church, Fulford Unknown Rebuild

St Peter’s School 1931 Rebuild ‘New electrical coupling switchgear installed and new electro-pneumatic primaries to Compton soundboards; piston action rebuilt; Pedal Open Diapason extended to 8’ St Wulstan’s Church, Heworth Undated Transfer The organ was originally constructed in about 1860 by an unspecified builder as a practice instrument for Henry Smart. It was later bought by one of the organists of York Minster. Summers & Barnes transferred the organ from the Merchant Taylors’ Hall to St Wulstan’s Church, Heworth. The instrument was removed in 2009 and transplanted the following year into All Saints’ Church, Hawkser and Stainsacre by Malcolm Spink.

12 Yorkshire

Ampleforth Roman Catholic College Unknown Transplant Bishop Wilton St Edith’s Church Unknown Rebuild Castle Howard Chapel 1953 Rebuild Danby Methodist Church 1928 Transplant ‘Older cabinet organ acquired second hand; installed here 1928 ‘from a mansion’. Origins probably c.1850, possibly by Bevington or one of the York organ-builders; This organ may have been previously owned by Eric Jackson of Summers & Barnes, at their town house on Penleys Grove Street, York.’ Driffield All Saints’ Church 1954 Rebuild Easingwold St John the Baptist’s Church Unknown Rebuild 1913 Abbott & Smith (Leeds) was rebuilt by Summers & Barnes. Ebberston St Mary’s Church c.1937 Transplant ‘Reputed to have been built for a private house and was moved to the church c1937 when the young Francis Jackson opened it; there is no builder's label; there is, however, a post card from Summers & Barnes to a Mr. Albert Edward Jenson (who traded at one time as an organ builder in Malton), possibly an employee of the firm that moved the organ; there is one metal bellows weight marked "J & Co Ltd"’. Elvington Brinkworth Hall 1928 Organ Removal Elvington Holy Trinity Church Unknown Transplant The present instrument is a one manual Casson, which may or may not have been the one moved in by Summers and Barnes. Holtby Holy Trinity Church 1932 New Organ 1 Manual, 6 Stop Kirkby Malzeard Methodist Church Undated New Organ Malton St Michael’s Church c.1952 Transplant 1907 Harrison & Harrison organ form St Leonard’s Church, Malton transferred to St Michael’s Church, Malton. Middlesbrough All Saints’ Church 1931 Rebuild ‘Restored and reconstructed, in a new oak gallery at West end. 662 new pipes (though most of the original pipes were re-used) and introduction of electrical action for the organ mechanism. Electric blower installed. Total cost of £1,500’. North Ormesby Holy Trinity Church Undated Rebuild Raskelf St Mary’s Church Undated Transplant Scarborough Futurist Cinema Undated Scarborough South Cliffe Congregational Church Undated Rebuild Rebuilt the 3 Manual, 36 Stop Thomas Hopkins & Sons (York) organ. The Great contained two Mixtures (both two rank). Scarborough Westborough Unitarian Church Undated Rebuild Sewerby St John the Baptist’s Church 1937 Rebuild 1954 Removal Stamford Bridge St John the Baptist’s Church 1932 New Organ 1 Manual, 6 Stop Wetherby St James’ Church Undated Transplant West Tanfield St Nicholas’ Church 1959 Rebuild

13 National Avonmouth Masonic Hall Undated

Billingham St Cuthbert’s Church 1930s Rebuilt

The old organ was rebuilt as a six rank unit organ. Leigh Woods ‘Northside’ - Residence 1928 Rebuilt

New electric action. Eriswell St Laurence and St Peter’s Church 1956 Transplant

The organ had previously been in St John the Baptist’s Church, Sewerby and then stored at the Summers & Barnes works for two years prior to installation. Grantham Finkin Street Methodist Church 1951 Rebuild

‘Summers & Barnes reconstructed the 1857 Forster and Andrews organ at Finkin Street Methodist Church, during 1951 when they fitted electric action to this fine old instrument. The original flue work was left unaltered so that we are able to hear it speaking just as the Hull firm voiced it on their almost standard wind pressure for those days of 2, ¾ inches’. Haverton Hill St Hilda’s Church Undated Rebuild

Redmarshall St Cuthbert’s Church Undated Rebuild

Stockton-on-Tees St Thomas’ Church 1934 Rebuild

Holy Trinity Church, Holtby

14 Summers & Barnes Leaflet I All Saints’ Church, Middlesbrough

British Organ Archive (BOA) BOA Box 22

Reprinted with kind permission from: Cadbury Research Library Special Collections University of Birmingham

15 Summers & Barnes Leaflet II Brochure

Borthwick Institute for Archives PRY/MS42

Reprinted with kind permission from: Borthwick Institute for Archives

16 17 Summers & Barnes Leaflet III Excerpt from: Centenary Wesleyan Chapel, York Dedication & Opening of Re-constructed organ

Borthwick Institute for Archives MRCEN 43

Reprinted with kind permission from: Borthwick Institute for Archives University of York

18 References Secondary Sources

Elvin, L. (1986). Family Enterprise: The Story of some North Country Organ Builders. Lincoln: Laurence Elvin.

Griffiths, D. (1994). A musical place of the first quality: a history of institutional music-making in York c.1550-1990. York: York Settlement Trust.

Musical Opinion. (1968). Obituaries. Musical Opinion, 92(12), 163.

Musical Times. (1935). Church and Organ Music. Musical Times, 76(429), 828-829.

National Pipe Organ Register (2015). Various Entries. [Online] The British Institute of Organ Studies, UK. Available at: http:// www.npor.org.uk/

Sargent, A.W. (1971). Voices Pipes and Pedals. London: The Mitre Press.

Newspaper Articles

1924 08 February The London Gazette

19 8. Article II

St Lawrence Male Voice Choir

1946-1968 York Railway Institute Male Voice Choir

1968-unknown

History and Acknowledgments By Maximillian Elliott

The St Lawrence Male Voice Choir was founded on the 13th of September 1946. Its first conductor was Mack Milner (Choirmaster of St Lawrence’s Church) and its accompanist was George James ‘Jim’ Stacey (12th YDOA President; 1956-7). Many of its original members were servicemen who had returned to the parish after WWII. In 1948, ‘Jim’ Stacey took over as conductor of the choir and its reputation continued to grow. The choir gave many concerts during this period and some of the highlights will now be summarised. At 17:00 on Saturday the 26th of November 1949, the choir sang a concert at Stoneferry Emmanuel Church to celebrate its re-opening. On Saturday the 7th of June 1952, they sang in front of four-thousand people during a Conservative Party rally at Swinton Conservative College (near Masham), alongside the Black Dyke Mills Band. In 1968, the choir changed its name to the York Railway Institute Male Voice Choir and it was around this time that John Watson (Organist of St Thomas’ Church, Lowther Street) took George James ‘Jim’ Stacey over the conductorship of the choir. ‘Jim’ Stacey had retired due to ill health. In 1970, the choir won the male-voice section of the BBC Competition ‘Let the people sing’, performing: ‘Music when soft voices die’ (Bairstow), ‘The wanderer’ (Elgar) and ‘Bushes and briars’ (arr. Vaughan Williams). The choir led the singing at York’s Annual Community Carol Concerts in 1965 (conducted by Archie Sargent), 1970 (conducted by Noel B Kay) and 1994 (conducted by John Warburton). During the 1980s, the choir continued to flourish under the baton of its new conductor Robin Dickson (Organist of St Clement’s Church). John Watson had decided to take a step back from the podium and now accompanied the choir. In 1996, the choir celebrated its Golden Jubilee with a concert in St Lawrence’s Church. Over the following few pages, a number of choir photographs and pieces of memorabilia will be displayed. I am immensely grateful to William Stacey (son of Jim’ Stacey) and Geof Dickson for allowing me to reproduce these items. I am also grateful to Ian Beilby and Kevin Atkinson for their help with the research. John Watson

20

Above: George James ‘Jim’ Stacey is standing second from the left. John Warburton is the tallest figure and John Watson is stood on his left.

Below: George James ‘Jim’ Stacey is standing second from the right.

21

Above: George James ‘Jim’ Stacey is sitting directly behind the shield in the centre.

Lloyd Smith (26th and 42nd YDOA President; 1970-1 & 1987-8) is sitting on Stacey’s right, wearing his infamous glasses.

Below: George James ‘Jim’ Stacey is the figure seated furthest to the left.

Lloyd Smith is standing second in from the left.

Tom Ward (22nd YDOA President; 1966-7) is standing third from the right.

22

Above: George James ‘Jim’ Stacey (left), with an unidentified gentleman and Arthur Sefton Cottom (right).

Below: John Warburton and George James ‘Jim’ Stacey are photographed with an unidentified gentleman.

23

Above: George James ‘Jim’ Stacey (behind shield), with members of the Railway Institute Male Voice Choir.

Below: Members of the St Lawrence Male Voice Choir and their families at Newstead Abbey.

24

Above: George James ‘Jim’ Stacey (holding music), with members of the St Lawrence Male Voice Choir.

Below: Members of the St Lawrence Male Voice Choir with George James ‘Jim’ Stacey (holding pipe).

25

Above and Below: Programme from the Golden Jubilee Concert in 1996. A Recording of this concert was taken by Geof Dickson.

26 9. Article III

Introduction By Nigel and Stephanie Holdsworth

Hello and welcome to a new series in ‘The PipeLine’. As you may already know, there will be some changes in the YDOA Committee after the AGM in October. Nigel will hand over the presidency to Joan Johnson and Max, who has developed ‘The PipeLine’ into a really fascinating, informative and professional monthly journal will concentrate on his PhD studies, which has left a vacancy for the position as Editor of ‘The PipeLine’. As there have beenno volunteers so far, I have agreed to look after ‘The PipeLine’ for the next year. Although I am not an organist myself at all, I will nevertheless try to keep your magazine interesting, albeit in a different way from the inimitable Max! One of Nigel’s and my ideas is this new column where we will feature interesting churches and their organs mostly within easy reach of York, although occasionally we may stray further afield to feature other localities and instruments which catch our attention. Join us on our explorations and perhaps this may inspire you to enjoy a nice day ‘Out and About’ somewhere yourself!

St Michael and All Angels’ Church Barton-Le-Street

North of York, just beyond Castle Howard lies the curious little church of St Michael and All Angels’, Barton-le-Street. The first feature which strikes the eye on approaching the churchyard is the round West-End window and the absence of a church tower apart from a two-bell campanile. Also slightly unusually, the church is entered through a porch on the South side. This porch presents the visitor with a stunning collection of corbels on either side leading to a richly-carved Norman doorway and tympanum. And yet, the external architecture is late-Victorian and dates from 1870-1, when the Norman church was in such a poor condition that it was pulled down and replaced with the current one.

27 Organ

This instrument really is a little gem; one manual and pedals originally by Abbott and completely restored by PPO a few years ago. The eye-catching architectural case by Temple Moore situated on the North wall of the Chancel above the Decani choir stalls is rich in colour and the front pipes gleam metallic and silvery (rather than painted with aluminium paint). That the case looks larger than the instrument is due to its good proportions and architect’s skill. Having switched on the blower, the tone is unforced and gentle and whilst it is always possible to say that there isn’t this stop or that, I did not feel restricted by the modest resources available. The organ occupies the upper half of what at ground level is a vestry on the South side of the chancel. There are Victorian choir stalls in the chancel and a carved wooden screen (continuing down from the underside of the front case to floor level) separating the chancel from the vestry. So where do you put the console? The likes of Hope- Jones would have placed it a distance away and resorted to electric action. The ingenious solution here was to place the console on floor-level in the vestry with mechanical action which is both light and responsive. This arrangement affords some distinct possibilities:

 Proximity to an electric heater and a curtain for those draughty times in the depths of winter.

 Discreetly out of sight of the congregation with easy access to an external door.

 Water tap should some refreshment be required. All in all, I was most impressed with this instrument. I sat in the rear choir stalls on Cantoris side and ate my lunch, while feasting my eyes again upon the lavish and colourful case. Yes, I thought - most satisfactory! Specification

Manual Open Diapason 8’

Gedackt 8’

Dulciana 4’

Principal 4’

Lieblich Flute 4’

Fifteenth 2’

Pedal Bourdon 16’

28 Architecture

The current church is late-Victorian and replaces the Norman building. This replacement, funded by the Ingram family of Temple Newsam was designed to match the original, although the walls ended up three feet shorter as the builder saved himself some money! The layout is a simple single-aisle nave with a slightly narrower chancel which is separated from the main body by a Victorian Neo-Romanesque chancel arch. The workmanship of the carvings is excellent and a fine example of the Yorkshire School of Romanesque Sculpture. Some are actual copies of the original Norman ones. Special Features

Really worth noting are the thirty-four carved nave corbels which are a wonderful array grotesque monsters, grotesques, demons, animals and humans. While some are partially weathered, others are very crisp and almost all are very gruesome in appearance. The Chancel is even more richly decorated with a Normal Corbel Table which is a frieze of continuous carved corbels covering the faces of Victorian imitations of the nave corbels and because of their excellent craftsmanship are really worth another closer look. The churchyard is large, undulating and peaceful. From the South porch of the church, you will have a beautiful view over the Howardian Hills toward Kirby Misperton. How to get there...

Driving from York, you may find it easiest to take the Sheriff Hutton Road out of York. Go through Sheriff Hutton village, carry on to Hovingham (where Banks Music Publications have a shop with, amongst other things, organ music and the YDOA’s most recent publication ‘Seven Pieces for Seven Decades’). In Hovingham, village turn right into the B1257 towards Slingsby, pass the little commercial estate on the left where Banks Music Publications are located, carry on past Slingsby to Barton-le- Street. When you arrive, take the first right turn by the red telephone box. You are now facing the West -end of the church. There is a very informative leaflet on the history of the church for sale (fora small donation) at the back of the church.

29 10. Article IV

The Mathematics of Music

Introduction by James Ratcliffe It is often said that maths and music go well together and that maths is the basis of many disciplines. The extent of the relationship between maths and music is a much-debated issue, but there are some obvious connections. For example, formal maths and music share a common ancestry. In Ancient Greece, mathematics was discussed and discovered in terms of geometry, rather than numbers. Geometric reasoning had an impact on the early musical instruments such as the ‘strings and pipe’. Pythagorean Scale

Pythagoras is credited with discovering the Note Pipe Length 3:2 New Note 8ve Lower mathematical basis for the octave by strumming C 8' 0'' 5' 4'' G strings in a ratio of 1:2. He took a string, divided it G 5' 4'' 3' 7'' D 7' 1'' into two and noticed that the properties of the notes D 7' 1'' 4' 9'' A A 4' 9'' 3' 2'' E 6' 4'' were very similar. By repeating this idea and dividing E 6' 4'' 4' 3'' B by two again, he was able to produce another related B 4' 3'' 2' 10'' F# 5' 7'' note. This basic principle has led to the binary F# 5' 7'' 3' 9'' C# 7' 6'' arrangement of organ pipes, with 4’ pipes being an octave higher than their 8’ counterparts. Whilst octaves were based on the second easiest ratio (1:1 is Note Pipe Length 3:2 New Note 8ve Higher C 8' 0'' 12' 0'' F 6' 0'' easier but just produces the same note), Pythagoras F 6' 0'' 9' 0'' Bb 4' 6'' devised his own musical scale using the next simple Bb 4' 6'' 6' 9'' Eb ratio 3:2. This ratio can be expressed as three fifths to Eb 6' 9'' 10' 2'' Ab 5' 1'' two fifths in fraction notation and has led tothe Ab 5' 1'' 7' 7'' Db b creation of the musical term ‘fifths’. D 7' 7'' Pythagoras realised that, by measuring the length of any given starting note, dividing it by three and multiplying it by two, he could create a note that was a fifth higher (and two thirds of its original length). For example, if the above technique is applied to a ‘C’ pipe, it would produce the note ‘G’ (one fifth above) and if the process is repeated on a ‘G’, it would produce a ‘D’. However, to keep all of the notes within the same octave, Pythagoras realised that he would have to double the length of the ‘D’ in order to bring it down an octave. To create a note one fifth lower, the same process can be performed in reverse. By performing both of these processes, Pythagoras was able to derive every note in the musical scale. To illustrate this technique, the table opposite shows what happens when these calculations are applied to an 8’ ‘C’ pipe (with some rather generous rounding for publication purposes!)

30 Musical Temperament The Pythagorean scale seems logical to mathematicians; however, musicians across the centuries have highlighted a number of challenges associated with its ‘musical temperament’. The table on the previous page shows that C-sharp and D-flat pipes have a similar length according to the Pythagorean scale, but not identical. As the scale is based on fifths, it makes music played on these intervals sound ‘pure’. The ratio for thirds in the scale is 81:64, which is a much more complicated value and this creates an ‘impure’ sound. Music before around 1510 relied on the fact that fifths sounded like ‘consonances’ and thirds as ‘dissonances’, but after this period musicians moved away from the Pythagorean scale. Meantone scales use a ratio of 5:4 for their thirds and this compromises some of the fifths, but creates more ’pure’ thirds .

More Musical Geometry Above: Frère Jacques As well as forming the scale, geometry and composition have strong links. A shape in Euclidian Space can be transformed using ‘transformation functions’. The basic four functions taught to all students are enlargement, translation (movement), reflection and rotation. Enlargement is the easiest mathematical transformation that can be applied to music and this is accomplished through the use of time and volume. A piece’s tempo can easily be modified and dynamics can be added to change its performance. Translation and reflection are more complex in music! A musical phrase can be translated horizontally and vertically. Horizontal translations are simply ‘repeats’. Consider the tune Frère Jacques. The second bar is simply a mathematical translation of the first, i.e. a repeat. A more complex translation is singing the piece as a round. The second part would then become a translation of the first by four or eight beats. If horizontal translation is moving in time, vertical translation is moving in pitch or transposing. This may be a whole piece or simply a theme transposed to add interest. Reflection is a common compositional tool, again both vertically and horizontally. For a vertical reflection, or inversion, the composer selects a line on the stave as a mirror line and then reflects the notes. An example of this can be seen in Tavener’s The Lamb. The alto part in the second bar is a reflection of the soprano part, using a mirror line based on ‘G’ in the stave. This technique continues with the other parts creating the haunting harmony.

Below: The Lamb (Tavener)

31 One of the most prominent types of horizontal reflection, or retrograde, is the crab canon. This musical style takes a phrase and then repeats it in reverse. A famous example of this is Bach’s canon from The Musical Offering, which was devised by Bach as a puzzle. The piece was scored for two instruments, but only one line is notated. At the end of the piece, there is an upside down soprano clef and this is the ‘clue’ to solving Bach’s puzzle: the second part is the first backwards! The only useful application of rotation in music is when notes on a stave are rotated by 180 degrees (an inversion and retrograde combined!).

Fractals Above: Crab Canon (Bach) Creating music using geometrical transformations creates a lot of repetition. In maths, this type of recursion is known asa Fractal. Fractals are a current area of mathematical interest and have applications across many fields, including Computer Science, Genetics and Music! The definition of a fractal isa pattern that keeps repeating itself. Fractals occur in nature because repetition is efficient. The leaf of a fern is made up of many sections, each a smaller version of the larger leaf. This continues down to the smallest sections. The most famous fractal in maths is the Mandelbrot Set named after its creator. Each coordinate on the grid is subjected to a mathematical Above: The Fractically-perfect Fern formula (shown with the fractal). The points are then coloured depending on how quickly the sequence increases. The final result is truly beautiful and can be zoomed into forever. More explanation on how this works can be found on this page: https://goo.gl/hWTVoO. But, how does this link to music? Firstly, the form of the music can be fractal in nature. A very simple fractal is the Cantor set. Take a line, split it into three and rub out the middle section and repeat as demonstrated in the diagram on the next page. In musical terms, the complete line is the whole composition. The first trisection of the line represents the two halves of the piece, with the gap representing the change in theme. The third represents the two bar phrases and so on. Beethoven’s Ecossaise will be used to illustrate how the Cantor set can appear in musical form. Above: Mandelbrot Set

32

It has also been said that Bach’s fugues have fractal properties. Certainly the repetition of key themes, creating a larger piece fits within the realm of fractals. A lot of research is currently being done into the fractal dimension of fugues but the complexity of the maths is a little too deep for this article. However, even if Bach is shown to be a fractal fanatic he would never have known it! The term was only coined in the 20th Century when computers allowed for more rigorous study. The maths of recursion became popular in the 17th and 18th Centuries, so perhaps there was some cross-influence.

Finally, Bach’s ‘Enigma Canon’ for 8 voices, Trias Harmonica (BWV 1072), puts all the maths in this article together neatly. The piece is shown above in it’s original notation, which gives all of the necessary pitch and rhythmic information. The performers must use translation, reflection, enlargement and perhaps even a little rotation to create a ‘solution’ to the music. One possible version is shown below.

I shall be elaborating on these themes in a free public lecture as part of Bootham School’s lunchtime recital series at 13:10 on Thursday 17th September. All are welcome to attend and the entrance is clearly marked on Bootham.

33 11. Organ of the Month

'The Organ of the Month' consists of a series of articles looking at different local instruments and this month features the organs in: Holy Trinity Church, Heworth

First Organ

Builder & Year: Thomas Hopkins - 1869 William Denman - 1887

2 manuals and pedals

Hopkins Organ

The foundation stone of the church of Holy Trinity, Heworth was laid on September 14th 1867. The church was designed by George Fowler Jones (York) and was officially consecrated on September 27th 1869.

The first organ was installed in Holy Trinity in time for its opening services and was the only known instrument to have been built by Thomas Hopkins (Organist of St Olave’s Church, York), who presided at the instrument during the consecration services (with the choir of St Olave’s Church). Ill health prevented Thomas from building any further instruments. However, the business continued trade after Thomas’ death in 1893, under the name ‘Thomas Hopkins & Son’ and all instruments bearing that nameplate were built by Thomas’ son, Walter. Therefore, the organ in Holy Trinity was unique, having been built before Thomas Hopkins’ demise.

The organ was gifted to the church by William Gray. Its case was made out of pitch pine, with decorated front pipes by John Ward Knowles (York). In 1887, William Denman carried out ‘repairs’ to the organ and the instrument was re-opened on Sunday 4th September. The cost of this repair work was said to have been between £20-£30.

George Fowler Jones

34 Specification Second Organ Great Sub Diapason 16’

Bourdon 16’ Builder: John Compton Large Diapason 8’ Small Diapason 8’ Year: 1912 Stopped Flute 8’

Octave 4’

3 manuals and pedals Flute 4’

Super Octave 2’

Swell Contra Viola 16’ Compton Organ Viola 8’

In 1912, a new organ was installed in Holy Trinity by John Muted Strings 8’ Compton (Nottingham), in consultation with Thomas Tertius Open Flute 8’ Noble (York Minster). This three manual instrument cost Octave Viola 4’ £650 and had electro-pneumatic, with tab-stops. The organ Strings 4’ was placed under the tower and spoke into the chancel. Flute 4’

Piccolo 2’

Super Octave 2’

Double Clarinet 16’

Clarinet 8’

Contra Tromba 16’

Tromba 8’

Clarion 4’

Tremulant

Collective Sub Diapason 16’ (from Great)

Large Diapason 8’ (from Great)

Small Diapason 8’ (from Great)

Stopped Flute 8’ (from Great)

Viola 8’ (from Swell)

Muted Strings 8’ (from Swell)

Open Flute 8’ (from Swell)

Octave Viola 4’ (from Swell)

Strings 4’ (from Swell)

Flute 4’ (from Swell) John Compton Clarinet 8’ (from Swell)

Contra Tromba 16’ (from Swell)

Tromba 8’ (from Swell)

Pedal Double Open Wood 32’

Open Wood 16’

Contra Bass 16’

Sub Bass 16’

Flute 8’

Violone 16’

Contra Trombone 32’

Trombone 16’

Holy Trinity, Heworth Couplers Swell to Great, Choir to Pedal, Great to Pedal, Swell to Pedal, 4 thumb pistons to each manual. 6 toe pistons.

35 Current Organ Builder: T C Lewis - 1914 Transferred: J W Walker - 1973 2 manuals and pedals

Lewis Organ

The current organ in the church of Holy Trinity, Heworth was built by T C Lewis for the church of St Peter and St Paul, Buckingham in 1914. In 1973, J T Jackson scrapped the old Compton organ and installed this Lewis instrument (acting as subcontractor for J W Walker & Sons) in Holy Trinity Church, Heworth. The instrument is dedicated to Edmund Stanley Walton, who served as the organist of Holy Trinity for forty- one years and was 8th YDOA President (1952-1953).

Specification

Great Open Diapason 8’

Lieblich Gedact 8’

Dulciana 8’

Octave 4’

Flauto Traverso 4’

Flautina 2’

Swell Geigen Principal 8’

Rohr Flute 8’

Vox Angelica 8’

Voix Celeste 8’

Geigen Principal 4’

Horn 8’

Oboe 8’

Tremulant

Pedal Violon 16’

Sub Bass 16’

Edmund Stanley Walton

36 Chorister Chris Poole c. 1935

Edmund Stanley Walton with the choristers in Scarborough - 1930s

37 12. The People Section

Membership

YDOA Membership = 79 We welcome Andrew Railer to the YDOA

Vacancies

If you know of any vacancies in the area, please contact Maximillian Elliott on [email protected] for inclusion in the next edition.

Organ Music Available

YDOA member Stephen Hartley has offered a large collection of organ music (over 100 individual volumes and albums) to YDOA members. They are all suitable for voluntaries or concert pieces and they vary in grade of difficulty from manuals-only to Vierne. Stephen wishes that all monies raised be given directly to the York Minster Fund and I have a supply of their special blue coloured envelopes for that purpose. You may wish to 'covenant' your envelope so that the Minster can benefit from the taxman as well. The collection is currently stored at my home; please send me an email so that a visit may be arranged. You can even try them out on the practice instrument! Thank you, Nigel Holdsworth.

[email protected]

38 13. The Next Edition

The next edition of ‘The PipeLine’ Journal will be the October Edition (published on the 1st of October). Any articles you would like to contribute to the next edition, in addition to any photographs forthe ‘Gallery’ section (perhaps of events past and present), or any candidates for the ‘Organ of the Month’, would be most warmly welcomed for publication. Please pass on to Maximillian Elliott at [email protected] by the 20th of September and NO LATER.

Note This publication was produced by Maximillian Elliott on behalf of the York & District Organists’ Association. (All third party information is printed in good faith and the editor cannot be held responsible for any inaccuracies).

39 14. List of YDOA Presidents

Founded in 1945 1980s

1945-6 Edward Cuthbert Bairstow 1980-1 Robert Hall 1946-7 Reginald Shephard Rose 1981-2 Michael Latham 1947-8 Archie W Sargent 1982-3 Richard Crosby 1948-9 Francis Alan Jackson 1983-4 Peter Maw 1949-50 H Reginald Mason 1984-5 Eric Grewer 1950s 1985-7 David Templeman 1987-8 Lloyd D Smith 1950-1 Frederick Waine 1988-9 Geoffrey Coffin 1951-2 Reginald Shephard Rose 1989-91 George Pilling 1952-3 Edmund Stanley Walton 1953-4 Benjamin Dawson 1990s 1954-5 Benjamin Summerton 1991-3 Douglas Heath 1955-6 W Allen Bean 1993-4 Nicholas Page 1956-7 George James Stacey 1994-5 David Simpson 1957-8 Joseph Samuel McElheran 1995-6 Alan Aspinal 1958-9 Walter Hartley 1996-7 Peter Whitehead 1959-60 Benjamin Dawson 1997-8 Maureen Murfitt-Swindells 1960s 1998-9 Jean Pilling 1999-2000 Edmund Cooke 1960-1 Bernard J Porter 1961-2 Ronald Perrin 2000s 1962-3 William Addamson 2000-1 Alfred Boddison 1963-4 Alec C Cooper 2001-2 Cynthia Wood 1964-5 Evelyne G Bowmer 2002-3 Edmund Cooke 1965-6 George L Baggaley 2003-4 David Simpson 1966-7 Tom Ward 2004-5 Philip Paul 1967-8 Alec Brodie 2005-7 Phillip Sangwine 1968-9 Michael Minns 2007-9 Andrew Roberts 1969-70 Avena Helen Norfor 2009-11 Adrian Crawford 1970s 2010s

1970-1 Lloyd D Smith 2011-13 Raymond Sturdy 1971-2 Colin McGarritty 2013-present Nigel Holdsworth 1972-3 Michael Phipps

1973-4 Jack Judson 1974-5 Alfred Alcock

1975-6 A Austin Winterbottom 1976-7 Peter Whitehead 1977-8 Ruth Smith 1978-9 Maureen Murfitt-Swindells 1979-80 Geoffrey Hunter

40