The PipeLine
Journal of the YDOA December Edition
Patron: Dr Francis Jackson CBE (Organist Emeritus, York Minster)
President: Nigel Holdsworth, 01904 640520 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. Previous Event ...... 5
4. Next Event ...... 6
5. Upcoming Recitals & Concerts…………………………………………………. 7
6. Gallery……………………………………………………………………………………. . 8
7. Article I ...... 9
8. Article II ...... 24
9. Organ of the Month ...... 31
10. The Trivia Section ...... 38 The Caption Competition ...... 38
11. The People Section ...... 39
12. Next Edition ...... 39 Note ...... 39
13. List of YDOA Presidents…………………………………………………………..40
2 1. Introduction
Welcome to the December Edition of ‘The PipeLine’. In recent years, it has become a tradition for me to spend a few festive days in Bruges with my other half, just before Christmas. In many ways, the city encapsulates the spirit of a ‘modern’ Christmas and embraces all of the secular paraphernalia associated therein. Its ice rink, ice sculptures, market stalls and seasonal treats, can so easily distract us from our religious observation of Christ’s birth. During this Advent season, countless sermons will be preached on the necessity for congregations to focus more closely on the ‘real reason’ for Christmas festivities. Whilst this message is undoubtedly important, preachers often seem to forget that they are speaking to the converted. Organists, in particular, are well aware of the sacred nature of the Christmas season. That does not mean, however, that we must constantly maintain a solemn piety throughout Advent. If we do not allow ourselves enough freedom to indulge in festive frivolity, we are in danger of making the Christmas season mundane and losing the celebratory element of this sacred festival. Advent is one of the busiest times of the year for over-worked organists and it is important that we take some time away from the console and indulge in seasonal festivities. By doing this, we will be able to truly enjoy and celebrate Christmas. As I prepare for my annual sojourn over to Bruges, I look forward to wandering around the Christmas markets, consuming waffles and Glühwein and visiting the city‘s legendary music shop (Rombaux). Indulging in these festive delights will not detract from my Advent ‘preparation’ for Christ, but will actually help me to celebrate this sacred festival properly. If all YDOA members take a couple of hours out of their hectic schedule this Advent, they may start to see Christmas from a new perspective! To that end, why not grab yourself a glass of mulled wine, put your slippers on and read this bumper edition of ‘The PipeLine’? Our ‘Yorkshire Organ Composers’ Series continues this month with the organ composers of Leeds and there is a fantastic second article by Ian Beilby (one of our latest YDOA members) about Josef Gabriel Rheinberger. At forty pages, this edition is the largest ever produced and contains a real mixture of subjects!
HAPPY CHRISTMAS
3 2. YDOA Events
**DIARY DATES** Upcoming Association Events 2014-2015
Tuesday 2nd (17:00) Social Evenings December Monday 8th (17:00) (St Helen’s Church, York & St Martin’s Church, York)
Saturday 24th (12:00) Recital by Nigel Holdsworth (St Columba’s URC, York) January (13:30) Open Console (St Helen’s Church, York) Sunday 25th (14:00) Open Console (St Helen’s Church, York)
Masterclass ‘Works by J S Bach’ by John Scott Whiteley February Saturday 28th (14:00) (All Saints’ Church, North Street, York) Annual Dinner (Guest Speaker: Gordon Stewart) March Friday 20th (18:30) (Monkbar Hotel) Visit ‘Cantate Domino: York Oratory-in-Formation’ April Saturday 25th (14:00) (St Wilfrid’s Church, York)
Visit ‘Spring Outing to Leeds’ May Saturday 30th (11:00) (Methodist, URC and St Edmund’s Church, Roundhay)
Visit ‘Across the Pennines to Lancaster’ June Saturday 13th (11:00) (Ashton Hall, Priory and Cathedral) IAO Congress July Monday 27th - Friday 31st (Norwich) Visit ‘Summer Outing to Filey’ August Saturday 29th (11:00) (Methodist, St John’s Church and St Oswald’s Church, Filey) 70th Anniversary Evensong September TBC (17:15) (York Minster) Saturday 24th (11:30) AGM October (14:00) Lecture ‘Painted Pipes make Merrier Music’ by Paul Hale. (Central Methodist Church, York)
4 3. Previous Event
Stamps from the collection of YDOA member Arnold Mahon
Our November meeting was Lecture by Keith Dale Maximillian Elliott, writes:
Keith Dale’s lecture about the famous bamboo organ of St Joseph’s RC Church in Las Piñas City, Philippines was simply fascinating. We were guided through the history of the instrument and the genius of its creator Father Diego Cera. The recordings that Keith played were enough to whet the appetite of several members and inspired some of us to subsequently purchase them. We heard the fiery chamades, delicious flutes and full tonal range of the bamboo organ! The bamboo organ was built between 1817 and 1824. It is essentially a typical Spanish instrument of the eighteenth century. However, the pipes that would normally have been made of wood in Spain were instead made of bamboo, the best local material at hand. In 1975, the organ was restored by Johannes Klais in his shop in Trier, Germany, and is currently watched over by the Diego Cera Organ Builders of Las Piñas. If YDOA members wish to hear this instrument live, there is an annual bamboo organ festival that is now in its forty-first year. This unique festival has attracted some of the finest organists from across the planet!
5 4. Next Event
OUR NEXT EVENT: Tuesday 2nd December - Social Evening Monday 8th December - Social Evening
Maximillian Elliott writes:
We shall arrive at St Helen’s Church, York at 17:00. Over the next hour, we will have the opportunity to play the church’s Walker organ. Christmas music is not compulsory but always welcome!
After wandering across St Helen’s Square, we shall arrive at St Martin’s Church, York at 18:00. Here we will indulge in a little more playing, before partaking in a bring and share dinner.
The bring and share dinner has been a great success in previous years. Bring along some sandwiches, quiche, crisps, desserts, or whatever you have available! Mulled wine is usually available...
Finally, members are encouraged to bring along some festive cheer!
6 5. Upcoming Recitals & Concerts
Locally
North Yorkshire
Here is a selection of recitals taking place in North Yorkshire:
Skipton (Parish Church) (11:00): Mondays - 01 May Andrew Cantrill.
Thirsk (Parish Church) (12:15): Mondays - 01 December Paul Ferguson. East Yorkshire
Here is a selection of recitals taking place in East Yorkshire:
Hull (City Hall) (12:30): Wednesdays - 03 December Jonathan Bielby, - 06 April Andrew Caskie, - 06 July Mark Swinton. South Yorkshire
Here is a selection of recitals taking place in South Yorkshire:
Doncaster (Minster) (13:10): Fridays - 23 January Joshua Stephens, - 27 February Craig Cartwright, - 27 March Tim Williams, - 24 April Lee Dunleavy, - 22 May Simon Headley, - 05 June Jeremy Cull, - 19 June Jack Spencer, - 03 July Marc Murray, - 17 July Samuel Bristow, - 25 September Laurence Caldecote, - 23 October Christopher Beaumont, - 27 November Keith Hearnshaw. West Yorkshire
Here is a selection of recitals taking place in West Yorkshire:
Bradford (Cathedral) (13:05): Wednesdays - 03 December Alexander Woodrow, Paul Bowen, Jonathan Eyre.
Fulneck (Moravian Church) (11:00): Thursdays - 04 December Simon Lindley.
Huddersfield (Town Hall) (14:00): Mondays - 01 December Gordon Stewart, - 22 December Gordon Stewart, - 12 January Gordon Stewart, - 26 January Jos Van Der Kooy, - 09 February Gordon Stewart, - 16 February John Scott Whiteley, - 02 March Gordon Stewart, - 09 March Freddie James, - 23 March Gordon Stewart, - 13 April Gordon Stewart.
Leeds (Mill Hill Chapel) (13:00): Tuesdays - 16 December Anthony Norcliffe.
Leeds (Minster) (12:30): Fridays - 10 July Anthony Gritten.
Leeds (Town Hall) (13:05): Mondays - 01 December David Houlder, - 16 December Simon Lindley, - 05 January Simon Lindley, - 12 January Thomas Trotter, - 19 January Gordon Stewart, - 26 January John Scott Whiteley, - 02 February Simon Lindley, - 09 February Simon Lindley, - 21 February Simon Lindley, - 23 February Simon Lindley, - 02 March David Hill, - 09 March Simon Lindley,- 23 March Ian Tracey, - 13 April Nigel Ogden, - 20 April Philip Meaden, - 27 April Simon Lindley.
Ossett (Town Hall) (14:30): Sundays - 07 December David Redfern.
Pontefract (Parish Church) (13:00): Fridays - 05 December David Houlder, - 12 December Paul Dewhurst??, - 12 December Daniel Justin??, - 19 December Paul Dewhurst, - 23 January Claire Burden, - 13 February Colin Wright, - 20 February Justin Luke, - 06 March David Ivory, - 10 April Edmund Aldhouse, - 17 April Maximillian Elliott.
Saltaire (Victoria Hall) (14:30): Sundays - 14 December Richard Hills. 7 6. Gallery
The photograph in this month’s gallery comes from a recent visit to the church of Holy Trinity, Heworth by the Editor and Stephanie Holdsworth
Above: A tribute to one of the YDOA’s former Presidents, Edmund Stanley Walton.
The organ in the church of Holy Trinity, Heworth is dedicated to him.
Thanks to Stephanie Holdsworth for this photograph
8 7. Article I
Yorkshire Organ Composers Series
Leeds organ composers
By Maximillian Elliott
Woodhouse Grove School
Frederic James (1858-1922) was born on July the 6th 1858. He a pupil of Charles Pearce and became a teacher himself at Woodhouse Grove School. In 1910, he published a book on improvisation and composed a Sonata in D for the opening of the organ of Yeadon Parish Church, but this may not have been published. In 1912, he retired from Woodhouse Grove School and was replaced by Norman Ewart Strafford. As well as organ music, he composed cantatas, anthems, hymns and other church music. He died on January the 18th 1922.
James published the following organ pieces:
Variations on Four Hymns (Donajowski, London)
Harvest Festival March (Donajowski, London)
Variations on ‘God save the King’ (Donajowski, London)
Allegro con Spirito (1894) (Donajowski, London) Woodhouse Grove School Variations on ‘Greenland’s Icy mountains’ (1898) (Donajowski, London)
Morley - St Peter’s Church
Charles Fisher (1890-1913) was organist of All Saints’ Church, Northampton and then St Peter’s Church, Morley, Leeds. In 1910, he moved to Iowa City in the United States of America.
Fisher published the following organ pieces:
March in D (1951) (The Organists’ Quarterly Journal, London)
Elegy (1895) (The Organists’ Quarterly Journal, London)
Andante con moto (1896) (The Organists’ Quarterly Journal, London)
Variations on ‘Rockingham’ (1896) (The Organists’ Quarterly Journal, London) St Peter’s Church, Morley
Headingley - Wesleyan Chapel
George Dennis Haller (1876-1945?) was organist of Headingley Wesleyan Chapel. He was completely blind from birth…
Haller was also organist of Boston Wesleyan Chapel.
Haller published the following organ piece:
Andante (1897) (Vincent, London) 9 Bramley - St Peter’s Church
Leeds - All Soul’s Church (Hook Memorial)
Frederick William Hird (1826-1887) was born in 1826 and showed early promise during his music lessons with local teachers in Yorkshire. He was sent to further his studies with Sir William Sterndale Bennett, to whom he dedicated a set of Preludes and Fugues for the piano (Novello).
Hird soon commenced as a teacher in his own right, developing ‘a sound reputation, St Peter’s Church, Bramley and number[ing] among his past private pupils…several university graduates and cathedral organists, and many who now hold high and lucrative appointments in the musical world’. He was organist at St Peter’s Church, Bramley and subsequently at All Souls’ Church (Hook Memorial), Leeds. He also owned a house organ by Schulze. He died on November the 9th 1887.
Hird’s compositional output was quite small; however, his pieces were described as being of ‘the highest order in point of refined musicianship and true artistic taste’ during his lifetime. He published piano music and church music, including: services, anthems and organ music. His ‘Theme Varied in A major’ became his most famous composition and was played at his funeral in All Soul’s Church, Leeds by John Naylor (York Minster).
Hird published the following organ pieces:
Allegretto in G (Weekes, London)
Prelude in B flat (Weekes, London)
Andante in G (Weekes, London)
Theme Varied in A (1870) (The Organists’ Quarterly Journal)
Allegro Vivace (1871) (The Organists’ Quarterly Journal)
Maestoso alla Marcia (1875) (The Organists’ Quarterly Journal) Frederick William Hird
Three Hymn Tune Interludes (1881) (The Organists’ Quarterly Journal)
Two Postludes (March & Fugato) (1889) (The Organists’ Quarterly Journal)
Bramley - St Peter’s Church
George Frederick Naylor (1851-1920) was born into a famous musical family on the 16th of October 1851 in Leeds and baptised on Christmas Day. He attended Carlisle Grammar School (1860-1865) and was a chorister in the choir of Carlisle Cathedral, where his father James Naylor was a Lay Clerk. He later became organist of Trinity Methodist Church, Harrogate and St Peter’s Church, Bramley.
Sometime before 1898, George and his wife Annie moved to New Zealand. George was appointed as organist of Nelson Cathedral and then Napier Cathedral (1903). By 1905, the couple had taken up residence at 74 Tinakori Road, Wellington. Around 1911, they relocated to Nelson and took up residence on Collingwood Street, before moving to 9 Manuka Street. George operated a piano and organ import business from the Collingwood Street premises.
Naylor’s compositional output was quite small. His anthem ’O Thou, most loving Father’ (National Library of New Zealand) was published in 1918 for the anniversary of Nelson Baptist Church. It is interesting to note that, even in a different hemisphere, music from Leeds remained in Naylor’s repertoire. He performed Frederick William Hird’s ‘Theme Varied in A’ at a recital on the 29th of July 1902 in Nelson Cathedral. Naylor published the following organ piece:
Grand March in A (1890) (Hammond, London) 10 Leeds Grammar School
Joseph Edward Newell (1843-between 1901 and 1911) was a pupil of Frederick William Hird. He was a singing teacher at Leeds Grammar School and organist of their private chapel dedicated to St Wilfred. He composed many pieces for keyboard instruments, as well as several pieces for mandolin and guitar (written under a pseudonym). From 1892, he worked in London as an editor of harmonium music.
Here is a selection of Newell’s prolific output of organ and harmonium pieces:
Eight Original Voluntaries for Harmonium (1897) (Donajowski, London)
12 Original Compositions for Harmonium (Donajowski, London)
12 Easy Pieces (Donajowski, London)
12 Easy and Tuneful Voluntaries (1922) (Weekes, London)
La Prière des Anges (1921) (Leonard, Gould and Boltter, UK)
Three Sets of 12 Original Voluntaries (1918) (Leonard, Gould and Boltter, UK)
Leeds Grammar School in 1888. St Wilfred’s Chapel on the left.
Leeds Grammar School in 1888. St Wilfred’s Chapel on the left. 11 Leeds Minster
Precentor
Richard Hall (1903-1982) was born in York. He was Organist of Dorchester Abbey in 1923 and Organ Scholar of Peterhouse College, Cambridge from 1923-4. He left the church in 1936, because of a growing interest in Eastern religion and philosophy. Between 1936-40, he acted as Musical Advisor to Lancashire Community Council and was Professor of Harmony and Composition at the Royal Manchester College of Music from 1938-56. He then became Director of Music at Dartington Hall (1956-65), where he founded the Dartington String Quartet. Later in life he was ordained as a Liberal Catholic Priest (1959) and became minister at the Unitarian Church, Moretonhampstead (1968-7); then at Horsham (1967-76) and finally at Billingshurst (1968-76.
As a teacher, he influenced a generation of musicians, including Sir Peter Maxwell Davies and Sir Harrison Birtwistle. As a composer, his main influence came from the latest developments in serialism and the music of Delius, Scriabin, Schoenberg and Berg. He composed five symphonies, a ‘Rhapsody’ for organ and strings (1929), one piano concerto, two string quartets, nineteen piano sonatas, one cello concerto and several other orchestral pieces, including: ‘Lyric Pieces’ (1946), ‘Lemura; Creator Spiritus’ and ‘The Sheep’. In addition to his musical output, Hall also published seven books of poetry (1970-5)
Hall published the following organ pieces:
Three Cathedral Voluntaries (1936) (Novello, London)
Toccata, Intermezzo and Fugue (1943) (Hinrichsen, UK)
Intermezzo (1965) (Hinrichsen, UK)
Nocturne (1938) (Oxford University Press, Oxford)
Intermezzo (1938) (Oxford University Press, Oxford)
Pastoral du Nord (1944) (Oxford University Press, Oxford)
12 Leeds Minster
Organist
Samuel Sebastian Wesley (1810-1876) was organist successively at St James’ Chapel; St Giles Church, Camberwell; St John’s Church, Waterloo Road; Hampton-on- Thames Parish Church; Hereford Cathedral; Exeter Cathedral; Leeds Parish Church; Winchester Cathedral and finally Gloucester Cathedral. Wesley’s choral music is a pinnacle of the English Cathedral tradition.
Wesley published the following organ pieces:
Variations on ‘God Save the King’ (1829)
Variations on an Air of Kozeluch (1830)
Larghetto in F minor (1835)
Introduction and Fugue in C sharp minor (1836) (Novello, London)
A First Set of Three Pieces for Chamber Organ (1842)
A Second Set of Three Pieces for Chamber Organ
Fantasia: Andante Cantabile in G (1849)
Andante in C (1871)
Air with Variations (Holsworthy Church Bells) (1874)
Andante in E minor (1877)
Andante in A major (1877)
Voluntary: Grave and Andante (1887) (Novello, London)
William Creser (1844-1933) was the son of the organist of St John’s Church, Ousebridge, York and a pupil of Sir George Macfarren. He became organist at Holy Trinity Church, Micklegate, York at the age of fifteen (1859-1863). He was then appointed at St Paul’s Church, Holgate, York (1863); St Andrew’s Church, Grinton (1863-1875); St Martin’s Church, Scarborough (1875-1881); Leeds Parish Church (1881-1891); and HM Chapel Royal (St James’ Palace) (1891-1902). He died in 1933.
Creser published the following organ pieces:
Concluding Voluntary (1878) (Reeves, London)
Andante in E flat (1880) (Reeves, London)
Prelude and Fugue in C minor (1881) (The Organists’ Quarterly Journal)
Variations on a Sarabande by Handel (1883)
Wedding March for HRH the Duke of York (1893) (Novello, London)
Andante Fughetta (1893) (Novello, London)
Melodia (1893) (Novello, London)
Three Legends (1902) (Novello, London) 13 Leeds Minster
Organist
Donald Frederick Hunt (1930-present) was born in Gloucester and was a pupil (later Assistant Organist) of Herbert Sumsion. He was appointed as organist of Leeds Parish Church and became the conductor of the Leeds Philharmonic choir, the Leeds Festival Chorus and the Halifax Choral Society. He was appointed as Leeds City Organist and a lecturer at the Leeds College of Music. In 1976, he was appointed as Organist and Master of the Choristers at Worcester Cathedral, a post he held until August 1996, during which time he was artistic director and conductor of eight Three Choirs Festivals.
Hunt has written several books, including a biography of Samuel Sebastian Wesley, and more recently Elgar and the Three Choirs Festival. He has published several choral pieces, including his Hymnus Paschalis.
Hunt has published the following organ piece:
Sonata
Simon Lindley (1948-present) was born in London and educated at Magdalen College School, Oxford. After studying at the Royal College of Music, Simon was appointed successively as organist at St Anne & St Agnes’ Church, London and St Olave’s Church, London. He was also appointed as Organ Tutor of the Royal School of Church Music’s College of St Nicolas (Addington Palace, Croydon). He then became Assistant Organist at Westminster Cathedral and St Albans Cathedral, before moving to Yorkshire.
In Leeds, Simon founded the St Peter's Singers and has been their musical director since 1977. He was appointed as Chorus Master to Halifax Choral Society and Leeds Philharmonic Society, before taking the conductorship of the Sheffield Bach Society, Overgate Hospice Choir (Halifax), Leeds College of Music Community Choral Society and Doncaster Choral Society. As an academic, Simon has lectured in music at Leeds Polytechnic (1976-1987), before becoming Senior Assistant Music Officer for Leeds City Council's Learning and Leisure Department in 1988.
Simon is Organist and Master of Music at Leeds Minster (1975-present) and Leeds City Organist. He was President of the Royal College of Organists (2000-2003) and of the Incorporated Association of Organists (2003-2005).
Lindley published the following organ pieces:
A Carillon-Flourish (2002)
Echo Rondel (2007) (Banks Music Publications, York)
Assistant Organist
Christie Green (1871-1939) was appointed as organist of Sutton-in-Craven at the age of eleven. After a period as assistant organist at Leeds Parish Church, he became organist at Blackburn Parish Church; Holy Trinity Church, Coventry and St Margaret’s Church, Altrincham.
Green published the following organ piece:
Nachtstück (1906) (Beale Stuttard, London)
14 Leeds School of Music
John William Fitton (1864-1946) was a pupil of W Dawson, C Auty and A Dean. He was the organist of Hopton Congregational Church, Mirfield (1881-86); then Batley Congregational Church (1887-94); Heaton Parish Church, Bradford (1894-1906); Trinity Wesleyan Church, Harrogate (1909-21) and finally at Shipley Parish Church in 1922. He founded the Leeds School of Music and was its first Principal (1898-1911). He conducted the Frizinghall Choral Society (1896-1902) and the Bradford Old Choral Society (1901-04). Fitton’s compositional oeuvre centred around songs and hymns.
Fitton published the following organ piece:
Ballad in E flat (1930) (Weekes, London)
Basil Windsor (1880-1949) (pseudonym Eli Smith) studied at Manchester Cathedral and the Royal Manchester College of Music. He was organist of Accrington Parish Church and had previously been an organist in York and Salford. He was Professor of Piano at the Leeds School of Music, Manchester School of Music and a member of the Performing Rights Society. He also conducted the Pendleton Public Prize Band. In the final year of his life, he was awarded the first prize in a competition arranged by the Hymn Tune Association. His offering was dedicated to Captain Kerans and the officers and men of AMS Amethyst. The words were written by W B Coton (Wolverhampton) and premiered at the Tower Cinema, West Bromwich. It was sung during a musical interlude accompanied by the cinema organ. As well as this hymn, he composed vocal music, brass band music and his cornet solos entitled ’Alpine Echoes’ and ’Chimes Waltz’ were made famous by Harry Mortimer.
Windsor published the following organ piece:
Pastorale in G (1913) (Lengnick, UK)
Leeds - St Matthew’s Church
Josiah Duke Spedding (1876-1956) was born on the 27th of March 1876 in Batley. He held positions as organist of St Peter’s Church, Peterhead, Scotland; St Paul’s Church, Aberdeen; the High Church, Inverness and St Mathew’s Church, Leeds. He taught music at schools in Peterhead and London. He died in 1956 in Bromley.
Spedding published the following organ pieces:
Short Introductory Voluntary (1896) (Vincent, London)
Andante in E flat (1897) (Vincent, London)
Romance (1903) (The Organ Loft, London)
Canzone (1905) (The Organ Loft, London)
Minuetto (1905) (The Organ Loft, London)
Intermezzo (Vincent, London)
15 Leeds Town Hall Leeds - St Paul’s Church Leeds - St George’s Church
William Spark (1823-1897) was a chorister at Exeter Cathedral with Samuel Sebastian Wesley and his assistant organist after he moved to Leeds Parish Church. After appointments as organist of St Paul’s Church, Leeds, Tiverton (Devon) and Daventry, he returned to Leeds as organist of St George’s Church. In conjunction with Henry Smart, he designed the new organ for Leeds Town Hall and was appointed as the first Leeds City Organist in 1861. He founded and conducted the Leeds Madrigal and Motet Society and the Peoples Concerts. Spark’s literary output includes a biography of Henry Smart and his own autobiography. He was editor of The Organists’ Quarterly Journal from its start in 1869 until his death and many of his compositions appeared within that publication. Spark composed an oratorio, cantatas, anthems, services and songs. As well as original compositions, he was noted for his transcriptions and arrangements.
Spark published the following organ pieces:
Grand Sonata in D (1858) (Novello, London) Andante and Allegro in D (1869) (The Organists’ Quarterly Journal) Introduction and Fughetta in E flat (1871) (The Organists’ Quarterly Journal) William Spark Allegro Maestoso (1871) (Novello, London) Prelude in G (1872) (The Organists’ Quarterly Journal) Concertstück in A minor (1874) (Metzler, London) The Lake: A Sketch (1875) (The Organists’ Quarterly Journal) Offertorium or Postlude in B flat (1876) (The Organists’ Quarterly Journal) Variations on ‘Jerusalem the Golden’ (1876) (The Organists’ Quarterly Journal) Easy Voluntary in G (1877) (The Organists’ Quarterly Journal) Minuet in A minor (1877) (The Organists’ Quarterly Journal) Gavotte in D (1877) (The Organists’ Quarterly Journal) Introduction and Allegro in D (1877) (The Organists’ Quarterly Journal) Communion (1879) (Reeves, London) Morceau pour les Carillons in F (1880) (The Organists’ Quarterly Journal) Sunday Morning (1881) (Metzler, London) Funeral March (1881) (Metzler, London) Happiness (1881) (Metzler, London) Tenor Melody (1882) (Metzler, London) Bass Melody (1882) (Metzler, London) Romanza (1882) (Metzler, London) Chorister’s Duet (1883) (Metzler, London) Soprano Melody (1883) (Metzler, London) Leeds Town Hall Organ The Sticking Pedal (1883) (Metzler, London) Easy Postlude in D (1883) (The Organists’ Quarterly Journal) Fantasia in F (1883) (The Organists’ Quarterly Journal) Concert Fantasia on Scottish Airs (1884) (Unknown) Handel Commemoration March (1885) (Metzler, London) Allegretto in C (1885) (The Organists’ Quarterly Journal) Descriptive Fantasia (In memoriam) (1887) (The Organists’ Quarterly Journal) Jubilee Fantasia on Popular National Airs (1887) (The Organists’ Quarterly Journal) Postlude in G (1888) (The Organists’ Quarterly Journal) Repose (1889) (Woolhouse, London) Variations and Fugue on the Vesper Hymn (1889) (The Organists’ Quarterly Journal) Une Petite Improvisation (1891) (The Organists’ Quarterly Journal) Second Sonata in F (1891) (Unknown) Introduction e fuga scherzando (1892) (The Organists’ Quarterly Journal) Second Fantasia on Popular Scots Airs (1895) (The Organists’ Quarterly Journal) Adagio Sostenuto (1900) (Wickins, London) Grand Festival March in E flat ‘Eboracum’ (Metzler, London) Introduction and Toccata (London Music Company, London) Concert Fantasia in B (Chappell, London) Allegro deciso in D (Paxton, London) Books 8 & 10 of Original Compositions (harmonium) (Donajowski, London) William Spark 16 Leeds Town Hall Headingley - St Michael’s Church Leeds Grammar School
Herbert Austin Fricker (1868-1943) studied at Canterbury Choir School, becoming a chorister in the choir of the Cathedral at the age of ten and assistant organist in1879. His first music teachers were W H Longhurst and Cecil M Gann. In 1886, he became a pupil of Sir Frederick Bridge at Westminster Abbey and passed his A.R.C.O. and F.R.C.O. examinations in July 1887 and January 1888. He also had a few lessons from Edwin Lemare and stated that ‘[he] learned a good deal from Mr Lemare in solo organ playing during the short time [he] was able to avail [himself] of his valuable assistance and advice’.
In 1880, he accepted the post of organist and choirmaster at Holy Trinity Church, Folkestone. At first, he managed to combine his role as assistant organist at Canterbury Cathedral with this position, but in 1893, he resigned his position at Canterbury in order to devote himself fully to the increasing work at Folkestone.
As a player, Fricker was described as possessing a combination of ‘the rare qualities Herbert Austin Fricker of a solid, Bachian organist with the military like dash and smartness of a thoroughly up-to-date recitalist. His command over a large organ is no less masterful than is his resourcefulness in the case of a small instrument. A noteworthy feature concerning Mr Fricker’s abilities as an accomplished organist is to be found in the fact that he shines equally well as an accompanist as a solo player. His accompaniments are invariably tasteful, refined, and well considered; and he is unremitting in his efforts to obtain that desirable bond of sympathy and oneness between soloist and accompanist in regard to all maters affecting the inner meaning and expression of a composition’.
Fricker’s musical opinions were much stated. He viewed Bach, Beethoven and Wagner as the greatest composers of all time and foresaw the rise in popularity of Widor and Rheinberger. In reference to organ practice, he recommended ‘plenty of it, - using not only fingers and feet, but brains at the same time’. He also spoke positively about organ transcriptions of orchestral works: ‘I believe that a judicious use of these adaptations is distinctly helpful to an organist. They bring to many a musician a knowledge of the master works, ancient and modern, which he could not Leeds Town Hall Organ hope to gain by playing organ music alone; and, moreover, it is not every organist who is given the opportunity of hearing the best tonal productions performed exactly according to the composer’s intentions. Thus, thoughtful arrangements are calculated to disseminate all kinds of good music, and though it must be admitted that not a few orchestral movements cannot by any means be correctly interpreted on the organ, - yet the instrument can give such a fair outline of the general effects as to be of incalculable assistance to the student not less than to the intelligent concert goer. Arrangements, also, widen the organist’s scope of obtaining legitimate effects on the instrument, and should doubtless improve his registration of the classics’.
In 1898, he was appointed as Leeds City Organist and organist of St Michael’s Church, Headingley. During his nineteen year tenure in Leeds, he became chorus- master of the Leeds Festival. He was also conductor of the Leeds Philharmonic Society, Bradford Festival Choral Society, Halifax Choral Society, Dewsbury Choral Society and Morley Choral Society. He was also organist and choirmaster at Leeds Grammar School. In 1917, he was appointed as organist at the Metropolitan Methodist Church, Toronto (1917-1943) and as conductor of the Mendelssohn Choir. He continued in the later post for twenty-six years, until his retirement in 1942. He also served as President of the Royal Canadian College of Organists.
Herbert Austin Fricker 17 Fricker published the following organ pieces:
Grand Choeur (1901)
Pastorale in A (1902) (Houghton, London)
Scherzo Symphonique (1906) (Beale Stuttard, London)
Cantilène Nuptiale (1906) (Beale Stuttard, London)
Concert Overture in C minor (1906) (Novello, London)
Andante Grazioso (1908) (The Organ Loft, London)
Fantasie-Overture in G minor (1910) (Shirmer, New York)
Romance in G flat (1910) (Shirmer, New York)
Lied (1910) (Larway, London)
Adagio in A flat (1915) (Chester, London)
Variations on a Russian Church Melody (Novello, London)
Suite (BEL)
Three Organ Pieces (Broadbent, London)
Herbert Austin Fricker
St Michael’s Church, Headingley St Michael’s Church, Headingley 18
University of Leeds
James Clifford Brown (1923-2004) was born in Ipswich on the 18th of August 1923. He was trained in singing and organ-playing by Jonathan Job, the Ipswich Borough Organist. He became organist and choirmaster at All Hallows' Church, Ipswich. In 1941, he won a choral studentship to St John's College, Cambridge, but his studies were interrupted by war service. He resumed study after his return in 1945, and was then appointed as organ student. From 1948 until his retirement in 1983, he was a lecturer in music at the University of Leeds. Throughout this time, he was active as a composer and in 1951 he was asked by his friend Allan Wicks to write the music for the first major revival of the York Mystery Plays. In 1961 he took a year's leave to study with Boris Porena in Rome. He moved to Bridlington in 2003 and died the following year. He transcribed many orchestral pieces for the organ, as well as composing original compositions.
Brown published the following organ pieces:
Scherzo (1969)
Prelude and Postlude for Easter (Banks, York)
Summer Idyll (Banks, York)
Andante Sospirando (1951) (Banks, York)
Prelude on ‘St John Damascene’ (1990) (Banks, York)
Scherzo (1974) (Oxford University Press, Oxford)
Sonata (1993) (Unpublished)
Trio Sonata (1993) (Unpublished)
Centenary Variations (1993) (Unpublished)
19 Armley - St Bartholomew’s Church
William Joseph (Henry) Prichard (1833-1875) was the blind organist of St Bartholomew’s Church, Armley. Prichard wanted to apply for the newly created post of Leeds City Organist but he could not carry out the sight-reading test due to his blindness. He composed several pieces for William Spark’s journal The Organists’ Quarterly Journal and a ‘clever prelude and fugue’ for Edwin Monk of York Minster. He died at the early age of 42.
Prichard published the following organ pieces:
Prelude and Fugue (1865) (The Organists’ Quarterly Journal, London)
Allegro Moderato in B flat (1870) (The Organists’ Quarterly Journal, London) St Bartholomew’s Church, Armley Andantino (1871) (The Organists’ Quarterly Journal, London)
Far Headingley - St Chad’s Church
Herbert Percival (Percy) Richardson (1875-1941) was organist of St Chad’s Church, Far Headingley for over forty years. On the 6th of January 1937 at 20:15 the choir of St Chad’s Church, under the baton of Percy Richardson performed ‘Hymns of Praise’ on BBC Radio.
Richardson published the following organ pieces:
Short Interlude (1897) (Vincent, London)
Allegro and Fugue (1897) (The Organists’ Quarterly Journal, London)
Scherzo-Nuptiale (1902) (The Organ Loft, London)
Nuptial March (1914) (Augener, London)
Percy Richardson
St Chad’s Church, Far Headingley 20 Leeds - St John-the-Evangelist’s Church
Frederick Kilvington Hattersley (1861-1946) was born on June the 11th 1861 at Wortley Grove, Leeds. At the age of twenty, after receiving a music degree from the University of Cambridge, he started studying at the Royal Academy of Music, where he won the Balfe Scholarship (1881) and Charles Lucas prize (1883). In 1888, he left England to study at the Munich Conservatorium under Rheinberger. Upon his return in 1892, he became a local music teacher, organist of St John-the-Evangelist’s Church, Leeds and chorusmaster of the Leeds Philharmonic Society. He was also later appointed as conductor of the Harrogate Musical and St Cecilia Societies.
Hattersley gained a reputation as a composer with his cantata ‘King Robert of Sicily’, which was written for the Leeds Philharmonic Society. He also composed an overture for the 1886 Leeds Festival, which was repeated at a concert in the Crystal Palace on February the 19th 1887. He composed numerous services, a symphony, chamber music and one published organ piece.
A contemporary review of his symphony states: ‘[his] other works, however, able as they were, are eclipsed by this Symphony, which is no work of mushroom growth, but bears traces of long and thoughtful labour. Lest this should be interpreted in a sense not intended. I must hasten to add that it does not ‘smell of the lamp’, for it is by no means pedantic or academic. Based on Brahms as regards its type, it is admirably constructed; the themes have charm, together with the distinction one expects in symphonic music, and the orchestra is used with experience and almost invariably with good effect. This is unity of character, and I should not deem it a fault that the Final is lighter in calibre that the rest, though perhaps this movement is less coherent in construction than its predecessors. As a whole the Symphony shows a very exceptional gift for composition and musicianship of a high order, and I trust to have an opportunity of renewing an acquaintance with the work, which is far too good to be shelved’.
Hattersley published the following organ piece:
Andante in G (1886) (The Organists’ Quarterly Journal, London)
21 Middleton - St Mary’s Church Armley - St Bartholomew’s Church Leeds Male Voice Choir
Tim John Knight (1959-present) was born in Northallerton, North Yorkshire. Tim was a chorister at York Minster under Francis Jackson. He has been Musical Director of the Wakefield Festival Chorus, Burnley Municipal Choir, Vocalis (Harrogate) and the Heritage singers (founded by Tim in 1994). In 2009, Tim also founded a choir called the Masterworks chorale and took over the directorship of Leeds Male Voice Choir in 2014.
Tim was composer in residence at the 2002 Royal Canadian College of Organists Conference and 2010 composer in residence at Clarke University Iowa. Ha has been organist of St Mary’s Church, Middleton and choirmaster at St Bartholomew’s Church, Armley.
Knight has published the following organ pieces:
Elegy (1994) (Parkfield Music, Leeds) Tim John Knight
Festal Entrance (1994) (Parkfield Music, Leeds)
Three Organ Pieces (1994) (Parkfield Music, Leeds)
Eight Pieces for Manuals (1994) (Parkfield Music, Leeds)
Fanfare for an Occasion (1997) (Parkfield Music, Leeds)
Ceremonial Piece (1997) (Oecumuse, UK)
In Memoriam (1997) (Oecumuse, UK)
Allegro Marziale (1997) (Oecumuse, UK)
Intermezzo (1997) (Oecumuse, UK)
Paean (1997) (Oecumuse, UK)
Fancy (1997) (Oecumuse, UK)
Scherzo (1997) (Oecumuse, UK)
Scherzetto (Parish Publications, UK)
22 Peter H Barraclough (1941-present) studied at Trinity College London and is an organist based in Leeds.
Barraclough published the following organ piece:
Trumpet Piece (1994) (Parkfield Music, Leeds)
William Arthur Jefferson (1854-1929) was an organist in Leeds. In 1885, he published The National Book of Hymn Tunes, Chants and Kyries. He died on March 4th 1929.
Jefferson published the following organ pieces:
Original Compositions for Organ (7 Pieces) (1894) (Weekes, London)
Grand Toccata Brillante (1920) (Augener, London)
Berceuse and Serenade (1925) (Augener, London)
Fanfare-Fantasy (1926) (Augener, London)
Grand Choeur Symphonique (1926) (Augener, London)
Freeman Whatmoor (1856-1930) was a pupil of William Spark and Frederick William Hird and graduated from Cambridge University in 1892. He held posts in Leeds, Southport, Lancashire, Gateshead, St Alban’s, Berhampstead, Birkenhead, Cheshire and Charlottenburg, South Africa. He later taught in Watford and Harrow. He died on the 4th of September 1930.
As well as numerous piano pieces, Whatmoor published the following organ pieces:
Postlude (1887) (Musical World, London)
Grand March in D (1894)
23 8. Article II
Rheinberger Revisited
By Ian Beilby
Josef Gabriel Rheinberger (March 17, 1839 - November 25, 1901) was one of the most prolific composers of the nineteenth century, born in the principality of Liechtenstein, spending nearly his entire life in Munich. Appointed piano professor at the Munich Conservatoire at the age of 19 he became internationally recognised and students from all parts of the world went to Munich to study the organ, counterpoint and composition.
As a composer he is now best remembered primarily for his highly crafted and sometimes demanding organ compositions, which include two Organ Concertos, 20 Sonatas in almost all the major and minor keys (he planned 24 but died before he could complete the cycle), 22 Trios, 24 Fughettas and nearly 50 other solo pieces. Indeed during his lifetime his organ works were certainly considered as important as those of Mendelsohn and perhaps, in England during the 1880s, more important than those of Bach!
As with Mendelsohn, Rheinberger was a great admirer of JS Bach not only in his recurring use of 18th century musical forms such as the fugue, passacaglia, ricercare, and trio, but also in his proficient use of counterpoint combined with a distinguished organ style. In whatever form he wrote he invariably managed to combine melodic and harmonic development with clear musical lines and texture.
Rheinberger's organ works differ considerably from the mainstream works of his French contemporaries such as Widor, Vierne and Franck; surprisingly however some of Max Reger’s early organ works do bear a passing resemblance to some of Rheinberger’s organ compositions. Reger’s, Three Pieces for organ Op. 7, his characteristic pieces, such as the Gloria and Melodia , and at least half the pieces of Opp.59, 65, 80 are perhaps good examples. Dare I say the Capriccio Op.80 could actually be Rheinberger!
Such was the popularity and respect for Rheinberger’s music in Germany that Reger would undoubtedly have been influenced by Rheinberger to a certain extent and perhaps it was for this reason that Reger dedicated his contrapuntally intricate Fantasia and Fugue on BACH to Rheinberger. Such a dedication is evidence of the high regard in which Rheinberger was held as composer, teacher and proponent of the organ.
An important distinction to note however is that although some of Rheinberger’s organ works can be technically stimulating they are not made deliberately so. If they are difficult it is purely because the music demands such treatment rather than a deliberate attempt to make the pieces technically challenging.
24 Rheinberger possessed a clear understanding of the organ of his day and the performance techniques required to make his music effective. All the movements of the sonatas are written in a highly structured form; many in Sonata form. Interestingly, seventeen of the twenty sonatas contain fugues. As you would expect from a professor of composition and counterpoint Rheinberger wrote quite energetic fugues, with highly chromatic subjects and counter subjects. Frequently, a cyclic element is found, Rheinberger will often finish a sonata by quoting themes from the opening movement during the final, or its extended coda. The conclusion of sonatas 4, 8 and 12 are particularly notable examples of this compositional style. Rheinberger gives few indications regarding dynamics or manual changes and only limited clues regarding registration.
As both a teacher and performer Rheinberger clearly understood the limitation of both the instrument and player. Rheinberger’s works can all be played on an instrument of moderate size; in fact most of the instruments known and played by Rheinberger were comparatively small two or three manual instruments with few, if any, playing aids. It is reported that Rheinberger always gave the first performance of his own organ sonatas, usually on two manual mechanical organs, often with no swell box. It is thought that crescendos and diminuendos through the addition or subtraction of stops were considered quite normal in German-speaking Europe at this time. Although a number of the organs played by Rheinberger were destroyed in the war, we are very fortunate in knowing the specification of several of the organs Rheinberger would have known and played. Particularly so in the case of the organ in St Michaels-Hofkirche, Munich, which is particularly interesting as it was designed by Rheinberger in 1896.
St Michaels-Hofkirche- Specification
I Gross-Principal 16’ II Viola Pomposa 8’ Salicional 16’ Geigen Principal 8’ Principal 8’ Salicional 8’ Gedeckt 8’ Doppelflöte 8’ Gamba 8’ Lieblich Gedeckt 8’ Rohrflöte 8’ Fugara 4’ Quintatön 8’ Violine 4’ Octav 4’ Flageolett 2’ Spitzflöte 4’ Cornett V
2 Quint 2 /3’ Fagott-Clarinett 8’
Octav 2’ Pedal Unterstaz 32’ Mixtur IV Principalbass 16’ Trompete 8’ Subbass 16’
III Voix Celeste 8’ Violon 16’ Gemshorn 8’ Harmonikabass 16’ Tibia 8’ Octavbass 8’ Aeoline 8’ Violoncell 8’ [sic] Traversflöte 4’ Posaune 16’ Dolce 4’ Manual couplers and octave couplers.
Voix Humaine 8’ 7 pneumatic pistons. Crescendo pedal. Source: Weyer, Martin. ‘Josef Rheinberger’ (Ars organi, 49, 2001), 142-3 25 The seven pneumatic pistons would aid registration; however there is no swell box in order to provide gradual dynamic changes as such. Mention is made of a ‘Crescendo & Decrescendo’ this could have been a mechanism commonly known as a Walze. This interesting device is seen in large romantic organs of the nineteenth century, almost exclusively in Germany. Its purpose was to divide the power of each manual into specific divisions from ppp to fff. Hence the reason many German composers would mark their scores with the indications pp,mp,f,ff,fff etc. The dynamics taken from the original edition of Rheinberger’s Sonata No. 8 are as follows. ff= volles Werk des I Manuals. f= volles Werk ohne Mixturen. mf= volles Werk des II Manuals, od: Principal 8 des I.M. p= Ein paar sanfte Reg:zu 8’ und 4’.pp = Salicional oder Aeoline 8’. Pedal immer entsprechend.
The specification of this organ is quite comprehensive; however as I mentioned earlier, many of the organs played by Rheinberger were considerably smaller, which was by no means detrimental to his music. One of the most captivating live performances I have heard of Rheinberger’s 8th Sonata was given by John Scott Whiteley on the small two manual organ in Boston Spa parish church, near York, an organ with just 18 speaking stops and minimal playing aids.
None of Rheinberger’s organ music should be beyond the skill of the average player who studies the pieces and prepares them correctly. My first encounter with Rheinberger’s music was whilst learning the organ in the early 70’s; I was having lessons with Bernard Porter who was then the organist at Holy Trinity Church, Micklegate, York. By coincidence, at the time, there was a very useful series of books of graded organ pieces being published entitled The Progressive Organist, edited by CH Trevor. Many will possibly know of these books which were ideal teaching material providing students with a selection of pieces enabling them to gain knowledge of many different styles of organ music. Amongst the works included in the series were several of Rheinberger’s shorter trios, fughettas and monologues. I was immediately taken by the style of writing, which although a beginner, I found Rheinberger in middle age very helpful and easy to follow.
I remember my teacher at the time did not regard many of Rheinberger’s pieces very highly, he appreciated their value from a technical point of view and as a representation of German classical/romantic organ music, but other than that held them in poor regard. Initially to me, this came as a surprise, however it was not long before I realised that this was a general opinion held by many organists and recitalists of the day, an opinion which unfortunately in England still holds true even today. For a while I amused myself with several of Rheinberger’s shorter pieces and attempted several movements from the organ sonatas, particularly the wonderfully chromatic fugue from sonata No 3, the rhythmical “Black Adder” fugue from sonata No 12 and the mesmerising, brilliant passacaglia from Sonata No 8. This Passacaglia if not equal to, is surely second only to the passacaglia of J S Bach. All this was set to change in 1972 when I received lessons from Conrad Eden at Durham. Conrad Eden (1905 – 1995) was born four years after Rheinberger’s death. As a young man Conrad Eden was articled for a period to Thomas Henry Davis, organist at Wells cathedral. Eventually he was to become organist at Wells in 1933 prior to his move to Durham in 1936. During this period Rheinberger’s music was still very popular in England and the staple diet of many cathedral organists and recitalists. Although I never heard Conrad perform Rheinberger’s organ works in any of his recitals (he was engrossed in his latter performing years with rather avant-garde organ music) he provided me with great insight into the performance, musical and technical value of many of Rheinberger’s works. 26 Nowadays, apart from the shorter organ works, Rheinberger’s organ sonatas are seldom played in their entirety, a notable exception being the series of recitals in York Minster given in 2001 to commemorate the centenary of Rheinberger’s death. In this series each of the recitalists performed one of Rheinberger’s organ sonatas or a number of his other representative pieces. Since the 2001 series, as far as I am aware, no other works of Rheinberger have been performed in the York minster recital series, barring one rather unexpected exception.
On the 28th July 2012 Joseph Miltschitzsky (Ottobeuren Abbey) gave a very good and well received recital. Quite rightly the audience’s enthusiastic applause prompted an encore. Coming from Germany the recitalist hadno hesitation in playing as his encore…a piece by Rheinberger. The work he performed was “Visione” oneof Rheinberger’s 12 Characteristic pieces Op 156. This is one of Rheinberger’s shorter works; deservedly it received tumultuous applause, lasting almost as long as the piece itself! Ironically everyone liked it, but it transpired no-one knew what it was; even seasoned organists and recital-goers had no idea who composed the work they had just been listening to and applauding.
To me this summed-up the situation regarding the present attitude to Rheinberger’s music in a nutshell. Iam confident that were his organ music to be played more often by organists at concerts and recitals the public’s awareness would grow and his music would be deservedly re-appraised. This is something I feel all organists and enthusiasts can help in bringing about. The more Rheinberger’s music is played, spoken about and listened to, the more people will become aware of the fine musical legacy Rheinberger has left us. To the organists amongst you who at the moment do not play Rheinberger but perhaps feel they might like to do so, I would like to offer my personal thoughts on the sonatas and some of the more accessible pieces.
From a practical player’s point of view perhaps the best published edition of the sonatas is by Amadeus, this edition is true to the original Forberg edition as first published. Obvious errors have now been corrected; the notation is well laid out, clear to read and with useful editorial notes. However, I would not completely disregard the earlier Novello editions edited by Harvey Grace; it has to be remembered the editorial suggestions regarding registration and dynamics are recommendations only, but they are helpful in providing a basic structure and give much food for thought. I have to admit having found some of the suggested fingering of use, especially in the brisker passages, also, in some cases, the disposition of the notes between the hands in this edition does offer an alternative to the Amadeus/Forberg score which some Rheinberger and his wife Fanny players may find difficult to interpret.
Having written more organ sonatas than any other composer for the organ, as you would expect there is debate regarding the “best” and most interesting sonatas. Naturally this is highly subjective but at the moment it is generally considered that sonatas 3,8,10,12 and 18 are perhaps the most rewarding. Numbers 2,4,6,7 and 11 following on closely, 5,14,16,17,19 and 20 worth playing and 1,9,13 and 15 worthy of hearing! With over twenty varied sonatas to choose from, recommending a single sonata is difficult, however if pressed I would recommend the non-player who just enjoys listening to organ music sonata No 12, which is musically highly colourful organ music and possesses a wonderful driving force throughout. To the player, wishing to attempt his first sonata, No 4 is well written, both a pleasure to play and listen to. 27 Fugue Subject from Sonata 3
Fugue Subject from Sonata 4
Fugue Subject from Sonata 8
28 Fugue Subject from Sonata 12
If learning a whole sonata is thought to be over-taxing, several movements from the sonatas are not too long, var- ied, of musical merit, and from a purely technical point of view repay close study. I have mentioned the Passacaglia from sonata No 8 and the Fugues from sonatas 3 and 12; other notable movements include the Adagio from Sona- ta No 2, the March & Fugue from sonata No 6,the Pastoral from sonata No 12, Intermezzo/Andante Con Motto from sonata No 3 and the Theme and Variations from sonata No.10. Various other easier slow movements from the sonatas are equally interesting and can stand alone as performance pieces.
Another possibly more logical introduction to Rheinberger’s organ music would be through his many shorter pieces. The majority are relatively concise and not too difficult; all his shorter pieces have something to offer both techni- cally and musically. I mentioned the number of fugues employed in Rheinberger’s sonatas, but such was his interest in the form that he also wrote a series of 24 very satisfying and less taxing fughettas. The 24 Fughettas Op. 123 pos- sess attractive subjects and are good examples of 19th century organ fugues. The beginner may particularly enjoy looking at No’s 6,9,10,17,22 and 23 which are varied in both treatment and character.
As well as the fughettas Rheinberger also wrote 12 Monologues Op. 162, 12 Characteristic Pieces Op. 156, 12 piec- es Op. 174, Six Short Pieces, and 12 Meditations Op.167 all of which provide good examples of his style of writing, a mixture of baroque contrapuntal writing combined with a romantic harmonic language. The monologues contain possibly some of his easier individual works, highly diverse and representative, Monologue Op. 162. No 1 is possibly one of the more popular of the set, very rhythmical and engagingly chromatic. The 12 Characteristic Pieces Op. 156, 12 Pieces Op. 174 and his Six Short Pieces are all written in a variety of styles. From the 12 Characteristic Pieces Op.156, Vision, Canzonetta and Trauermarsch are particularly interesting as are Scherzoso, Agitato, Aspiration and Aufschwung from the 12 pieces Op. 174. “Aspiration” is a wonderful exercise in playing on the black keys and divid- ing the theme between the hands.
Finally mention should be made of his two sets of Organ Trios, 10 Trios Op. 49 and 12 Trios Op.189. Trios are partic- ularly well suited to the organ and as all organists know they are of great value in practising and developing inde- pendence between the hands and feet. Several are in an almost pianistic style reminiscent of Mendelssohn’s songs without words. The Trios Op. 49 are possibly the slightly easier, and provide good material for practising possibly one of the best musical forms for the organist wishing to improve his technique. 29 An approximate guide to the difficulty of some of the Fughettas, Monologue’s and Trio’s is given below.
ABRSM Grade IV Trio Op.49 No 4, Monologue Op.162 No 1.
ABRSM Grade V Trio Op.49 No 9. Fughetta in E flat Op. 123, Monologue Op. 162 No 6
ABRSM Grade VI Trio Op.49 No 3. Fughetta in C minor Op. 123
ABRSM Grade VII Fughetta in B flat Op.123, Monologue Op. 162 No 10
ABRSM Grade VIII Trio Op.49 No 8. Fughetta in A minor Op. 123, Monologue Op. 162 No 11
Naturally the majority of Rheinberger’s popular organ sonatas have been recorded by various artists over the years, mainly it has to be said by German organists who still hold Rheinberger’s music in high esteem. We are also fortu- nate in that the complete organ works of Rheinberger have now been recorded twice. Both current recordings of his complete works have been made by the German organists, Rudolf Innig and Wolfgang Rubsam.
The majority of Innig’s recordings have been made on historical instruments in Southern Germany which date from around the same period as the music. These complete recordings are of particular interest to the player who wish- es to study the different interpretations and performance possibilities that the works provide, and to the listener a delightful way to become acquainted with all Rheinberger’s organ music.
Finally, for anyone wishing to read a detailed analytical study of Rheinberger’s organ works (especially the sonatas), Harvey Grace’s book on the subject is highly rewarding, and, in places quite pointed and even humorous!
I must thank and am indeed most grateful to John Scott Whiteley for providing me with the specification of the or- gan in St Michaels-Hofkirche and the musical notation of the four fugue subjects from Rheinberger’s sonatas.
St Michaels-Hofkirche 30 9. 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: The Yorkshire Fine Art and Industrial Exhibition Buildings
Former Organ Builder: Conacher Year: 1866 3 manuals and pedals
1st Yorkshire Fine Art and Industrial Exhibition
From the 24th of July to the 31st of October 1866, the first ‘Yorkshire Fine Art and Industrial Exhibition’ was held at a site in the grounds of the Bootham Asylum, York. It was housed in a temporary ‘Swiss Chalet’ building designed by Edward Taylor, in conjunction with J B & W Atkinson. Three pipe organs were installed in the building! The one visible in the photographs is by Conacher (Huddersfield). Elsewhere in the building, Cuthbert (Hull) and Denman (York) also constructed organs for the exhibition.
31 1st Yorkshire Fine Art and Industrial Exhibition Conacher Organ
The instrument erected on the gallery at the back of the hall measured 20’ x 10’ x 22’ and was opened on the 24th of July 1866. At the opening ceremony, William Rea (Newcastle Town Hall Organist) played the organ and Edwin Monk (York Minster) conducted the massed choirs. The following pieces were performed:
Handel ‘Hail Stone Chorus’ Handel ‘Long live the King’ Psalm 100 (Old Version) Haydn Chorus from ‘The Creation’. Soloist: Helena Walker, Messrs Moulding and Grice. Handel ‘Hallelujah Chorus’ National Anthem Meyerbeer (ORGAN SOLO) Grand March from ‘ Le Prophete’
Rossini (ORGAN SOLO) Overture from ‘William Tell‘
At the time of this inauguration, the instrument was described thusly:
‘Owing to the superior skill displayed in voicing the pipes, the tone of the most delicate stops are distinctly heard in every part of the large structure. The power of the instrument is bold and vigorous, and amply sufficient for the size of the building, large though it be. The diapasons are remarkable for their bold, full, and mellow tone. The choir organ contains several stops of a clear and fluty quality of tone, beautifully adapted to accompany and sustain the voice. The swell organ is the most effective, and capable of giving forth a vast body of harmony reverberating through the pie, and gradually diminishing, by almost insensible degrees, to the sweetest murmurings of music. Over and above that, however, the workmanship is of a very superior kind, and, in several respects, may be taken as a model of finished organ mechanism. The instrument, altogether indeed, is entitled to the highest praise, and, we have no hesitation in saying, will be admired, not only for its finish, but for the firmness, fullness, and purity of its tone, and the excellency of its construction, by all who hear and see it. 32 Detailed Description of the Conacher Organ
After the exhibition had closed, the instrument was inspected and found to still be in excellent condition:
‘In is now over two months since Messrs Conacher set up their grand organ in the gallery of this Exhibition; and during that period it has gone through a searching ordeal of extremes of heat, cold, damps, and drafts, sufficient, we might suppose, to shatter the mechanism and impair the pipes of the best organ that ever was made. Besides, it has been played upon oftener, and its bellows and actions have been called into requisition more frequently, during this apparently short period, than if it had been in a church or concert-room for a dozen years. And the result is most flattering to the builders. It has been examined, and it can safely be said that there is no tumbling to pieces of wood pipes, nor is there a single crack apparent in any of them, nor in any of the wood-work. There is none of the leather- work rotten; no iron-work rusted; no glue-work saddened; no swelling or twisting of trackers or rollers; no running of sound-boards; no extra frictional resistance opposed to the fingers on the claviers; no clanging noises from the composition actions, or from the bellows action; no ciphering from weak pallet-springs, loose leather from damp, or pallets warped by heat, or warped keys from the same cause; in short there are no defects apparent from temporary or incidental causes that can be made out. And the instrument stands remarkably well in tune, considering the many varied temperatures it passes through during the course of every four and twenty hours. On the occasion of the opening of the organ, some commendatory remarks were made on its mechanism, and of the materials of which it is made; and it is now gratifying to be able to say those remarks time and most trying circumstances have fully vindicated and in every essential corroborated. On that occasion, too, an opinion was expressed, that the instrument would be found far above the average of organs in excellence of tonal quality or timbre; but a decided expression of opinion was deferred until the organ had been well handled. It has now passed through the crucible of most varied temperatures, and the handling of both experienced and inexperienced manipulators, to a time when a decided expression of opinion may be given, without fear of wise and impartial contradiction raising any doubt of the above statements. An organ has characteristics of its own, which no other instrument, nor a whole orchestra, can supersede or even imitate. These are found in its stops, many of which the orchestra has no equivalent for, and its is to these one has to look for all that constitutes the organ as a musical instrument. On the timbre or tonal quality of a few of the principal stops in Messrs Conacher’s exhibition organ a few remarks may now be offered, premising at the same the statement of the fact that we are supported in the opinions we have formed of them by every competent and impartial judge who has tried them separately and collectively.’
‘At the outset it must be stated that all the principal stops, which are cylindrical, and of diapason measure; as well as the principal covered work stops, and flute work stops, are distributed over the instrument. The open diapasons of 16 feet tone, and of eight feet tone, whose influence is felt most for good or evil in al organs, are of a full, round, and voluminous, yet subdued, and mellow quality. The stopped diapasons are of a fluty, clear, and soft quality, with a good body of tone in the lower registers. The principals, twelfths, fifteenths, and various rank mixtures, are very brilliant, but without noise of a character destructive of pure organ tone. The stops of the flute family are remarkably clear in their articulation, and of a beautiful mellow quality of timbre. The Piccolo, Gemshorn, Stopped-flute, and Flauto Traverso are beautifully light and delicate in tone, and their sounds travel exceedingly well. The Harmonic Flute in the great organ has a largeness and breadth of volume of tone that is really surprising considering its size - a 4ft spotted metal stop. Those stops that may more particularly be called solo-stops are really excellent. The Oboe in the swell-organ is a singularly good one, with tones as penetrating and wailing as any we can remember. The Clarionet in the choir-organ is a rich toned stop; and certainly its fine mezzo- soprano notes come as near as possible to the instrument of the same name in the orchestra. The Dulciana and Viol de Gamba form a mixture of an agreeable, stringy, and reedy quality. The horn on the swell is full, smooth, and of great breadth of tone. The Tremulant action upon this organ, too, forms a good imitation of the vibrato of the human voice. The stops of the pedal-organ are of a full, round and deep-tone, voluminous quality; in particular the fine Trombone stop on this organ may be particularised for the immense volume of reedy sound which it gives to the pedal-registers when drawn. The ensemble of tone which the fully organ gives out is powerful and imposing, and without that noisy jingle which is sometimes passed off for power, in some organs, which in reality have little or no real true organ tonal characteristics. With respect to its elements as an organ for a church or concert-room, we may say that its large number of eight feet stops on the manuals, in unison with the human voice, make it an exceedingly useful instrument for all kinds of choral accompaniments; and that the large variety of reed and other stops make it an excellent organ for all kinds of orchestral employment, and for the performance upon as solos any class of organ, orchestral, choral, or in short any class of compositions. We may add, in conclusion, that the organ in question can be adapted to any form of position that church or concert-room might require; and also that any style of case might be put round it without at all altering the quality of its stops. In a musical sense this grand organ has been the life of the Exhibition; and Messrs Conacher deserve well the increased good reputation it will bring upon their establishment as organ-builders, who build organs con amore for a solid good reputation, in contradistinction to an ephemeral one, that may bring money at present, and ultimately banish fame”.
There was a proposal to buy the organ at a cost of £750 and install it in the Festival Concert Rooms. An additional £250 was proposed in order to enlarge the instrument into a four manual, however, this does not seem to have been accomplished.
33 The instrument had no upper case and the internal mechanism could be seen through glass panels.
Specification
Great Tenoroon Diapason 16’ (Some Spotted Metal) Swell Double Diapason 16’ (Wood)
(CC to G) Large Open Diapason 8’ (Metal) (CC to G) Open Diapason 8’ (Metal)
(56 notes) Stopped Diapason 8’ (Wood) (56 notes) Stopped Diapason 8’ (Wood) Principal 4’ (Metal) Salicional 8’ (Spotted Metal) Harmonic Flute 4’ (Metal) Gemshorn 4’ (Metal) Twelfth 2, 3/4’ (Metal) Fifteenth 2’ (Metal) Fifteenth 2’ (Metal) Mixture III (Metal) Sesquialtera IV (Metal) Horn 8’ (Spotted Metal) Trumpet 8’ (Spotted Metal) Oboe 8’ (Spotted Metal) Trumpet 4’ (Spotted Metal) Clarion 4’ (Spotted Metal) Choir Lieblich Gedact 16’ (Wood) Tremulant
(CC to G) Gedact 8’ (Wood) Pedal Double Open Diapason 16’ (Wood)
(56 notes) Dulciana 8’ (Spotted Metal) (CCC to F) Principal 8’ (Metal) Viol-de-Gamba 8’ (Spotted Metal) (42 notes) Trombone 16’ (Wood) Flauto Traverso 8’ (Wood) Octave Gemshorn 4’ (Metal) Stopped Flute 4’ (Spotted Metal) Piccolo 2’ (Wood) Clarionet 8’ (Spotted Metal) Couplers Swell to Great, Swell to Pedal, Choir to Great, Choir to Pedal, Great to Pedal.
7 Composition Pedals. 34 Former Organ 2nd Yorkshire Fine Art and Industrial Exhibition Builder: Telford and Telford Telford and Telford Organ Year: 1862 (installed 1879) Following the success of the first exhibition, a 3 manuals and pedals new purpose-built building (designed by Edward Taylor) was opened on Wednesday the 7th of May 1879. This building (now the City Art Gallery) contained a 3 manual organ for use during the exhibition as entertainment for visitors. The organ was frequently used by York’s first (and only) city organist Arthur Sample (Right) and could be regarded as the closest York has ever come to having a Town Hall Organ. 35 36
“The large organ belonging to the committee was built seventeen years ago for the Rev. R Corbet Singelton, by Messrs Telford, of Dublin, irrespective of cost, and has been pronounced by all to be a very fine instrument, and a work of art in construction and finish. It contains three complete rows of keys – great, swell, and choir organs – and pedal organ. It occupies a space 16 feet square, and stands 28 feet high. The case is of elaborately carved oak. The metal pipes are of the best spotted metal, including the front speaking pipes, which have the appearance of burnished silver. The organ is supplied with wind by a hydraulic engine; there are also feeders which can be blown by hand. These, with the bellows, are placed in a chamber 18 feet below the organ floor, and the wind is conveyed upwards through four new capacious trunks to the various reservoirs. The Committee having purchased the organ for the Exhibition, Dr Monk kindly consented to direct the additions, its re-erection, &c. Being found to be more that a semi-tone flat, it has been raised to concert pitch, which necessitated the cutting and altering of every pipe.
“This important operation has been successfully performed by Mr Hopkins, of this city. A reservoir for the great organ being advised, has been added with good effect; each row of keys has now its own reservoir. The organ was not provided with composition pedals, and these have been supplied; a trumpet has been added to the great organ, and a trombone to the pedal organ, which are marked improvements. Mr Hopkins has had the valuable assistance of Messrs, Aylett and Wright. by kind consent of Messrs Hill and Son (builders of the Minster organs), of London, and he deserves great praise for the manner in which the instrument has been finished, and he shortness of time in which it has been accomplished.”
The fate of the instrument is not yet known.
Specification
Great Double Dulciana 16’ Swell Double Stopped Principal 16’ Open Principal 8’ Open Principal 8’
Cylindrical Gamba 8’ Pierced Gamba 8’ Stopped Principal 8’ Stopped Principal 8’ Octave 4’ Harmonic Flute 4’
Harmonic Flute 4’ Octave 4’ Twelfth 3’ [sic.] Fifteenth 2’ Fifteenth 2’ Mixture III
Mixture IV Horn 8’ Trumpet 8’ Oboe 8’ Choir Bell Gamba 8’ Clarion 4’ Open Principal 8’ Pedal Sub Bass 32’ Stopped Principal 8’ Open Principal 16’ Dulciana 8’ Stopped Principal 16’ Vienna Flute 8’ Open Octave 8’ Gemshorn 4’ Stopped Octave 8’
Syringa 4’ Trombone 16’ Piccolo 2’
Cremona 8’
Couplers Swell to Great unison, Swell to Great sub-octave, Swell to Choir, Swell to Pedals, Great to Pedals.
3 Composition Pedals.
Great Organ 571 pipes, Choir Organ 522 pipes, Swell organ 754 pipes, Pedal organ 180 pipes.
37 10. The Trivia Section
Previous Caption Competition
Remember this? The captions received were from:
‘OMG they're twins!! What has your mother been up to?!!‘
(Nigel Perry)
‘Not another committee meeting!’
(Maximillian Elliott)
Next Caption Competition
The new Caption Competition image is:
What is going on here? Captions to [email protected] by the 20th December, please!
38 11. The People Section
Vacancies
There are no known vacancies at the moment. If you know of any vacancies in the area, please contact Maximillian Elliott on [email protected] for inclusion in the next edition.
12. The Next Edition
The next edition of ‘The PipeLine’ Journal will be the January Edition (published on the 1st of January). 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 December 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 13. 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 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 A Bean 1993-4 Nicholas Page 1956-7 G J 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 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