Organ Music

Source: The Musical Times and Singing Class Circular, Vol. 39, No. 662 (Apr. 1, 1898), pp.
242-244
Published by: Musical Times Publications Ltd.
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242 THE MUSICAL TIMES.-APRIL I, 1898.

to go through Brahms's beautiful institutions Sonata for now growing in favour. Such a scheme
piano-
forte and violin in D minor (Op. Io8), has the
which advantage
she of
wasbeing possible in some
the first to introduce to an English churches
audience in which the performances of complete
at her
concert nine years ago, immediately oratorios
afterare thenotwork
always easily brought about. A
was published. It is not the first time service that
of this she
kind was
and held in St. David's Church,
the composer's intimate friend, Dr. Denbigh,
Joachim,on the 15th
have ult., at which Mr. A. H.
played it together. The copy fromAllen which played some
she organ pieces by Bach, S. S.
plays
contains certain marks of his indicating Wesley, and theancom-
Adagio by Liszt, and a good
poser's wishes, which makes it specially selectioninteresting.
of anthems was sung.
Miss Fanny Davies seems to revel in Of her
specialcongenial
interest and value was Professor Sir
task. She feels so safe, and no wonder, with Dr. Frederick Bridge's account, in one of the recent
Joachim. At the end of each section she eagerly Gresham Lectures, of the growth of the " Passion
Music," from the earliest times. The settings by
looks at her colleague, who merely gives a little nod,
and the next movement begins. The rehearsal is Vittoria, written towards the end of 1585, according to
really a performance, as not a single stop or repeti-St. Matthew and St. John, are still widely used in the
tion is made. At the end Dr. Joachim says to theRoman Church. This music, rightly described by the
able pianist: "Very good. Perfection." Then Gresham Professor as " not in the least dramatic ,-
follows a little chat, in the course of which Dr. that is, from the modern point of view-" was strikingly
Joachim tells us that when he expostulated with
effective." One is tempted to suggest that a course
J. W. Davison upon his earliest criticisms of of lectures with illustrations, upon so profoundly
Brahms-that Brahms was " one of the dimmest interesting a subject as the wide range of sacred art
lights in Germany," and so on-" J. W. D."involved in the various settings of the Passiontide
replied:
"My dear boy, would you have liked me music, to comewould afford much food for serious thought.
round all at once to something new ? " The issue in a well arranged form of Wagner's
noble though early work, for several groups of male
voices and orchestra, "The Holy Supper of the
CHURCH MUSIC. Apostles," will not be overlooked, it may be hoped, in
connection with some of the great Church festivals.
THE performance of the best knownThe ofeffect
Bach's
of this music in one of our great Cathe-
settings of the " Passion " narrative, asdrals,
according to
for instance, would be striking and imposing.
St. Matthew and St. John, has been naturally the will give a course of lectures at
Mr. E. H. Thorne
prominent feature of the musical services of the
the Royal College of Organists, during the month of
season now drawing to a close. The St. May, Johnonsetting
"The History of English Church Music,"
has of late claimed special attention and withprecedence
illustrations. The scheme will no doubt be one
as the chief musical exposition of the awful theme
of great of to the earnest lovers of sacred art.
interest
the most solemn season of the ecclesiastical year.to the excellent series of six organ
In addition
The performance of Bach's noble musicrecitals at St. (referred
Paul's to in our " Organ Music " column)
Cathedral will, as usual, take place nearer Easter
given by than
Mr. Westlake-Morgan at Bangor Cathedral,
the date of our present issue. During Lent and on Mondays in Lent, we must also commend his
Passiontide it has been listened to with becoming enthusiastic zeal in providing other good and appro-
earnestness and a due appreciation of its eloquence priate music in the same sanctuary. On every
in St. Anne's, Soho, in accordance with a custom of Thursday during Lent the "Miserere," either by
a good many years' standing, and at St. Marylebone Allegri or Stainer, and some setting of the " Story of
Church, as well as at many other churches through- the Cross " were to be sung. Bach's " St. Matthew "
out the country. At the last-named church, Stainer's Passion is to be sung twice during Holy Week,
"1Crucifixion," now accepted wherever worship- while on the 20oth inst. there will be two choral
music is sung in the English language, has also been festivals, Welsh and English, when upwards of I,ooo
effectively rendered. voices will be accompanied by a full band and the
The annual Welsh festival service in St. Paul's
organ. Such efforts deserve every encouragement,
Cathedral was characterised by the impressive which we ungrudgingly give.
earnestness always evident at this annual celebration. An influential committee has been formed at
Good as the music is at this service, the great Canterbury to present a testimonial to Dr. Longhurst
impression it produces rather rests with the direct on his retirement from the post of Cathedral organist
and united praiseful attitude of both choir andand in recognition of his long and faithful services to
congregation than in any really fine manifestation of cause of music in the city. An account has been
the
sacred art.
opened at the Canterbury Bank, where subscriptions
From day to day evidences come to hand may of the be sent. Mr. F. W. Furley is the hon. treasurer
increasingly regular, as distinguished from the andocca-
the Rev. F. J. O. Helmore and Mr. G. Johnson
sional, employment of the orchestra in church. St.
are the hon. secretaries to the fund. Dr. Longhurst
Mary's, Moorfields, at one time the chief home of connected with the musical services of
has been
Roman ecclesiastical music in England, and Canterbury still a Cathedral for seventy years.
notable and traditional abiding-place of the Viennese
school of Church music, retains the regular services
of an efficient orchestra. On recent Sundays some
ORGAN MUSIC.
of the best of Haydn's Masses, Mozart's once
very popular Twelfth Mass (so-called), Beethoven's THE past has been a memorable month for a
Mass in C, and Gounod's Messe Solennelle have who are interested in organs and organ player
been rendered, under the direction of Mr. A. W. The recent appointments of skilled young orga
Payne, with Mr. W. G. Barton at the organ. In to important offices is an indication of the gro
addition, Mendelssohn's " Lauda Sion " and Rossini's call, even in the overcrowded profession of music
" Stabat Mater" have been included in the service well-equipped organ players not without experi
lists. and in the enjoyment of youth and of high pro
A selection of sacred music, or the combination of
as regards the future.
such a selection of sacred solo and choral music with Interesting also has been the re-opening of M
an organ recital, is one of the Church musical Henry Willis's stately organ in St. George's Ha

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 THE MUSICAL TIMES.-APRIL I, 1898. 243

Liverpool; a ceremony which carries piecesour

included Bach's Toccata in F, Grand Chceur
thoughts
back to such giants of the organ playing art as in E flat (Guilmant), Air and Variations in A (Best),
S. S. Wesley, who opened the organ on May 29 and and Mendelssohn's Organ Sonatas (Nos. I, 3, and 4).
30, 1855, and W. T. Best, who, by his masterly Several recitals have been given lately by Mr. T. H.
performances, chiefly given upon this instrumentCollinson and his assistant, Mr. C. M. Lowe, on the
organ in St. Mary's Cathedral, Edinburgh, rebuilt
during the past forty years, did so much to advance
the art he so greatly adorned. by the Electric Organ Company. Upon one occasion
Among other important improvements suggested Mr. Collinson played his own MS. Sonata in D,
by Mr. H. Willis and Dr. E. J. Hopkins were the which consists of an Al legro, a Pastorale, and a Fugue.
following: the CC compass extending over five Mr. Macduff has given a second recital upon the
octaves for the manuals, the extension of the pedalorgan, rebuilt by the Electric Organ Company, in
organ upwards from F to G, the introduction ofSt. Mary's, Warwick. The programme included
Handel's Second Organ Concerto, with the interesting
pneumatic action, the transposition of the pipes of the
manual organ, provision being made for the changing addition of an MS. cadenza by Sir Frederick Bridge;
of the pitch to the normal diapason by "simple Andante in A flat by Mr. W. S. Hoyte, and Sir
means," about which we are not enlightened, Frederick Bridge's effective and musicianly Sonata
should that pitch be adopted, and the enclosing in of
D minor, a work which has secured a deserved
position
a portion of the solo organ in a swell-box. Dr. A. L. in public favour. An excellent new three-
Peace also made a number of useful and well-thought
manual organ, built by Messrs. Norman and Beard,
of proposals, including the transference of thewas
voxopened recently in the Aston Villa Wesleyan
humana to the solo organ; the provision of a Chapel, Birmingham, by Mr. C. W. Perkins.
harmonic piccolo in the great organ, with other An organ recital was given by Mr. J. H. M. Ledger
judicious changes in the character of the at Kelvinside Free Church, Glasgow, on the Ist ult.,
" registers "; the introduction of the importantthe music including Gavotte from the Twelfth Organ
swell
to choir coupler; and some needed alterationsSonataand by Martin; Toccata in G minor, Sangster;
additions in connection with those very essentialSonata in G, E. Townsend Driffield; and Allegretto
mechanical features, the couplers. in D minor, A. Foote. Dr. A. Madeley Richardson
The great Liverpool organ now contains 25 gave stopsa recital, on the i5th ult., at St. Peter's, Cornhill,
on the great manual, 25 registers assigned tothe theprogramme including two movements from Widor's
Organ Symphony (No. 3), and Wesley's "Choral
swell organ, 18 on the choir, 15 on the solo organ,
and a pedal of 17 registers. In addition, thereSong are and Fugue." Mr. J. B. Lawson gave a recital
14 couplers, making a total of 114 stops; tremulants
recently at Walton, near Liverpool. The music played
to swell and solo organs, 36 pneumatic pistons, consisted of pieces by Dr. A. L. Peace, Roubier,
and io composition pedals. Marchant, Hewlett, Salome, and other composers.
It will be seen that the eminent organist of The restoration of the fine Willis organ in St.
St. George's Hall, Liverpool, has under his Andrew's, Wells Street, must surely be regarded as a
matter of wide interest. The position of the church
experienced control a veritable " battery of sounds."
for so long a period in connection with the revival
Dr. Peace's programmes for the re-opening recitals,
and advancement of church music, and the fact that
on the 5th ult., were well varied, showing such exalted
employment of the "King of instruments " as its in fine musical services are known to music-lovers
Bach's Prelude and Fugue in C minor and the Choral all over the kingdom, should make the task of the
and Fugue from Guilmant's fifth and most recently organist and other authorities in acquiring the
composed Organ Sonata; and the organic effects from necessary funds an easy one. Mr. F. A. W. Docker,
a more popular aspect in " Introduction, theme, the and esteemed organist, has himself secured nearly
variations," by J. V. Flagler, one of the most esteemed
?200 towards the cost of renovation by his lectures
American organists. Music by Mozart, Beethoven, on 1, The Chief Musical Composers of various
Mendelssohn, Sterndale Bennett, Gounod, and Nationalities." The improvements are to be carried
Rossini was also included. out by Mr. Henry Willis, who voiced the organ him-
At the afternoon performance the Lord Mayor self upon
of its construction in 1876. The whole of the
the city and other members of the Corporation interior of the instrument will be reconstructed, and
attended. The audiences numbered at the two the action will be changed to tubular pneumatic. It
concerts 1,700 and about 3,000. The residents is hoped, withof the financial assistance of musical
the great seaport of the North-West and friends, to carry out the work at the end of the
their many
visitors will now have cause to rejoice in the con-
coming summer.
tinuance of the splendid organ traditionsDr. ofE.their
Bunnett gave an excellent recital at St.
enterprising city. Andrew's Hall, Norwich, on the 19th ult. His pro-
The schemes of three recitals recentlygramme given included:
in Andante con moto (Boely),
Bangor Cathedral by Mr. Westlake Morgan Offertoire
included in C minor (Grison), Mendelssohn's Third
such interesting pieces as Rheinberger's Organ SonataSonata,
(No. and Wesley's Air composed for the
4) in A minor; Marche Solennelle (Mailly); Holsworthy
Concerto Church bells. A feature of special
in G minor (Matthew Camidge, organistinterest of York was the first performance of "The Building
Minster from 1803 to 1842); Meditation (Op. of1i6),
San Sofia,"
Al6ys words by the Rev. S. Baring-Gould,
Klein; and " Marche Gothique" (Op. 48), accompanied
SalomA.by music by Mr. H. M. Higgs. The
The programme recently played at the Royal words were recited with artistic eloquence by Mr.
Techni-
cal Institute, Salford, by Mr. S. Keighley, Charles
wasFryof and the music was ably presented by
exceptional interest, including as it did W. Dr.G.Bunnett.
Wood'sRecitations pure and simple accom-
Toccata in D minor, two Impromptu pieces panied by music are likely to be better known as
(Allegro
Marziale and "Air Varied ") by Dr. H. Hiles, timeFantasie
goes on. Admirable specimens are in existence
Sonatain B major, Rheinberger; Sonata (No.4), by Grieg,
Bach;John E. West, Hawley, and other com-
Meditation, Gottschalk; and an Introduction posers;and
and Mr. H. M. Higgs has contributed an
Double Fugue in G minor, by Mr. Keighley effective addition to the list. There can be no more
himself.
A course of three recitals has been given by Mr. means of varying an organ recital scheme
interesting
than by
F. G. M. Ogbourne during the past month at the
St. introduction of such accompanied
recitations;
Dunstan's, Fleet Street. The excellent selection of granting the excellence of words and

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 244 THE MUSICAL TIMES.-APRIL I, 1898.

music, the trained eloquence of the bolder declaration and

reciter, of the the
hero, Probus. These witnesses
painstaking musicianship of the organ-player. for Christ are thrown into prison, where a number of
Mr. H. C. Perrin, the organist-elect doomed
offellow-believers
Canterbury console and strengthen each other
Cathedral, gave a recital at St. Mary's with wordsCollegiate
of faith. The martyrdom of the arena follows,
Church, Warwick, when the programme the calm steadfastness
ranged from of the victims and the frenzy of
their persecutors standing in the most violent contrast.
J. S. Bach to Humperdinck. The Each historic organ
scene has the merit ofatsuitability for music-a prime
St. James's Church, Piccadilly-originally advantage whichbuilt by
often outweighs defect, and is, indeed, the
Harris prior to 1685 for James II. mainfor use
test of in the
sufficiency. In his music the composer shows
Chapel Royal, Whitehall, and presented to the complete fidelity to his instincts and preferences, which
church by William and Mary in 1695-was re-opened, fact must be placed to his credit. He might easily have
after being re-built by Messrs. Bishop and Sons, on
been less Italian and more English, but that would have
the 22nd ult., by Sir Walter Parratt, who playedinvolved a certain sacrifice of sincerity without correspond-
pieces by J. S. Bach, Liszt, Brahms, Kullak, and ing gain. Mr. Leoni, a modern Italian, has treated his
Guilmant. Raphael Courteville, the composer of Roman story as a modern Italian might be expected to
treat it. We have no right to expect anything else,
the tune " St. James," was a former organist of the
church. and the intention, at all events, is impeccable. The
work has, of course, called forth various opinions, as
is bound to be the case where everything depends upon
THE ROYAL CHORAL SOCIETY.
the point of view. For ourselves, we desire to judge
LONDON amateurs were true to one feature in their from the composer's standpoint, and, without reference
character when, on the i6th ult., Beethoven's " Ruins of to special features in harmonic treatment, and so on,
Athens " and Franco Leoni's " The Gate of Life " were we are glad to recognise music which will largely find
produced at the Albert Hall. Of these works, the first was
acceptance among our choral societies, not only because of
a comparative novelty, brought out in a new adaptedness shape, andto their needs, but also for its free melodic
backed by the greatest name in music. The second charm and wasgeneral effectiveness. There must be works
also absolutely strange, and subscribed by aofcomposer this class if our choral amateurs are to be properly
whose quality has been tested in various popular forms
nourished, and we should welcome them in a liberal spirit.
with successful results. Nevertheless, on the part The Albert
of the Hall audience took kindly to "The Gate of
public, there were few signs of wholesome curiosity, Life," applauding
and, various numbers with heartiness and
although the audience could not have found room in any
showering compliments upon the composer, who conducted
other London hall, not a few empty seats were left
a good to
performance, for which Mr. Ben Davies and the
represent the element of indifference. Yet theartists patrons of named did their very best.
already
the Royal Choral Society are not surfeited with novelty.
After many vicissitudes and long stretches of neglect,
the " Ruins of Athens" has at last been offered in an PHILHARMONIC SOCIETY.
intelligible and usable shape. The story of the work,
THE older the " dear old Philharmonic " grow
already told in its entirety, is of present concern only with
just entered on its eighty-sixth season-the more a
regard to its last chapter. We may dismiss the " mytho-
become the proofs of its vigorous life. For the new
logical pantomime" which opened its career which at Pesth in at Queen's Hall on the ioth ult., the
began
1812 and closed it at our Princess's Theatre in 1846.
directors have arranged a series of most attractive pro-
That now belongs to the dead past. What we have to grammes, in which a large number of new compositions
deal with in the living present is a version distinguished by
claim our special consideration. The first of these is
modified mythology and an absence of pantomime-in Mr. Hamish MacCunn's ballad music from his opera
effect by a poem in which the author, Mr. Paul England," Diarmid." We have ever championed our composers'
was guided by the prime necessity of giving Beet- right to be heard and welcomed their works with the
hoven's music the best opportunity possible. Nobody utmost enthusiasm their merits warranted. But we accept
affects particular interest, or indeed believes, in theMr. MacCunn's ballet music with hesitation. Such a
removal of Greek artistic life from desolate Athens to the
noisy, unlovely complement of percussion instruments as
capital of Hungary. The " Ruins of Athens" exists he
solely
has used throughout these dance measures was surely
for its music, and we now have that complete; conveniently
never dreamt of before. Where is this craving for sheer
laid out for performance, and adapted to take a noise
place to stop ? The concert opened with Goldmark's
among the cantatas which are favourites with English
spirited, tuneful, joyous, and gorgeously scored Overture
concert-goers. It was something for the Royal Choral
" Im Friibling," splendidly played under Sir Alexander Mac-
Society to demonstrate this, and to do so in a manner
kenzie's vigorous and watchful direction, and Beethoven's
deserving only of praise. That Institution may, therefore,
" Pastoral " was the symphony. Miss Fanny Davies gave
"go up one."
a highly finished, poetic performance of Chopin's F minor
The version adopted at Kensington Gore is musically
Pianoforte Concerto, and Miss Clara Butt sang Goring
more complete than that previously available, inasmuch
as it includes an Interlude and Recitative which had been Thomas's "My heart is weary" (" Nadeshda") very
omitted. Curious to tell, the once discarded Interlude expressively; but why she should force her exquisite and
powerful voice in Queen's Hall seems past understanding
must be numbered amongst the most delightful things in
-it would easily fill the largest room in the kingdom.
the work. Originally an accompaniment to dialogue, it
stands thoroughly well as an independent piece, and was
received in performance with emphatic approval. For the BACH CHOIR.
rest of the cantata more or less familiarity sufficiently
speaks. We all know the overture, the Dervish chorus, PROFESSOR STANFORD'S setting of Walt Wh
the Turkish March, the march and chorus " Twine ye"Ode the to Death," produced at Norwich in 1884
garlands," and the fine concluding number. The point ittowas, has been greatly surpassed by his " Req
be emphasised is that some of Beethoven's most charming, composed for last year's Birmingham Festival.
the earlier work in places suggests Brahms and
if not strongest, music is now generally available for choral
societies, who, if they be wise, will revel in its beauty. (a
Thestrange combination), it cannot in justice be sa
performance, in which Miss Palliser and Mr. Andrew Black the " Requiem " owes anything to such influ
took part, was admirable, and brought credit, not only istoat once the most original and most impre
Sir Frederick Bridge, but to all concerned. all his works, while it has this in common wit
Mr. Franco Leoni's cantata is, like half-a-dozen works "Ode to Death "-that nowhere else has he so nearly
that could be named, founded on a story of Christianapproached the height of emotional expressiveness which
martyrdom, which subject seems to be, for reasons notgoes by the name of inspiration. It is not a little strange,
and yet perfectly intelligible, that these two works, which
obscure, of undying interest. The " argument," as laid out
by Mr. Shapcott Wensley, includes the interruption of for the reason just stated appear to us to rank above all
his other compositions, are the outcome of grief. If we
heathen rites by the voice of the heroine, Portia, and the

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