The 'Gorgeous Georgians'Click on the dropdown button to translate. Translate this page: You can translate the content of this page by selecting a language in the select box. Scores
Many scans of original eighteenth-century editions are available for free download, especially from the International Music Score Library Project (IMSLP), and these editions are hyperlinked below. Only original contemporary editions are completely trustworthy - there are many modern editions of variable and questionable quality out there: beware! Recordings Some of the music described I have recorded myself and can be found on my Vimeo channel, the four from Rotherhithe being especially popular worldwide. Another even more authentic instrument I have recorded on is the 1760 George England organ at Christ's Chapel, Dulwich, which has retained its lower pitch, unequal temperament and GG compass. My videos are linked below from the composer section. Here's a short taster of what the recordings sound like. The 'Gorgeous Georgians' start at 47 seconds into the video. Specifications
The National Pipe Organ Register (NPOR) is the best place to search for details of organs and organ builders, and I have provided many links to this source. Money
18th century salaries and prices can be converted into modern equivalents at the Bank of England's inflation calculator, which covers the period 1209-present. |
The Instruments
The Historical Background to the development of the English 18th Century Organ
Chronology The Organ Builders
Organs in places of entertainment London
York Tunbridge Wells The Composers 42 composers from Croft to Wesley in chronological order of birth
The 'Gorgeous Georgians' Vimeo album |
The Instruments
An Introduction to the English 18th century Organ
The period between the accessions of George I on 1 August 1714 and Victoria on 20 June 1837 forms a distinct stylistic period in English organ music, growing out of the restoration of Anglican church music from 1660 onwards. For almost a hundred years, styles and forms remained constant, the continuing influence of Handel remaining very strong for decades after his death in 1759. A huge Handel Commemoration was held in Westminster Abbey in 1784, the silver jubilee of his death. Haydn, when he visited England in 1791/92 and 1794/95, was amazed at the hold a dead composer still had over the English people. However, Haydn himself became acclaimed by the English as a superstar almost at the same level as their revered Handel. Since the death of Johann Christian Bach in 1782, Haydn's music had dominated the concert scene in London. A direct consequence of Haydn's experiences in England was the composition of 'The Creation' (1797/98), a deliberate attempt on Haydn's part to emulate the large-scale oratorios of Handel. His style caught on, and English composers began to copy it. The new style of William Russell, Theophania Cecil and Samuel Wesley is typical of this change of taste, and was paralleled by the general remodelling of organ specifications which took place then. This can be clearly seen in the changes to the specification of the organ of St. Mary Rotherhithe, London, a complete eighteenth century organ originally built in 1764 by John Byfield II, subsequently remodelled by Hugh Russell and Son in the 1820s, and reflecting the new colours and textures demanded by the music of Hugh's organist son William.
But organs were not just to be found in churches. Theatres, taverns, coffee houses, concert rooms, pleasure gardens and private houses were also equipped with organs. This explains the secular nature of voluntaries, which were deliberately advertised 'for organ or harpsichord' as a marketing ploy to maximise sales. There are also a great number of organ concertos for performance outside the church. Well-known are the organ concertos of Handel, played during the intervals of oratorio performances, in a similar way as 20th century cinema organists used to entertain in the interval between films. Organists then had much more opportunity for performance than they do today.
18th century organ tutors
During my eleven years as organist of St. Mary Rotherhithe, I performed English organ music by 30 composers from Croft to Wesley, learning by practical experience on a contemporary organ how composers used the instruments at their disposal, and experimenting with the registrations printed in editions of the period, which I assure you work perfectly, and can be trusted! The three main sources of information on eighteenth century English performance practice and registration were all published in the 1790s, and codified a practice which was by then long-established and well-known. These three books are required reading for anyone who wants to play this music properly.
EIGHTEEN VOLUNTARIES for the ORGAN, Chiefly intended for the use of YOUNG PRACTITIONERS Composed by J[OHN] MARSH, Esq., To which is prefix'd An Explanation of the different Stops of the Organ & of the several combinations that may be made thereof – With a few Thoughts on Style, Extempore Playing, Modulation &c. London. Printed & Sold by Preston, 71 Dean Street, Soho. (1791)
The period between the accessions of George I on 1 August 1714 and Victoria on 20 June 1837 forms a distinct stylistic period in English organ music, growing out of the restoration of Anglican church music from 1660 onwards. For almost a hundred years, styles and forms remained constant, the continuing influence of Handel remaining very strong for decades after his death in 1759. A huge Handel Commemoration was held in Westminster Abbey in 1784, the silver jubilee of his death. Haydn, when he visited England in 1791/92 and 1794/95, was amazed at the hold a dead composer still had over the English people. However, Haydn himself became acclaimed by the English as a superstar almost at the same level as their revered Handel. Since the death of Johann Christian Bach in 1782, Haydn's music had dominated the concert scene in London. A direct consequence of Haydn's experiences in England was the composition of 'The Creation' (1797/98), a deliberate attempt on Haydn's part to emulate the large-scale oratorios of Handel. His style caught on, and English composers began to copy it. The new style of William Russell, Theophania Cecil and Samuel Wesley is typical of this change of taste, and was paralleled by the general remodelling of organ specifications which took place then. This can be clearly seen in the changes to the specification of the organ of St. Mary Rotherhithe, London, a complete eighteenth century organ originally built in 1764 by John Byfield II, subsequently remodelled by Hugh Russell and Son in the 1820s, and reflecting the new colours and textures demanded by the music of Hugh's organist son William.
But organs were not just to be found in churches. Theatres, taverns, coffee houses, concert rooms, pleasure gardens and private houses were also equipped with organs. This explains the secular nature of voluntaries, which were deliberately advertised 'for organ or harpsichord' as a marketing ploy to maximise sales. There are also a great number of organ concertos for performance outside the church. Well-known are the organ concertos of Handel, played during the intervals of oratorio performances, in a similar way as 20th century cinema organists used to entertain in the interval between films. Organists then had much more opportunity for performance than they do today.
18th century organ tutors
During my eleven years as organist of St. Mary Rotherhithe, I performed English organ music by 30 composers from Croft to Wesley, learning by practical experience on a contemporary organ how composers used the instruments at their disposal, and experimenting with the registrations printed in editions of the period, which I assure you work perfectly, and can be trusted! The three main sources of information on eighteenth century English performance practice and registration were all published in the 1790s, and codified a practice which was by then long-established and well-known. These three books are required reading for anyone who wants to play this music properly.
EIGHTEEN VOLUNTARIES for the ORGAN, Chiefly intended for the use of YOUNG PRACTITIONERS Composed by J[OHN] MARSH, Esq., To which is prefix'd An Explanation of the different Stops of the Organ & of the several combinations that may be made thereof – With a few Thoughts on Style, Extempore Playing, Modulation &c. London. Printed & Sold by Preston, 71 Dean Street, Soho. (1791)
A Complete Treatise on the ORGAN To which is added a Set of Explanatory VOLUNTARIES Composed expressly for the purpose of rendering THEORY and PRACTICE Subservient to mutual elucidation By JONAS BLEWITT Organist of the united Parishes of St. Margaret Pattens and St. Gabriel Fenchurch, Also of St. Catherine Coleman, Fenchurch Street. Op.4. LONDON. Printed by Longman and Broderip No.26 Cheapside and No.13 Hay Market. (ca.1795)
(This link is to an excellent zoomable scan of the complete volume, including voluntaries, on the US Library of Congress website)
(This link is to an excellent zoomable scan of the complete volume, including voluntaries, on the US Library of Congress website)
A Practical Introduction to the ORGAN in Five Parts. Viz. Necessary Observations, Preludes, Voluntarys, Fugees [sic] & Full Pieces and a Selection of all the Psalms in General Use with Interludes. HUMBLY INSCRIBED BY PERMISSION TO Dr. ARNOLD, Organist & Composer to his MAJESTY. By F[RANCIS] LINLEY. Op.6. London. Printed & Sold by J. BLAND, No.45 High Holborn (ca.1795)
Specifications
The complete eighteenth century organ, according to Marsh, Blewitt and Linley consisted of the following specification:
Great (full compass from GG)
Open Diapason 8ft
Stopped Diapason 8ft wood
Principal 4ft
Flute 4ft wood (Blewitt only)
Twelfth 2 2/3ft
Fifteenth 2ft
Sesquialtera III (17.19.22) (composition given by Blewitt and Linley)
Mixture II (24.26) (two ranks according to Linley, composition given by Blewitt. Also called Furniture by Marsh)
Trumpet 8ft
Clarion 4ft
Cornet (treble only)
Choir (full compass from GG)
Stopped Diapason 8ft wood
Dulciana 8ft (a delicate Open Diapason invented by John Snetzler, but not included in Blewitt's description of the complete organ)
Principal 4ft
Flute 4ft wood
Twelfth 2 2/3ft (Marsh only, not in Blewitt or Linley)
Fifteenth 2ft
Bassoon 8ft (not in Blewitt)
Vox Humana 8ft (optional extra in Marsh)
Cremona 8ft (optional extra in Marsh)
Swell (enclosed, short compass from fiddle G only)
Open Diapason 8ft
Stopped Diapason 8ft
Principal 4ft
Hautboy 8ft
Trumpet 8ft
Cornet (treble only)
The complete eighteenth century organ, according to Marsh, Blewitt and Linley consisted of the following specification:
Great (full compass from GG)
Open Diapason 8ft
Stopped Diapason 8ft wood
Principal 4ft
Flute 4ft wood (Blewitt only)
Twelfth 2 2/3ft
Fifteenth 2ft
Sesquialtera III (17.19.22) (composition given by Blewitt and Linley)
Mixture II (24.26) (two ranks according to Linley, composition given by Blewitt. Also called Furniture by Marsh)
Trumpet 8ft
Clarion 4ft
Cornet (treble only)
Choir (full compass from GG)
Stopped Diapason 8ft wood
Dulciana 8ft (a delicate Open Diapason invented by John Snetzler, but not included in Blewitt's description of the complete organ)
Principal 4ft
Flute 4ft wood
Twelfth 2 2/3ft (Marsh only, not in Blewitt or Linley)
Fifteenth 2ft
Bassoon 8ft (not in Blewitt)
Vox Humana 8ft (optional extra in Marsh)
Cremona 8ft (optional extra in Marsh)
Swell (enclosed, short compass from fiddle G only)
Open Diapason 8ft
Stopped Diapason 8ft
Principal 4ft
Hautboy 8ft
Trumpet 8ft
Cornet (treble only)
The whole organ was usually housed in a single case. The Great pipes were placed in the front of the case, including the gilded facade pipes, which in the case of the Rotherhithe organ were virtually all speaking, and the Choir was placed behind it at the same level, with a passage board in between. The Swell box was at a higher level at the back over the Choir.
The Cornet was a mixture, usually consisting of five ranks on the Great (1.8.12.15.17) and three ranks on the Swell (12.15.17). These compositions are not specifically given by Marsh, Blewitt and Linley. The Swell Cornet had, therefore, to be supplemented by 8ft and 4ft ranks to complete it. The Tierce (17th) rank gave the Cornet its distinctive colour, and was used for right-hand solos only, hence its provision only in the treble.
Note that echoes were possible between the Great Trumpet and Swell Trumpet (box shut), and the Great Cornet and the Swell Cornet (box shut). Echoes were an integral part of the eighteenth century style, and, before shutters were added to the box in 1712, the Swell organ was originally called the Echo organ.
Due to the French origins of the English 18th century organ, the Swell manual was a short-compass manual from fiddle G upwards only, like its French prototypes, the Récit and the Écho. It was used for RH solos only, accompanied on the Choir or Great. However, the middle movement of Stanley's Op.5 no.8 voluntary is for both hands together on the Swell. The music does not reach any lower than tenor G, usually the lowest note of this manual. This movement begins at 2'36" on my video. The following photographs show typical short Swells:
The Cornet was a mixture, usually consisting of five ranks on the Great (1.8.12.15.17) and three ranks on the Swell (12.15.17). These compositions are not specifically given by Marsh, Blewitt and Linley. The Swell Cornet had, therefore, to be supplemented by 8ft and 4ft ranks to complete it. The Tierce (17th) rank gave the Cornet its distinctive colour, and was used for right-hand solos only, hence its provision only in the treble.
Note that echoes were possible between the Great Trumpet and Swell Trumpet (box shut), and the Great Cornet and the Swell Cornet (box shut). Echoes were an integral part of the eighteenth century style, and, before shutters were added to the box in 1712, the Swell organ was originally called the Echo organ.
Due to the French origins of the English 18th century organ, the Swell manual was a short-compass manual from fiddle G upwards only, like its French prototypes, the Récit and the Écho. It was used for RH solos only, accompanied on the Choir or Great. However, the middle movement of Stanley's Op.5 no.8 voluntary is for both hands together on the Swell. The music does not reach any lower than tenor G, usually the lowest note of this manual. This movement begins at 2'36" on my video. The following photographs show typical short Swells:
Handel's advice to Charles Jennens of Gopsall Hall regarding a good specification for a chamber organ can be seen in this letter dated 30 September 1749, and the resulting organ, built by Thomas Parker the same year:
French registration on the English 18th century organ
With its roots in the French classical tradition, the English 18th century organ was perfectly capable of coping with the registrational demands of the classical French composers such as François Couperin or Nicolas de Grigny. It is interesting to compare the complete English organ as given by Marsh, Blewitt and Linley with a typical French organ, such as the Couperins' organ at Saint-Gervais in Paris (my table).
With its roots in the French classical tradition, the English 18th century organ was perfectly capable of coping with the registrational demands of the classical French composers such as François Couperin or Nicolas de Grigny. It is interesting to compare the complete English organ as given by Marsh, Blewitt and Linley with a typical French organ, such as the Couperins' organ at Saint-Gervais in Paris (my table).
The following are suggestions for registering the French classical repertoire on an English 18th century organ, based on practical experimentation at St. Mary Rotherhithe. Although not academically correct, they work! Bear in mind that the English Sesquialtera is the usual 17.19.22 composition, and thus already contains the Tierce rank. Pedal couplers are used without any pedal stops!
The 18th century English combination 'Full Great with the Trumpet' (with or without Clarion) serves well as the French 'Grand Jeu', and the English 'Full to Fifteenth' works well as the French 'Petit Jeu' on both Great and Choir.
Tierce en taille
Solo: Great Stop Diapason/Principal/Twelfth/Fifteenth/Sesquialtera
Accompaniment: Choir Stop Diapason/Flute/Choir to Pedal
Cromorne en taille
Solo: Choir Cremona/Stop Diapason/Flute
Accompaniment: Great Stop Diapason/Great to Pedal
Dessus/Récit de cromorne
Solo: Choir Cremona/Stop Diapason
Accompaniment: Great Stop Diapason/Great to Pedal
Récit de Nazard
Solo: Great Stop Diapason/Twelfth
Accompaniment: Choir Stop Diapason/Flute/Choir to Pedal
Récit de Tierce
Solo: Great Stop Diapason/Twelfth/Sesquialtera
Accompaniment: Choir Stop Diapason/Flute/Choir to Pedal
Récit de Cornet
Solo: Great Cornet
Accompaniment: Choir Stop Diapason/Flute/Choir to Pedal
Voix Humane
Choir Cremona/Stop Diapason/[Flute]
Duo
Great Stop Diapason/[Principal]/Twelfth/Sesquialtera
Trio
RH: Choir Cremona
LH: Great Stop Diapason/Principal/Twelfth/Sesquialtera
Trio (another way)
RH: Great Stop Diapason/Twelfth
LH: Choir Cremona/Stop Diapason/Flute
Basse de Trompette
LH: Great Trumpet/Stop Diapason/Principal
RH: Choir Stop Diapason/Principal
The 18th century English combination 'Full Great with the Trumpet' (with or without Clarion) serves well as the French 'Grand Jeu', and the English 'Full to Fifteenth' works well as the French 'Petit Jeu' on both Great and Choir.
Tierce en taille
Solo: Great Stop Diapason/Principal/Twelfth/Fifteenth/Sesquialtera
Accompaniment: Choir Stop Diapason/Flute/Choir to Pedal
Cromorne en taille
Solo: Choir Cremona/Stop Diapason/Flute
Accompaniment: Great Stop Diapason/Great to Pedal
Dessus/Récit de cromorne
Solo: Choir Cremona/Stop Diapason
Accompaniment: Great Stop Diapason/Great to Pedal
Récit de Nazard
Solo: Great Stop Diapason/Twelfth
Accompaniment: Choir Stop Diapason/Flute/Choir to Pedal
Récit de Tierce
Solo: Great Stop Diapason/Twelfth/Sesquialtera
Accompaniment: Choir Stop Diapason/Flute/Choir to Pedal
Récit de Cornet
Solo: Great Cornet
Accompaniment: Choir Stop Diapason/Flute/Choir to Pedal
Voix Humane
Choir Cremona/Stop Diapason/[Flute]
Duo
Great Stop Diapason/[Principal]/Twelfth/Sesquialtera
Trio
RH: Choir Cremona
LH: Great Stop Diapason/Principal/Twelfth/Sesquialtera
Trio (another way)
RH: Great Stop Diapason/Twelfth
LH: Choir Cremona/Stop Diapason/Flute
Basse de Trompette
LH: Great Trumpet/Stop Diapason/Principal
RH: Choir Stop Diapason/Principal
Contemporary registration advice
Registration hints for a small organ from 1766 can be found on the stop jambs of the 1766 John Byfield II chamber organ for James Grant of Castle Grant, Banffshire, Scotland. These particular combinations are not given by Marsh, Blewitt or Linley, but have impeccable provenance, coming from John Byfield himself.
Registration hints for a small organ from 1766 can be found on the stop jambs of the 1766 John Byfield II chamber organ for James Grant of Castle Grant, Banffshire, Scotland. These particular combinations are not given by Marsh, Blewitt or Linley, but have impeccable provenance, coming from John Byfield himself.
Tuning, Short Octaves and Broken Octaves
Organs were usually tuned to an unequal temperament, giving rise to 'good' keys and 'bad' keys. John Marsh wrote in 1791: 'It may here also be proper to caution the Performer against entering into those Keys which are peculiarly imperfect on the Organ, as into the Major Keys of Bb, F#, and C#, and the Minor Keys of Eb, Bb, and F, to all which the 3ds are bad, or into Ab Major, to which the 3d and 5th are both very imperfect'. Because of this, it was not thought economically justifiable to provide organs with large G#, A#, C# and D# pipes at the bass end of the compass, as they would hardly ever be used. Instead, the pipes for G, A, B, C, D, and E were reallocated at the bass end to the keys B, C#, D#, C, D, and E respectively. This is known as a 'short octave', only one extra key below bottom C being needed. It seems that the Rotherhithe organ had a D# pipe, omitting a pipe for B. This practice is hinted at by Blewitt. Mostly, 18th century organs had the missing chromatic notes added when conversion to 'long octaves' was made in the 1820s, such as in Hugh Russell and Son's remodelling of the Rotherhithe organ.
A variant of this practice was to split the sharp keys into two halves to provide the missing notes C# and D# on the back half of each key, a practice known as 'broken octaves'. This has been done in the new William Drake console at Christ's Chapel, Dulwich. It is quite a mental exercise to remember whether one should play the back half or the front half!
Organs were usually tuned to an unequal temperament, giving rise to 'good' keys and 'bad' keys. John Marsh wrote in 1791: 'It may here also be proper to caution the Performer against entering into those Keys which are peculiarly imperfect on the Organ, as into the Major Keys of Bb, F#, and C#, and the Minor Keys of Eb, Bb, and F, to all which the 3ds are bad, or into Ab Major, to which the 3d and 5th are both very imperfect'. Because of this, it was not thought economically justifiable to provide organs with large G#, A#, C# and D# pipes at the bass end of the compass, as they would hardly ever be used. Instead, the pipes for G, A, B, C, D, and E were reallocated at the bass end to the keys B, C#, D#, C, D, and E respectively. This is known as a 'short octave', only one extra key below bottom C being needed. It seems that the Rotherhithe organ had a D# pipe, omitting a pipe for B. This practice is hinted at by Blewitt. Mostly, 18th century organs had the missing chromatic notes added when conversion to 'long octaves' was made in the 1820s, such as in Hugh Russell and Son's remodelling of the Rotherhithe organ.
A variant of this practice was to split the sharp keys into two halves to provide the missing notes C# and D# on the back half of each key, a practice known as 'broken octaves'. This has been done in the new William Drake console at Christ's Chapel, Dulwich. It is quite a mental exercise to remember whether one should play the back half or the front half!
The Historical Background to the development of the English 18th Century Organ
The calm before the storm
Despite the strenuous efforts of the Puritans, a large number of organs seem to have survived the English Reformation, and the native English tradition of organ-building continued. The most famous family of organ builders was the Dallam family, Lancashire Catholics. The Dallam-Harris-Byfield dynasty was to last for over two centuries, building some of the best 'Gorgeous Georgian' organs.
The founder of the dynasty, Thomas Dallam I (1575-ca.1630) built an organ in 1599/1600 for Elizabeth I to present to the sultan Mehmet III, and wrote a travel diary during the trip to Constantinople, where he personally installed the instrument in the Topkapi Palace. He subsequently built the organs of King's College Cambridge, Eton College, St. John's College Oxford, Corpus Christi College Oxford, Christ Church Oxford and the Cathedrals of Hereford, Worcester, Exeter, Wells, Durham, and Bristol.
[Facsimile of the travel diary as published by the Haklyut Society in 1893]
[Wikipedia biography]
[Dictionary of National Biography]
[Grove's Dictionary of Music and Musicians]
His son Robert Dallam (1602-1665) built organs from 1631 at Magdalen College Oxford (see below), York Minster, Jesus College Cambridge, St. John's College Cambridge, Trinity College Cambridge, Lichfield Cathedral, and Gloucester Cathedral, before escaping to France during the Cromwellian regime with his family.
[Grove's Dictionary of Music and Musicians]
The organ which he built for Magdalen College, Oxford, ca.1631, was confiscated by Cromwell and moved ca.1654 to Hampton Court Palace, which Cromwell had also requisitioned. The poet John Milton is reputed to have played it, hence its present nickname 'the Milton Organ'. It was returned to Magdalen in 1660, and rebuilt by Renatus Harris in 1690. In 1737, the Great organ in its case was moved to Tewkesbury Abbey, and the Chair organ was used by Thomas Swarbrick as the one-manual organ at St. Nicholas, Stanford on Avon, recently restored by Goetze and Gwynn. To replace it, Magdalen had a new organ by Byfield installed.
All of these organs, even cathedral instruments, were quite small, just with flue choruses at 8', 4', 2 2/3', 2', 1' pitch. There were no mixtures, reeds or mutations, except for the Twelfth. Most organs were one-manual or two-manual ('double organs').
This was the kind of instrument played by Byrd, Gibbons and Tomkins.
Despite the strenuous efforts of the Puritans, a large number of organs seem to have survived the English Reformation, and the native English tradition of organ-building continued. The most famous family of organ builders was the Dallam family, Lancashire Catholics. The Dallam-Harris-Byfield dynasty was to last for over two centuries, building some of the best 'Gorgeous Georgian' organs.
The founder of the dynasty, Thomas Dallam I (1575-ca.1630) built an organ in 1599/1600 for Elizabeth I to present to the sultan Mehmet III, and wrote a travel diary during the trip to Constantinople, where he personally installed the instrument in the Topkapi Palace. He subsequently built the organs of King's College Cambridge, Eton College, St. John's College Oxford, Corpus Christi College Oxford, Christ Church Oxford and the Cathedrals of Hereford, Worcester, Exeter, Wells, Durham, and Bristol.
[Facsimile of the travel diary as published by the Haklyut Society in 1893]
[Wikipedia biography]
[Dictionary of National Biography]
[Grove's Dictionary of Music and Musicians]
His son Robert Dallam (1602-1665) built organs from 1631 at Magdalen College Oxford (see below), York Minster, Jesus College Cambridge, St. John's College Cambridge, Trinity College Cambridge, Lichfield Cathedral, and Gloucester Cathedral, before escaping to France during the Cromwellian regime with his family.
[Grove's Dictionary of Music and Musicians]
The organ which he built for Magdalen College, Oxford, ca.1631, was confiscated by Cromwell and moved ca.1654 to Hampton Court Palace, which Cromwell had also requisitioned. The poet John Milton is reputed to have played it, hence its present nickname 'the Milton Organ'. It was returned to Magdalen in 1660, and rebuilt by Renatus Harris in 1690. In 1737, the Great organ in its case was moved to Tewkesbury Abbey, and the Chair organ was used by Thomas Swarbrick as the one-manual organ at St. Nicholas, Stanford on Avon, recently restored by Goetze and Gwynn. To replace it, Magdalen had a new organ by Byfield installed.
All of these organs, even cathedral instruments, were quite small, just with flue choruses at 8', 4', 2 2/3', 2', 1' pitch. There were no mixtures, reeds or mutations, except for the Twelfth. Most organs were one-manual or two-manual ('double organs').
This was the kind of instrument played by Byrd, Gibbons and Tomkins.
Destruction
The Puritans forbade the use of musical instruments in their religious services. The only music allowed in church services was metrical psalms, sung plainly and unaccompanied. Church organs were commonly damaged or totally destroyed in the Civil War period.
In July 1643 at Westminster Abbey, Cromwell's soldiers 'brake down the Rail abut the Altar, and burnt it in the place where it stood: they brake down the Organ, and pawned the Pipes at several Ale-houses for Pots of Ale: They put on some of the singing mens Surplesses, and in contempt of that Canonical Habit, ran up and down the Church, he that wore the Surpless, was the Hare, the rest were the Hounds'.
And at Exeter, the soldiers entered the cathedral and “brake down the organs, and taking two or three hundred pipes with them in a most scorneful and contemptuous manner went up and downe the streets piping with them; and meeting with some of the Choristers of the Church, whose surplices they had stolne before, and employed them to base servile offices, scoffingly told them: 'Boyes, we have spoyled your trade, you must goe and sing hot pudding pyes'”
Bruno Ryves (1596–1677), Mercurius Rusticus: or, The Countries Complaint of the Sacrileges, Prophanations, and Plunderings, Committed by the Schismatiques, on the Cathedral Churches of this Kingdom., Oxford, 1646, pages 154 and 160 respectively.
Similar scenes could be witnessed all over England. The organs of Worcester and Winchester Cathedrals were destroyed in 1642, Wells, Peterborough and Norwich the following year. Various ordinances of Parliament sanctioned the destruction:
The result of this extremist legislation was a frenzy of military vandalism.
Episcopacy (and therefore the Church of England) was formally abolished in England on 9 October 1646, together with choral services. Choirs were disbanded and cathedrals closed. Even Christmas was abolished in 1647 and turned into an ordinary workday. It would be fourteen years until normality could be restored Scotland, a Calvinist country since 1560, had to wait just over three hundred years for organs to return to Scottish churches. The General Assembly of the Church of Scotland did not lift their ban on organs until 1864. Some musicians sadly did not live to see the restoration - Thomas Tomkins died in 1656, having seen his beloved 1613 Thomas Dallam organ vandalised by Cromwell's soldiers in 1642 and in the following year, his own house in the Cathedral precincts damaged by a direct hit by cannon shot, making it uninhabitable for a long period, destroying most of his household goods and probably a number of his musical manuscripts.
"Beyond the confines of the court the Puritans removed organs from places of worship (so that in 1660 there were more [organs] in taverns than in churches) and closed the playhouses. More than 100 years later Horace Walpole, the aristocratic author of Anecdotes of Painting in England (who, like a good eighteenth-century Whig, slept with a copy of Charles I's death warrant above his bed), commented that `the arts were, in a manner, expelled with the royal family from Britain'." The Pleasures of the Imagination: English Culture in the Eighteenth Century by John Brewer
The Church in England remained staunchly Calvinistic and without organs until the Restoration of the monarchy and Church with Charles II in 1660. English organ builders, robbed of their trade, fled abroad into exile. Robert Dallam, his wife, mother, six children and son in law Thomas Harris (or Harrison), settled in Brittany for the duration, and returned when the coast was clear. During this time, the Dallam family continued to build organs, but now in the local French style which was to greatly influence English specifications after the Restoration.
The Dallams in Brittany
According to Michel Cocheril, the organs built by the Dallams in Brittany were as follows:
Robert Dallam:
Quimper Cathedral, 3 organs 1643-48 - case survives [present specification] [present specification]
St-Jean-du-Doigt 1652
Plestin-Les-Grêves 1653 (now in Lanvellec) - case and pipework survive [present specification]
Lesneven, Notre Dame 1654 [present specification]
St Pol-de-Léon, Cathedral 1658-60 (with son Thomas) - case survives [present specification]
Thomas Dallam, Sieur de la Tour:
St Pol-de-Léon, Cathedral 1658-60 (with father Robert) [present specification]
Daoulas 1667-69
Locronan 1671-72
Ergué-Gabéric 1680 - case and pipework survives [present specification]
Sizun 1683-84 - case survives [present specification]
Pleyben 1688-92 - case survives [present specification]
Brest, St Sauveur 1694-96
Landerneau, St Houardon 1690-94
Rumengol (n.d.) - case survives [present specification]
Morlaix, St Melaine (n.d.) - case survives [present specification]
Ploujean (n.d.) - case survives [present specification]
Guimiliau (n.d.) - case survives [present specification] [Dominic Gwynn's 1991 report]
Guipavas (n.d.)
Thomas Harrison:
Roscoff 1649-50 - case survives (no photo on the internet) [present specification] [present specification]
Lannion, Brelévenez 1654-56
Morlaix, Notre-Dame du Mûr 1656-61
The Dallams carried out repairs only to the following organs:
Vannes Cathedral
Lannion, St Jean
Tréguier Cathedral (see Thomas Dallam's receipt below)
Audierne
Pont-Croix
La Martyre
Saint-Thégonnec, built by Jacques Mascard, is not included on Cocheril's list, but the case appears to be in the Dallam style (see photo in gallery below) [present specification]
The only 17th century Dallam organ fully kept in its original state in France is the Robert Dallam 1653 organ at Lanvellec.
Eglise Lanvellec
Robert Dallam, 1653
Restored by Barthélémy Formentelli, 1986
Bourdon 8'
Montre 4'
Nazard 2' 2/3
Doublette 2'
Quarte 2'
Tierce 1' 3/5
Flageolet 1'
Cornet V rgs
Fourniture III rgs
Cymbale II rgs
Trompette 8'
Cromorne 8'
Voix-humaine 8'
Notre Dame de Ploujean
Thomas Dallam sieur de la Tour, 1680
Restored by Barthélémy Formentelli, 1992
Bourdon 8'
Montre 4'
Flûte 4'
Nasard 2' 2/3
Doublette 2'
Tierce 1' 3/5
Larigot 1' 1/3
Flageolet 1'
Fourniture III rgs
Cymbale II rgs
Cornet V rgs (D)
Cromorne 8' (B et D)
Voix humaine 8' (B et D)
Ergué-Gabéric
Thomas Dallam sieur de la Tour, 1680
450 pipes by Dallam of 750 total
Bourdon 8’
Montre 4’
Flûte 4’
Nazard 2 2/3’
Doublette 2’
Tierce 1 3/5’
Fourniture III rgs
Cymbale II rgs
Cornet V rgs C3 à C5
Trompette 8’ (B&D)
Voix Humaine 8’ (B&D)
[History]
In these three organs we see the genesis of the complete Great organ as described by Marsh, Blewitt and Linley in the 1790s. A similar specification can be seen in the Grand Orgue of the organ in Saint-Gervais, Paris, where the Couperins were organists from 1653 to 1826. With its roots in the French classical tradition, the English 18th century organ was perfectly capable of coping with the registrational demands of the classical French composers such as François Couperin or Nicolas de Grigny, as I found out on the 1764 Rotherhithe organ. The results of my experimentation can be seen above.
Further reading:
[The Dallams in Brittany - Michel Cocheril]
[Traces of You – notes on Thomas Dallam]
[Traces of You – notes on Robert Dallam]
[A Brief Look At The French Classical Organ, Its Origins and German Counterpart - Lawrence Phelps]
[Orgues en Finistère - histories and present specifications]
[Les Orgues - covers the whole of France]
The Puritans forbade the use of musical instruments in their religious services. The only music allowed in church services was metrical psalms, sung plainly and unaccompanied. Church organs were commonly damaged or totally destroyed in the Civil War period.
In July 1643 at Westminster Abbey, Cromwell's soldiers 'brake down the Rail abut the Altar, and burnt it in the place where it stood: they brake down the Organ, and pawned the Pipes at several Ale-houses for Pots of Ale: They put on some of the singing mens Surplesses, and in contempt of that Canonical Habit, ran up and down the Church, he that wore the Surpless, was the Hare, the rest were the Hounds'.
And at Exeter, the soldiers entered the cathedral and “brake down the organs, and taking two or three hundred pipes with them in a most scorneful and contemptuous manner went up and downe the streets piping with them; and meeting with some of the Choristers of the Church, whose surplices they had stolne before, and employed them to base servile offices, scoffingly told them: 'Boyes, we have spoyled your trade, you must goe and sing hot pudding pyes'”
Bruno Ryves (1596–1677), Mercurius Rusticus: or, The Countries Complaint of the Sacrileges, Prophanations, and Plunderings, Committed by the Schismatiques, on the Cathedral Churches of this Kingdom., Oxford, 1646, pages 154 and 160 respectively.
Similar scenes could be witnessed all over England. The organs of Worcester and Winchester Cathedrals were destroyed in 1642, Wells, Peterborough and Norwich the following year. Various ordinances of Parliament sanctioned the destruction:
- 26 August 1643 Ordinance for demolishing superstitions images, etc., and removing Communion Tables from the East End of Churches, before 1 November 1643.
- 4 January 1644/5 Ordinance for taking away the Book of Common Prayer and putting in Execution the Directory for the Public Worship of God.
- 13 March 1644/5 Order for the printing of the Directory, and forbidding its being reprinted without authorising it.
- 9 May 1644 Further Ordinance for the demolition of monuments of Idolatry and Superstition in Churches (This specifically authorised the destruction of organs).
The result of this extremist legislation was a frenzy of military vandalism.
Episcopacy (and therefore the Church of England) was formally abolished in England on 9 October 1646, together with choral services. Choirs were disbanded and cathedrals closed. Even Christmas was abolished in 1647 and turned into an ordinary workday. It would be fourteen years until normality could be restored Scotland, a Calvinist country since 1560, had to wait just over three hundred years for organs to return to Scottish churches. The General Assembly of the Church of Scotland did not lift their ban on organs until 1864. Some musicians sadly did not live to see the restoration - Thomas Tomkins died in 1656, having seen his beloved 1613 Thomas Dallam organ vandalised by Cromwell's soldiers in 1642 and in the following year, his own house in the Cathedral precincts damaged by a direct hit by cannon shot, making it uninhabitable for a long period, destroying most of his household goods and probably a number of his musical manuscripts.
"Beyond the confines of the court the Puritans removed organs from places of worship (so that in 1660 there were more [organs] in taverns than in churches) and closed the playhouses. More than 100 years later Horace Walpole, the aristocratic author of Anecdotes of Painting in England (who, like a good eighteenth-century Whig, slept with a copy of Charles I's death warrant above his bed), commented that `the arts were, in a manner, expelled with the royal family from Britain'." The Pleasures of the Imagination: English Culture in the Eighteenth Century by John Brewer
The Church in England remained staunchly Calvinistic and without organs until the Restoration of the monarchy and Church with Charles II in 1660. English organ builders, robbed of their trade, fled abroad into exile. Robert Dallam, his wife, mother, six children and son in law Thomas Harris (or Harrison), settled in Brittany for the duration, and returned when the coast was clear. During this time, the Dallam family continued to build organs, but now in the local French style which was to greatly influence English specifications after the Restoration.
The Dallams in Brittany
According to Michel Cocheril, the organs built by the Dallams in Brittany were as follows:
Robert Dallam:
Quimper Cathedral, 3 organs 1643-48 - case survives [present specification] [present specification]
St-Jean-du-Doigt 1652
Plestin-Les-Grêves 1653 (now in Lanvellec) - case and pipework survive [present specification]
Lesneven, Notre Dame 1654 [present specification]
St Pol-de-Léon, Cathedral 1658-60 (with son Thomas) - case survives [present specification]
Thomas Dallam, Sieur de la Tour:
St Pol-de-Léon, Cathedral 1658-60 (with father Robert) [present specification]
Daoulas 1667-69
Locronan 1671-72
Ergué-Gabéric 1680 - case and pipework survives [present specification]
Sizun 1683-84 - case survives [present specification]
Pleyben 1688-92 - case survives [present specification]
Brest, St Sauveur 1694-96
Landerneau, St Houardon 1690-94
Rumengol (n.d.) - case survives [present specification]
Morlaix, St Melaine (n.d.) - case survives [present specification]
Ploujean (n.d.) - case survives [present specification]
Guimiliau (n.d.) - case survives [present specification] [Dominic Gwynn's 1991 report]
Guipavas (n.d.)
Thomas Harrison:
Roscoff 1649-50 - case survives (no photo on the internet) [present specification] [present specification]
Lannion, Brelévenez 1654-56
Morlaix, Notre-Dame du Mûr 1656-61
The Dallams carried out repairs only to the following organs:
Vannes Cathedral
Lannion, St Jean
Tréguier Cathedral (see Thomas Dallam's receipt below)
Audierne
Pont-Croix
La Martyre
Saint-Thégonnec, built by Jacques Mascard, is not included on Cocheril's list, but the case appears to be in the Dallam style (see photo in gallery below) [present specification]
The only 17th century Dallam organ fully kept in its original state in France is the Robert Dallam 1653 organ at Lanvellec.
Eglise Lanvellec
Robert Dallam, 1653
Restored by Barthélémy Formentelli, 1986
Bourdon 8'
Montre 4'
Nazard 2' 2/3
Doublette 2'
Quarte 2'
Tierce 1' 3/5
Flageolet 1'
Cornet V rgs
Fourniture III rgs
Cymbale II rgs
Trompette 8'
Cromorne 8'
Voix-humaine 8'
Notre Dame de Ploujean
Thomas Dallam sieur de la Tour, 1680
Restored by Barthélémy Formentelli, 1992
Bourdon 8'
Montre 4'
Flûte 4'
Nasard 2' 2/3
Doublette 2'
Tierce 1' 3/5
Larigot 1' 1/3
Flageolet 1'
Fourniture III rgs
Cymbale II rgs
Cornet V rgs (D)
Cromorne 8' (B et D)
Voix humaine 8' (B et D)
Ergué-Gabéric
Thomas Dallam sieur de la Tour, 1680
450 pipes by Dallam of 750 total
Bourdon 8’
Montre 4’
Flûte 4’
Nazard 2 2/3’
Doublette 2’
Tierce 1 3/5’
Fourniture III rgs
Cymbale II rgs
Cornet V rgs C3 à C5
Trompette 8’ (B&D)
Voix Humaine 8’ (B&D)
[History]
In these three organs we see the genesis of the complete Great organ as described by Marsh, Blewitt and Linley in the 1790s. A similar specification can be seen in the Grand Orgue of the organ in Saint-Gervais, Paris, where the Couperins were organists from 1653 to 1826. With its roots in the French classical tradition, the English 18th century organ was perfectly capable of coping with the registrational demands of the classical French composers such as François Couperin or Nicolas de Grigny, as I found out on the 1764 Rotherhithe organ. The results of my experimentation can be seen above.
Further reading:
[The Dallams in Brittany - Michel Cocheril]
[Traces of You – notes on Thomas Dallam]
[Traces of You – notes on Robert Dallam]
[A Brief Look At The French Classical Organ, Its Origins and German Counterpart - Lawrence Phelps]
[Orgues en Finistère - histories and present specifications]
[Les Orgues - covers the whole of France]
Restoration
The restoration of the monarchy in 1660 was accompanied by the restoration of the Church of England, fourteen years after its abolition. With the return of the Book of Common Prayer and the Anglican liturgy came the urgent need to restock English churches and cathedrals with brand new organs.
Eighteenth century musicologist Dr Charles Burney wrote in 1789 that:
'As to organs, the difficulty of procuring them, upon short notice seems to have been greater than of finding either performers or Music to perform: for, except Dallans, Loosemore of Exeter, Thamar of Peterborough, and Preston of York, scarce a tolerable organ-builder could be found in the whole kingdom'. A General History of Music (Volume 3 p.435) – Charles Burney
'A sufficient number of workmen for the immediate supply of cathedrals and parish churches, with organs, not being found in our own country, it was thought expedient to invite foreign builders of known abilities to settle among us; and the premiums offered on this occasion brought over the two celebrated workmen Smith and Harris.’ A General History of Music (Volume 3 p.436) – Charles Burney
English organ builders who had been exiled, returned with exciting new French sounds in their ears to re-establish and revitalise the English organ, creating the essential Georgian sound. As Burney records, the two main players on the stage were Renatus Harris II, born in exile in France ca.1652, and Bernard Smith, born in Germany as Bernhard Schmidt ca.1630. There was an age gap of 22 years between them, and they were bitter rivals.
The restoration of the monarchy in 1660 was accompanied by the restoration of the Church of England, fourteen years after its abolition. With the return of the Book of Common Prayer and the Anglican liturgy came the urgent need to restock English churches and cathedrals with brand new organs.
Eighteenth century musicologist Dr Charles Burney wrote in 1789 that:
'As to organs, the difficulty of procuring them, upon short notice seems to have been greater than of finding either performers or Music to perform: for, except Dallans, Loosemore of Exeter, Thamar of Peterborough, and Preston of York, scarce a tolerable organ-builder could be found in the whole kingdom'. A General History of Music (Volume 3 p.435) – Charles Burney
'A sufficient number of workmen for the immediate supply of cathedrals and parish churches, with organs, not being found in our own country, it was thought expedient to invite foreign builders of known abilities to settle among us; and the premiums offered on this occasion brought over the two celebrated workmen Smith and Harris.’ A General History of Music (Volume 3 p.436) – Charles Burney
English organ builders who had been exiled, returned with exciting new French sounds in their ears to re-establish and revitalise the English organ, creating the essential Georgian sound. As Burney records, the two main players on the stage were Renatus Harris II, born in exile in France ca.1652, and Bernard Smith, born in Germany as Bernhard Schmidt ca.1630. There was an age gap of 22 years between them, and they were bitter rivals.
The 1684 'Battle of the Organs'
This bitter rivalry between Smith and Harris led to the famous 'Battle of the Organs' in 1684 at the Temple Church in London.
In February 1683, the treasurers of the two Societies of the Temple commissioned an organ each from both the 53-year-old Smith and the 31-year-old Harris. The organs were originally to be installed in the halls of the Middle and Inner Temple, to enable them to be played and judged. Smith was annoyed to discover that Harris was also invited to compete for the contract; he was under the impression that the job had already been offered to him. Smith petitioned the treasurers and won permission to erect his instrument directly in the church instead of temporarily in one of the halls. It was set on a screen which divided the round church from the quire. Advantage was short-lived as Harris also sought and obtained approval to place his organ in the church, at the opposite end to Smith's, south of the communion table. It is thought that both instruments were ready by May 1684.
Harris and Smith engaged the finest organists to show off their respective instruments and were put to great expense as the competition intensified and each instrument gradually grew more elaborate. Both organ builders constantly added the latest stops including the cromorne, the vox humana, and the double bassoon, while Smith (and possibly Harris) divided certain keys into quarter-notes, communicating with different sets of pipes, so that G sharp and A flat, and D sharp and E flat were not synonymous sounds. Harris hired the Queen's organist Giovanni Battista Draghi to demonstrate the superiority of his instrument. Smith hired John Blow and Henry Purcell for his own dream team. There seems to have been nothing to choose between the two organs. Each employed armed guards to protect their instruments from sabotage from the other party. It is rumoured that Harris's party slit the bellows of Smith's organ just before a trial recital! After a long period of unsettled contest it was decided that the final choice should lie with the Lord Keeper of the Great Seal, Lord Guildford. He then died and his chosen successor was the notorious Judge Jeffreys, who, on 2 June 1685, ruled in favour of Smith's instrument. Smith was favoured by the Middle Temple; Jeffreys was a member of the Inner: an honourable and satisfactory outcome. The deed of sale by which Smith received £1,000 bore the date 21 June 1688. Smith's organ remained in use in the Temple Church until the Second World War, when it was destroyed, leaving Harris's instrument, by now in Wolverhampton, the only extant survivor of the contest.
It was decided Renatus Harris should take away his organ without loss of reputation and receive an honorarium of £200. Harris may have lost the contest to Smith, but in 1697, after Smith reneged on a contract for a new organ at Christ Church Cathedral, Dublin, Harris installed his own losing instrument there instead of Smith's. (see New Light on ‘Father’ Smith and the Organ of Christ Church, Dublin – Cheryll Duncan)
In 1750 the Dean and Chapter of Christ Church consulted John Byfield I, son in law and successor of Renatus Harris II, about having the organ repaired. He suggested that he should build them a new organ and take away the Harris instrument in part exchange. They somehow agreed to this and, leaving them with an inferior instrument, Byfield set off for London taking Harris's organ with him; but he died en route at Wolverhampton, leaving his widow Catherine (formerly Harris) penniless. She therefore sold the organ to St John’s Church which had recently been dedicated. The benefactions board records that the organ was paid for by subscription of £500 towards which a Mr William Archer contributed £200.
The organ is still enclosed in the case that was specially made for it at Christ Church Cathedral. A virtually identical Harris organ case can still be seen at St Mary’s Church. Dublin, which has been deconsecrated and converted into a pub called 'The Church'. The only difference is that the St Mary’s case is decorated with carvings of human figures, while that at St Johns is surmounted by a carved wooden crown flanked by mitres as befits a former cathedral instrument.
This bitter rivalry between Smith and Harris led to the famous 'Battle of the Organs' in 1684 at the Temple Church in London.
In February 1683, the treasurers of the two Societies of the Temple commissioned an organ each from both the 53-year-old Smith and the 31-year-old Harris. The organs were originally to be installed in the halls of the Middle and Inner Temple, to enable them to be played and judged. Smith was annoyed to discover that Harris was also invited to compete for the contract; he was under the impression that the job had already been offered to him. Smith petitioned the treasurers and won permission to erect his instrument directly in the church instead of temporarily in one of the halls. It was set on a screen which divided the round church from the quire. Advantage was short-lived as Harris also sought and obtained approval to place his organ in the church, at the opposite end to Smith's, south of the communion table. It is thought that both instruments were ready by May 1684.
Harris and Smith engaged the finest organists to show off their respective instruments and were put to great expense as the competition intensified and each instrument gradually grew more elaborate. Both organ builders constantly added the latest stops including the cromorne, the vox humana, and the double bassoon, while Smith (and possibly Harris) divided certain keys into quarter-notes, communicating with different sets of pipes, so that G sharp and A flat, and D sharp and E flat were not synonymous sounds. Harris hired the Queen's organist Giovanni Battista Draghi to demonstrate the superiority of his instrument. Smith hired John Blow and Henry Purcell for his own dream team. There seems to have been nothing to choose between the two organs. Each employed armed guards to protect their instruments from sabotage from the other party. It is rumoured that Harris's party slit the bellows of Smith's organ just before a trial recital! After a long period of unsettled contest it was decided that the final choice should lie with the Lord Keeper of the Great Seal, Lord Guildford. He then died and his chosen successor was the notorious Judge Jeffreys, who, on 2 June 1685, ruled in favour of Smith's instrument. Smith was favoured by the Middle Temple; Jeffreys was a member of the Inner: an honourable and satisfactory outcome. The deed of sale by which Smith received £1,000 bore the date 21 June 1688. Smith's organ remained in use in the Temple Church until the Second World War, when it was destroyed, leaving Harris's instrument, by now in Wolverhampton, the only extant survivor of the contest.
It was decided Renatus Harris should take away his organ without loss of reputation and receive an honorarium of £200. Harris may have lost the contest to Smith, but in 1697, after Smith reneged on a contract for a new organ at Christ Church Cathedral, Dublin, Harris installed his own losing instrument there instead of Smith's. (see New Light on ‘Father’ Smith and the Organ of Christ Church, Dublin – Cheryll Duncan)
In 1750 the Dean and Chapter of Christ Church consulted John Byfield I, son in law and successor of Renatus Harris II, about having the organ repaired. He suggested that he should build them a new organ and take away the Harris instrument in part exchange. They somehow agreed to this and, leaving them with an inferior instrument, Byfield set off for London taking Harris's organ with him; but he died en route at Wolverhampton, leaving his widow Catherine (formerly Harris) penniless. She therefore sold the organ to St John’s Church which had recently been dedicated. The benefactions board records that the organ was paid for by subscription of £500 towards which a Mr William Archer contributed £200.
The organ is still enclosed in the case that was specially made for it at Christ Church Cathedral. A virtually identical Harris organ case can still be seen at St Mary’s Church. Dublin, which has been deconsecrated and converted into a pub called 'The Church'. The only difference is that the St Mary’s case is decorated with carvings of human figures, while that at St Johns is surmounted by a carved wooden crown flanked by mitres as befits a former cathedral instrument.
1707 Act of Union
1710 (ca.) Croft's organ pieces (MS)
1714 (1 August) Accession of George I
1716 (ca.) Handel: Six Fugues or Voluntarys for the Organ or Harpsichord Opus 3 written
1724 Death of Renatus Harris
1727 Death of Croft
1728 Burkat Shudi (from Switzerland) opens a harpsichord workshop in London (later to become John Broadwood and Sons)
1730+ Hine: Harmonia Sacra Glocestriensis (no publisher's name on title page)
1735 Handel: Six Fugues or Voluntarys Opus 3 published (London: J. Walsh, at the Harp and Hoboy in Catherine Street in the Strand)
1735 The 'Orchestra' and Organ Building (1737) opened at Vauxhall Pleasure Gardens
Handel's own organ installed at Covent Garden
1735 Handel: Organ Concerto Opus 4 No. 2. First performed 5 March London, Covent Garden Theatre, with the oratorio "Esther"
1735 Handel: Organ Concerto Opus 4 No. 3. First performed 5 March London, Covent Garden Theatre, with the oratorio "Esther"
1735 Handel: Organ Concerto Opus 4 No. 5. Performed 26 March London, Covent Garden Theatre, with revival of "Deborah"
1735 Handel: Organ Concerto Opus 4 No. 4. First performed 1 April 1735 London, Covent Garden Theatre with "Athalia”. Originally concluded with 'Alleluja' chorus, short instrumental ending probably written by Handel for Walsh publication.
1736 Handel: Organ Concerto Opus 4 No. 1. First performed 19 February London, Covent Garden Theatre, with "Alexander's Feast"
1736 Handel: Organ Concerto Opus 4 No. 6. First performed 19 February London, Covent Garden Theatre, with "Alexander's Feast". Originally composed for the harp, but later rearranged for the organ
1738 Handel's Organ Concertos Opus 4 published (London: J. Walsh, at the Harp and Hoboy in Catherine Street in the Strand)
1738 Roubiliac's statue of Handel in Vauxhall Pleasure Gardens unveiled
1739 Handel: Organ Concerto "2nd Set" No. 2. First performed 20 March London, King's Theatre, Haymarket Referred to as organ concerto "No. 14"
1739 Handel: Organ Concerto "2nd Set" No. 1 First performed 4 April London, King's Theatre, Haymarket. Referred to as Organ Concerto "No. 13" ("The Cuckoo and the Nightingale")
1739 Handel: Organ Concerto "2nd Set" No. 3. Referred to as organ concerto "No. 15". Arranged from Concerto Grosso Op.6 No.10.
1739 Handel: Organ Concerto "2nd Set" No. 4. Referred to as organ concerto "No. 16". Arranged from Concerto Grosso Op.6 No.1.
1739 Handel: Organ Concerto "2nd Set" No. 5. Referred to as organ concerto "No. 17". Arranged from Concerto Grosso Op.6 No.5.
1739 Handel: Organ Concerto "2nd Set" No. 6. Referred to as organ concerto "No. 18". Arranged from Concerto Grosso Op.6 No.6.
1740 Handel's 2nd Set of Organ Concertos published (London: J. Walsh, in Catherine Street in the Strand)
1740 Handel: Organ Concerto Opus 7 No. 1. First performed 27 February London, Lincoln's Inn Fields Theatre (organ with two manuals and pedals). First movement includes an independent pedal part
1742 Ranelagh Gardens opened
1743 Handel: Organ Concerto Opus 7 No. 2 .First performed 18 February London, Covent Garden Theatre with the oratorio “Samson”
1746 Handel: Organ Concerto Opus 7 No. 4. Performed ?14 February with premiere of "The Occasional Oratorio"
1748 Stanley: Ten Voluntarys Opus 5. Printed for John Johnson at the Harp and Crown in Cheapside.
1749 Handel: Organ Concerto Opus 7 No. 6. Assembled by John Christopher Smith junior following Handel's death for John Walsh the younger's publication
1750 Handel: Organ Concerto Opus 7 No. 5. First performed 16 March London, Covent Garden Theatre with "Theodora". Final gavotte in published version probably added later by Smith Jr.
1750 Roseingrave: Six Double Fugues for the Organ or Harpsicord (?London: John Johnson)
1751 Burney: VI Cornet Pieces with an Introduction (London: J. Walsh, Catharine Street in the Strand)
1751 Handel: Organ Concerto Opus 7 No. 3. First performed 1 March London, Covent Garden Theatre. Two variant autographs of 1st movement. Handel's last orchestral work
1752 Stanley: Ten Voluntarys Opus 6. Printed for John Johnson at the Harp and Crown in Cheapside.
1752 Walond senior: Voluntaries for the Organ or Harpsichord Opus 1
1754 Stanley: Ten Voluntarys Opus 7. Printed for John Johnson at the Harp and Crown in Cheapside.
1757 George Green publishes a set of voluntaries
1758 Bennett: Ten Voluntaries for the Organ or Harpsichord (self-published)
1758 Walond senior: Ten Voluntaries for the Organ or Harpsichord Opus 2
1759 Death of Handel
1760 Heron publishes a set of ten voluntaries
1761 Handel's Organ Concertos Opus 7 published (London: J. Walsh, in Catherine Street in the Strand)
1763 Broadwood starts making square pianos
1764+ Long: Four Lessons and Two Voluntarys (London: C & S Thompson, St. Paul's Churchyard)
1765 Collection of Voluntaries for Organ or Harpsichord by Greene, Travers and other eminent masters
1765 Worgan opens the organ of St. Mary Rotherhithe
1766+ Goodwin, William: Twelve Voluntaries for the Organ or Harpsichord (no publisher's name on title page)
1767 Collection of voluntaries by various composers, including Simon Stubley
1767 James: Ten Voluntaries for the Organ or Harpsichord
1767 (ca.) Selby: Ten Voluntaries for the Organ or Harpsichord
1769 Travers: XII Voluntaries for the Organ or Harpsichord (London: C & S Thompson, St. Paul's Churchyard)
1769 Hayes, Philip: Six Concertos for the Organ, Harpsichord or Forte-Piano, and a Harpsichord Sonata (self-published)
1771 William Selby emigrates to America
1774 Alcock senior: Ten Voluntaries for Organ
1775 Stanley: Six Concertos for the Organ, Harpsichord or Forte Piano Opus 10 (self-published)
1775 George Green: Six Voluntaries
1775 Six Voluntaries by different masters never before published, selected by Edward Kendall, Organist of Falmouth, Cornwall
1775 (ca.) Alcock junior: Eight Easy Voluntarys (London: Longman, Lukey & Co., Cheapside)
1777 Broadwood starts making grand pianos
1777 Keeble: Select Pieces for the Organ (self-published)
1777 Keeble: A Second Set of Select Pieces for the Organ (self-published)
1778 Keeble: A Third Set of Select Pieces for the Organ (self-published)
1779 Greene: Twelve Voluntarys for the Organ or Harpsichord
1780 Beckwith: Six Voluntaries (self-published)
1780 Hawdon: Two Concertos for the Harpsicord, Organ or Piano Forte (London: Longman, Lukey & Co., Cheapside)
1781 Wesley, Charles: Six Concertos for the Organ or Harpsichord
1782 Death of Johann Christian Bach
1784 Handel Commemoration in Westminster Abbey
1784 Hawdon: A First Set of Six Sonatas Spirituale or Voluntarys for the Harpsichord, Organ or Piano-Forte (London: Preston, Strand)
1785 (ca.) Boyce: Ten Voluntaries for the Organ or Harpsichord (London: S, A & P Thompson, St. Paul's Churchyard)
1785 (ca.) Harrison's revised edition of Stanley's voluntaries published
1786 Death of John Stanley
1787 (ca.) Burney: Preludes. Fugues and Interludes for the Organ (self-published)
1787 (ca) Arne: Six Favourite Concertos for the Organ, Harpsichord or Piano Forte.
1789 Twelve Voluntaries for the Organ or Harpsichord (London: J. Carr, Middle Row, Holborn
1791 Marsh: Eighteen Voluntaries with an Explanation (London: Preston, Dean Street, Soho)
1791-92 Haydn first visits England
1793 Last Broadwood harpsichord made
1795 (ca.) Blewitt: A Complete Treatise on the Organ (London: Longman & Broderip, Cheapside and Hay Market)
1795 (ca.) Linley: A Practical Introduction to the Organ (London: J. Bland, High Holborn)
1804 Russell: Twelve Voluntaries for the Organ (London: Clementi & Co., Cheapside)
1805-18 Wesley, Samuel: Twelve Voluntaries Opus 6
1808 Covent Garden theatre burns down, destroying Handel's organ
1810 (ca.) Cecil: Twelve Voluntaries for the Organ or Harpsichord (self-published)
1812 Russell: Twelve Voluntaries for the Organ or Piano-Forte (London: Clementi & Co., Cheapside, and for S.J. Button & J. Whitaker, St. Paul's Churchyard)
1812 Wesley, Samuel: Duett for the Organ
1812 Death of John Broadwood, harpsichord and piano maker
1815 Wesley, Samuel: Twelve Short Pieces with a Full Voluntary
1817 Camidge: Six Concertos for the Organ (in style of Handel and Corelli)
1826 Fleet: Voluntary for the Organ
1837 Wesley, Samuel: Fugue composed expressly for Dr. Mendelssohn
1837 Death of Samuel Wesley
1710 (ca.) Croft's organ pieces (MS)
1714 (1 August) Accession of George I
1716 (ca.) Handel: Six Fugues or Voluntarys for the Organ or Harpsichord Opus 3 written
1724 Death of Renatus Harris
1727 Death of Croft
1728 Burkat Shudi (from Switzerland) opens a harpsichord workshop in London (later to become John Broadwood and Sons)
1730+ Hine: Harmonia Sacra Glocestriensis (no publisher's name on title page)
1735 Handel: Six Fugues or Voluntarys Opus 3 published (London: J. Walsh, at the Harp and Hoboy in Catherine Street in the Strand)
1735 The 'Orchestra' and Organ Building (1737) opened at Vauxhall Pleasure Gardens
Handel's own organ installed at Covent Garden
1735 Handel: Organ Concerto Opus 4 No. 2. First performed 5 March London, Covent Garden Theatre, with the oratorio "Esther"
1735 Handel: Organ Concerto Opus 4 No. 3. First performed 5 March London, Covent Garden Theatre, with the oratorio "Esther"
1735 Handel: Organ Concerto Opus 4 No. 5. Performed 26 March London, Covent Garden Theatre, with revival of "Deborah"
1735 Handel: Organ Concerto Opus 4 No. 4. First performed 1 April 1735 London, Covent Garden Theatre with "Athalia”. Originally concluded with 'Alleluja' chorus, short instrumental ending probably written by Handel for Walsh publication.
1736 Handel: Organ Concerto Opus 4 No. 1. First performed 19 February London, Covent Garden Theatre, with "Alexander's Feast"
1736 Handel: Organ Concerto Opus 4 No. 6. First performed 19 February London, Covent Garden Theatre, with "Alexander's Feast". Originally composed for the harp, but later rearranged for the organ
1738 Handel's Organ Concertos Opus 4 published (London: J. Walsh, at the Harp and Hoboy in Catherine Street in the Strand)
1738 Roubiliac's statue of Handel in Vauxhall Pleasure Gardens unveiled
1739 Handel: Organ Concerto "2nd Set" No. 2. First performed 20 March London, King's Theatre, Haymarket Referred to as organ concerto "No. 14"
1739 Handel: Organ Concerto "2nd Set" No. 1 First performed 4 April London, King's Theatre, Haymarket. Referred to as Organ Concerto "No. 13" ("The Cuckoo and the Nightingale")
1739 Handel: Organ Concerto "2nd Set" No. 3. Referred to as organ concerto "No. 15". Arranged from Concerto Grosso Op.6 No.10.
1739 Handel: Organ Concerto "2nd Set" No. 4. Referred to as organ concerto "No. 16". Arranged from Concerto Grosso Op.6 No.1.
1739 Handel: Organ Concerto "2nd Set" No. 5. Referred to as organ concerto "No. 17". Arranged from Concerto Grosso Op.6 No.5.
1739 Handel: Organ Concerto "2nd Set" No. 6. Referred to as organ concerto "No. 18". Arranged from Concerto Grosso Op.6 No.6.
1740 Handel's 2nd Set of Organ Concertos published (London: J. Walsh, in Catherine Street in the Strand)
1740 Handel: Organ Concerto Opus 7 No. 1. First performed 27 February London, Lincoln's Inn Fields Theatre (organ with two manuals and pedals). First movement includes an independent pedal part
1742 Ranelagh Gardens opened
1743 Handel: Organ Concerto Opus 7 No. 2 .First performed 18 February London, Covent Garden Theatre with the oratorio “Samson”
1746 Handel: Organ Concerto Opus 7 No. 4. Performed ?14 February with premiere of "The Occasional Oratorio"
1748 Stanley: Ten Voluntarys Opus 5. Printed for John Johnson at the Harp and Crown in Cheapside.
1749 Handel: Organ Concerto Opus 7 No. 6. Assembled by John Christopher Smith junior following Handel's death for John Walsh the younger's publication
1750 Handel: Organ Concerto Opus 7 No. 5. First performed 16 March London, Covent Garden Theatre with "Theodora". Final gavotte in published version probably added later by Smith Jr.
1750 Roseingrave: Six Double Fugues for the Organ or Harpsicord (?London: John Johnson)
1751 Burney: VI Cornet Pieces with an Introduction (London: J. Walsh, Catharine Street in the Strand)
1751 Handel: Organ Concerto Opus 7 No. 3. First performed 1 March London, Covent Garden Theatre. Two variant autographs of 1st movement. Handel's last orchestral work
1752 Stanley: Ten Voluntarys Opus 6. Printed for John Johnson at the Harp and Crown in Cheapside.
1752 Walond senior: Voluntaries for the Organ or Harpsichord Opus 1
1754 Stanley: Ten Voluntarys Opus 7. Printed for John Johnson at the Harp and Crown in Cheapside.
1757 George Green publishes a set of voluntaries
1758 Bennett: Ten Voluntaries for the Organ or Harpsichord (self-published)
1758 Walond senior: Ten Voluntaries for the Organ or Harpsichord Opus 2
1759 Death of Handel
1760 Heron publishes a set of ten voluntaries
1761 Handel's Organ Concertos Opus 7 published (London: J. Walsh, in Catherine Street in the Strand)
1763 Broadwood starts making square pianos
1764+ Long: Four Lessons and Two Voluntarys (London: C & S Thompson, St. Paul's Churchyard)
1765 Collection of Voluntaries for Organ or Harpsichord by Greene, Travers and other eminent masters
1765 Worgan opens the organ of St. Mary Rotherhithe
1766+ Goodwin, William: Twelve Voluntaries for the Organ or Harpsichord (no publisher's name on title page)
1767 Collection of voluntaries by various composers, including Simon Stubley
1767 James: Ten Voluntaries for the Organ or Harpsichord
1767 (ca.) Selby: Ten Voluntaries for the Organ or Harpsichord
1769 Travers: XII Voluntaries for the Organ or Harpsichord (London: C & S Thompson, St. Paul's Churchyard)
1769 Hayes, Philip: Six Concertos for the Organ, Harpsichord or Forte-Piano, and a Harpsichord Sonata (self-published)
1771 William Selby emigrates to America
1774 Alcock senior: Ten Voluntaries for Organ
1775 Stanley: Six Concertos for the Organ, Harpsichord or Forte Piano Opus 10 (self-published)
1775 George Green: Six Voluntaries
1775 Six Voluntaries by different masters never before published, selected by Edward Kendall, Organist of Falmouth, Cornwall
1775 (ca.) Alcock junior: Eight Easy Voluntarys (London: Longman, Lukey & Co., Cheapside)
1777 Broadwood starts making grand pianos
1777 Keeble: Select Pieces for the Organ (self-published)
1777 Keeble: A Second Set of Select Pieces for the Organ (self-published)
1778 Keeble: A Third Set of Select Pieces for the Organ (self-published)
1779 Greene: Twelve Voluntarys for the Organ or Harpsichord
1780 Beckwith: Six Voluntaries (self-published)
1780 Hawdon: Two Concertos for the Harpsicord, Organ or Piano Forte (London: Longman, Lukey & Co., Cheapside)
1781 Wesley, Charles: Six Concertos for the Organ or Harpsichord
1782 Death of Johann Christian Bach
1784 Handel Commemoration in Westminster Abbey
1784 Hawdon: A First Set of Six Sonatas Spirituale or Voluntarys for the Harpsichord, Organ or Piano-Forte (London: Preston, Strand)
1785 (ca.) Boyce: Ten Voluntaries for the Organ or Harpsichord (London: S, A & P Thompson, St. Paul's Churchyard)
1785 (ca.) Harrison's revised edition of Stanley's voluntaries published
1786 Death of John Stanley
1787 (ca.) Burney: Preludes. Fugues and Interludes for the Organ (self-published)
1787 (ca) Arne: Six Favourite Concertos for the Organ, Harpsichord or Piano Forte.
1789 Twelve Voluntaries for the Organ or Harpsichord (London: J. Carr, Middle Row, Holborn
1791 Marsh: Eighteen Voluntaries with an Explanation (London: Preston, Dean Street, Soho)
1791-92 Haydn first visits England
1793 Last Broadwood harpsichord made
1795 (ca.) Blewitt: A Complete Treatise on the Organ (London: Longman & Broderip, Cheapside and Hay Market)
1795 (ca.) Linley: A Practical Introduction to the Organ (London: J. Bland, High Holborn)
1804 Russell: Twelve Voluntaries for the Organ (London: Clementi & Co., Cheapside)
1805-18 Wesley, Samuel: Twelve Voluntaries Opus 6
1808 Covent Garden theatre burns down, destroying Handel's organ
1810 (ca.) Cecil: Twelve Voluntaries for the Organ or Harpsichord (self-published)
1812 Russell: Twelve Voluntaries for the Organ or Piano-Forte (London: Clementi & Co., Cheapside, and for S.J. Button & J. Whitaker, St. Paul's Churchyard)
1812 Wesley, Samuel: Duett for the Organ
1812 Death of John Broadwood, harpsichord and piano maker
1815 Wesley, Samuel: Twelve Short Pieces with a Full Voluntary
1817 Camidge: Six Concertos for the Organ (in style of Handel and Corelli)
1826 Fleet: Voluntary for the Organ
1837 Wesley, Samuel: Fugue composed expressly for Dr. Mendelssohn
1837 Death of Samuel Wesley
The Organ Builders
This list traces the work of organ builders from the Restoration in 1660. A detailed description of pre-Cromwellian organs is outside the scope of this study.
Useful resources:
Useful resources:
- The National Pipe Organ Register. Most of the information on organs and organ builders in this study come from this source.
- A Nineteenth Century Album of English Organ Cases - Laurence Libin, Curator of Musical Instruments, Metropolitan Museum of Art (1989, pdf download)
- Martin Goetze and Dominic Gwynn Ltd - organ builders and restorers
- William Drake Ltd - organ builders and restorers
- Eighteenth-Century Organs and Organ Building in New England - Barbara Owen (Colonial Society of Massachusetts, Volume 54 pp.655-714)
John Loosemore (1616-1681)
Born and baptised in Barnstaple, North Devon, son of Samuel Loosemore and Gillian Mayne, married at Bishop's Nympton in 1606.
His father Samuel Loosemore (1577-1642) was also an organ builder, possibly apprenticed to the Chappington family, organ builders in South Molton 1536-1620. He had moved from Bishop's Nympton to Barnstaple between 1610 and 1613, and began work as an organ builder. Two of John's brothers distinguished themselves as organists at Cambridge: Henry Loosemore (ca.1607-1670) at King's College from 1627 and George Loosemore (1619-1682) at Trinity College 1660-82.
John was already assisting his father at 18, and by 22 he was responsible for erecting an organ on the rood loft at Hartland church. He completely took over the business from his father ca.1634. By 1638, he was maintaining the organ at Exeter Cathedral for John Lugge, the organist, who was also from Barnstaple. (Edward Gibbons, brother of Orlando, was the Master of the Choristers)
John married Joan Blackwell at Barnstaple in 1639. They had two daughters, Amey (b.1640 and died two months old), and Joan (b.1642). Shortly after Joan's birth, he took his family to live in Exeter. Two more daughters, Winifred and Mary, were born there.
The Cathedral organ had been damaged by Cromwell's soldiers in January 1642/43, and was subsequently repaired between the following September and December, after the Royalists had recaptured the city on 9 September 1643. Malcolm Walker suggests that Loosemore was the organ builder engaged, and thus explains his move to Exeter.
During the Commonwealth, he worked as a maker of organs and other keyboard instruments for the large houses of the county. A virginal made by him in 1655 is in the Victoria and Albert Museum, London.The Puritans demolished the mediaeval cloisters of the Cathedral and built a series of buildings including the city's cloth market on the foundations. All these squalid buildings were demolished at the Restoration and the Dean and Chapter built proper houses instead, one of which became John Loosemore's house for the rest of his life.
Immediately at the Restoration of Church and monarchy, Loosemore was instructed to put together a temporary Cathedral organ, using such parts as had survived destruction. Some of it was still in the Cloisters in 1656. For the first two years, it seems that he was using the badly-damaged Chapter House as a workshop, from which he was given notice to vacate in 1662. That year he began work on the new permanent organ, examining the organ at Salisbury Cathedral, which had been re-erected by Thomas Harris in 1660, and journeying to Cornwall to buy tin for the pipes.
Finally, the temporary instrument was taken down in May 1665, and Loosemore's new instrument erected, the east front proudly proclaiming: 'JOHN LOOSEMORE MADE THIS ORGAN 1665'.
Without doubt the most striking feature of the organ was its great open double diapason, unique in England for many years afterwards. It consisted of 14 huge pipes having a compass of little more than one octave, made from pure tin, grouped in two separate towers capped with cornices similar to those of the main case. The two towers, each containing seven pipes, were mounted around the structural stone columns at the north and south ends of the screen. They were quite detached from the main case which stood between them, so they were provided with separate valve mechanisms. Behind each great metal pipe was mounted a passive wooden octave pipe to assist oscillation of the air column in the speaking pipe. These towers attracted considerable attention from visitors owing to their striking appearance and the remarkable size of their pipes.
The double diapason survived intact many changes to the organ instituted by later designers, until Henry Speechly’s rebuild in 1876 when the last of John Loosemore’s pipework was melted down, the metal re-used. At this time his richly embossed front pipes in the main case suffered a similar fate, so that nothing now remains of his work except the very handsome case. Even this case, still one of the finest in any English cathedral, has not escaped unscathed, for it was deepened in the course of Speechly’s rebuild to accommodate extra pipes required by his extended specification. It was again disturbed when, as part of yet another rebuild in 1891 by Henry Willis, a solo case facing west was added in the form of a replica of the original chair organ which still faces east. Freeman has described the case in detail elsewhere but here we need mention only one unusual feature, that it is entirely lacking in figure carving: its ornamentation is composed almost exclusively of richly carved flowers and foliage. The two gilded stars on the east front of the case are echoed in the case of Loosemore's Nettlecombe Court organ - a trademark, maybe?
The chamber organ Loosemore built for Nettlecombe Court, however, has retained his richly-embossed tin facade pipes, which can be seen in the 1972 Dartington Hall News article below. These pipes give an idea of how much more splendid the Exeter case would have been originally.
Loosemore’s third Exeter Cathedral organ was a single-manual six-stop instrument for the cathedral choir school, using all wooden pipes.
In January 1669/70, the Dean and Chapter appointed Loosemore as Clerk of the Works to the Cathedral, and for the rest of his life, John Loosemore's work was taken up with his Cathedral duties.
Loosemore's daughter Joan, aged 32, married John Shearme by licence in March 1674/75. John Loosemore, then aged 58, effectively retired in favour of his son in law.
John Loosemore died on 18 April 1681, apparently after a fairly short final illness, judging by the provisional appointment of his son in law as his successor at the end of March. He was buried in the Cathedral two days later at the east end of the nave near the entrance to the south aisle of the choir close to his organ, where his grave is constantly walked over by clergy and choir, being on the usual processional route between the top vestry and the Golden Gates. His gravestone, consequently badly worn, was later moved to the north choir aisle near the north wall, just across from bishop Edmund Tracy’s tomb. In the same grave was also laid two John Shearmes, his son in law and grandson. The inscription reads:
Hic jacet Spe Resurrectionis Johannes Loosmore, quondam Decano & Capitulo Hujus Ecclesiae Curator fidelissimus. Et inter Artifices sui Generis facile Princeps, sit Organum hoc augustum prope situm Perpetuum illius Artis et Ingenii Monumentum. Obiit 18° Aprilis An: 1681 Aeta suae 68.
Hic etiam eadem spe lactae Resurrectionis resquiescunt Exuriae Johannis Shearme qui ejusdem praedicti Johannis Loosmore suit Gener tanto dignissimus quanto Artis et Ingenii Haeres peritissimus necnon in eadem Curatione Successor fidelissimus. Sit organum igitur hoc augustus prope situm perpetuum Utriusque Artis et Ingenii Monumen. Obiit 12 Julii Anno Salutis 1686.
Hic etiam jacet Johannes Shearme praedicti Johannis Filius spei…qui febro correptus placide in Domino obdermuit 17 Die Julii Aetatis 19 Anno Dni, 1693.
Translation:
“Here lies in hope of the Resurrection, John Loosmore sometime the very faithful Keeper [Curator] to the Dean and Chapter of this Church and easily the chief amongst craftsmen of his kind. May this majestic organ placed nearby, be a perpetual monument of his Art and Genius. He died April 18th, 1681 in the 68th year of his age.
Here also lies, in the same hope of a happy Resurrection, the remains of John Shearme, who was the son-in-law of the same before-mentioned John Loosmore, as much distinguished in art and skill as in steadfastness of character and a most faithful successor in the same Curatorship. Therefore may this noble organ placed nearby be a perpetual Monument to their Art and Genius. He died 12 July AD 1686.
Here also lies John, son of the aforesaid John Shearme, a youth of the highest promise, who, cut off by fever, passed peacefully away in the Lord on July 17th, AD 1693, in the 19th year of his life.” Translation by A Freeman (The Organ, vi, 1926, 104), quoted in 'Loosemore of Devon', Appendix 9
[Dictionary of National Biography]
[Wikipedia biography]
[LOOSEMORE OF DEVON by W. R. Loosemore (1923 - 2007)] This is an excellent detailed historical study of the Loosemore family, written 1986-87. Chapter 6 deals with John.
[Loosemore of Dorset] More up to date information concerning the destruction of Exeter Cathedral organ in the 1640s from the 2014 book 'Heavenly Harmony'.
[Heavenly Harmony: Organs and Organists of Exeter Cathedral – Malcolm Walker and David Davies, 2014]
[The Organs and Organists of Exeter Cathedral – Betty Matthews, 1965]
[The Story of a Loosemore Family]
1660
Exeter Cathedral (temporary instrument)
1660-66?
Exeter Cathedral Choir School (eastern range of the cloisters)
Rimbault states that it had six stops, all the pipes being of wood:
Open diapason 8ft
Stopped diapason 8ft.
Principal 4ft.
Flute 4ft.
Twelfth 2 2/3ft
Fifteenth 2ft.
1665
Exeter Cathedral (main organ)
1666
Nettlecombe Court
Other than the three Exeter Cathedral instruments and the chamber organ at Nettlecombe Court, no other organs can be said to be definitely by Loosemore. However, a small combined organ and regal at Blair Castle in Perthshire, Scotland, is dated 1630 and bears the maker's initials 'I.L.'. It has therefore been suggested as a possible early Loosemore instument.
Thomas Thamar
of Peterborough and Cambridge
Active 1648-1685
1660
St. John's College Cambridge
1663
Trinity College Cambridge
1665
Winchester Cathedral
1668
King's College Cambridge
1674
Pembroke College Cambridge moved to St. Michael, Framlingham 1708 by Charles Quarles (church website)
1678
Winchester Cathedral
of Peterborough and Cambridge
Active 1648-1685
1660
St. John's College Cambridge
1663
Trinity College Cambridge
1665
Winchester Cathedral
1668
King's College Cambridge
1674
Pembroke College Cambridge moved to St. Michael, Framlingham 1708 by Charles Quarles (church website)
1678
Winchester Cathedral
Dallam-Harris-Byfield family
Robert Dallam (1602-1665)
Robert returned to England from Brittany at the Restoration aged 58, and built the following organs:
1662 Whitehall Palace
1663 New College Oxford, completed two years later by his son Ralph
Robert died 31 May 1665, and was buried in the cloister of New College, Oxford, near the west door. On the wall above his grave is fixed a plaque reading 'Robert Dallam 1602-1665 who build an organ in the Chapel lies buried below' His gravestone reads:
Hic jacet ROBERTUS DALLAM Instrumenti Pneumatici quod vulgo Organum nuncupant peritissimus Artifex; filius Thomæ Dallam de Dalton in Comitatu Lancastriæ, Mortuus est ultimo die Maii AD 1665, ætatis suæ 63. Qui Postquam diversas Europæ plagas hac arte (qua præcipue claruit) exornasset, Solum hoc tandem, in quo requiescit, cinere suo insignivit.
Here lies
ROBERT DALLAM
Artist consumed in construction of pneumatic instruments called organs.
Son of Thomas Dallam
of Dalton in the county of Lancaster.
He died
the last day of May AD 1665
at the age of 63
after having practiced his art with brilliance
in various European countries.
His ashes honour the ground where he rests.
[Grove's Dictionary of Music and Musicians]
[Dictionary of National Biography]
[Traces of You – notes on Robert Dallam]
Robert returned to England from Brittany at the Restoration aged 58, and built the following organs:
1662 Whitehall Palace
1663 New College Oxford, completed two years later by his son Ralph
Robert died 31 May 1665, and was buried in the cloister of New College, Oxford, near the west door. On the wall above his grave is fixed a plaque reading 'Robert Dallam 1602-1665 who build an organ in the Chapel lies buried below' His gravestone reads:
Hic jacet ROBERTUS DALLAM Instrumenti Pneumatici quod vulgo Organum nuncupant peritissimus Artifex; filius Thomæ Dallam de Dalton in Comitatu Lancastriæ, Mortuus est ultimo die Maii AD 1665, ætatis suæ 63. Qui Postquam diversas Europæ plagas hac arte (qua præcipue claruit) exornasset, Solum hoc tandem, in quo requiescit, cinere suo insignivit.
Here lies
ROBERT DALLAM
Artist consumed in construction of pneumatic instruments called organs.
Son of Thomas Dallam
of Dalton in the county of Lancaster.
He died
the last day of May AD 1665
at the age of 63
after having practiced his art with brilliance
in various European countries.
His ashes honour the ground where he rests.
[Grove's Dictionary of Music and Musicians]
[Dictionary of National Biography]
[Traces of You – notes on Robert Dallam]
After returning to England, Robert's children immediately became active in organ building. George Dallam, Ralph Dallam, and Catherine Dallam's husband, Thomas Harris, worked in London, while their brother, Thomas Dallam, Sieur de la Tour, remained in Brittany with his large family (he married four times and had around twenty children) An account of his organ building career can be read in The Dallams in Brittany - Michel Cocheril. However, two of Thomas Dallam's sons, Toussaint Dallam and Marc-Antoine Dallam did accompany the other Dallams to England and worked as organ builders.
George Dallam (d.1685)
George was in the parish of St.Andrew by the Wardrobe in 1660, and in Purple Lane in 1670. After George's death in 1685, his widow Jane Dallam continued the business until after 1694.
ca.1660 Westminster Abbey
Early 1660s chamber organ, rebuilt 1680-85, now in Old Narragansett Church, Wickford, RI, USA, with suggested connections with John Playford and Henry Purcell. Soundclip here.
1662 Durham Cathedral
1678 St. Giles in the Fields
[Grove's Dictionary of Music and Musicians]
George was in the parish of St.Andrew by the Wardrobe in 1660, and in Purple Lane in 1670. After George's death in 1685, his widow Jane Dallam continued the business until after 1694.
ca.1660 Westminster Abbey
Early 1660s chamber organ, rebuilt 1680-85, now in Old Narragansett Church, Wickford, RI, USA, with suggested connections with John Playford and Henry Purcell. Soundclip here.
1662 Durham Cathedral
1678 St. Giles in the Fields
[Grove's Dictionary of Music and Musicians]
Ralph Dallam (d.1673)
1663 St. George's Chapel, Windsor, moved to St. Martin in the Fields and St. Peter's, St. Albans
1664 St. John the Baptist, King's Norton (R. Dallam)
1665 New College Oxford (completion of late father's organ)
1665 Hackney Old Parish Church
1672 Christ's Hospital School
n.d. (pre-1677) St. Margaret, King's Lynn
1672 St. Alfege, Greenwich (with partner James White). Dallam died during this project, and White put up a stone to his memory at the west end of the south aisle in the following year. No mention of this project on NPOR, although they do record that James White, virginal maker active 1656-81, was Ralph Dallam's partner.
[Dictionary of National Biography]
[Grove's Dictionary of Music and Musicians]
1663 St. George's Chapel, Windsor, moved to St. Martin in the Fields and St. Peter's, St. Albans
1664 St. John the Baptist, King's Norton (R. Dallam)
1665 New College Oxford (completion of late father's organ)
1665 Hackney Old Parish Church
1672 Christ's Hospital School
n.d. (pre-1677) St. Margaret, King's Lynn
1672 St. Alfege, Greenwich (with partner James White). Dallam died during this project, and White put up a stone to his memory at the west end of the south aisle in the following year. No mention of this project on NPOR, although they do record that James White, virginal maker active 1656-81, was Ralph Dallam's partner.
[Dictionary of National Biography]
[Grove's Dictionary of Music and Musicians]
Marc-Antoine Dallam (1673-1730)
Organist in Rumengol in 1699, after which he moved to England, and anglicised his name to Mark Anthony Dallam. He died while building the organ at Southwell Minster.
Organs built by Mark Anthony Dallam:
1714 St. Alkmund, Whitchurch, Shropshire (new church consecrated 1712)
1730 Southwell Minster new Chair organ ordered but not completed because of Dallam's death. Job completed by Thomas Swarbrick
His brother, Toussaint Dallam, was involved with the organ in Christ's Chapel, Dulwich College in 1685, but no trace of this can be found in NPOR.
Organist in Rumengol in 1699, after which he moved to England, and anglicised his name to Mark Anthony Dallam. He died while building the organ at Southwell Minster.
Organs built by Mark Anthony Dallam:
1714 St. Alkmund, Whitchurch, Shropshire (new church consecrated 1712)
1730 Southwell Minster new Chair organ ordered but not completed because of Dallam's death. Job completed by Thomas Swarbrick
His brother, Toussaint Dallam, was involved with the organ in Christ's Chapel, Dulwich College in 1685, but no trace of this can be found in NPOR.
The following organs are merely ascribed to 'Dallam' without indicating which one:
1660 Manchester Cathedral
1664 Norwich Cathedral
1664 Old Meeting House (Congregational), Colegate, Norwich (may have been the Choir organ of Norwich Cathedral)
1765 St. Alfege Greenwich
1660 Manchester Cathedral
1664 Norwich Cathedral
1664 Old Meeting House (Congregational), Colegate, Norwich (may have been the Choir organ of Norwich Cathedral)
1765 St. Alfege Greenwich
Thomas Harris (or Harrison)
Born in England, son of Thomas (or Renatus) Harris I, he married Catherine, daughter of Robert Dallam, some time before 1650, quite possibly just before leaving England, as he travelled with the Dallams to Brittany, where their sons Joseph (born Lannion,1650) and Renatus II (ca.1652) were born.
On his return to England ca.1660/61, Thomas built organs at:
1660 Salisbury Cathedral (assisted by his son Renatus)
1663 Winchester College Chapel (rebuilt 1683 by Renatus Harris)
1663 Gloucester Cathedral (assisted by his son Renatus)
1667 Worcester Cathedral (assisted by his son Renatus)
1670 St. Sepulchre without Newgate (assisted by his son Renatus)
[Grove's Dictionary of Music and Musicians]
Born in England, son of Thomas (or Renatus) Harris I, he married Catherine, daughter of Robert Dallam, some time before 1650, quite possibly just before leaving England, as he travelled with the Dallams to Brittany, where their sons Joseph (born Lannion,1650) and Renatus II (ca.1652) were born.
On his return to England ca.1660/61, Thomas built organs at:
1660 Salisbury Cathedral (assisted by his son Renatus)
1663 Winchester College Chapel (rebuilt 1683 by Renatus Harris)
1663 Gloucester Cathedral (assisted by his son Renatus)
1667 Worcester Cathedral (assisted by his son Renatus)
1670 St. Sepulchre without Newgate (assisted by his son Renatus)
[Grove's Dictionary of Music and Musicians]
Renatus Harris II (ca.1652-1724)
Son of Thomas Harris, Renatus was born in Brittany ca.1652. Harris grew up in his father's business and eventually became one of the two most prominent organ builders of his generation, along with his rival Bernard Smith.
Renatus married Joan Hiett in 1677, and had three children:
During his lifetime Harris’s body of work in England, consisted of over three dozen organs, those for the cathedrals of Chichester, Winchester, Ely, Bristol, Gloucester, Worcester, Hereford and Salisbury, as well as one for King’s College Cambridge.
Harris was the first organ builder in England to build a four-manual organ (Salisbury Cathedral, 1710), and two years later proposed a massive six-manual west end organ for St. Paul's Cathedral, London.
Although many Harris cases are still extant, most of them now contain later organs, although individual Harris stops survive in later rebuilds. The best preserved complete Harris organ is that in the church of St. Botolph Aldgate, London, restored 2005-06 by Goetze and Gwynn.
Renatus Harris died at Salisbury in August or September, 1724 aged ca.72.
[Wikipedia biography]
[Traces of You – notes on Renatus Harris]
[Dictionary of National Biography]
[Grove's Dictionary of Music and Musicians]
1670
St. Sepulchre without Newgate (with his father, Thomas)
1672
New College, Oxford
St. Dunstan in the West
1676
St. Botolph, Aldgate (Thomas or Renatus?)
St. Nicholas, Newcastle-upon-Tyne (Harris the elder – Thomas?)
1675
All Hallows by the Tower (aka All Hallows Barking) (with his father, Thomas)
1676
St. Dunstan, Stepney
1678
Chichester Cathedral
1679
Wells Cathedral
1681
Wells Cathedral
1683
Winchester College Chapel
1684
St. Michael, Cornhill
Temple Church ('Battle of the Organs') (to Christ Church Cathedral, Dublin, with a new case 1697, St. John, Wolverhampton, 1750)
Marlborough House Chapel
1685
Old Meeting House, Colegate, Norwich
Bristol Cathedral
Ely Cathedral
St. Lawrence, Jewry
1686
Hereford Cathedral
1688
Salisbury Cathedral
Christ's Hospital School Chapel
1689
Norwich Cathedral
1690
St. Mary le Tower, Ipswich
Magdalen College, Oxford (rebuild of Robert Dallam's organ, now at Tewkesbury Abbey)
Christ Church, Newgate Street
1691
St. James's, Piccadilly (intended for Whitehall Catholic Chapel, but given by Queen Mary to the church)
1693
Jesus College, Cambridge (now at St. Katharine, Little Bardfield – case extant) (photo album at NPOR)
Chichester Cathedral
Winchester Cathedral
1695
St. Bride, Fleet Street
St. Clement Eastcheap
1696
St. Andrew Undershaft
Christ's Hospital School Chapel (Overhauled and added Choir)
1697
Temple Church organ installed in Christ Church Cathedral, Dublin with new case
St. Patrick's Cathedral, Dublin
1699
St. Andrew, Holborn (part of the rejected Temple organ)
1700
St. Mary, Lambeth
All Hallows, Lombard Street (moved 1938 to All Hallows, Twickenham)
1701
St. Sepulchre without Newgate (choir organ added)
1702
St. Martin Ludgate
1704
St. Botolph Aldgate
St. Michael Cornhill (new organ)
St. John the Baptist, Thaxted (Renatus or John)
1705
St. Giles, Cripplegate
1706
Wells Cathedral
1707
St. Peter Mancroft, Norwich
1709
Christ Church, Bristol
St. Peter, Sible Hedingham, Essex
1710
St. Fin Barre's Cathedral, Cork (Harris or John Baptiste Cuvillie)
St. Mary's, Dublin
Salisbury Cathedral (the first four manual organ in England)
King's College Chapel, Cambridge
1712
Chelsea Old Church (moved to St. Mary, Bideford, Devon, 1723, and to St. Peter and St. Paul, Holsworthy, 1864)
Renatus Harris's proposal for a six-manual organ for the west end of St. Paul's Cathedral (Smith had died in 1708)
1714
New College, Oxford
1715
Wakefield Parish Church (now Cathedral)
St. Mary's, Whitechapel (moved to St. Luke, Chesterton, Cambridge, 1877)
Jesus College, Cambridge (rebuilt)
1719
Bristol Cathedral (new stops added)
1724
St. Dionis Backchurch (mostly by his son, John) (organ to St, Mark, East Street, Walworth (destroyed in World War II), some ranks to Merchant Taylors' Hall)
Not dated
Bath Assembly Rooms (organ installed in Upper Assembly Rooms 1771)
St. Edmund, Lombard Street
Son of Thomas Harris, Renatus was born in Brittany ca.1652. Harris grew up in his father's business and eventually became one of the two most prominent organ builders of his generation, along with his rival Bernard Smith.
Renatus married Joan Hiett in 1677, and had three children:
- Catherine Harris, who married John Byfield I
- John Harris (d.1743), who was the father of Joseph Harris, harpsichord maker, and who went into partnership with his brother in law as 'Harris and Byfield' between ca.1724 and 1743
- Renatus Harris III (died young ca.1727)
During his lifetime Harris’s body of work in England, consisted of over three dozen organs, those for the cathedrals of Chichester, Winchester, Ely, Bristol, Gloucester, Worcester, Hereford and Salisbury, as well as one for King’s College Cambridge.
Harris was the first organ builder in England to build a four-manual organ (Salisbury Cathedral, 1710), and two years later proposed a massive six-manual west end organ for St. Paul's Cathedral, London.
Although many Harris cases are still extant, most of them now contain later organs, although individual Harris stops survive in later rebuilds. The best preserved complete Harris organ is that in the church of St. Botolph Aldgate, London, restored 2005-06 by Goetze and Gwynn.
Renatus Harris died at Salisbury in August or September, 1724 aged ca.72.
[Wikipedia biography]
[Traces of You – notes on Renatus Harris]
[Dictionary of National Biography]
[Grove's Dictionary of Music and Musicians]
1670
St. Sepulchre without Newgate (with his father, Thomas)
1672
New College, Oxford
St. Dunstan in the West
1676
St. Botolph, Aldgate (Thomas or Renatus?)
St. Nicholas, Newcastle-upon-Tyne (Harris the elder – Thomas?)
1675
All Hallows by the Tower (aka All Hallows Barking) (with his father, Thomas)
1676
St. Dunstan, Stepney
1678
Chichester Cathedral
1679
Wells Cathedral
1681
Wells Cathedral
1683
Winchester College Chapel
1684
St. Michael, Cornhill
Temple Church ('Battle of the Organs') (to Christ Church Cathedral, Dublin, with a new case 1697, St. John, Wolverhampton, 1750)
Marlborough House Chapel
1685
Old Meeting House, Colegate, Norwich
Bristol Cathedral
Ely Cathedral
St. Lawrence, Jewry
1686
Hereford Cathedral
1688
Salisbury Cathedral
Christ's Hospital School Chapel
1689
Norwich Cathedral
1690
St. Mary le Tower, Ipswich
Magdalen College, Oxford (rebuild of Robert Dallam's organ, now at Tewkesbury Abbey)
Christ Church, Newgate Street
1691
St. James's, Piccadilly (intended for Whitehall Catholic Chapel, but given by Queen Mary to the church)
1693
Jesus College, Cambridge (now at St. Katharine, Little Bardfield – case extant) (photo album at NPOR)
Chichester Cathedral
Winchester Cathedral
1695
St. Bride, Fleet Street
St. Clement Eastcheap
1696
St. Andrew Undershaft
Christ's Hospital School Chapel (Overhauled and added Choir)
1697
Temple Church organ installed in Christ Church Cathedral, Dublin with new case
St. Patrick's Cathedral, Dublin
1699
St. Andrew, Holborn (part of the rejected Temple organ)
1700
St. Mary, Lambeth
All Hallows, Lombard Street (moved 1938 to All Hallows, Twickenham)
1701
St. Sepulchre without Newgate (choir organ added)
1702
St. Martin Ludgate
1704
St. Botolph Aldgate
St. Michael Cornhill (new organ)
St. John the Baptist, Thaxted (Renatus or John)
1705
St. Giles, Cripplegate
1706
Wells Cathedral
1707
St. Peter Mancroft, Norwich
1709
Christ Church, Bristol
St. Peter, Sible Hedingham, Essex
1710
St. Fin Barre's Cathedral, Cork (Harris or John Baptiste Cuvillie)
St. Mary's, Dublin
Salisbury Cathedral (the first four manual organ in England)
King's College Chapel, Cambridge
1712
Chelsea Old Church (moved to St. Mary, Bideford, Devon, 1723, and to St. Peter and St. Paul, Holsworthy, 1864)
Renatus Harris's proposal for a six-manual organ for the west end of St. Paul's Cathedral (Smith had died in 1708)
1714
New College, Oxford
1715
Wakefield Parish Church (now Cathedral)
St. Mary's, Whitechapel (moved to St. Luke, Chesterton, Cambridge, 1877)
Jesus College, Cambridge (rebuilt)
1719
Bristol Cathedral (new stops added)
1724
St. Dionis Backchurch (mostly by his son, John) (organ to St, Mark, East Street, Walworth (destroyed in World War II), some ranks to Merchant Taylors' Hall)
Not dated
Bath Assembly Rooms (organ installed in Upper Assembly Rooms 1771)
St. Edmund, Lombard Street
John Harris (d.1743)
John Harris, son of Renatus Harris II, used the premises on Red Lion Street, Holborn, London, which he shared with his business partner and brother in law John Byfield. In addition to being an organ builder, he also made harpsichords and spinets. His son Joseph would also become a harpsichord maker.
A spinet by John Harris ca.1740 was sold at auction in 2012.
[Dictionary of National Biography]
[Traces of You – Harris harpsichord and spinet makers]
1724 St. Dionis Backchurch (as DNB, or brother Renatus III, as on NPOR)
1726 Sheldonian Theatre, Oxford
As Harris & Byfield ca.1724-1743 (with John Byfield I)
[Grove's Dictionary of Music and Musicians]
1726
St. Mary Redcliffe, Bristol
1728
St. Thomas the Martyr, Bristol
St. Alban, Wood Street
1729
St. Mary the Virgin, Shrewsbury
1736
St. Wulfram, Grantham
1737
St. Mary, Haverfordwest
1738
St. John the Baptist, Cardiff, moved to St. Paulinus, Llangorse [photos here]
1739
St. Peter and St. Paul, Eye, Suffolk
1740
St. James, Bristol
St. Bartholomew by the Exchange (moved to St. Bartholomew, Moor Lane, 1841; St. Alban, Fulham, 1904; and finally to St. Vedast, Foster Lane, 1959, where it still stands)
John Harris, son of Renatus Harris II, used the premises on Red Lion Street, Holborn, London, which he shared with his business partner and brother in law John Byfield. In addition to being an organ builder, he also made harpsichords and spinets. His son Joseph would also become a harpsichord maker.
A spinet by John Harris ca.1740 was sold at auction in 2012.
[Dictionary of National Biography]
[Traces of You – Harris harpsichord and spinet makers]
1724 St. Dionis Backchurch (as DNB, or brother Renatus III, as on NPOR)
1726 Sheldonian Theatre, Oxford
As Harris & Byfield ca.1724-1743 (with John Byfield I)
[Grove's Dictionary of Music and Musicians]
1726
St. Mary Redcliffe, Bristol
1728
St. Thomas the Martyr, Bristol
St. Alban, Wood Street
1729
St. Mary the Virgin, Shrewsbury
1736
St. Wulfram, Grantham
1737
St. Mary, Haverfordwest
1738
St. John the Baptist, Cardiff, moved to St. Paulinus, Llangorse [photos here]
1739
St. Peter and St. Paul, Eye, Suffolk
1740
St. James, Bristol
St. Bartholomew by the Exchange (moved to St. Bartholomew, Moor Lane, 1841; St. Alban, Fulham, 1904; and finally to St. Vedast, Foster Lane, 1959, where it still stands)
John Byfield I (1694-1751)
Active ca.1724-1751
Married Catherine Harris, daughter of Renatus Harris II, and the first of four Byfields named John. John I worked from Red Lion Str, Holborn, London in partnership with his brother in law John Harris (d.1743).
In 1750 the Dean and Chapter of Christ Church consulted John Byfield I, son in law and successor of Renatus Harris II, about having the organ repaired. He suggested that he should build them a new organ and take away the Harris instrument in part exchange. They somehow agreed to this and, leaving them with an inferior instrument, Byfield set off for London taking Harris's organ with him; but he died en route at Wolverhampton, leaving his widow Catherine (formerly Harris) penniless. She therefore sold the organ to St John’s Church which had recently been dedicated. Catherine, who kept her late husband's business going, died in 1769.
The will of John Byfield, Organ Builder of Saint George the Martyr, Middlesex was proved 4 September 1756 [PROB 11/824]
For John Byfield's work in Dublin, see:
[Dublin Music Trade]
[Boydell Dublin Music Trade Card Index]
As John Byfield
1720
Canons Park, Little Stanmore
1725
Chichester Cathedral
1728
St. Michan's Church, Dublin (added stops. Repairs in 1732) While in Dublin, Handel stayed in Lower Abbey Street and rehearsed much of 'Messiah' in St Michan’s Church. (The organ that he used is still in use.)
St Patrick's Cathedral, Dublin (added stops, repaired and tuned)
1729
Chichester Cathedral
1730
St. Sepulchre without Newgate
1739
St. Sepulchre without Newgate
1740
St. Michael, Framlingham
1741
St. Lawrence Jewry
Temple Church
1742
Fishamble Street Great Musick Hall, Dublin. (This was the year of the world premiere of 'Messiah' in the hall, using Handel's own organ which was shipped from London)
1744
St. Botolph, Aldgate
1746
The Rotunda, Ranelagh Gardens
1748
Philharmonic Room, Dublin (sold to the Charitable Musical Society for the Support of Incurables in 1748)
1749
St. Andrew Undershaft
1750
St. Mary, Truro (secondhand Harris organ from Chapel Royal?)
A manuscript on the flyleaf of the Parish Register of Marriages (1780-1802) states: ‘…Sunday Feby. 3rd 1750 – the organ was open’d at Truro’. Quoted in Biggs, D. The Great Organs of Truro Cathedral , Beric Tempest (date?)
St. Botolph Bishopsgate
St. Andrew Holborn
St. Thomas, Regent Street
1751
Christ Church Cathedral, Dublin. Replaced Harris's Temple Church instrument. Byfield instrument moved to St. Nicholas, Cork, 1857. Church deconsecrated in early 1990s and fittings removed.
As Harris & Byfield ca.1724-1743 (with John Harris)
[Grove's Dictionary of Music and Musicians]
1726
St. Mary Redcliffe, Bristol
1728
St. Thomas the Martyr, Bristol
St. Alban, Wood Street
1729
St. Mary the Virgin, Shrewsbury
1736
St. Wulfram, Grantham
1737
St. Mary, Haverfordwest
1738
St. John the Baptist, Cardiff, moved to St. Paulinus, Llangorse [photos here]
1739
St. Peter and St. Paul, Eye, Suffolk
1740
St. James, Bristol
St. Bartholomew by the Exchange (moved to St. Bartholomew, Moor Lane, 1841; St. Alban, Fulham, 1904; and finally to St. Vedast, Foster Lane, 1959, where it still stands)
As Byfield, Jordan & Bridge (ca.1730)
In partnership with Abraham Jordan and Richard Bridge
Thomas Griffin sold organs made by these three organ builders under his own name.
[Grove's Dictionary of Music and Musicians]
Active ca.1724-1751
Married Catherine Harris, daughter of Renatus Harris II, and the first of four Byfields named John. John I worked from Red Lion Str, Holborn, London in partnership with his brother in law John Harris (d.1743).
In 1750 the Dean and Chapter of Christ Church consulted John Byfield I, son in law and successor of Renatus Harris II, about having the organ repaired. He suggested that he should build them a new organ and take away the Harris instrument in part exchange. They somehow agreed to this and, leaving them with an inferior instrument, Byfield set off for London taking Harris's organ with him; but he died en route at Wolverhampton, leaving his widow Catherine (formerly Harris) penniless. She therefore sold the organ to St John’s Church which had recently been dedicated. Catherine, who kept her late husband's business going, died in 1769.
The will of John Byfield, Organ Builder of Saint George the Martyr, Middlesex was proved 4 September 1756 [PROB 11/824]
For John Byfield's work in Dublin, see:
[Dublin Music Trade]
[Boydell Dublin Music Trade Card Index]
As John Byfield
1720
Canons Park, Little Stanmore
1725
Chichester Cathedral
1728
St. Michan's Church, Dublin (added stops. Repairs in 1732) While in Dublin, Handel stayed in Lower Abbey Street and rehearsed much of 'Messiah' in St Michan’s Church. (The organ that he used is still in use.)
St Patrick's Cathedral, Dublin (added stops, repaired and tuned)
1729
Chichester Cathedral
1730
St. Sepulchre without Newgate
1739
St. Sepulchre without Newgate
1740
St. Michael, Framlingham
1741
St. Lawrence Jewry
Temple Church
1742
Fishamble Street Great Musick Hall, Dublin. (This was the year of the world premiere of 'Messiah' in the hall, using Handel's own organ which was shipped from London)
1744
St. Botolph, Aldgate
1746
The Rotunda, Ranelagh Gardens
1748
Philharmonic Room, Dublin (sold to the Charitable Musical Society for the Support of Incurables in 1748)
1749
St. Andrew Undershaft
1750
St. Mary, Truro (secondhand Harris organ from Chapel Royal?)
A manuscript on the flyleaf of the Parish Register of Marriages (1780-1802) states: ‘…Sunday Feby. 3rd 1750 – the organ was open’d at Truro’. Quoted in Biggs, D. The Great Organs of Truro Cathedral , Beric Tempest (date?)
St. Botolph Bishopsgate
St. Andrew Holborn
St. Thomas, Regent Street
1751
Christ Church Cathedral, Dublin. Replaced Harris's Temple Church instrument. Byfield instrument moved to St. Nicholas, Cork, 1857. Church deconsecrated in early 1990s and fittings removed.
As Harris & Byfield ca.1724-1743 (with John Harris)
[Grove's Dictionary of Music and Musicians]
1726
St. Mary Redcliffe, Bristol
1728
St. Thomas the Martyr, Bristol
St. Alban, Wood Street
1729
St. Mary the Virgin, Shrewsbury
1736
St. Wulfram, Grantham
1737
St. Mary, Haverfordwest
1738
St. John the Baptist, Cardiff, moved to St. Paulinus, Llangorse [photos here]
1739
St. Peter and St. Paul, Eye, Suffolk
1740
St. James, Bristol
St. Bartholomew by the Exchange (moved to St. Bartholomew, Moor Lane, 1841; St. Alban, Fulham, 1904; and finally to St. Vedast, Foster Lane, 1959, where it still stands)
As Byfield, Jordan & Bridge (ca.1730)
In partnership with Abraham Jordan and Richard Bridge
Thomas Griffin sold organs made by these three organ builders under his own name.
[Grove's Dictionary of Music and Musicians]
John Byfield II (d.1767)
Son of John Byfield I Active 1751-1767
As John Byfield
1753
St. Botolph Bishopsgate
Christ's Hospital School
1760
Norwich Cathedral
St. Mary, Long Sutton
St. Patrick, Plumstead
St. John the Baptist, Newcastle upon Tyne
1762
St. John, Wolverhampton
1764
St. Mary, Rotherhithe (detailed study of the organ on this website)
St. Botolph Bishopsgate
1765
St. Martin Ludgate
1766
Chamber organ for James Grant of Castle Grant, Scotland. At the time its cost was said to be £250. The case was said to be designed by ‘Mr. Adam’. The organ was eventually moved to Cullen House, Banffshire. Richard Burnett of Finchcocks acquired the organ during the sale of the contents of Cullen House by Christie’s on 23rd September 1974. I had the great pleasure of playing it at Finchcocks in 2009. I identified the stop with its label missing in the LH stop-jamb as the Open Diapason, as it sounded exactly the same as the Great Open Diapason at Rotherhithe.
A large portion of the Finchcocks collection, including this organ, was auctioned by Dreweatts on 11 May 2016 (the organ was Lot 44 on pages 54-55 of the auction catalogue). It was purchased by Alan Rubin, and is now housed in Le Musée de Provins et du Provinois, about 48 miles south-east of the centre of Paris. Its journey can be tracked here, and here, and here, and finally here. It still has two pieces of paper attached to the stop jambs with useful contemporary registration hints.
As Byfield, Wilcox & Knight 1765
in partnership with:
1765
St. Mary, Horsefair, Banbury
Son of John Byfield I Active 1751-1767
As John Byfield
1753
St. Botolph Bishopsgate
Christ's Hospital School
1760
Norwich Cathedral
St. Mary, Long Sutton
St. Patrick, Plumstead
St. John the Baptist, Newcastle upon Tyne
1762
St. John, Wolverhampton
1764
St. Mary, Rotherhithe (detailed study of the organ on this website)
St. Botolph Bishopsgate
1765
St. Martin Ludgate
1766
Chamber organ for James Grant of Castle Grant, Scotland. At the time its cost was said to be £250. The case was said to be designed by ‘Mr. Adam’. The organ was eventually moved to Cullen House, Banffshire. Richard Burnett of Finchcocks acquired the organ during the sale of the contents of Cullen House by Christie’s on 23rd September 1974. I had the great pleasure of playing it at Finchcocks in 2009. I identified the stop with its label missing in the LH stop-jamb as the Open Diapason, as it sounded exactly the same as the Great Open Diapason at Rotherhithe.
A large portion of the Finchcocks collection, including this organ, was auctioned by Dreweatts on 11 May 2016 (the organ was Lot 44 on pages 54-55 of the auction catalogue). It was purchased by Alan Rubin, and is now housed in Le Musée de Provins et du Provinois, about 48 miles south-east of the centre of Paris. Its journey can be tracked here, and here, and here, and finally here. It still has two pieces of paper attached to the stop jambs with useful contemporary registration hints.
As Byfield, Wilcox & Knight 1765
in partnership with:
- George Wilcox (Active 1763-1765)
- Thomas Knight (apprenticed to 'Father' Smith, and active 1727-1784)
1765
St. Mary, Horsefair, Banbury
John Byfield III (ca.1731-1799)
son of John Byfield II. Active 1767- ca.1799:
34 Red Lion Str, Holborn, London (1777)
3 St. Chad's Row, Grays Inn Ln, London (1779)
Will of John Byfield, Organ Builder of Constitution Row Grays Inn Lane Road , Middlesex proved 4 December 1799 [PROB 11/1333]
[Grove's Dictionary of Music and Musicians]
As Byfield & Green 1768-1772
in partnership with Samuel Green
1768
St. John's College, Oxford
St. Peter in the East, Oxford
1769
Jesus College, Oxford
Theatre Royal, Drury Lane
1770
St. Nicholas, Newbury
Ely Cathedral
St. Margaret, Barking
1771
All Saints, Wigan
1772
St. Matthew, Bethnal Green
St. Mary the Virgin, Islington
1779
Charlotte Chapel, Pimlico
n.d.
Archbishop Tenison's Chapel, Soho
As Byfield, England & Russell
in loose partnership with John England & Hugh Russell 1774-1780. The partnership continued without Byfield as 'England and Russell'
1774
Christ's Hospital School
As John Byfield
1783
St. John, Wolverhampton
1790
Our Lady of the Assumption & St. Gregory, Warwick Street
St. Michael and All Angels, Houghton Le Spring
1792
St. Andrew Undershaft
son of John Byfield II. Active 1767- ca.1799:
34 Red Lion Str, Holborn, London (1777)
3 St. Chad's Row, Grays Inn Ln, London (1779)
Will of John Byfield, Organ Builder of Constitution Row Grays Inn Lane Road , Middlesex proved 4 December 1799 [PROB 11/1333]
[Grove's Dictionary of Music and Musicians]
As Byfield & Green 1768-1772
in partnership with Samuel Green
1768
St. John's College, Oxford
St. Peter in the East, Oxford
1769
Jesus College, Oxford
Theatre Royal, Drury Lane
1770
St. Nicholas, Newbury
Ely Cathedral
St. Margaret, Barking
1771
All Saints, Wigan
1772
St. Matthew, Bethnal Green
St. Mary the Virgin, Islington
1779
Charlotte Chapel, Pimlico
n.d.
Archbishop Tenison's Chapel, Soho
As Byfield, England & Russell
in loose partnership with John England & Hugh Russell 1774-1780. The partnership continued without Byfield as 'England and Russell'
1774
Christ's Hospital School
As John Byfield
1783
St. John, Wolverhampton
1790
Our Lady of the Assumption & St. Gregory, Warwick Street
St. Michael and All Angels, Houghton Le Spring
1792
St. Andrew Undershaft
John Byfield IV (1766-1806)
Worked in partnership with his father, John Byfield III. Active ca.1793-ca.1806
2 Constitution Row, Grays Inn Rd, London (1794)
As John Byfield, organ builder in ordinary to His Majesty 1794-ca.1806
1793
All Saints, Gainsborough?
1794
St. Bartholomew the Less
1800
St. Mary the Virgin, Reading
1803
Sheldonian Theatre, Oxford
Worked in partnership with his father, John Byfield III. Active ca.1793-ca.1806
2 Constitution Row, Grays Inn Rd, London (1794)
As John Byfield, organ builder in ordinary to His Majesty 1794-ca.1806
1793
All Saints, Gainsborough?
1794
St. Bartholomew the Less
1800
St. Mary the Virgin, Reading
1803
Sheldonian Theatre, Oxford
'Father' Smith and his family
Bernard Smith (ca.1630-1708)
Born about 1630 in Germany as Bernhard Schmidt, he probably learnt his art from Christian Förner (ca.1609-ca.1678) of Wettin, near Halle, who was appointed 'Royal Organ Builder in Magdeburg' in 1667. Schmidt worked for a while in the Netherlands as Baerend Smit, building at least one organ in Edam.
Accompanied by his nephews, Smith settled in England in response to the encouragement held out to foreigners to revive organ-building in this country.
His appointment as organ-maker in ordinary to Charles II dates from his arrival in England, together with a grant of rooms formerly called ‘The Organ-builder's Workhouse,’ in Whitehall Palace itself.
From 1686 to 1697, his address was Suffolk Str, St.James, London
Smith built the organ for St. Margaret, Westminster, and in 1676 accepted, and held until his death, the post of organist to this church.
Smith's appointment as organ-maker to the crown was continued in the reign of Anne, and he held it until his death, which took place before 17 March 1707/08, when his will was proved by Elizabeth Smith, alias Houghton, his wife. He left one shilling apiece to his brothers, sisters, nephews, and nieces. He was buried at St. Margaret's in an unmarked grave on the south side of the chancel, on 20 March 1707/08. No memorial was erected.
After his death, he was succeeded in business by his son in law, Christopher Schrider (ca.1675-1751). Christian Smith (active 1686 to 1717) and Gerard Smith (active 1689 to 1729) were also organ builders. Gerard's son, Gerard junior (1695-1765), was also active as an organ builder 1724 to 1765.
A portrait of Smith is in the Oxford music school, and is printed by Hawkins.
He was popularly known as 'Father' Smith, even in his lifetime.
[Wikipedia biography]
[Dictionary of National Biography]
[Westminster Abbey people]
About forty to fifty organs are known to have been by Smith.
Smith's first organ in England is reputed to have been that for the Chapel Royal in Whitehall Palace in 1660. However, although an organ was installed at that time, no builder's details are known (NPOR). The new organ of 1662 was built by Robert Dallam. Burney, however, attributes it to Smith. Smith repaired this organ in 1671 and lowered the pitch half a semitone in 1677. The organ was burned in the Palace fire of 1698.
According to the NPOR, the Westminster Abbey organ of 1660 was built by George Dallam, and the Wells Cathedral organ of 1664 was the work of Robert Taunton in 1662. Both of these have been attributed to Smith.
Smith’s workmanship was rough, but he placed great importance on the quality of his materials, rather than the refinement of the finish. Freeman cites the story that 'when someone once commented on the rough appearance of a pipe he was about to voice, his reply was that, though the pipe looked the devil, he would make it speak like an angel'.
1663
Nicholaaskerk (Grote Kerk), Edam, Netherlands - articles by Stephen Bicknell in Voyages of Discovery: Part 3 (1997), Choir & Organ (1998-9)
1664
Westminster Abbey
1667
Christ's Chapel, Dulwich
1668
Rochester Cathedral
1670
Adlington Hall (NPOR photos and soundclips)
New College Oxford
St. Dunstan in the East, (removed to St. Albans Abbey, 1820)
St. George's Chapel, Windsor (transferred to St. John, Windsor 1789, transferred to St. Mary, Haggerston 1846, church completely disappeared in an air raid 1940)
1671
Sheldonian Theatre Oxford (1725 organ moved to St. Peter-in-the-East, Oxford, 1844 transferred to Congregational Church, Oxford, 1879 transferred to St. Mary the Virgin, Edwardstone, Suffolk)
St. Giles-in-the-Fields (or George Dallam)
Whitehall Palace
1675
St. Margaret's, Westminster (1799-1800 Avery was paid £8 18s to dismantle the organ and store it in the tower (paid 17/2/1801)
1677
Rochester Cathedral
Whitehall Palace (1698 Whitehall Palace and organ destroyed by fire, except for Banqueting House which was re-purposed as the Chapel Royal – new organ built 1699)
1678
Lincoln Cathedral
1680
Christ Church Oxford
1681
St. Mary Woolnoth
St. Peter, Cornhill
1683
Durham Cathedral (a gallery of Smith's work at Durham can be seen here)
1684
Canterbury Cathedral
Manchester Collegiate Church (now Cathedral), 1745 transferred to St. Chad, Rochdale. Sperling states that the organ was “much dilapidated and disused” in 1853
St. Martin's, Ludgate Hill
Temple Church
1685
Westminster Abbey
1686
Emmanuel College, Cambridge
St. Katherine Cree
Trinity College, Cambridge
1687
Donyland Hall (transferred to St. Mary, Hadleigh, Suffolk on death of owner Joseph Thurston)
Gloucester Cathedral
1688
Auckland Castle, Durham (2013 Semibrevity blog post, with soundclips)
St. Giles Cripplegate
1690
Chapel Royal, Hampton Court (organ built but destroyed by fire in the Catholic chapel at Whitehall in 1698 before it could be installed)
Lincoln Cathedral
St. Anne Soho
St. Clement Danes
1691
York Minster
1693
St. Mary at Hill
1694
St. Nicholas, Deptford
Westminster Abbey
1697
St. James's, Garlickhithe
Great St. Mary's, Cambridge (University organ) - originally built for Christ Church Cathedral, Dublin? (see below)
St. Matthew, Walsall
St. Paul's Cathedral
Westminster Abbey?, now at Kilkhampton, Cornwall (NPOR photos)
Christ Church Cathedral, Dublin - see New Light on ‘Father’ Smith and the Organ of Christ Church, Dublin – Cheryll Duncan.
In 1697 William Moreton, Bishop of Kildare, instituted proceedings against Smith for breach of contract, from which it emerges that Smith actually built two organs for the cathedral. However, for various reasons, including Moreton’s dithering over stops, difficulties arranging delivery and transferring money, the cost and Harris’s meddling, both agreements ultimately foundered, leaving Smith with two unsold instruments. Great St Mary’s, Cambridge, took one of them, and St Michael’s, Barbados, probably the other. (St. Michael's Barbados did acquire a Father Smith organ in 1699, which was sold to St. Philip's Church ca.1788).
1699
Banqueting House Whitehall, used as Chapel Royal after the fire. When the chapel was closed in 1891 the organ was removed to St. Peter-ad-Vincula in the Tower of London
1700
All Saints', Isleworth
Eton College chapel. Case to Hawkesyard Priory, Staffordshire, organ to St. Lawrence, Bishopstone, 1844
St. Michael, Aylesham, Norfolk (Schmidt or Harris)
1701
St. Andrew, Rugby
1702
Holy Trinity, Kendal
Southwell Minster
1704
St. David's Cathedral
St. George's Chapel, Windsor (Queen Anne's own organ. Following the death of Queen Anne (and Father Smith) the Court moved to London and Sir John Dolben MP of Finedon Hall purchased the organ and commissioned Schrider to move it from Windsor to St. Mary the Virgin, Finedon. Restoration by Holmes & Swift 2014 with John Norman as consultant. See his article here)
1705
Christ's College, Cambridge (attributed to Smith, but actually by Charles Quarles)
St. Anne Soho
1708
Trinity College, Cambridge (completed by son in law Christopher Schrider, a complete history is on the Trinity College Choir website)
St. Mary Magdalen, Taunton (begun by Smith(?)completed by son in law Christopher Schrider)
Undated:
All Saints', Derby (now Cathedral) NPOR quotes impossible date of 1725 (unless Gerard Smith)
Chester Cathedral (attributed to Smith, with a date of 1684, rebuilt 1842 in St. Paul's Pro-Cathedral, Valletta, Malta)
Holy Trinity, Hull (reference to a secondhand Smith organ installed in the church 1711)
Pembroke College, Cambridge (undated organ from Framlingham)
St. Olave, Southwark
West Walton, Norfolk (attributed to Smith)
Born about 1630 in Germany as Bernhard Schmidt, he probably learnt his art from Christian Förner (ca.1609-ca.1678) of Wettin, near Halle, who was appointed 'Royal Organ Builder in Magdeburg' in 1667. Schmidt worked for a while in the Netherlands as Baerend Smit, building at least one organ in Edam.
Accompanied by his nephews, Smith settled in England in response to the encouragement held out to foreigners to revive organ-building in this country.
His appointment as organ-maker in ordinary to Charles II dates from his arrival in England, together with a grant of rooms formerly called ‘The Organ-builder's Workhouse,’ in Whitehall Palace itself.
From 1686 to 1697, his address was Suffolk Str, St.James, London
Smith built the organ for St. Margaret, Westminster, and in 1676 accepted, and held until his death, the post of organist to this church.
Smith's appointment as organ-maker to the crown was continued in the reign of Anne, and he held it until his death, which took place before 17 March 1707/08, when his will was proved by Elizabeth Smith, alias Houghton, his wife. He left one shilling apiece to his brothers, sisters, nephews, and nieces. He was buried at St. Margaret's in an unmarked grave on the south side of the chancel, on 20 March 1707/08. No memorial was erected.
After his death, he was succeeded in business by his son in law, Christopher Schrider (ca.1675-1751). Christian Smith (active 1686 to 1717) and Gerard Smith (active 1689 to 1729) were also organ builders. Gerard's son, Gerard junior (1695-1765), was also active as an organ builder 1724 to 1765.
A portrait of Smith is in the Oxford music school, and is printed by Hawkins.
He was popularly known as 'Father' Smith, even in his lifetime.
[Wikipedia biography]
[Dictionary of National Biography]
[Westminster Abbey people]
About forty to fifty organs are known to have been by Smith.
Smith's first organ in England is reputed to have been that for the Chapel Royal in Whitehall Palace in 1660. However, although an organ was installed at that time, no builder's details are known (NPOR). The new organ of 1662 was built by Robert Dallam. Burney, however, attributes it to Smith. Smith repaired this organ in 1671 and lowered the pitch half a semitone in 1677. The organ was burned in the Palace fire of 1698.
According to the NPOR, the Westminster Abbey organ of 1660 was built by George Dallam, and the Wells Cathedral organ of 1664 was the work of Robert Taunton in 1662. Both of these have been attributed to Smith.
Smith’s workmanship was rough, but he placed great importance on the quality of his materials, rather than the refinement of the finish. Freeman cites the story that 'when someone once commented on the rough appearance of a pipe he was about to voice, his reply was that, though the pipe looked the devil, he would make it speak like an angel'.
1663
Nicholaaskerk (Grote Kerk), Edam, Netherlands - articles by Stephen Bicknell in Voyages of Discovery: Part 3 (1997), Choir & Organ (1998-9)
1664
Westminster Abbey
1667
Christ's Chapel, Dulwich
1668
Rochester Cathedral
1670
Adlington Hall (NPOR photos and soundclips)
New College Oxford
St. Dunstan in the East, (removed to St. Albans Abbey, 1820)
St. George's Chapel, Windsor (transferred to St. John, Windsor 1789, transferred to St. Mary, Haggerston 1846, church completely disappeared in an air raid 1940)
1671
Sheldonian Theatre Oxford (1725 organ moved to St. Peter-in-the-East, Oxford, 1844 transferred to Congregational Church, Oxford, 1879 transferred to St. Mary the Virgin, Edwardstone, Suffolk)
St. Giles-in-the-Fields (or George Dallam)
Whitehall Palace
1675
St. Margaret's, Westminster (1799-1800 Avery was paid £8 18s to dismantle the organ and store it in the tower (paid 17/2/1801)
1677
Rochester Cathedral
Whitehall Palace (1698 Whitehall Palace and organ destroyed by fire, except for Banqueting House which was re-purposed as the Chapel Royal – new organ built 1699)
1678
Lincoln Cathedral
1680
Christ Church Oxford
1681
St. Mary Woolnoth
St. Peter, Cornhill
1683
Durham Cathedral (a gallery of Smith's work at Durham can be seen here)
1684
Canterbury Cathedral
Manchester Collegiate Church (now Cathedral), 1745 transferred to St. Chad, Rochdale. Sperling states that the organ was “much dilapidated and disused” in 1853
St. Martin's, Ludgate Hill
Temple Church
1685
Westminster Abbey
1686
Emmanuel College, Cambridge
St. Katherine Cree
Trinity College, Cambridge
1687
Donyland Hall (transferred to St. Mary, Hadleigh, Suffolk on death of owner Joseph Thurston)
Gloucester Cathedral
1688
Auckland Castle, Durham (2013 Semibrevity blog post, with soundclips)
St. Giles Cripplegate
1690
Chapel Royal, Hampton Court (organ built but destroyed by fire in the Catholic chapel at Whitehall in 1698 before it could be installed)
Lincoln Cathedral
St. Anne Soho
St. Clement Danes
1691
York Minster
1693
St. Mary at Hill
1694
St. Nicholas, Deptford
Westminster Abbey
1697
St. James's, Garlickhithe
Great St. Mary's, Cambridge (University organ) - originally built for Christ Church Cathedral, Dublin? (see below)
St. Matthew, Walsall
St. Paul's Cathedral
Westminster Abbey?, now at Kilkhampton, Cornwall (NPOR photos)
Christ Church Cathedral, Dublin - see New Light on ‘Father’ Smith and the Organ of Christ Church, Dublin – Cheryll Duncan.
In 1697 William Moreton, Bishop of Kildare, instituted proceedings against Smith for breach of contract, from which it emerges that Smith actually built two organs for the cathedral. However, for various reasons, including Moreton’s dithering over stops, difficulties arranging delivery and transferring money, the cost and Harris’s meddling, both agreements ultimately foundered, leaving Smith with two unsold instruments. Great St Mary’s, Cambridge, took one of them, and St Michael’s, Barbados, probably the other. (St. Michael's Barbados did acquire a Father Smith organ in 1699, which was sold to St. Philip's Church ca.1788).
1699
Banqueting House Whitehall, used as Chapel Royal after the fire. When the chapel was closed in 1891 the organ was removed to St. Peter-ad-Vincula in the Tower of London
1700
All Saints', Isleworth
Eton College chapel. Case to Hawkesyard Priory, Staffordshire, organ to St. Lawrence, Bishopstone, 1844
St. Michael, Aylesham, Norfolk (Schmidt or Harris)
1701
St. Andrew, Rugby
1702
Holy Trinity, Kendal
Southwell Minster
1704
St. David's Cathedral
St. George's Chapel, Windsor (Queen Anne's own organ. Following the death of Queen Anne (and Father Smith) the Court moved to London and Sir John Dolben MP of Finedon Hall purchased the organ and commissioned Schrider to move it from Windsor to St. Mary the Virgin, Finedon. Restoration by Holmes & Swift 2014 with John Norman as consultant. See his article here)
1705
Christ's College, Cambridge (attributed to Smith, but actually by Charles Quarles)
St. Anne Soho
1708
Trinity College, Cambridge (completed by son in law Christopher Schrider, a complete history is on the Trinity College Choir website)
St. Mary Magdalen, Taunton (begun by Smith(?)completed by son in law Christopher Schrider)
Undated:
All Saints', Derby (now Cathedral) NPOR quotes impossible date of 1725 (unless Gerard Smith)
Chester Cathedral (attributed to Smith, with a date of 1684, rebuilt 1842 in St. Paul's Pro-Cathedral, Valletta, Malta)
Holy Trinity, Hull (reference to a secondhand Smith organ installed in the church 1711)
Pembroke College, Cambridge (undated organ from Framlingham)
St. Olave, Southwark
West Walton, Norfolk (attributed to Smith)
Christopher Schrider (ca.1675-1751)
Bernard Smith's son in law and business successor.
Active 1708 to 1751
1708
St. Mary Magdalene, Taunton (Smith, completed by Schrider. Sold 1882 to Taunton School. Scrapped and replaced by an electronic instrument 2007)
Trinity College Cambridge (Smith, completed by Schrider: see history on Trinity College website)
1710
Chapel Royal, St. James's Palace, 1819 - sold to Episcopal Chapel, Long Acre, and in 1866 to Mercers' Hall Chapel, Ironmonger Lane, removed 1883
Chapel Royal, Hampton Court Palace (see Chapel Royal website)
1713
Exeter Cathedral
St. James, Garlickhythe
1715
Trinity College Cambridge (see history on Trinity College website)
St. Mary Whitechapel (Schrider or Renatus Harris) moved to St. Luke, Chesterton, Cambridge, 1877
1716
St. Mary Abbots, Kensington (case acquired by Oriel College, Oxford 1884)
1717
St. Mary the Virgin, Finedon (Queen Anne's organ installed here by Schrider)
1718
Westminster Abbey
1722
St. Andrew Holborn
1724
St. Paul's Cathedral (installed pedals)
Westminster Abbey
1727
St. Martin in the Fields (Gift of George I, opened by Handel) Before 1807 moved to St. Mary the Virgin, Wotton-under-Edge
1730
Westminster Abbey
Temple Church
Whitchurch, Shropshire (according to DNB)
Undated
St. Mary Magdalen, Bermondsey (Schrider or Gerard Smith) (1730 according to DNB)
Christ Church, Isle of Dogs
Bernard Smith's son in law and business successor.
Active 1708 to 1751
1708
St. Mary Magdalene, Taunton (Smith, completed by Schrider. Sold 1882 to Taunton School. Scrapped and replaced by an electronic instrument 2007)
Trinity College Cambridge (Smith, completed by Schrider: see history on Trinity College website)
1710
Chapel Royal, St. James's Palace, 1819 - sold to Episcopal Chapel, Long Acre, and in 1866 to Mercers' Hall Chapel, Ironmonger Lane, removed 1883
Chapel Royal, Hampton Court Palace (see Chapel Royal website)
1713
Exeter Cathedral
St. James, Garlickhythe
1715
Trinity College Cambridge (see history on Trinity College website)
St. Mary Whitechapel (Schrider or Renatus Harris) moved to St. Luke, Chesterton, Cambridge, 1877
1716
St. Mary Abbots, Kensington (case acquired by Oriel College, Oxford 1884)
1717
St. Mary the Virgin, Finedon (Queen Anne's organ installed here by Schrider)
1718
Westminster Abbey
1722
St. Andrew Holborn
1724
St. Paul's Cathedral (installed pedals)
Westminster Abbey
1727
St. Martin in the Fields (Gift of George I, opened by Handel) Before 1807 moved to St. Mary the Virgin, Wotton-under-Edge
1730
Westminster Abbey
Temple Church
Whitchurch, Shropshire (according to DNB)
Undated
St. Mary Magdalen, Bermondsey (Schrider or Gerard Smith) (1730 according to DNB)
Christ Church, Isle of Dogs
Christian Smith
Active 1686 to 1717
1680
Adlington Hall
1696
St. Peter, Tiverton, Devon The organ was on the Chancel screen until that was removed 1820 and a new west gallery (replacing old one) made for the organ. Article on church website. St Peter’s is noted for the first performance of the organ arrangement of Mendelssohn’s ‘Wedding March’. This was arranged and played by Samuel Reay at the wedding of Dorothy Carew and Tom Daniel on 2 June 1847.
1699
St. Giles in the Fields
1704
St. Clement Eastcheap
1712
Southwell Minster
1713
Lichfield Cathedral
1717
St. Botolph, Boston, Lincolnshire
Active 1686 to 1717
1680
Adlington Hall
1696
St. Peter, Tiverton, Devon The organ was on the Chancel screen until that was removed 1820 and a new west gallery (replacing old one) made for the organ. Article on church website. St Peter’s is noted for the first performance of the organ arrangement of Mendelssohn’s ‘Wedding March’. This was arranged and played by Samuel Reay at the wedding of Dorothy Carew and Tom Daniel on 2 June 1847.
1699
St. Giles in the Fields
1704
St. Clement Eastcheap
1712
Southwell Minster
1713
Lichfield Cathedral
1717
St. Botolph, Boston, Lincolnshire
Gerard Smith senior
Active 1689 to 1729 (NPOR)
1682
St. Mary, Barnsley
1688
Ely Cathedral
1690
Ripon Cathedral
1702
Lincoln Cathedral
1708
St. Edmund, Sedgefield
1710
St. Nicholas, Newcastle
1715
St. Paul, Bedford bought by United Brethren (Moravians) in 1832
Rochester Cathedral
1717
All Hallows, Poplar
1718
St. Lawrence Whitchurch, Little Stanmore 2002 Keyboard now in a display case; Plaque states "This is the original keyboard of the Organ upon which Handel played at Whitchurch during the years 1718-1721"
1719
Rochester Cathedral
1720
All Hallows by the Tower
1724
St. George, Hanover Square
1726
Lancaster Priory Ordered for Lancaster Priory but not installed until it was paid for in 1760. Sold in 1813 to St. Mary and All Saints, Whalley for £70
St. Mary Woolnoth
Undated
St. Mary Magdalen, Bermondsey (Schrider or Gerard Smith)
All Hallows, Bread Street (Schrider or Gerard Smith)
Active 1689 to 1729 (NPOR)
1682
St. Mary, Barnsley
1688
Ely Cathedral
1690
Ripon Cathedral
1702
Lincoln Cathedral
1708
St. Edmund, Sedgefield
1710
St. Nicholas, Newcastle
1715
St. Paul, Bedford bought by United Brethren (Moravians) in 1832
Rochester Cathedral
1717
All Hallows, Poplar
1718
St. Lawrence Whitchurch, Little Stanmore 2002 Keyboard now in a display case; Plaque states "This is the original keyboard of the Organ upon which Handel played at Whitchurch during the years 1718-1721"
1719
Rochester Cathedral
1720
All Hallows by the Tower
1724
St. George, Hanover Square
1726
Lancaster Priory Ordered for Lancaster Priory but not installed until it was paid for in 1760. Sold in 1813 to St. Mary and All Saints, Whalley for £70
St. Mary Woolnoth
Undated
St. Mary Magdalen, Bermondsey (Schrider or Gerard Smith)
All Hallows, Bread Street (Schrider or Gerard Smith)
Gerard Smith junior (1695-1765)
Some of the above instruments may be by him. Only St. Giles in the Fields actually specifies 'Gerard Smith junior'.
1734
St. Giles in the Fields
1742
Rochester Cathedral
Some of the above instruments may be by him. Only St. Giles in the Fields actually specifies 'Gerard Smith junior'.
1734
St. Giles in the Fields
1742
Rochester Cathedral
Other organ builders
Abraham Jordan senior (d.ca.1716)
Active ca.1700-ca.1716
NPOR not clear how the organs between 1712 and 1716 should be allocated between father and son.
Will of Abraham Jordan, Organ Builder of Saint George the Martyr Southwark, Surrey, 9 February 1716. National Archives PROB 11/550/255
1708
Gloucester Cathedral
1712
St. Magnus the Martyr, London Bridge. throught the generosity of Sir Charles Duncombe, Jordan, possibly with the assistance of Christopher Schrider, built a 4 manual organ which included the first 'Nags Head Swell box' ever made in England; it contained 1375 pipes
Christ's Hospital School
St. Clement Eastcheap
1714
St. Benet Fink
St. Peter and St. Paul, Malmesbury (For St. Benet Fink. Subsequently moved to Bath and then bought for Malmesbury)
1715
Royal Hospital, Chelsea (organ moved to Holy Cross, Crediton, Devon, 1882)
Undated
Bath Abbey (This organ moved 1838 to the Bishop's Palace, Wells, then in 1842 to St. Mary, Yatton
Portuguese Chapel, South Street, Grosvenor Square
Theatre Royal, Covent Garden
Active ca.1700-ca.1716
NPOR not clear how the organs between 1712 and 1716 should be allocated between father and son.
Will of Abraham Jordan, Organ Builder of Saint George the Martyr Southwark, Surrey, 9 February 1716. National Archives PROB 11/550/255
1708
Gloucester Cathedral
1712
St. Magnus the Martyr, London Bridge. throught the generosity of Sir Charles Duncombe, Jordan, possibly with the assistance of Christopher Schrider, built a 4 manual organ which included the first 'Nags Head Swell box' ever made in England; it contained 1375 pipes
Christ's Hospital School
St. Clement Eastcheap
1714
St. Benet Fink
St. Peter and St. Paul, Malmesbury (For St. Benet Fink. Subsequently moved to Bath and then bought for Malmesbury)
1715
Royal Hospital, Chelsea (organ moved to Holy Cross, Crediton, Devon, 1882)
Undated
Bath Abbey (This organ moved 1838 to the Bishop's Palace, Wells, then in 1842 to St. Mary, Yatton
Portuguese Chapel, South Street, Grosvenor Square
Theatre Royal, Covent Garden
Abraham Jordan junior (d.1756)
Son of Abraham Jordan senior
Active 1712-1756
Partner in Byfield, Jordan & Bridge ca.1730 (at Great Yarmouth)
Loose partnership with John Harris between 1732 and 1742
Partnership with Richard Bridge (at Great Yarmouth, and Exeter 1742)
Loose partnership with Christopher Shrider between 1727 and 1756
Will of Abraham Jordan, Organ Builder of Saint John the Baptist Walbrook, City of London, 16 January 1756. National Archives PROB 11/820/142
1718
St. Thomas, Portsmouth (now Cathedral)
1720
Canons Park, Chapel (organ sold and moved to Holy Trinity, Gosport)
St. George the Martyr, Southwark
1723
St. George, Botolph Lane (moved to St. George, Southall ca.1908. Restored by Mander 2009)
The best remaining Abraham Jordan organ in the country, with one of the two oldest windchests in existence.[Mander website]
[Parish website]
[Organ booklet]
[The Organ in St George's Southall and its Restoration]
St. Luke, Old Street (with Bridge)
St. Mary the Virgin, Potterne
1725
St. Helen, Abingdon
1726
St. Paul, Covent Garden
1729
St. Mary the Virgin, Calne (organ removed to Christ Church, Derry Hill 1842)
1730
Holy Rood, Southampton
St. Giles Cripplegate
Westminster Abbey (with Schrider)
1731
Christ's Hospital School
1732
All Saints Fulham
St. Nicholas, Great Yarmouth
1733
St. Andrew, Banff
St. Antholin, Watling Street
1734
St. George's Chapel, Great Yarmouth (or 'Byfield, Jordan and Bridge', 1740. Organ removed and case used at St John, Smith Square, 1974)
1737
St. Dunstan in the West
Grosvenor Chapel
1740
Exeter Cathedral (specified as Jordan the younger)
1741
St. Asaph Cathedral (organ moved to St. Asaph Parish Church in 1834)
1742
Christ's Hospital School
1748
Durham Cathedral
1750
Holy Trinity, Westbury on Trym (Jordan or England)
1751
Royal Naval College Chapel, Greenwich
1755
St. Katherine Cree
The following organ is attributed to Jordan, but dates from after his death:
1796
St. Michael the Archangel, Beccles (with George England. Richard Bridge organ moved here from St. James', Clerkenwell and installed in W gallery)
Son of Abraham Jordan senior
Active 1712-1756
Partner in Byfield, Jordan & Bridge ca.1730 (at Great Yarmouth)
Loose partnership with John Harris between 1732 and 1742
Partnership with Richard Bridge (at Great Yarmouth, and Exeter 1742)
Loose partnership with Christopher Shrider between 1727 and 1756
Will of Abraham Jordan, Organ Builder of Saint John the Baptist Walbrook, City of London, 16 January 1756. National Archives PROB 11/820/142
1718
St. Thomas, Portsmouth (now Cathedral)
1720
Canons Park, Chapel (organ sold and moved to Holy Trinity, Gosport)
St. George the Martyr, Southwark
1723
St. George, Botolph Lane (moved to St. George, Southall ca.1908. Restored by Mander 2009)
The best remaining Abraham Jordan organ in the country, with one of the two oldest windchests in existence.[Mander website]
[Parish website]
[Organ booklet]
[The Organ in St George's Southall and its Restoration]
St. Luke, Old Street (with Bridge)
St. Mary the Virgin, Potterne
1725
St. Helen, Abingdon
1726
St. Paul, Covent Garden
1729
St. Mary the Virgin, Calne (organ removed to Christ Church, Derry Hill 1842)
1730
Holy Rood, Southampton
St. Giles Cripplegate
Westminster Abbey (with Schrider)
1731
Christ's Hospital School
1732
All Saints Fulham
St. Nicholas, Great Yarmouth
1733
St. Andrew, Banff
St. Antholin, Watling Street
1734
St. George's Chapel, Great Yarmouth (or 'Byfield, Jordan and Bridge', 1740. Organ removed and case used at St John, Smith Square, 1974)
1737
St. Dunstan in the West
Grosvenor Chapel
1740
Exeter Cathedral (specified as Jordan the younger)
1741
St. Asaph Cathedral (organ moved to St. Asaph Parish Church in 1834)
1742
Christ's Hospital School
1748
Durham Cathedral
1750
Holy Trinity, Westbury on Trym (Jordan or England)
1751
Royal Naval College Chapel, Greenwich
1755
St. Katherine Cree
The following organ is attributed to Jordan, but dates from after his death:
1796
St. Michael the Archangel, Beccles (with George England. Richard Bridge organ moved here from St. James', Clerkenwell and installed in W gallery)
Richard Bridge (d.1758)
Possibly trained with John Harris
Active ca.1730-1758
Partner in Byfield, Jordan & Bridge ca.1730 (at Great Yarmouth)
Partnership with Abraham Jordan junior (at Great Yarmouth, and Exeter 1742)
Succeeded by his son in law George England who married Mary Blasdale, Bridge's daughter
[Wikipedia biography]
[Dictionary of National Biography]
1729
St. Bartholomew the Less, Smithfield
1730
St. Helen Bishopsgate
St. Paul Deptford
1731
St. Bartholomew the Great, Smithfield
St. Michael Queenhithe
1733
St. Luke Old Street
St. George in the East
1734
St. Giles Cripplegate
St. James Clerkenwell
1735
Christ Church Spitalfields
[Friends of Christ Church Spitalfields – organ restoration]
[Friends of Christ Church Spitalfields - organ]
[William Drake Ltd. - Christ Church Spitalfields]
[William Drake Ltd. - case study]
[Laurent Robert case restoration]
1741
St. Anne Limehouse (destroyed by fire 1850)
1744
John Oldcastle's Gardens
1746
All Saints (Chelsea Old Church)
Hackney Old Church
1750
St. Ethelbert, Falkenham, Suffolk (sound files on NPOR)
1752
Worcester Cathedral
Canterbury Cathedral
St. Andrew, Enfield
1753
St. Mary of Charity, Faversham
1757
St. Leonard Shoreditch
Undated
St. John the Baptist, Eltham
Spa Fields Chapel
Possibly trained with John Harris
Active ca.1730-1758
Partner in Byfield, Jordan & Bridge ca.1730 (at Great Yarmouth)
Partnership with Abraham Jordan junior (at Great Yarmouth, and Exeter 1742)
Succeeded by his son in law George England who married Mary Blasdale, Bridge's daughter
[Wikipedia biography]
[Dictionary of National Biography]
1729
St. Bartholomew the Less, Smithfield
1730
St. Helen Bishopsgate
St. Paul Deptford
1731
St. Bartholomew the Great, Smithfield
St. Michael Queenhithe
1733
St. Luke Old Street
St. George in the East
1734
St. Giles Cripplegate
St. James Clerkenwell
1735
Christ Church Spitalfields
[Friends of Christ Church Spitalfields – organ restoration]
[Friends of Christ Church Spitalfields - organ]
[William Drake Ltd. - Christ Church Spitalfields]
[William Drake Ltd. - case study]
[Laurent Robert case restoration]
1741
St. Anne Limehouse (destroyed by fire 1850)
1744
John Oldcastle's Gardens
1746
All Saints (Chelsea Old Church)
Hackney Old Church
1750
St. Ethelbert, Falkenham, Suffolk (sound files on NPOR)
1752
Worcester Cathedral
Canterbury Cathedral
St. Andrew, Enfield
1753
St. Mary of Charity, Faversham
1757
St. Leonard Shoreditch
Undated
St. John the Baptist, Eltham
Spa Fields Chapel
George England (d.1773)
Married Mary Blasdale, daughter of Richard Bridge, and became his successor in 1758.
Active 1758-1766, when he retired, leaving his business in the hands of his brother John, who took over completely at George's death in 1773.
‘These organs were remarkable for the brightness and brilliancy of their chorus’ (Hopkins)
[Wikipedia biography]
[Dictionary of National Biography]
[Article on England family by David C. Wickens]
1760
Christ's Chapel, Dulwich (George England and Thomas Whyatt)
[William Drake restoration 2008]
[Laurent Robert case restoration]
[The Organ in Christ's Chapel of Alleyn's College of God's Gift at Dulwich by William McVicker]
[My February 2014 recordings of John Christmas Beckwith's Voluntary 3, Voluntary 4, Voluntary 5, and Voluntary 6]
1762
St Matthew Friday Street
1763
Episcopal Chapel, Long Acre, Strand (chapel of ease to St. Martin in the Fields)
1764
St George, Gravesend
St. Lawrence, Brentford
German Lutheran Church, Whitechapel
1765
St. Mary Woolnoth
St Stephen Walbrook organ transferred 1885, with case remaining at Walbrook, to St. Bartholomew the Great, Smithfield.
1770
St Michael and All Angels, Ashton-under-Lyme
St. Peter and St. Paul, Mottistone, Hampshire
St Alfege Church, Greenwich
1772
St. James Garlickhythe
1776
Danson House, Bexley, Kent (in Hall Place, Bexley 1974-2004)
1772
All Saints Edmonton
Undated
St Margaret Moses
St. Helen, Darley Dale, Derbyshire
St. Matthew, Darley Abbey, Derbyshire
St. Thomas, Clapton Common (Alan writes: I played for a funeral here in 2014. Large resonant 1958 church building. I found this little George England single-manual chamber organ was more than adequate to fill the whole church and lead a congregation. Light touch and a pleasure to play.)
Married Mary Blasdale, daughter of Richard Bridge, and became his successor in 1758.
Active 1758-1766, when he retired, leaving his business in the hands of his brother John, who took over completely at George's death in 1773.
‘These organs were remarkable for the brightness and brilliancy of their chorus’ (Hopkins)
[Wikipedia biography]
[Dictionary of National Biography]
[Article on England family by David C. Wickens]
1760
Christ's Chapel, Dulwich (George England and Thomas Whyatt)
[William Drake restoration 2008]
[Laurent Robert case restoration]
[The Organ in Christ's Chapel of Alleyn's College of God's Gift at Dulwich by William McVicker]
[My February 2014 recordings of John Christmas Beckwith's Voluntary 3, Voluntary 4, Voluntary 5, and Voluntary 6]
1762
St Matthew Friday Street
1763
Episcopal Chapel, Long Acre, Strand (chapel of ease to St. Martin in the Fields)
1764
St George, Gravesend
St. Lawrence, Brentford
German Lutheran Church, Whitechapel
1765
St. Mary Woolnoth
St Stephen Walbrook organ transferred 1885, with case remaining at Walbrook, to St. Bartholomew the Great, Smithfield.
1770
St Michael and All Angels, Ashton-under-Lyme
St. Peter and St. Paul, Mottistone, Hampshire
St Alfege Church, Greenwich
1772
St. James Garlickhythe
1776
Danson House, Bexley, Kent (in Hall Place, Bexley 1974-2004)
1772
All Saints Edmonton
Undated
St Margaret Moses
St. Helen, Darley Dale, Derbyshire
St. Matthew, Darley Abbey, Derbyshire
St. Thomas, Clapton Common (Alan writes: I played for a funeral here in 2014. Large resonant 1958 church building. I found this little George England single-manual chamber organ was more than adequate to fill the whole church and lead a congregation. Light touch and a pleasure to play.)
John England (d.1791)
Brother of George England, John was active 1774-ca.1790.
Partner in Byfield, England and Russell 1774-1780 (with John Byfield III and Hugh Russell).
He died in 1791 'much afflicted with the gout'.
[Article on England family by David C. Wickens]
As Byfield, England and Russell
1774
Christ's Hospital School
1780
St. Helen, Abingdon
As England and Russell
1775
Niton Baptist Church, Isle of Wight (NPOR attributes it to George Pike England, and says it may have come from Little Missenden in the 1950s)
1779
St. Michael Queenhithe
1780
German Lutheran Church, Whitechapel (choir organ added)
1781
St. Mary Aldermary
1782
Residence of Lord de Blaquiere, Llewenni, Denbighshire (George England or England and Russell)
St. Mary Woolnoth
1784
Congregational Chapel, Cambridge, Gloucestershire
St. John the Baptist, Hadzor, Worcestershire, moved to St. James, Oddingly, ca.1970
1800
St. Mary Rotherhithe (NPOR quotes this as 'England and Russell', but Austin Niland's book does not support this. John England had died in 1791, and Byfield alone still had care of the organ until 1803, Russell taking over in 1805.)
Undated
St. Antholin, Watling Street
Christ Church Spitalfields (as Robson, Russell and England)
As England and Son 1790
Undated
St. Bartholomew, Birmingham
As John England
1776
Wardour Castle, Tisbury, Wiltshire (as John England)
[Goetze and Gwynn 2012 restoration]
1786
Petworth House
Undated
Christ Church, Doncaster
Brother of George England, John was active 1774-ca.1790.
Partner in Byfield, England and Russell 1774-1780 (with John Byfield III and Hugh Russell).
He died in 1791 'much afflicted with the gout'.
[Article on England family by David C. Wickens]
As Byfield, England and Russell
1774
Christ's Hospital School
1780
St. Helen, Abingdon
As England and Russell
1775
Niton Baptist Church, Isle of Wight (NPOR attributes it to George Pike England, and says it may have come from Little Missenden in the 1950s)
1779
St. Michael Queenhithe
1780
German Lutheran Church, Whitechapel (choir organ added)
1781
St. Mary Aldermary
1782
Residence of Lord de Blaquiere, Llewenni, Denbighshire (George England or England and Russell)
St. Mary Woolnoth
1784
Congregational Chapel, Cambridge, Gloucestershire
St. John the Baptist, Hadzor, Worcestershire, moved to St. James, Oddingly, ca.1970
1800
St. Mary Rotherhithe (NPOR quotes this as 'England and Russell', but Austin Niland's book does not support this. John England had died in 1791, and Byfield alone still had care of the organ until 1803, Russell taking over in 1805.)
Undated
St. Antholin, Watling Street
Christ Church Spitalfields (as Robson, Russell and England)
As England and Son 1790
Undated
St. Bartholomew, Birmingham
As John England
1776
Wardour Castle, Tisbury, Wiltshire (as John England)
[Goetze and Gwynn 2012 restoration]
1786
Petworth House
Undated
Christ Church, Doncaster
George Pike England (ca.1768-1815)
Son of John England, he married Ann Wilson on 13 Oct 1789 in St Pancras Parish Church.
Partner in England and Son 1790, he was active in his own right 1791-1815.
The list of the organs he made in an extant account book is marked with an asterisk*
Joseph William Walker (1802-1870) was apprenticed to him, and went on to found his own firm in 1828.
Will of George Pyke England, Organ Builder of Saint Pancras , Middlesex, proved 4 March 1815, PROB 11/1566/66
George Pike England was succeeded by his foreman and son-in-law, W.A.A. Nicholls.
[Wikipedia biography]
[Dictionary of National Biography]
[Article on England family by David C. Wickens]
1785
St. George, West Grinstead, Sussex
1788
*St. George, Portsea
1789
St. John, Portsea
St. John, Southsea
1790
*Moravian Church, Fetter Lane, transferred to St. Peter, Yoxford, Suffolk in 1920
1791
*Adelphi Chapel
1792
*St. Denys, Warminster. There seems to be no question about this organ having been ordered (by George III?) for Salisbury Cathedral and, being found too small, sold to Warminster, and installed here by the builder. It was opened on April 8th, 1792. Name in gilt letters on a blue ground: 'G.P. England Londini fecit' (AF)
*St James's Church, Clerkenwell (wrongly dated 1790 - inscription on case: 'England fecit 1792')
St. Giles in the Fields
1793
Moravian Church, Haverfordwest
*All Saints, Gainsborough, Lincolnshire
Chapel Field House (now Assembly Rooms), Norwich, moved to St. Andrew, Norwich in 1808, to St. Laurence, Norwich, in 1863, and to St. Mary, South Walsham, in 1972.
1794
*Newington Church, Surrey
*St. Peter and St. Paul, Blandford Forum
1795
St. Malachi, Hillsborough, originally stood in Hillsborough Castle
St. John Baptist, Our Lady & St. Laurence, Thaxted
St. John the Baptist in Thanet, Margate, Kent
1796
Lincoln Cathedral Song School
*St Peter, Carmarthen
1797
St. John at Hackney
1798
St. Thomas, Portsmouth
1799
St. John the Baptist, Duke Street, Devonport, transferred to a church of 'St. Michael' 1958.
St. James, Poole organ by John Snetzler, 1757, reputed to be old St. John-at-Hackney, installed; pulled down in 1796 (Haycraft gives 1797 for England's work); organ given by Benjamin Lester
1801
*St Margaret Lothbury
1802
*Sardinian Embassy Chapel
St. George, Colegate, Norwich [soundfiles]
1803
Alphamstone Rectory, Essex
St. Mary the Virgin, Newent, Gloucestershire
*St. Mary Magdalene, Newark-on-Trent, Nottinghamshire
1804
Southwell Minster
St. Helen, Colne, Huntingdonshire, undated but ca.1804
1805
St. Mary Woolnoth
St. Stephen Coleman Street
*Sheffield Parish Church (later Cathedral)
*St. Philip, Birmingham (later Cathedral)
*St Martin Outwich
Royal Pavilion, Brighton (Music Room ii), transferred to Downside Abbey in 1823, transferred to St. Vigor, Stratton-on-the-Fosse in 1907
St. Mary, Todmorden, Yorkshire, moved to Christ Church, Todmorden in 1835, replaced by a new organ in 1875
1806
Union Chapel, Winscombe, Somerset
Maryfield Cottage, High Street, Taplow
First Non-subscribing Presbyterian Church, Newry
St. Mary Old Church, Stoke Newington
1807
Lincoln Cathedral Song School
1808
*Assumption of St. Mary the Virgin, Hinckley, Leicestershire
South Lambeth Chapel (England)
Chichester Cathedral (England)
1809
St. Wulfram, Grantham
*St Thomas, Stourbridge
*Lancaster Priory (NPOR dates it at 1811)
1810
St. Mary and All Saints, Whalley, Lancashire
St. Helen the Great, London
Freethorpe Manor, Norfolk, later removed to St. Andrew, Wickhampton
Residence of Earl Grey, Howick, Northumberland
1811
St. Andrew Undershaft
*St. Andrew, Shifnal, Shropshire (England stops indicated, i.e. 'England' marked on knobs)
St. Mary the Virgin, Bishop's Cannings, Wiltshire
*St. Mary, Richmond, Yorkshire
1812
*St. Mary the Virgin, Ulverston (NPOR gives builder as 'Unknown')
*St Mary the Virgin, Islington (NPOR records organ as Byfield and Green, 1772, with no further work until 1846)
Crowood House, Ramsbury, Wiltshire, organ given to Holy Cross, Ramsbury in 1936
St. Nicholas, Great Yarmouth
Wimborne Minster
1813
All Hallows by the Tower
St. Stephen, Norwich, transferred in 1869 to St. Agnes, Cawston, Norfolk [soundfiles]
Oby Rectory, Thurne, Norfolk, transferred 1912 to St. Edmund, Thurne
St. John the Evangelist, Chichester
1814
St. Thomas the Apostle, Exeter. Swell added October 1839. England organ sold 1876 (information from St. Thomas parish registers at the Devon Record Office).
St. Mary Magdalene, Holloway Road
1815
Durham Cathedral, work completed by Nicholls
St. Mary, Bridport
Witherley Hall, Leicestershire, transferred to Congregational Church, Ansley, Warwickshire, in 1934
Undated
Concert Room, Chichester
Horsford Vicarage, Norfolk
Magdalen College School Chapel, Brackley, Northamptonshire
Residence of Lord de Dunstanville, Tehidy Park
St. Gabriel Newington (from St. Mary Newington)
St. George Hanover Square
St. Martin, Morden (G.P. England?)
St. Mary-le-Port, Bristol, moved to St. Mary, Henbury, Bristol, 1812, destroyed in World War II.
St. Peter Mancroft, Norwich
Son of John England, he married Ann Wilson on 13 Oct 1789 in St Pancras Parish Church.
Partner in England and Son 1790, he was active in his own right 1791-1815.
The list of the organs he made in an extant account book is marked with an asterisk*
Joseph William Walker (1802-1870) was apprenticed to him, and went on to found his own firm in 1828.
Will of George Pyke England, Organ Builder of Saint Pancras , Middlesex, proved 4 March 1815, PROB 11/1566/66
George Pike England was succeeded by his foreman and son-in-law, W.A.A. Nicholls.
[Wikipedia biography]
[Dictionary of National Biography]
[Article on England family by David C. Wickens]
1785
St. George, West Grinstead, Sussex
1788
*St. George, Portsea
1789
St. John, Portsea
St. John, Southsea
1790
*Moravian Church, Fetter Lane, transferred to St. Peter, Yoxford, Suffolk in 1920
1791
*Adelphi Chapel
1792
*St. Denys, Warminster. There seems to be no question about this organ having been ordered (by George III?) for Salisbury Cathedral and, being found too small, sold to Warminster, and installed here by the builder. It was opened on April 8th, 1792. Name in gilt letters on a blue ground: 'G.P. England Londini fecit' (AF)
*St James's Church, Clerkenwell (wrongly dated 1790 - inscription on case: 'England fecit 1792')
St. Giles in the Fields
1793
Moravian Church, Haverfordwest
*All Saints, Gainsborough, Lincolnshire
Chapel Field House (now Assembly Rooms), Norwich, moved to St. Andrew, Norwich in 1808, to St. Laurence, Norwich, in 1863, and to St. Mary, South Walsham, in 1972.
1794
*Newington Church, Surrey
*St. Peter and St. Paul, Blandford Forum
1795
St. Malachi, Hillsborough, originally stood in Hillsborough Castle
St. John Baptist, Our Lady & St. Laurence, Thaxted
St. John the Baptist in Thanet, Margate, Kent
1796
Lincoln Cathedral Song School
*St Peter, Carmarthen
1797
St. John at Hackney
1798
St. Thomas, Portsmouth
1799
St. John the Baptist, Duke Street, Devonport, transferred to a church of 'St. Michael' 1958.
St. James, Poole organ by John Snetzler, 1757, reputed to be old St. John-at-Hackney, installed; pulled down in 1796 (Haycraft gives 1797 for England's work); organ given by Benjamin Lester
1801
*St Margaret Lothbury
1802
*Sardinian Embassy Chapel
St. George, Colegate, Norwich [soundfiles]
1803
Alphamstone Rectory, Essex
St. Mary the Virgin, Newent, Gloucestershire
*St. Mary Magdalene, Newark-on-Trent, Nottinghamshire
1804
Southwell Minster
St. Helen, Colne, Huntingdonshire, undated but ca.1804
1805
St. Mary Woolnoth
St. Stephen Coleman Street
*Sheffield Parish Church (later Cathedral)
*St. Philip, Birmingham (later Cathedral)
*St Martin Outwich
Royal Pavilion, Brighton (Music Room ii), transferred to Downside Abbey in 1823, transferred to St. Vigor, Stratton-on-the-Fosse in 1907
St. Mary, Todmorden, Yorkshire, moved to Christ Church, Todmorden in 1835, replaced by a new organ in 1875
1806
Union Chapel, Winscombe, Somerset
Maryfield Cottage, High Street, Taplow
First Non-subscribing Presbyterian Church, Newry
St. Mary Old Church, Stoke Newington
1807
Lincoln Cathedral Song School
1808
*Assumption of St. Mary the Virgin, Hinckley, Leicestershire
South Lambeth Chapel (England)
Chichester Cathedral (England)
1809
St. Wulfram, Grantham
*St Thomas, Stourbridge
*Lancaster Priory (NPOR dates it at 1811)
1810
St. Mary and All Saints, Whalley, Lancashire
St. Helen the Great, London
Freethorpe Manor, Norfolk, later removed to St. Andrew, Wickhampton
Residence of Earl Grey, Howick, Northumberland
1811
St. Andrew Undershaft
*St. Andrew, Shifnal, Shropshire (England stops indicated, i.e. 'England' marked on knobs)
St. Mary the Virgin, Bishop's Cannings, Wiltshire
*St. Mary, Richmond, Yorkshire
1812
*St. Mary the Virgin, Ulverston (NPOR gives builder as 'Unknown')
*St Mary the Virgin, Islington (NPOR records organ as Byfield and Green, 1772, with no further work until 1846)
Crowood House, Ramsbury, Wiltshire, organ given to Holy Cross, Ramsbury in 1936
St. Nicholas, Great Yarmouth
Wimborne Minster
1813
All Hallows by the Tower
St. Stephen, Norwich, transferred in 1869 to St. Agnes, Cawston, Norfolk [soundfiles]
Oby Rectory, Thurne, Norfolk, transferred 1912 to St. Edmund, Thurne
St. John the Evangelist, Chichester
1814
St. Thomas the Apostle, Exeter. Swell added October 1839. England organ sold 1876 (information from St. Thomas parish registers at the Devon Record Office).
St. Mary Magdalene, Holloway Road
1815
Durham Cathedral, work completed by Nicholls
St. Mary, Bridport
Witherley Hall, Leicestershire, transferred to Congregational Church, Ansley, Warwickshire, in 1934
Undated
Concert Room, Chichester
Horsford Vicarage, Norfolk
Magdalen College School Chapel, Brackley, Northamptonshire
Residence of Lord de Dunstanville, Tehidy Park
St. Gabriel Newington (from St. Mary Newington)
St. George Hanover Square
St. Martin, Morden (G.P. England?)
St. Mary-le-Port, Bristol, moved to St. Mary, Henbury, Bristol, 1812, destroyed in World War II.
St. Peter Mancroft, Norwich
Organs by 'England'
It is not clear which one of the three Englands these organs are by.
1750
Wistow Hall, Leicestershire (attributed to G.P. England)
1753
Sardinian Embassy Chapel (NPOR quotes '1853', clearly a typo)
1778
St Mildred, Poultry (George England)
1783
All Hallows, London Wall (G. England, from 'the French Chapel in Spitalfields')
ca.1783
Lulworth Castle
pre.1822
Royal Hospital, Chelsea
Undated
Chapel of Ease, Holloway (his (whose?) last large organ)
Methodist Church, Tiviot Dale, Stockport
Portuguese Embassy Chapel
St. Clement Danes, Strand
St. John the Evangelist, Princes Street, Edinburgh
St. Peter, Askham, Westmorland
Unitarian Church, Canterbury
It is not clear which one of the three Englands these organs are by.
1750
Wistow Hall, Leicestershire (attributed to G.P. England)
1753
Sardinian Embassy Chapel (NPOR quotes '1853', clearly a typo)
1778
St Mildred, Poultry (George England)
1783
All Hallows, London Wall (G. England, from 'the French Chapel in Spitalfields')
ca.1783
Lulworth Castle
pre.1822
Royal Hospital, Chelsea
Undated
Chapel of Ease, Holloway (his (whose?) last large organ)
Methodist Church, Tiviot Dale, Stockport
Portuguese Embassy Chapel
St. Clement Danes, Strand
St. John the Evangelist, Princes Street, Edinburgh
St. Peter, Askham, Westmorland
Unitarian Church, Canterbury
John Snetzler (1710-1785)
John Snetzler (or Johann Schnetzler) was an organ builder of Swiss origin who worked mostly in England. Born in Schaffhausen in April 1710, he trained with Johann Ignaz Egedacher(1675-1744) in Passau and came to London ca.1741. Snetzler's workshop was located in rented premises near Soho Square, on Rose Street, now Manette Street. He lived at 22 Oxford Road, St. Marylebone from 1751 to 1781 (1771 at No. 22, now No. 50), having a workshop in a former concert room at Dean Street, Soho from 1763. He moved in 1784 after retirement to 14 Bentinck Street in St. James, Westminster. On 28 April 1770, John Snetzler became a naturalised Englishman, along with six other foreigners, including the two harpsichord makers Abraham and Jacob Kirkman. John's brother, Leonard (1714-1772), an expert woodcarver, worked with him on the casework. On his retirement in 1781, his business continued (his assistant James Jones was one of his executors) and the firm eventually ended up in the hands of Thomas Elliot. He finally returned home to Schaffhausen, where he died on 28 September 1785.
Active 1740-1780
[Wikipedia biography]
[Biography by Barbara Schnetzler](in German)
[A SNETZLER CHAMBER ORGAN OF 1761: Smithsonian Institution, 1970. A good introduction to Snetzler's chamber organs. A high-resolution version can be downloaded here]
Snetzler-Elliot-Hill lineage:
The first records ofThomas Elliot (ca.1759 – 1832)as an organ builder date from 1790 when he was established in Holborn. Later he moved to premises in Tottenham Court Road. He is thought to have worked for the company founded by John Snetzler.
Elliot is thought to have formed a business partnership with John Nutt, until Nutt's death in 1804.
Alexander Buckingham was foreman to Thomas Elliot for many years until establishing himself as an independent organ builder.
William Hill (1789–1870) married Thomas Elliot’s daughter Maryon 30 October 1818 in St Pancras Parish Church, and worked for his father-in-law from 1825. The firm was named Elliot and Hill from then until 1832.
Thomas Elliot died in 1832, and the business continued under William Hill as William Hill & Sons.
1742
Belle Skinner Collection, Yale University, New Haven, Connecticut, (restored 1983 by Noel Mander). The webpage from the Yale Collection of Musical Instruments includes an audio clip.
Crieff, Perthshire, Residence of Mr B McNeill
1743
Moravian Church, Fetter Lane, London. Snetzler made the first organ in the church – a 2 manual instrument
1745
St Saviour's Chapel, Norwich Cathedral. Built for the Duke of Bedford, it was installed in St. Saviour's Chapel in 1947 after a number of moves. Another description and photograph on NPOR.
Theddingworth, Leicestershire, All Saints. Purchased ca.1866 and remodelled in a case with painted shutters by the Rev.F.H. Sutton
1747
St. Andrew's Qualified Chapel, Carrubbers' Close, Edinburgh 1747, moved to St. Andrew's-by-the-Green, Glasgow, 1775, the first church in Glasgow to install an organ for public worship, resulting in the nickname, 'Whistlin' Kirk' or the 'Kist o' Whistles'. It was transferred to Unitarian Church, Union Street, Glasgow, 1812, and moved to the New Unitarian Church, St. Vincent Street, Glasgow, 1856. This church was subsequently demolished in 1982, and the organ, by now the oldest in the city, was gifted to the University of Glasgow, Concert Hall, in 1985. See history on university's website.
Moravian Church, Fetter Lane, London. Sumner noted a bureau organ (with a 6ft long Stopped Diapason as its longest pipe), made for Fetter Lane Chapel for 30 guineas.
1748
Fulneck Moravian Church, Pudsey, Leeds
[Lost 18th century Snetzler carving rediscovered by Wood Pipe Organ Builders– scroll down about halfway for this news article]
[Renovating an instrument that incorporates work by Snetzler and Binns– scroll down about halfway for this news article]
1750
Woburn Abbey, built for the Duke of Bedford, moved toWoburn Old Church, 1836; moved again to St. John the Baptist, Eversholt,1868
Picton Castle, Haverfordwest
Edinburgh, Residence of Mr John McPherson, Bell's Wynd. Organ temporarily housed in St.Cecilia's Hall, Edinburgh, 1750; returned to Bell's Wynd 1762; transferred to Charlotte Street Chapel (pre-1804 Qualified Chapel [Episcopal]) 1797. Placed in store by Wood, Small & Co, Edinburgh, 1818; then moved to St. Peter, Peebles, in 1828, and removed again 1882 (NPOR does not say to where).
Edinburgh, Residence of Sir Ronald Johnson. Bureau organ. 1 manual. This instrument was made for the Prayer Room at the Moravian settlement at Fulneck.
1751
Moresby Hall, Whitehaven, Cumberland
1752
Bureau organ now in Handel House Museum, Brook Street, London.
[2017 restoration by Goetze and Gwynn]
1754
St. Margaret, King's Lynn commissioned by Dr. Charles Burney, organist, to replace a Dallam organwhich suffered as a result of the collapse of a tower into the nave in 1741.
1754
St. Peter, Belper, Derbyshire, organ sold to St. Luke, Heage, 1853 and replaced in 1877. The fate of this instrument is unknown.
Bureau organ bought by David Hindle in 2006 from the Caldecote Community at Mersham-le-Hatch. It was given to them by the collector Captain Lane, in whose house Andrew Freeman had photographed it in 1944.
[Description on Goetze and Gwynn website]
1755
Clare College, Cambridgehas a fully functioning chamber organ by John Snetzler (1755), acquired from John Bibby of Winchester in 1985, and restored in 2016. Previously, it is known to have been in the Mission Church of St James, Heysham, Lancashire, and before that it was in the collection of the nineteenth-century musicologist, J Fuller Maitland, of Borwick Hall near Carnforth. At one time it was in Shaw House near Newbury.
[Article in 'The Diapason']
[William Drake, Ltd., The Restoration of the 1755 John Snetzler Organ at Clare College, Cambridge]
[Laurent Robert woodcarvings for the Drake restoration]
[Bach’s Fugue in C Minor, BWV 575, played by Anne Page]
St Paul's, Pinstone Street, Sheffield. Church demolished 1938, organ moved to St. Paul, Arbourthorne Estate, which was in turn demolished in mid-1970s. Now in All Saints, Longedge Lane, Wingerworth.
St Nicholas, Whitehaven.The 4 rank Snetzler TC Swell removed and incorporated in the organ installed at St. Matthew, Llanelwedd by Hill in 1878. Remainder moved to Arlecdon Church 1904 where it was incorporated into an organ by Wm Hill & Son, 1877. Only a few pipes by Snetzler survived. In 1972, the organ was 'ruined by damp', so replaced.
Mr. Poyser's Factory, Chester, 'A jolly little organ'.... Chamber organ said to have been in Buckingham Palaceand purchased by Henry Poyser. Moved to the Barber Institute of Fine Arts, Birmingham in 1958.
Kingston upon Hull, St. Mary, Lowgate
1756
Sculthorpe, St. Mary and All Saints, built as an entertainment organ for the Assembly Rooms at York, moved to Sculthorpe in 1860.
Duke of Bedford's music gallery. Moved to Christ Church, Westminster, then the National Society Training School; now St Mary the Virgin, Hillington, Norfolk, from 1857.
St. Mary and All Saints, Chesterfield.The whole organ (except Choir) destroyed by fire in north transept on 22 December 1961. Just four Snetzler stops survive in the replacement Willis organ.
Holy Trinity Church, Hull. Repairs to earlier organ, reputedly by Father Smith, 1756 and 1758.
1757
The organ supplied by Snetzler to the Lodge Canongate Kilwinning No.2, Edinburgh, is featured in the picture of Robert Burns being made Poet Laureate of the Lodge in 1787, and is in regular use, still hand pumped.
All Saints with St. John the Baptist, Huntingdon
1759
Tincleton, Dorset, Clyffe House
1760
Chester Cathedral. Snetzler may have added a Chaire organ, and to have replaced theTrumpet with a new one.
Oxborough Hall Chapel (private Roman Catholic chapel). This has been attributed to Snetzler but is more likely to be by Elliott.
Buckingham Palace, the organ of George III, purchased from a sale by the Earl of Egremont sometime early in nineteenth century and loaned to St Decumans, Watchet, ca.1820. Removed to Eton College ca.1923, first in Election Hall, then Lower School, and finally the Chapel.
Gopsall Hall, Derbyshire. Snetzler added a Choir manual to the 1749 Thomas Parker organ built for Charles Jennens (librettist for Handel's 'Messiah'). Moved to Packington Hall, Warwickshire, in 1773, first to the music room, and in 1792 to the chapel.
1761
Smithsonian Institution, Washington, DC. Of the five Snetzler organs known to have found their way to North America before the Revolution, this one, belonging to Dr. Bard, surgeon to George Washington and founder of the Medical School at King's College, New York, in 1767, is the only one still in existence with a traceable history.
Private Chapel of the Shrove Family, Norton, Sheffield. Moved to the Unitarian Chapel, Banbury, 1853, to the Westgate Unitarian Chapel, Lewes, East Sussex, before 1930, when it was moved to the Unitarian Church, Hastings. It was restored 2010 by Matthew Copley (photographs of the restoration on the website).
St. Gervase and St. Protase, Little Plumstead, Norfolk. Moved to Wesley's Chapel (The New Room), The Horse Fair, Bristol, in 1930.
1762
Congregational Church of South Dennis, Massachusetts, built for the Concert Hall, Boston, Massachusetts, 1763–1774, it moved to a church in Providence, R.I. in the late 1700s, and installed in South Dennis 1854. Has a 13-note 'box' pedalboard, date unknown.
Christ Church, Cambridge, Massachussetts. In the Revolution the pipes were melted down to make bullets; decades of neglect followed. A 13-note 'box' pedalboard was found in the crypt, which may have belonged to this instrument.
Blickling Hall, Norfolk, now in St. Andrew's, Blickling
1763
Salisbury Cathedral. Chamber organ moved here in 1958.
1764
St. Laurence, Ludlow
Dolmetsch Foundation. Bureau organ, purchased in the early 1930s by Arnold Dolmetsch, now in the Horniman Museum, London.
[The Guardian, 29 January 2014]
Westminster Abbey. Chamber organ in south transept, restored and presented by Noel Mander in 1965.
1765
St. Patrick's Cathedral, Armagh1834 - cathedral extensively repaired; organ stored above stables in Archbishop's palace; In 1840 the organ was removed to the concert room at the Tontine where the Music Society met; In 1849 the Armagh Music Society was dissolved, and the organ transferred to Donegall Square Methodist Chapel, Belfast, where the recently-acquired organ was inaugurated with a special service on Sunday 2 September 1849. That night the church was burnt out and the organ destroyed (Barnes and Renshaw-The Life and Work of John Snetzler)
St. Leonard, Swithland, Leicestershire.
Peterhouse, Cambridge
Kedleston Hall, Derbyshire. Supplied secondhand by Snetzler. Original builder unknown, but the National Trust suggest James Gravenor (fl.1741-1768)
[1993 Goetze and Gwynn restoration]
[Dominic Gwynn's report]
[National Trust Kedleston Hall website]
1766
Halifax Parish Church. Constructed in 1763, but not installed until 1766. Snetzler's case was destroyed when the organ was moved from the west gallery in 1878.
1766
Auckland Castle, Co. Durham. Rebuilt. Added notes, Hautboy, new soundboards etc.
St. Edmund, Sedgefield, Co. Durham. Repaired and cleaned
1767
Octagon Chapel, Bath (William Herschel was the first organist)
German Lutheran Church, (formerly St. Mary-le-Savoy), Cleveland Street, Bloomsbury.
St. Michael, Charleston, SC. (Episcopal) Only the case survives.
Newcastle Cathedral. Snetzler said to have added the Swell, but 'The Organs of Newcastle Cathedral' by James Harker, published 2003, states that the swell organ was added in 1749, probably by Robert Bridge, but using a Snetzler design.
1768
Sulham Manor, Berkshire, moved to Tilehurst Mission Church in 1932; St. Swithun, Brookthorpe in 1939; and St. Margaret, Whaddon in 1997.
1769
Lynton Congregational Church, from Lee Abbey; presented in 1917.
Residence of Lord Hatherton, Teddesley Hall, Staffordshire. Rescued by Noel Mander, and presented to St. Bartholomew the Great, West Smithfield, and moved to St. Andrew-by-the-Wardrobe, Blackfriars, in 1961.
Beverley Minster
1770
St. Peter, Tiverton. Repair. Commissioned to added more stops, and was probably responsible for the addition of the Swell manual and possibly the Choir manual as well.
Well Head Mansion, Halifax. Donated by Mrs Doherty Waterhouse to All Saints, Elland, 1915. Fell into disrepair over many years and moved to Anglican Convent of St Peter in Horbury, 1957, and transferred to Halifax Minster, St. John the Baptist, in 2014. The organ was rededicated 1 March 2015.
1772
St. Mary, Huntingdon
1773
St. Margaret's Chapel, Bath
St. Malachi, Hillsborough, Co. Down
1774
Lindisfarne College, Ruabon, Denbighshire
St. Modwen, Burton-on-Trent. Snetzler case survives.
Leicester Cathedral
Private residence of Sir Watkin Williams-Wynn, 20 St. James's Square, London. Moved to Wynnstay Hall, near Ruabon, 1863-64. Given by Sir Watkin Williams-Wynn to the National Museum, Cardiff, 1995.
[Goetze and Gwynn restoration]
1775
St. Mary the Virgin, Andover. Transferred to Newquay Wesley Methodist Church in 1904. Parts of this organ incorporated into 2013 organ at St. Michael, Newquay
1777
Birmingham Cathedral
St. Mary the Virgin, Merevale, Warwickshire. Said to be from Merevale Hall
St Mary's Church, Nottingham. Repairs.
All Saints, Rotherham
1778
Cobham Hall, Rochester, Kent
1779
Locko Park, Spondon, Derbyshire
1780
Trinity Methodist Church, Bridge Street, Kidwelly, Carmarthenshire
Not dated
John Cennick Memorial Church, Bath (formerly Moravian Church)
Christ Church, Hanham
Residence of William Strutt, Derby
Residence of Lord Barrington
Holy Cross, Basildon, Essex. (Some suggestion of a Snetzler origin and of work around 1810)
Beeleigh Abbey, Maldon, Essex. (Reputed to be by Snetzler, and to have stood in the
Foundling Hospital; afterwards at Sacombe)
Attributed to Snetzler
1775
St. Cecilia's Hall, Edinburgh (by assistant James Jones)
[2017 restoration by Goetze and Gwynn]
John Snetzler (or Johann Schnetzler) was an organ builder of Swiss origin who worked mostly in England. Born in Schaffhausen in April 1710, he trained with Johann Ignaz Egedacher(1675-1744) in Passau and came to London ca.1741. Snetzler's workshop was located in rented premises near Soho Square, on Rose Street, now Manette Street. He lived at 22 Oxford Road, St. Marylebone from 1751 to 1781 (1771 at No. 22, now No. 50), having a workshop in a former concert room at Dean Street, Soho from 1763. He moved in 1784 after retirement to 14 Bentinck Street in St. James, Westminster. On 28 April 1770, John Snetzler became a naturalised Englishman, along with six other foreigners, including the two harpsichord makers Abraham and Jacob Kirkman. John's brother, Leonard (1714-1772), an expert woodcarver, worked with him on the casework. On his retirement in 1781, his business continued (his assistant James Jones was one of his executors) and the firm eventually ended up in the hands of Thomas Elliot. He finally returned home to Schaffhausen, where he died on 28 September 1785.
Active 1740-1780
[Wikipedia biography]
[Biography by Barbara Schnetzler](in German)
[A SNETZLER CHAMBER ORGAN OF 1761: Smithsonian Institution, 1970. A good introduction to Snetzler's chamber organs. A high-resolution version can be downloaded here]
Snetzler-Elliot-Hill lineage:
The first records ofThomas Elliot (ca.1759 – 1832)as an organ builder date from 1790 when he was established in Holborn. Later he moved to premises in Tottenham Court Road. He is thought to have worked for the company founded by John Snetzler.
Elliot is thought to have formed a business partnership with John Nutt, until Nutt's death in 1804.
Alexander Buckingham was foreman to Thomas Elliot for many years until establishing himself as an independent organ builder.
William Hill (1789–1870) married Thomas Elliot’s daughter Maryon 30 October 1818 in St Pancras Parish Church, and worked for his father-in-law from 1825. The firm was named Elliot and Hill from then until 1832.
Thomas Elliot died in 1832, and the business continued under William Hill as William Hill & Sons.
1742
Belle Skinner Collection, Yale University, New Haven, Connecticut, (restored 1983 by Noel Mander). The webpage from the Yale Collection of Musical Instruments includes an audio clip.
Crieff, Perthshire, Residence of Mr B McNeill
1743
Moravian Church, Fetter Lane, London. Snetzler made the first organ in the church – a 2 manual instrument
1745
St Saviour's Chapel, Norwich Cathedral. Built for the Duke of Bedford, it was installed in St. Saviour's Chapel in 1947 after a number of moves. Another description and photograph on NPOR.
Theddingworth, Leicestershire, All Saints. Purchased ca.1866 and remodelled in a case with painted shutters by the Rev.F.H. Sutton
1747
St. Andrew's Qualified Chapel, Carrubbers' Close, Edinburgh 1747, moved to St. Andrew's-by-the-Green, Glasgow, 1775, the first church in Glasgow to install an organ for public worship, resulting in the nickname, 'Whistlin' Kirk' or the 'Kist o' Whistles'. It was transferred to Unitarian Church, Union Street, Glasgow, 1812, and moved to the New Unitarian Church, St. Vincent Street, Glasgow, 1856. This church was subsequently demolished in 1982, and the organ, by now the oldest in the city, was gifted to the University of Glasgow, Concert Hall, in 1985. See history on university's website.
Moravian Church, Fetter Lane, London. Sumner noted a bureau organ (with a 6ft long Stopped Diapason as its longest pipe), made for Fetter Lane Chapel for 30 guineas.
1748
Fulneck Moravian Church, Pudsey, Leeds
[Lost 18th century Snetzler carving rediscovered by Wood Pipe Organ Builders– scroll down about halfway for this news article]
[Renovating an instrument that incorporates work by Snetzler and Binns– scroll down about halfway for this news article]
1750
Woburn Abbey, built for the Duke of Bedford, moved toWoburn Old Church, 1836; moved again to St. John the Baptist, Eversholt,1868
Picton Castle, Haverfordwest
Edinburgh, Residence of Mr John McPherson, Bell's Wynd. Organ temporarily housed in St.Cecilia's Hall, Edinburgh, 1750; returned to Bell's Wynd 1762; transferred to Charlotte Street Chapel (pre-1804 Qualified Chapel [Episcopal]) 1797. Placed in store by Wood, Small & Co, Edinburgh, 1818; then moved to St. Peter, Peebles, in 1828, and removed again 1882 (NPOR does not say to where).
Edinburgh, Residence of Sir Ronald Johnson. Bureau organ. 1 manual. This instrument was made for the Prayer Room at the Moravian settlement at Fulneck.
1751
Moresby Hall, Whitehaven, Cumberland
1752
Bureau organ now in Handel House Museum, Brook Street, London.
[2017 restoration by Goetze and Gwynn]
1754
St. Margaret, King's Lynn commissioned by Dr. Charles Burney, organist, to replace a Dallam organwhich suffered as a result of the collapse of a tower into the nave in 1741.
1754
St. Peter, Belper, Derbyshire, organ sold to St. Luke, Heage, 1853 and replaced in 1877. The fate of this instrument is unknown.
Bureau organ bought by David Hindle in 2006 from the Caldecote Community at Mersham-le-Hatch. It was given to them by the collector Captain Lane, in whose house Andrew Freeman had photographed it in 1944.
[Description on Goetze and Gwynn website]
1755
Clare College, Cambridgehas a fully functioning chamber organ by John Snetzler (1755), acquired from John Bibby of Winchester in 1985, and restored in 2016. Previously, it is known to have been in the Mission Church of St James, Heysham, Lancashire, and before that it was in the collection of the nineteenth-century musicologist, J Fuller Maitland, of Borwick Hall near Carnforth. At one time it was in Shaw House near Newbury.
[Article in 'The Diapason']
[William Drake, Ltd., The Restoration of the 1755 John Snetzler Organ at Clare College, Cambridge]
[Laurent Robert woodcarvings for the Drake restoration]
[Bach’s Fugue in C Minor, BWV 575, played by Anne Page]
St Paul's, Pinstone Street, Sheffield. Church demolished 1938, organ moved to St. Paul, Arbourthorne Estate, which was in turn demolished in mid-1970s. Now in All Saints, Longedge Lane, Wingerworth.
St Nicholas, Whitehaven.The 4 rank Snetzler TC Swell removed and incorporated in the organ installed at St. Matthew, Llanelwedd by Hill in 1878. Remainder moved to Arlecdon Church 1904 where it was incorporated into an organ by Wm Hill & Son, 1877. Only a few pipes by Snetzler survived. In 1972, the organ was 'ruined by damp', so replaced.
Mr. Poyser's Factory, Chester, 'A jolly little organ'.... Chamber organ said to have been in Buckingham Palaceand purchased by Henry Poyser. Moved to the Barber Institute of Fine Arts, Birmingham in 1958.
Kingston upon Hull, St. Mary, Lowgate
1756
Sculthorpe, St. Mary and All Saints, built as an entertainment organ for the Assembly Rooms at York, moved to Sculthorpe in 1860.
Duke of Bedford's music gallery. Moved to Christ Church, Westminster, then the National Society Training School; now St Mary the Virgin, Hillington, Norfolk, from 1857.
St. Mary and All Saints, Chesterfield.The whole organ (except Choir) destroyed by fire in north transept on 22 December 1961. Just four Snetzler stops survive in the replacement Willis organ.
Holy Trinity Church, Hull. Repairs to earlier organ, reputedly by Father Smith, 1756 and 1758.
1757
The organ supplied by Snetzler to the Lodge Canongate Kilwinning No.2, Edinburgh, is featured in the picture of Robert Burns being made Poet Laureate of the Lodge in 1787, and is in regular use, still hand pumped.
All Saints with St. John the Baptist, Huntingdon
1759
Tincleton, Dorset, Clyffe House
1760
Chester Cathedral. Snetzler may have added a Chaire organ, and to have replaced theTrumpet with a new one.
Oxborough Hall Chapel (private Roman Catholic chapel). This has been attributed to Snetzler but is more likely to be by Elliott.
Buckingham Palace, the organ of George III, purchased from a sale by the Earl of Egremont sometime early in nineteenth century and loaned to St Decumans, Watchet, ca.1820. Removed to Eton College ca.1923, first in Election Hall, then Lower School, and finally the Chapel.
Gopsall Hall, Derbyshire. Snetzler added a Choir manual to the 1749 Thomas Parker organ built for Charles Jennens (librettist for Handel's 'Messiah'). Moved to Packington Hall, Warwickshire, in 1773, first to the music room, and in 1792 to the chapel.
1761
Smithsonian Institution, Washington, DC. Of the five Snetzler organs known to have found their way to North America before the Revolution, this one, belonging to Dr. Bard, surgeon to George Washington and founder of the Medical School at King's College, New York, in 1767, is the only one still in existence with a traceable history.
Private Chapel of the Shrove Family, Norton, Sheffield. Moved to the Unitarian Chapel, Banbury, 1853, to the Westgate Unitarian Chapel, Lewes, East Sussex, before 1930, when it was moved to the Unitarian Church, Hastings. It was restored 2010 by Matthew Copley (photographs of the restoration on the website).
St. Gervase and St. Protase, Little Plumstead, Norfolk. Moved to Wesley's Chapel (The New Room), The Horse Fair, Bristol, in 1930.
1762
Congregational Church of South Dennis, Massachusetts, built for the Concert Hall, Boston, Massachusetts, 1763–1774, it moved to a church in Providence, R.I. in the late 1700s, and installed in South Dennis 1854. Has a 13-note 'box' pedalboard, date unknown.
Christ Church, Cambridge, Massachussetts. In the Revolution the pipes were melted down to make bullets; decades of neglect followed. A 13-note 'box' pedalboard was found in the crypt, which may have belonged to this instrument.
Blickling Hall, Norfolk, now in St. Andrew's, Blickling
1763
Salisbury Cathedral. Chamber organ moved here in 1958.
1764
St. Laurence, Ludlow
Dolmetsch Foundation. Bureau organ, purchased in the early 1930s by Arnold Dolmetsch, now in the Horniman Museum, London.
[The Guardian, 29 January 2014]
Westminster Abbey. Chamber organ in south transept, restored and presented by Noel Mander in 1965.
1765
St. Patrick's Cathedral, Armagh1834 - cathedral extensively repaired; organ stored above stables in Archbishop's palace; In 1840 the organ was removed to the concert room at the Tontine where the Music Society met; In 1849 the Armagh Music Society was dissolved, and the organ transferred to Donegall Square Methodist Chapel, Belfast, where the recently-acquired organ was inaugurated with a special service on Sunday 2 September 1849. That night the church was burnt out and the organ destroyed (Barnes and Renshaw-The Life and Work of John Snetzler)
St. Leonard, Swithland, Leicestershire.
Peterhouse, Cambridge
Kedleston Hall, Derbyshire. Supplied secondhand by Snetzler. Original builder unknown, but the National Trust suggest James Gravenor (fl.1741-1768)
[1993 Goetze and Gwynn restoration]
[Dominic Gwynn's report]
[National Trust Kedleston Hall website]
1766
Halifax Parish Church. Constructed in 1763, but not installed until 1766. Snetzler's case was destroyed when the organ was moved from the west gallery in 1878.
1766
Auckland Castle, Co. Durham. Rebuilt. Added notes, Hautboy, new soundboards etc.
St. Edmund, Sedgefield, Co. Durham. Repaired and cleaned
1767
Octagon Chapel, Bath (William Herschel was the first organist)
German Lutheran Church, (formerly St. Mary-le-Savoy), Cleveland Street, Bloomsbury.
St. Michael, Charleston, SC. (Episcopal) Only the case survives.
Newcastle Cathedral. Snetzler said to have added the Swell, but 'The Organs of Newcastle Cathedral' by James Harker, published 2003, states that the swell organ was added in 1749, probably by Robert Bridge, but using a Snetzler design.
1768
Sulham Manor, Berkshire, moved to Tilehurst Mission Church in 1932; St. Swithun, Brookthorpe in 1939; and St. Margaret, Whaddon in 1997.
1769
Lynton Congregational Church, from Lee Abbey; presented in 1917.
Residence of Lord Hatherton, Teddesley Hall, Staffordshire. Rescued by Noel Mander, and presented to St. Bartholomew the Great, West Smithfield, and moved to St. Andrew-by-the-Wardrobe, Blackfriars, in 1961.
Beverley Minster
1770
St. Peter, Tiverton. Repair. Commissioned to added more stops, and was probably responsible for the addition of the Swell manual and possibly the Choir manual as well.
Well Head Mansion, Halifax. Donated by Mrs Doherty Waterhouse to All Saints, Elland, 1915. Fell into disrepair over many years and moved to Anglican Convent of St Peter in Horbury, 1957, and transferred to Halifax Minster, St. John the Baptist, in 2014. The organ was rededicated 1 March 2015.
1772
St. Mary, Huntingdon
1773
St. Margaret's Chapel, Bath
St. Malachi, Hillsborough, Co. Down
1774
Lindisfarne College, Ruabon, Denbighshire
St. Modwen, Burton-on-Trent. Snetzler case survives.
Leicester Cathedral
Private residence of Sir Watkin Williams-Wynn, 20 St. James's Square, London. Moved to Wynnstay Hall, near Ruabon, 1863-64. Given by Sir Watkin Williams-Wynn to the National Museum, Cardiff, 1995.
[Goetze and Gwynn restoration]
1775
St. Mary the Virgin, Andover. Transferred to Newquay Wesley Methodist Church in 1904. Parts of this organ incorporated into 2013 organ at St. Michael, Newquay
1777
Birmingham Cathedral
St. Mary the Virgin, Merevale, Warwickshire. Said to be from Merevale Hall
St Mary's Church, Nottingham. Repairs.
All Saints, Rotherham
1778
Cobham Hall, Rochester, Kent
1779
Locko Park, Spondon, Derbyshire
1780
Trinity Methodist Church, Bridge Street, Kidwelly, Carmarthenshire
Not dated
John Cennick Memorial Church, Bath (formerly Moravian Church)
Christ Church, Hanham
Residence of William Strutt, Derby
Residence of Lord Barrington
Holy Cross, Basildon, Essex. (Some suggestion of a Snetzler origin and of work around 1810)
Beeleigh Abbey, Maldon, Essex. (Reputed to be by Snetzler, and to have stood in the
Foundling Hospital; afterwards at Sacombe)
Attributed to Snetzler
1775
St. Cecilia's Hall, Edinburgh (by assistant James Jones)
[2017 restoration by Goetze and Gwynn]
Samuel Green (1740-1796)
A great grandson of Renatus Harris on his mother's side, he was apprenticed in 1754 to George Pyke (ca.1725–1777), a London clockmaker and organ builder. (Will of George Pyke, Organ Builder and Clock Maker of Saint Andrew Holborn , Middlesex, proved 30 May 1777. National Archives catalogue reference PROB 11/1031)
Samuel then entered into partnership with John Byfield III as Byfield & Green (1768-72)
In 1772 he became a Freeman of the Clockmakers' Company, and married Sarah, daughter of the clockmaker Eardley Norton at St. Andrew Holborn. The same year, he left his partnership with John Byfield III and set up in business independently.
On Snetzler's death in 1785, Green succeeded him as organ builder to the King.
'Mr Samuel Green, organ-builder to the King, died at Isleworth, Sept. 14, 1796 at the age of 56. He left a wife and two daughters, one of whom is still living, and receives a pension of 20 l. per ann. by the kindness of his Majesty George III. This is her sole dependance.' ('The Christian Remembrancer' January 1834, page 47).
The Will of Samuel Green, Organ Builder of Islington , Middlesex, was proved on 01 October 1796 PROB 11/1280/4.
His widow Sarah carried on the business in partnership with Benjamin Blyth, Samuel's foreman.
[Wikipedia biography]
[Dictionary of National Biography]
[The Instruments of Samuel Green – David C. Wickens]
[The Romantic Organ - Organ builders - Samuel Green (1740-1796)]
As Byfield & Green 1768-1772
in partnership with John Byfield III
1768
St. John's College, Oxford
St. Peter in the East, Oxford
1769
Jesus College, Oxford
Theatre Royal, Drury Lane
1770
St. Nicholas, Newbury
Ely Cathedral
St. Margaret, Barking
1771
All Saints, Wigan
1772
St. Matthew, Bethnal Green
St. Mary the Virgin, Islington
1779
Charlotte Chapel, Pimlico
n.d.
Archbishop Tenison's Chapel, Soho
As Samuel Green from 1772
1772
St. Denys, Sleaford, Lincolnshire, removed to Bradshawgate Primitive Methodist Chapel, Leigh, Lancashire (The keyboards of the Samuel Green organ remain in Sleaford)
Fairfield Church, Manchester
1773
St. Matthew, Walsall
1774
Music School, Oxford. Removed 1884, when the school was cleared for books for the Bodleian; Bought by Mr. Taphouse of Oxford who later sold it to Mr. Wilesmith of Worcester; then acquired by Mr. A.M. Broadley and later sold to Mr. Holland Martin of Overbury Court. Given to Worcester Cathedral by Mrs. Holland Martin in 1937
1775
Bruton Parish Church, Williamsburg, Virginia, U.S.A.
1776
All Saints, Isleworth. Additions to Father Smith Organ 1770, 1776, and 1792
New College, Oxford. Repairs
1777
Sutton Courtenay Abbey, Abingdon, presented in 1885 to St. Peter and St. Paul,Appleford, Berkshire, by its owner, T. Theobald.
St. Mary, Leigh, Lancashire
1778
St. Botolph, Aldersgate, London
St. Katherine's Collegiate Church, London
1779
Bangor Cathedral. organ sold for £25 and moved to Holy Angels, Hoar Cross, Staffordshire,
1876, installed here with new case by Bodley
Walton (probably Walton in Suffolk)
St. Giles, Wrexham. No specification known; Sold in 1827 for £250 to S George, Esq. Leeds. Yorkshire
1780
Winchester College Chapel. Finished by Samuel 1786, but started by Charles Green in 1780
1781
St. Olave, Hart Street, London
1783
All Saints, High Wycombe
1784
Canterbury Cathedral
Rebuilt. Put in new diapasons and enlarged pipe scale;
BRep Jan 2007 says that this included moving organ from Choir to Screen, and
that it was started by H.C. Lincoln, but he was found to be inexperienced and
was superceeded by Green. (BRep Jan 2007 p.5); new case by Jessie White;
1786
Cashel Cathedral (case now in Wicklow Parish Church)
East Bradenham Church, near Dereham
St. Mary Magdalen, Old Fish Street, London
Wells Cathedral
Rebuilt and enlarged
Dinmore Manor Chapel (formerly at Moccas, Hereford)
1787
St. Mary, Edith Weston, Rutland
St. Thomas’, Ardwick, Manchester (restored 1969)
Nayland Church, Suffolk
Moved here from Canterbury Cathedral; it is said to contain pipes older than
Green (Mus. Stan. III 374); they could be Snetzler pipes.
St. Peter and St. Paul, Wisbech, Cambs.
1788
St. Mary-at-Hill, London
St. Peter's Church, Stockport
Parish Church, Tonbridge, Kent
1789
Greenwich Hospital Chapel, London
1790
Cirencester Parish Church
Brattle Street Church, Boston, U.S.A.
Lichfield Cathedral
St. Michael, Cornhill, London
?Swell added and improvements made, £300;
3 manuals and 24 speaking stops at this time;
St. George's Chapel, Windsor
Heaton Hall, Manchester (restored 1951 Jardine)
1791
Rochester Cathedral (new organ)
1792
All Saints, Isleworth
St. John the Evangelist, Lacey Green, Buckinghamshire
St. Editha, Tamworth, Staffordshire (new organ)
St. Peter-le-Poer, London (church demolished 1908)
Salisbury Cathedral
presented to Salisbury Cathedral by King George
III, displaced by Willis organ of 1876 and presented to St. Thomas'
by the Dean and Chapter the following year; reconstructed for £600.
contains much of its original pipework;
1794
New College Chapel, Oxford
Royal Opera House, Covent Garden, London
In 1808, the Opera House, then known as the Theatre Royal, was burnt to the ground on 19th September and this organ destroyed
1795
St. Peter, Churchgate, Bolton, Lancashire
St. Mary the Virgin, Chatham
All Saints, Heathfield, Sussex (rebuilt Walker, 1866)
1796
Broad Court Chapel, Drury Lane, London
Convent of Notre-Dame, Plymouth
Undated
St. Paul’s Episcopal Chapel, Aberdeen
Article in ‘Doric Columns’ on St. Paul’s Chapel
Barnsley Church, Glos.
St Michael's Church, Bath
Camborne, Cornwall
Coombe Abbey, near Coventry
Trinity College Chapel, Dublin (Choir retained, remainder to Durrow Church. Case still in situ in the College chapel)
St. Ethelbert, Falkenham, Suffolk
Hereford Cathedral (repairs only)
Kingston Church, Jamaica
Broad St. Chapel, Islington, London
Foundling Hospital, London (repairs)
Freemasons' Hall, London
Down Cathedral: Downpatrick, Ireland, 1802 (restored by Harrison & Harrison)
St. Mark's, Coburg Road, Camberwell
Loughborough Parish Church
Attingham Park (Birmingham University Adult education centre)
Malvern Priory Church
Pomfret (Pontefract) Parish Church
St. Petersburg (Russia)
Tiverton Parish Church (additions)
Windsor Castle (the favourite instrument of George III), thence to Emmanuel Church,, Weston-super-Mare
Sarah Green
Samuel Green's widow Sarah carried on her husband's business in partnership with Benjamin Blyth, Samuel's foreman, who succeeded her as Blyth and Sons.
S. Green (1797)
Sarah Green (1797)
Green and Blyth (1799-1806)
St. Nicholas Church Museum, Bristol (Bristol and District Organists' Association website)
St. Mary, Chatham (now in St. Joseph's Chapel, Düsseldorf)
Baddesley Clinton
A great grandson of Renatus Harris on his mother's side, he was apprenticed in 1754 to George Pyke (ca.1725–1777), a London clockmaker and organ builder. (Will of George Pyke, Organ Builder and Clock Maker of Saint Andrew Holborn , Middlesex, proved 30 May 1777. National Archives catalogue reference PROB 11/1031)
Samuel then entered into partnership with John Byfield III as Byfield & Green (1768-72)
In 1772 he became a Freeman of the Clockmakers' Company, and married Sarah, daughter of the clockmaker Eardley Norton at St. Andrew Holborn. The same year, he left his partnership with John Byfield III and set up in business independently.
On Snetzler's death in 1785, Green succeeded him as organ builder to the King.
'Mr Samuel Green, organ-builder to the King, died at Isleworth, Sept. 14, 1796 at the age of 56. He left a wife and two daughters, one of whom is still living, and receives a pension of 20 l. per ann. by the kindness of his Majesty George III. This is her sole dependance.' ('The Christian Remembrancer' January 1834, page 47).
The Will of Samuel Green, Organ Builder of Islington , Middlesex, was proved on 01 October 1796 PROB 11/1280/4.
His widow Sarah carried on the business in partnership with Benjamin Blyth, Samuel's foreman.
[Wikipedia biography]
[Dictionary of National Biography]
[The Instruments of Samuel Green – David C. Wickens]
[The Romantic Organ - Organ builders - Samuel Green (1740-1796)]
As Byfield & Green 1768-1772
in partnership with John Byfield III
1768
St. John's College, Oxford
St. Peter in the East, Oxford
1769
Jesus College, Oxford
Theatre Royal, Drury Lane
1770
St. Nicholas, Newbury
Ely Cathedral
St. Margaret, Barking
1771
All Saints, Wigan
1772
St. Matthew, Bethnal Green
St. Mary the Virgin, Islington
1779
Charlotte Chapel, Pimlico
n.d.
Archbishop Tenison's Chapel, Soho
As Samuel Green from 1772
1772
St. Denys, Sleaford, Lincolnshire, removed to Bradshawgate Primitive Methodist Chapel, Leigh, Lancashire (The keyboards of the Samuel Green organ remain in Sleaford)
Fairfield Church, Manchester
1773
St. Matthew, Walsall
1774
Music School, Oxford. Removed 1884, when the school was cleared for books for the Bodleian; Bought by Mr. Taphouse of Oxford who later sold it to Mr. Wilesmith of Worcester; then acquired by Mr. A.M. Broadley and later sold to Mr. Holland Martin of Overbury Court. Given to Worcester Cathedral by Mrs. Holland Martin in 1937
1775
Bruton Parish Church, Williamsburg, Virginia, U.S.A.
1776
All Saints, Isleworth. Additions to Father Smith Organ 1770, 1776, and 1792
New College, Oxford. Repairs
1777
Sutton Courtenay Abbey, Abingdon, presented in 1885 to St. Peter and St. Paul,Appleford, Berkshire, by its owner, T. Theobald.
St. Mary, Leigh, Lancashire
1778
St. Botolph, Aldersgate, London
St. Katherine's Collegiate Church, London
1779
Bangor Cathedral. organ sold for £25 and moved to Holy Angels, Hoar Cross, Staffordshire,
1876, installed here with new case by Bodley
Walton (probably Walton in Suffolk)
St. Giles, Wrexham. No specification known; Sold in 1827 for £250 to S George, Esq. Leeds. Yorkshire
1780
Winchester College Chapel. Finished by Samuel 1786, but started by Charles Green in 1780
1781
St. Olave, Hart Street, London
1783
All Saints, High Wycombe
1784
Canterbury Cathedral
Rebuilt. Put in new diapasons and enlarged pipe scale;
BRep Jan 2007 says that this included moving organ from Choir to Screen, and
that it was started by H.C. Lincoln, but he was found to be inexperienced and
was superceeded by Green. (BRep Jan 2007 p.5); new case by Jessie White;
1786
Cashel Cathedral (case now in Wicklow Parish Church)
East Bradenham Church, near Dereham
St. Mary Magdalen, Old Fish Street, London
Wells Cathedral
Rebuilt and enlarged
Dinmore Manor Chapel (formerly at Moccas, Hereford)
1787
St. Mary, Edith Weston, Rutland
St. Thomas’, Ardwick, Manchester (restored 1969)
Nayland Church, Suffolk
Moved here from Canterbury Cathedral; it is said to contain pipes older than
Green (Mus. Stan. III 374); they could be Snetzler pipes.
St. Peter and St. Paul, Wisbech, Cambs.
1788
St. Mary-at-Hill, London
St. Peter's Church, Stockport
Parish Church, Tonbridge, Kent
1789
Greenwich Hospital Chapel, London
1790
Cirencester Parish Church
Brattle Street Church, Boston, U.S.A.
Lichfield Cathedral
St. Michael, Cornhill, London
?Swell added and improvements made, £300;
3 manuals and 24 speaking stops at this time;
St. George's Chapel, Windsor
Heaton Hall, Manchester (restored 1951 Jardine)
1791
Rochester Cathedral (new organ)
1792
All Saints, Isleworth
St. John the Evangelist, Lacey Green, Buckinghamshire
St. Editha, Tamworth, Staffordshire (new organ)
St. Peter-le-Poer, London (church demolished 1908)
Salisbury Cathedral
presented to Salisbury Cathedral by King George
III, displaced by Willis organ of 1876 and presented to St. Thomas'
by the Dean and Chapter the following year; reconstructed for £600.
contains much of its original pipework;
1794
New College Chapel, Oxford
Royal Opera House, Covent Garden, London
In 1808, the Opera House, then known as the Theatre Royal, was burnt to the ground on 19th September and this organ destroyed
1795
St. Peter, Churchgate, Bolton, Lancashire
St. Mary the Virgin, Chatham
All Saints, Heathfield, Sussex (rebuilt Walker, 1866)
1796
Broad Court Chapel, Drury Lane, London
Convent of Notre-Dame, Plymouth
Undated
St. Paul’s Episcopal Chapel, Aberdeen
Article in ‘Doric Columns’ on St. Paul’s Chapel
Barnsley Church, Glos.
St Michael's Church, Bath
Camborne, Cornwall
Coombe Abbey, near Coventry
Trinity College Chapel, Dublin (Choir retained, remainder to Durrow Church. Case still in situ in the College chapel)
St. Ethelbert, Falkenham, Suffolk
Hereford Cathedral (repairs only)
Kingston Church, Jamaica
Broad St. Chapel, Islington, London
Foundling Hospital, London (repairs)
Freemasons' Hall, London
Down Cathedral: Downpatrick, Ireland, 1802 (restored by Harrison & Harrison)
St. Mark's, Coburg Road, Camberwell
Loughborough Parish Church
Attingham Park (Birmingham University Adult education centre)
Malvern Priory Church
Pomfret (Pontefract) Parish Church
St. Petersburg (Russia)
Tiverton Parish Church (additions)
Windsor Castle (the favourite instrument of George III), thence to Emmanuel Church,, Weston-super-Mare
Sarah Green
Samuel Green's widow Sarah carried on her husband's business in partnership with Benjamin Blyth, Samuel's foreman, who succeeded her as Blyth and Sons.
S. Green (1797)
Sarah Green (1797)
Green and Blyth (1799-1806)
St. Nicholas Church Museum, Bristol (Bristol and District Organists' Association website)
St. Mary, Chatham (now in St. Joseph's Chapel, Düsseldorf)
Baddesley Clinton
Organs in places of entertainment
London
Vauxhall Pleasure Gardens
The Gardens had been open since 1661, but it was only after 1729, when Jonathan Tyers the elder became the proprietor of Vauxhall Gardens. that music became a prominent feature. At Vauxhall the gardens were normally open from 5 or 6 p.m., closing when the last visitors left, which could be well into the following morning. The season lasted from early May until late August, depending on the weather.
David Coke has an excellent website on the Vauxhall Pleasure Gardens, including a comprehensive chronology, from which I have extracted the following musical events:
1732 Handel's first visit
1735 3 June: Orchestra building unveiled.
1737 New Organ Building installed behind orchestra unveiled.
1738 Roubiliac's statue of Handel unveiled
1739 Carillon added to organ
1745 Dr. Arne appointed director of music. Vocal music introduced as a regular part of the evening's programme
1748 Rotunda building completed
1749 21 April: Rehearsal of Handel's Fireworks Music atttended by a huge crowd of up to 12,000 paying customers.
1758 The new 'Gothick' orchestra unveiled
1759 Death of Handel
1772 James Hook appointed principal keyboard player and composer
1784 Rowlandson's watercolour of Vauxhall exhibited at the Royal Academy
1786 First regular advertisements of the music programme
1792 4 June: Joseph Haydn visits Vauxhall
1821 'Heptaplasiesoptron', or Fancy Reflective Proscenium, installed, designed by Mr. Bradwell, mechanist of Covent Garden Theatre. Replaced in 1823 with the Grand Musical Temple costing £2,000 and 40 ft. high.
1824 New sounding board added to the orchestra, in the form of a large shell, supported by lyres Work done by T. Lowe
1826 Rotunda altered for concerts, with boxes, stalls, pit, and gallery, capable of holding an audience of 2,000
1830 Henry Rowley Bishop appointed Director of Music
1833 15 July: Paganini performs at Vauxhall
1840 Gye & Hughes, the proprietors were declared bankrupt.
15, 16 June: Sale of Machinery, paintings, organ, statues, Hogarth, Hayman pictures
1841 The whole property bought by Thomas Fowler, son-in-law of Thomas Bish and leased to John Mitchell and John Andrews of Bond Street
1845 24 July: Musgrave and Gadsden sale, (11 acre site, Pavilion, Supper Room, 118 supper tables, Orchestra & Organ, Rotunda, Picture Room, Ballet Theatre, Firework Gallery). No buyer found. Mr. Breckell, late of the Theatre Royal, Drury Lane, becomes chief Machinist, and re-models the Grand Orchestra, decorated 'in the most costly style' by Mr. Hurwitz
1859 25 July: 'Positively The Last Night Forever', after a season of six nights from 18 July
22 August: Drivers' sale, (Fixtures, fittings and building materials, incl the Orchestra, which sold for £99. A 1754 table sold for 9s.) The remaining pictures were bought by Edward Tyrrell Smith for the Banqueting Hall at Cremorne. Total receipts about £800.
Susana Ellis has also written a series of blogs on Vauxhall Gardens, based on David Coke's book. She gives a description of the Organ Building here.
An organ built for Vauxhall Pleasure Gardens was moved to St. Peter's Church, Bournemouth in the 1850s, then to St. John, Carlton Hill, Brighton in 1871. When this church was taken over by the Greek Orthodox Church, the organ was surplus to requirements, so arrangements were made for the pipes to be removed, crated and stored, as many were of significant historic value and interest; the best of those pipes were used to build and new organ at St. Laurence, Falmer, East Sussex, in 1997. This is the only organ associated by the National Pipe Organ Register with Vauxhall Gardens. The specification in the 1840s was:
Compass-low C Compass-high d3# Keys 52
Open Diapason
Stopped Diapason
Principal
Flute
Twelfth
Fifteenth
Sesquialtera IV 208 pipes
The organ had a shifting movement, reducing the stops to a softer combination.
This could be the instrument in the drawing of 1859, so therefore built ca.1764 for the new Gothic Orchestra.
Organists associated with Vauxhall Pleasure Garden included:
Arne, Thomas Augustine (1710-1778) Composer and musical director 1745–1777. Arne, who lived very close to Vauxhall in the 1740s, had been engaged at Drury Lane in 1744 at a salary of £3 per week
Blewitt, Jonathan (1782–1853) Composing Vaudevilles, 1827. Pianoforte and organ, composer, 1828, 1829. Composer, 1836, 1838, 1839
Boyce, Dr. William (1710–1779) Composer, 1745ff.
Burney, Charles (1726-1814) Violin and viola [nd]
Gladwin, Thomas (c.1710–c.1799) Organist and composer, 1738–1744
Handel, George Frideric (1685–1759) 1740, wrote Hornpipe for Vauxhall. His statue by Roubiliac erected at Vauxhall in 1738. The Dead March from Saul was played regularly at the gardens, and annually on the anniversary of the death of Jonathan Tyers on 26 June 1767.
Hook, James (1746–1827) Became organist of Marylebone Gardens in 1769, but moved to Vauxhall as keyboard player and composer 1772–1821; Hook wrote over two thousand songs for Vauxhall, and played organ concertos on many thousands of occasions. He was also organist at St. John's, Horsleydown, and taught in girls' schools
Parry, John (1776–1851) Composer. John Orlando Parry sang, c.1835, at many London concerts, performed on the harp and pianoforte, sang ballads, and, in 1853 was employed as an organist
Watson, Mr. Organ, 1821, 1822, 1823, 1824, 1825
Worgan, James (1715–1753) Organ and 'cello, 1737–1751
Worgan, Dr. John (1724–1790) Organ and composer 1751–1761, composing only, 1770–1774
Vauxhall Pleasure Gardens
The Gardens had been open since 1661, but it was only after 1729, when Jonathan Tyers the elder became the proprietor of Vauxhall Gardens. that music became a prominent feature. At Vauxhall the gardens were normally open from 5 or 6 p.m., closing when the last visitors left, which could be well into the following morning. The season lasted from early May until late August, depending on the weather.
David Coke has an excellent website on the Vauxhall Pleasure Gardens, including a comprehensive chronology, from which I have extracted the following musical events:
1732 Handel's first visit
1735 3 June: Orchestra building unveiled.
1737 New Organ Building installed behind orchestra unveiled.
1738 Roubiliac's statue of Handel unveiled
1739 Carillon added to organ
1745 Dr. Arne appointed director of music. Vocal music introduced as a regular part of the evening's programme
1748 Rotunda building completed
1749 21 April: Rehearsal of Handel's Fireworks Music atttended by a huge crowd of up to 12,000 paying customers.
1758 The new 'Gothick' orchestra unveiled
1759 Death of Handel
1772 James Hook appointed principal keyboard player and composer
1784 Rowlandson's watercolour of Vauxhall exhibited at the Royal Academy
1786 First regular advertisements of the music programme
1792 4 June: Joseph Haydn visits Vauxhall
1821 'Heptaplasiesoptron', or Fancy Reflective Proscenium, installed, designed by Mr. Bradwell, mechanist of Covent Garden Theatre. Replaced in 1823 with the Grand Musical Temple costing £2,000 and 40 ft. high.
1824 New sounding board added to the orchestra, in the form of a large shell, supported by lyres Work done by T. Lowe
1826 Rotunda altered for concerts, with boxes, stalls, pit, and gallery, capable of holding an audience of 2,000
1830 Henry Rowley Bishop appointed Director of Music
1833 15 July: Paganini performs at Vauxhall
1840 Gye & Hughes, the proprietors were declared bankrupt.
15, 16 June: Sale of Machinery, paintings, organ, statues, Hogarth, Hayman pictures
1841 The whole property bought by Thomas Fowler, son-in-law of Thomas Bish and leased to John Mitchell and John Andrews of Bond Street
1845 24 July: Musgrave and Gadsden sale, (11 acre site, Pavilion, Supper Room, 118 supper tables, Orchestra & Organ, Rotunda, Picture Room, Ballet Theatre, Firework Gallery). No buyer found. Mr. Breckell, late of the Theatre Royal, Drury Lane, becomes chief Machinist, and re-models the Grand Orchestra, decorated 'in the most costly style' by Mr. Hurwitz
1859 25 July: 'Positively The Last Night Forever', after a season of six nights from 18 July
22 August: Drivers' sale, (Fixtures, fittings and building materials, incl the Orchestra, which sold for £99. A 1754 table sold for 9s.) The remaining pictures were bought by Edward Tyrrell Smith for the Banqueting Hall at Cremorne. Total receipts about £800.
Susana Ellis has also written a series of blogs on Vauxhall Gardens, based on David Coke's book. She gives a description of the Organ Building here.
An organ built for Vauxhall Pleasure Gardens was moved to St. Peter's Church, Bournemouth in the 1850s, then to St. John, Carlton Hill, Brighton in 1871. When this church was taken over by the Greek Orthodox Church, the organ was surplus to requirements, so arrangements were made for the pipes to be removed, crated and stored, as many were of significant historic value and interest; the best of those pipes were used to build and new organ at St. Laurence, Falmer, East Sussex, in 1997. This is the only organ associated by the National Pipe Organ Register with Vauxhall Gardens. The specification in the 1840s was:
Compass-low C Compass-high d3# Keys 52
Open Diapason
Stopped Diapason
Principal
Flute
Twelfth
Fifteenth
Sesquialtera IV 208 pipes
The organ had a shifting movement, reducing the stops to a softer combination.
This could be the instrument in the drawing of 1859, so therefore built ca.1764 for the new Gothic Orchestra.
Organists associated with Vauxhall Pleasure Garden included:
Arne, Thomas Augustine (1710-1778) Composer and musical director 1745–1777. Arne, who lived very close to Vauxhall in the 1740s, had been engaged at Drury Lane in 1744 at a salary of £3 per week
Blewitt, Jonathan (1782–1853) Composing Vaudevilles, 1827. Pianoforte and organ, composer, 1828, 1829. Composer, 1836, 1838, 1839
Boyce, Dr. William (1710–1779) Composer, 1745ff.
Burney, Charles (1726-1814) Violin and viola [nd]
Gladwin, Thomas (c.1710–c.1799) Organist and composer, 1738–1744
Handel, George Frideric (1685–1759) 1740, wrote Hornpipe for Vauxhall. His statue by Roubiliac erected at Vauxhall in 1738. The Dead March from Saul was played regularly at the gardens, and annually on the anniversary of the death of Jonathan Tyers on 26 June 1767.
Hook, James (1746–1827) Became organist of Marylebone Gardens in 1769, but moved to Vauxhall as keyboard player and composer 1772–1821; Hook wrote over two thousand songs for Vauxhall, and played organ concertos on many thousands of occasions. He was also organist at St. John's, Horsleydown, and taught in girls' schools
Parry, John (1776–1851) Composer. John Orlando Parry sang, c.1835, at many London concerts, performed on the harp and pianoforte, sang ballads, and, in 1853 was employed as an organist
Watson, Mr. Organ, 1821, 1822, 1823, 1824, 1825
Worgan, James (1715–1753) Organ and 'cello, 1737–1751
Worgan, Dr. John (1724–1790) Organ and composer 1751–1761, composing only, 1770–1774
Ranelegh Gardens
Ranelagh Gardens were so called because they occupied the site of Ranelagh House, built in 1688–89 by the Earl of Ranelagh, Treasurer of Chelsea Hospital (1685–1702), immediately adjoining the Hospital. Ranelagh House was demolished in 1805.
In 1741, the house and grounds were purchased by a syndicate led by the proprietor of the Theatre Royal, Drury Lane, and Sir Thomas Robinson MP, and the Gardens opened to the public the following year. Ranelegh was considered more fashionable than its older rival Vauxhall Gardens; the entrance charge was two shillings and sixpence, compared to a shilling at Vauxhall. Horace Walpole wrote soon after the gardens opened, "It has totally beat Vauxhall... You can't set your foot without treading on a Prince, or Duke of Cumberland." Ranelagh Gardens introduced the masquerade, formerly a private, aristocratic entertainment, to a wider, middle-class English public, where it was open to commentary by essayists and writers of moral fiction.
The centrepiece of Ranelagh was a rococo rotunda, which figured prominently in views of Ranelagh Gardens taken from the river. It had a diameter of 120 feet (37 metres) and was designed by William Jones, a surveyor to the East India Company. The central support housed a chimney and fireplaces for use in winter. From its opening, the Rotunda at Ranelagh Gardens was an important venue for musical concerts. In 1765, the nine-year-old Mozart performed in this showpiece. Canaletto painted the gardens, and painted the interior of the Rotunda twice, for different patrons. The rotunda was closed in 1803 and demolished two years later. The organ was moved to All Saints Church, Evesham.
Ranelegh Gardens organs:
1746 Byfield (Harris & Byfield?)
This organ was installed in the new Rotunda and John Keeble (1711-1786) was appointed organist (Keeble was also organist of St. George, Hanover Square). The organ may have been 3 manuals with 14+ stops, and may have been secondhand. Starling Goodwin, John Stanley, Charles Burney, William Goodwin and Mozart are said to have played it. In 1751/3 it was transferred to All Saints, Evesham, Worcestershire.
1751/3 Unknown builder
A new organ was substituted, 8 stops on Great and 5 on Swell. In 1806 when Ranelagh Gardens were closed, the organ was moved to St. Mary Tetbury, Gloucestershire.
Ranelagh Gardens were so called because they occupied the site of Ranelagh House, built in 1688–89 by the Earl of Ranelagh, Treasurer of Chelsea Hospital (1685–1702), immediately adjoining the Hospital. Ranelagh House was demolished in 1805.
In 1741, the house and grounds were purchased by a syndicate led by the proprietor of the Theatre Royal, Drury Lane, and Sir Thomas Robinson MP, and the Gardens opened to the public the following year. Ranelegh was considered more fashionable than its older rival Vauxhall Gardens; the entrance charge was two shillings and sixpence, compared to a shilling at Vauxhall. Horace Walpole wrote soon after the gardens opened, "It has totally beat Vauxhall... You can't set your foot without treading on a Prince, or Duke of Cumberland." Ranelagh Gardens introduced the masquerade, formerly a private, aristocratic entertainment, to a wider, middle-class English public, where it was open to commentary by essayists and writers of moral fiction.
The centrepiece of Ranelagh was a rococo rotunda, which figured prominently in views of Ranelagh Gardens taken from the river. It had a diameter of 120 feet (37 metres) and was designed by William Jones, a surveyor to the East India Company. The central support housed a chimney and fireplaces for use in winter. From its opening, the Rotunda at Ranelagh Gardens was an important venue for musical concerts. In 1765, the nine-year-old Mozart performed in this showpiece. Canaletto painted the gardens, and painted the interior of the Rotunda twice, for different patrons. The rotunda was closed in 1803 and demolished two years later. The organ was moved to All Saints Church, Evesham.
Ranelegh Gardens organs:
1746 Byfield (Harris & Byfield?)
This organ was installed in the new Rotunda and John Keeble (1711-1786) was appointed organist (Keeble was also organist of St. George, Hanover Square). The organ may have been 3 manuals with 14+ stops, and may have been secondhand. Starling Goodwin, John Stanley, Charles Burney, William Goodwin and Mozart are said to have played it. In 1751/3 it was transferred to All Saints, Evesham, Worcestershire.
1751/3 Unknown builder
A new organ was substituted, 8 stops on Great and 5 on Swell. In 1806 when Ranelagh Gardens were closed, the organ was moved to St. Mary Tetbury, Gloucestershire.
Marylebone Pleasure Gardens
Marylebone Pleasure Gardens, unlike the more famous Vauxhall, Ranelagh and Cremorne (open between 1845 and 1877, outside this period) , was quite short-lived as it opened in 1738 and closed in 1776.
It was situated in the area just south of Regent's Park which is now between Marylebone Road, Marylebone High Street, Weymouth Street, and Harley Street; its site was developed from 1778 as Beaumont Street and part of Devonshire Street.
From the evidence of Donowell's drawing of 1761, it seems as though the musical facilities were the same as at Vauxhall, i.e. a raised 'orchestra' with organ building attached.
Marylebone Gardens were officially reorganized as a venue for concerts and other entertainments in 1738 by Daniel Gough, the new proprietor of the Rose tavern. An organ by Richard Bridge was installed.
Many of the foremost London musicians and composers including George Frideric Handel and James Hook performed works here, The original principal female singer was a Miss Faulkner and the orchestra was led by William Defesch. From 1763 to 1768 the Gardens were run by Thomas Lowe, who had been a singer at Vauxhall Gardens, with the musical management undertaken by Samuel Arnold who took over the ownership and management with the violinist Thomas Pinto which arrangement continued from 1769 to 1774.
In 1768, under the direction of Trusler's son, the Gardens gave the English premiere of Pergolesi's opera La serva padrona (in translation).
Hook was appointed organist and composer to the Gardens in 1769, resigning in 1773, when he moved to Vauxhall, and held an annual festival at Marylebone every summer.
Marylebone Pleasure Gardens, unlike the more famous Vauxhall, Ranelagh and Cremorne (open between 1845 and 1877, outside this period) , was quite short-lived as it opened in 1738 and closed in 1776.
It was situated in the area just south of Regent's Park which is now between Marylebone Road, Marylebone High Street, Weymouth Street, and Harley Street; its site was developed from 1778 as Beaumont Street and part of Devonshire Street.
From the evidence of Donowell's drawing of 1761, it seems as though the musical facilities were the same as at Vauxhall, i.e. a raised 'orchestra' with organ building attached.
Marylebone Gardens were officially reorganized as a venue for concerts and other entertainments in 1738 by Daniel Gough, the new proprietor of the Rose tavern. An organ by Richard Bridge was installed.
Many of the foremost London musicians and composers including George Frideric Handel and James Hook performed works here, The original principal female singer was a Miss Faulkner and the orchestra was led by William Defesch. From 1763 to 1768 the Gardens were run by Thomas Lowe, who had been a singer at Vauxhall Gardens, with the musical management undertaken by Samuel Arnold who took over the ownership and management with the violinist Thomas Pinto which arrangement continued from 1769 to 1774.
In 1768, under the direction of Trusler's son, the Gardens gave the English premiere of Pergolesi's opera La serva padrona (in translation).
Hook was appointed organist and composer to the Gardens in 1769, resigning in 1773, when he moved to Vauxhall, and held an annual festival at Marylebone every summer.
Bath
Bath became a spa with the Latin name Aquae Sulis ("the waters of Sulis") c.60 AD when the Romans built baths and a temple in the valley of the River Avon, although hot springs were known even before then.
Bath Abbey was founded in the 7th century and became a religious centre; the building was rebuilt in the 12th and 16th centuries. In the 17th century, claims were made for the curative properties of water from the springs, and consequently Bath became popular as a fashionable spa town in the Georgian era. After the discovery of an infectious organism in one stratum of the aquifer in 1978, bathing was prohibited until Thermae Bath Spa eventually opened to the public on 7 August 2006. Since then, Bath has resumed its historic function as a spa.
1704 Richard 'Beau' Nash became Master of Ceremonies
1706 Pump Room
1708 Lower Assembly Rooms. Largely destroyed in a fire on 21 December 1820
1728 'The Beggar's Opera' performed in Bath
1735 Queen Square (John Wood the elder). Nash takes over Tunbridge Wells
1754 Circus (John Wood the elder)
1762 Nash died
1767 Octagon Chapel Snetzler organ, William Herschel organist from 1766
1767-75 Royal Crescent (John Wood the younger)
1769-71 Upper Assembly Rooms (John Wood the younger). Thomas Linley, conductor of the orchestra. Renatus Harris organ installed in the Octagon Room, transferred to Walcot Methodist Church 1814
1770 Pulteney Bridge (Robert Adam)
1775 Guildhall (Thomas Baldwin)
1780 Herschel appointed Director of the Bath Orchestra
1782 Herschel left Bath for Datchet
1795 Pump Room
1801-06 Jane Austen in Bath
1802 Abbey organ rebuilt with long octaves by John Holland. Organ originally by Abraham Jordan.
1824 New Organ by Flight and Robson in Assembly Rooms Ballroom (see Cruickshank picture). By 1910 (photo) had been moved to the musicians' gallery. Present in 1920s, but not present after the restoration of the Ballroom in 1938. Destroyed by bombing in WWII
Bath became a spa with the Latin name Aquae Sulis ("the waters of Sulis") c.60 AD when the Romans built baths and a temple in the valley of the River Avon, although hot springs were known even before then.
Bath Abbey was founded in the 7th century and became a religious centre; the building was rebuilt in the 12th and 16th centuries. In the 17th century, claims were made for the curative properties of water from the springs, and consequently Bath became popular as a fashionable spa town in the Georgian era. After the discovery of an infectious organism in one stratum of the aquifer in 1978, bathing was prohibited until Thermae Bath Spa eventually opened to the public on 7 August 2006. Since then, Bath has resumed its historic function as a spa.
1704 Richard 'Beau' Nash became Master of Ceremonies
1706 Pump Room
1708 Lower Assembly Rooms. Largely destroyed in a fire on 21 December 1820
1728 'The Beggar's Opera' performed in Bath
1735 Queen Square (John Wood the elder). Nash takes over Tunbridge Wells
1754 Circus (John Wood the elder)
1762 Nash died
1767 Octagon Chapel Snetzler organ, William Herschel organist from 1766
1767-75 Royal Crescent (John Wood the younger)
1769-71 Upper Assembly Rooms (John Wood the younger). Thomas Linley, conductor of the orchestra. Renatus Harris organ installed in the Octagon Room, transferred to Walcot Methodist Church 1814
1770 Pulteney Bridge (Robert Adam)
1775 Guildhall (Thomas Baldwin)
1780 Herschel appointed Director of the Bath Orchestra
1782 Herschel left Bath for Datchet
1795 Pump Room
1801-06 Jane Austen in Bath
1802 Abbey organ rebuilt with long octaves by John Holland. Organ originally by Abraham Jordan.
1824 New Organ by Flight and Robson in Assembly Rooms Ballroom (see Cruickshank picture). By 1910 (photo) had been moved to the musicians' gallery. Present in 1920s, but not present after the restoration of the Ballroom in 1938. Destroyed by bombing in WWII
York
The Assembly Rooms, Blake Street, were designed by Richard Boyle, 3rd Earl of Burlington. The building was begun in 1730, first used in August 1732, but not entirely completed until 1735. Probably the earliest neo-classical building in Europe, The Assembly Rooms proved to be one of the most influential pieces of architecture of the early 18th century. A detailed description of the building can be found on the website of the York Conservation Trust.
The Recess, to the south of the Great Assembly Room, lit by a tripartite lunette, had a moulded and dentilled ceiling and a music gallery between the columns, occupying the full width of the Recess. The frontage of this gallery can be seen in the contemporary engraving halfway down the Great Assembly Room on the left.
Snetzler's organ for the Assembly Rooms was built in 1756.
After a fire in 1773, alterations were made in the Lesser Assembly Room. The central door to the Cube Room was replaced by an arrangement based on the ‘Palladian’ motif, with doors to each side of a taller, round-headed recess and plaster roundels depicting mythological scenes. This latter recess was intended to house an organ, and above it and the roundels are swags incorporating musical instruments. Musical motifs can be seen on the casework of Snetzler's organ.
In 1859, a plan to ease circulation involved pulling down the side walls between the Great Assembly Room and the kitchen, recess (where the music gallery was situated) and offices to the south. it was trebled in length, its side wall opened out to the Great Assembly Room, and a lower ceiling with cornice of four fascia, but incorporating the original recess ceiling, inserted.
It was in 1860, following this building work, that Snetzler's organ was moved to St. Mary and All Saints, Sculthorpe. More photos can be seen in the 'John Snetzler' section above.
The Assembly Rooms, Blake Street, were designed by Richard Boyle, 3rd Earl of Burlington. The building was begun in 1730, first used in August 1732, but not entirely completed until 1735. Probably the earliest neo-classical building in Europe, The Assembly Rooms proved to be one of the most influential pieces of architecture of the early 18th century. A detailed description of the building can be found on the website of the York Conservation Trust.
The Recess, to the south of the Great Assembly Room, lit by a tripartite lunette, had a moulded and dentilled ceiling and a music gallery between the columns, occupying the full width of the Recess. The frontage of this gallery can be seen in the contemporary engraving halfway down the Great Assembly Room on the left.
Snetzler's organ for the Assembly Rooms was built in 1756.
After a fire in 1773, alterations were made in the Lesser Assembly Room. The central door to the Cube Room was replaced by an arrangement based on the ‘Palladian’ motif, with doors to each side of a taller, round-headed recess and plaster roundels depicting mythological scenes. This latter recess was intended to house an organ, and above it and the roundels are swags incorporating musical instruments. Musical motifs can be seen on the casework of Snetzler's organ.
In 1859, a plan to ease circulation involved pulling down the side walls between the Great Assembly Room and the kitchen, recess (where the music gallery was situated) and offices to the south. it was trebled in length, its side wall opened out to the Great Assembly Room, and a lower ceiling with cornice of four fascia, but incorporating the original recess ceiling, inserted.
It was in 1860, following this building work, that Snetzler's organ was moved to St. Mary and All Saints, Sculthorpe. More photos can be seen in the 'John Snetzler' section above.
Tunbridge Wells
The chalybeate (iron) springs at Tunbridge Wells were discovered by Dudley, Lord North, in 1606. From the Restoration in 1660, and especially after the building boom in the 1680s and 1690s, the new spa at Tunbridge Wells attracted visitors. During the peak of popularity between 1735-62, when 'Beau' Nash of Bath became the self-appointed Master of Ceremonies, Tunbridge Wells was the fashionable outdoor summer resort, with Bath as the indoor winter venue. Bath, it was said, was Nash's kingdom, and Tunbridge Wells a colony of that kingdom. Handel paid visits to Tunbridge Wells in 1735 and 1736, on account of illness, and again in 1743 and 1745. The rise of Brighton as a fashionable seaside resort, especially after the first visit of George, Prince of Wales , in 1783 led to a transfer of loyalties to the coast.
Like Vauxhall, the Pantiles at Tunbridge Wells were laid out as a tree-lined promenade, Nash insisting that the Upper Walk should be reserved for the upper classes only, everyone else being restricted to the Lower Walk. There were two assembly rooms, and a music gallery halfway along the Upper Walk on the south side. This resembled a smaller version of the 'Orchestra' at Vauxhall, built at the same time, but did not contain an organ. The 'musick gallery', mentioned in the Rusthall Manor Act of 1739, still exists as a historical curiosity over a jeweller's shop, but a later bandstand a few metres further on has taken on its practical role as stage. A theatre opened in 1802 and a bath-house in 1808.
The first mention of an organ in the church of King Charles the Martyr, built in 1676, is in 1784, builder unknown.
The chalybeate (iron) springs at Tunbridge Wells were discovered by Dudley, Lord North, in 1606. From the Restoration in 1660, and especially after the building boom in the 1680s and 1690s, the new spa at Tunbridge Wells attracted visitors. During the peak of popularity between 1735-62, when 'Beau' Nash of Bath became the self-appointed Master of Ceremonies, Tunbridge Wells was the fashionable outdoor summer resort, with Bath as the indoor winter venue. Bath, it was said, was Nash's kingdom, and Tunbridge Wells a colony of that kingdom. Handel paid visits to Tunbridge Wells in 1735 and 1736, on account of illness, and again in 1743 and 1745. The rise of Brighton as a fashionable seaside resort, especially after the first visit of George, Prince of Wales , in 1783 led to a transfer of loyalties to the coast.
Like Vauxhall, the Pantiles at Tunbridge Wells were laid out as a tree-lined promenade, Nash insisting that the Upper Walk should be reserved for the upper classes only, everyone else being restricted to the Lower Walk. There were two assembly rooms, and a music gallery halfway along the Upper Walk on the south side. This resembled a smaller version of the 'Orchestra' at Vauxhall, built at the same time, but did not contain an organ. The 'musick gallery', mentioned in the Rusthall Manor Act of 1739, still exists as a historical curiosity over a jeweller's shop, but a later bandstand a few metres further on has taken on its practical role as stage. A theatre opened in 1802 and a bath-house in 1808.
The first mention of an organ in the church of King Charles the Martyr, built in 1676, is in 1784, builder unknown.
The Composers
An excellent resource for City of London organists is Donovan Dawe's encyclopaedic work 'Organists of the City of London 1666-1850: A Record of One Thousand Organists with an Annotated Index', privately published in 1983. Copies are available on Amazon. Organists are listed by parish and by personal name. However, bear in mind that this work is geographically limited to the City parishes only.
A series of introductory essays deals with:
Women had been organists in the City from Mary Worgan's appointment to St. Dunstan in the East in 1753. A list of Women Organists in England 1750-1850 can be found here. Details of individual publishers can be found in British Music Publishers, Printers and Engravers: Frank Kidson, 1900 |
William Croft (1678-1727)
Croft, born in Warwickshire, was a pupil of John Blow at the Chapel Royal until 1698. His first post as organist was at St. Anne, Soho, in 1700, which he held until 1711, and was appointed in 1704 as joint organist at the Chapel Royal, sharing the post with Jeremiah Clarke until Clarke's suicide in 1707, when he succeeded to Clarke's post as Master of the Children. In 1708 he succeeded Blow as organist of Westminster Abbey, where he is buried. The style of Croft's organ works, dating from ca.1710-14, bridges the transition from the Restoration to the Georgian style.
[Wikipedia biography]
[Roger Slade biography]
[Croft's memorial in Westminster Abbey]
[Find A Grave]
Croft, born in Warwickshire, was a pupil of John Blow at the Chapel Royal until 1698. His first post as organist was at St. Anne, Soho, in 1700, which he held until 1711, and was appointed in 1704 as joint organist at the Chapel Royal, sharing the post with Jeremiah Clarke until Clarke's suicide in 1707, when he succeeded to Clarke's post as Master of the Children. In 1708 he succeeded Blow as organist of Westminster Abbey, where he is buried. The style of Croft's organ works, dating from ca.1710-14, bridges the transition from the Restoration to the Georgian style.
[Wikipedia biography]
[Roger Slade biography]
[Croft's memorial in Westminster Abbey]
[Find A Grave]
George Frideric Handel (1685-1759)
Both the Georgian and Victorian periods of English musical history began with a German composer in whose shadow the indigenous composers worked - Handel and Mendelssohn, who were both patronised by the reigning monarch. The strong influence of both composers seem to have kick-started new styles. Handel settled in London in 1712, and became a naturalised British subject in 1727, the year Croft died. A national celebrity, a full-length marble statue of him was erected in Vauxhall Pleasure Gardens in 1738, at a time when statues of still-living subjects were limited to royalty and military commanders. Handel was 53 at the time. His influence lasted well into the 19th century - Haydn was amazed at the hold Handel still had on English music in the 1790s.
[Wikipedia biography]
[The statue formerly in Vauxhall Pleasure Gardens]
[Handel's memorial in Wesminster Abbey]
[The Organs used by George Frideric Handel - Dominic Gwynn]
Handel's organ works consist of the Six Fugues (HWV 605-610) and 18 organ concertos.
Six Fugues or VOLUNTARYS for the ORGAN or HARPSICHORD, Compos'd by G.F. HANDEL, Troisieme Ovarage. London. Printed for and Sold by I. Walsh, Music Printer and Instrument Maker to his Majesty, at the Harp and Hoboy in Catharine Street in the Strand.
Composed in 1716, and published by John Walsh in 1735.
The Walsh edition is not available for download, but the following two contemporary copies are:
French edition published in Paris: Chez Md. Boivin, Mr. le Clerc, n.d.[1738]
Manuscript copy by Johann Christian Kittel (1732-1809), dating from ca.1760
The Kittel MS has markings for manual and pedal in the bass line, possible in Germany, but impossible on English organs, which had no pedals.
Three copies of the solo keyboard arrangements of the Op.4 concertos published by Walsh are available:
SIX CONCERTOS For the Harpsicord or Organ Compos'd by Mr: HANDEL. These Six Concertos were Publish'd by Mr. Walsh from my own Copy Corrected by my Self, and to Him only I have given my Right therein. George Frideric Handel. London. Printed for & Sold by I. Walsh, Musick Printer & Instrument maker to his Majesty, at the Harp & Hoboy in Catherine Street in the Strand, where may be had the Instrumental Parts to ye above Six Concertos. (1738)
SIX CONCERTOS For the Harpsicord or Organ Compos'd by Mr: HANDEL. These Six Concertos were Publish'd by Mr. Walsh from my own Copy Corrected by my Self, and to Him only I have given my Right therein. George Frideric Handel. London. Printed for & Sold by I. Walsh, Musick Printer & Instrument maker to his Majesty, at the Harp & Hoboy in Catherine Street in the Strand, where may be had the Instrumental Parts to ye above Six Concertos. (1738)
A New Edition of SIX CONCERTOS For the Harpsicord or Organ Compos'd by Mr: HANDEL. NB. These Concertos were Originally Publish'd by the Late Mr. John Walsh, under the Inspection of the Author. LONDON. Printed for Wright & Wilkinson, Successors to the late Mr. Walsh, in Catharine Street in the Strand, Of whom may be had, The Instrumental Parts to the above. (1784)
Organ concertos, Op. 4 (Wikipedia)
Concerto Op.4 no.1 in G minor (HWV 289) (Alexander's Feast) [1st set, published 1738]
Concerto Op.4 no.2 in B flat major (HWV 290) (Esther) [1st set, published 1738]
Concerto Op.4 no.3 in G minor (HWV 291) (Esther) [1st set, published 1738]
Concerto Op.4 no.4 in F major (HWV 292) (Athalia) [1st set, published 1738]
Concerto Op.4 no.5 in F major (HWV 293) (Deborah) [1st set, published 1738]
Concerto Op.4 no.6 in B flat major for organ or harp (HWV 294) (Alexander's Feast) [1st set, published 1738]
A Second Set of SIX CONCERTOS For the Harpsicord or Organ Compos'd by Mr. HANDEL. London. Printed for I. Walsh in Catherine Street in the Strand where may be had the following Pieces of Musick Compos'd by Mr. Handel (1740)
Handel supplied only the first two concertos, previously published by Walsh as Two Concertos for the Organ and Harpsichord with the Instrumental Parts for Violins, Hoboys, &c. in Seven Parts. Compos'd by Mr. Handel. 2nd Set. To make up a set of six for this 1740 publication, Walsh added keyboard arrangements of four of Handel's Concerti Grossi Op.6.
Concerto "No.13" in F major (HWV 295) ('The Cuckoo and the Nightingale': Israel in Egypt 1739) [2nd set, published 1740]
Concerto "No.14" in A major (HWV 296a) (Alexander's Feast 1739) [2nd set, published 1740]
Concerto "No.15" in D minor (HWV 297, arrangement of Concerto Grosso Op.6 no.10) [2nd set, published 1740]
Concerto "No.16" in F major (HWV 298, arrangement of Concerto Grosso Op.6 no.1) [2nd set, published 1740]
Concerto "No.17" in D major (HWV 299, arrangement of Concerto Grosso Op.6 no.5) [2nd set, published 1740]
Concerto "No.18" in G minor (HWV 300, arrangement of Concerto Grosso Op.6 no.6) [2nd set, published 1740]
A Third Set of SIX CONCERTOS for the HARPSICORD or ORGAN Compos'd by Mr. Handel. Printed for I. Walsh in Catharine Street in the Strand. (1761)
Organ concertos, Op. 7 (Wikipedia)
Concerto Op.7 no.1 in B flat major (HWV 306) [3rd set, published 1761] First movement includes an independent pedal part.
Concerto Op.7 no.2 in A major (HWV 307) (Samson) [3rd set, published 1761]
Concerto Op.7 no.3 in B flat major (HWV 308) [3rd set, published 1761] Two variant autographs of first movement. Handel's last orchestral work.
Concerto Op.7 no.4 in D minor (HWV 309) (Occasional Oratorio?) [3rd set, published 1761]
Concerto Op.7 no.5 in G minor (HWV 310) (Theodora 1750) [3rd set, published 1761]
Concerto Op.7 no.6 in B flat major (HWV 311) [3rd set, published 1761]
There are also three other organ concertos which do not belong to these three sets:
Concerto for two organs in D minor (HWV 303). Later published as 1st movement of Organ Concerto in D minor, Op 7 No 4 (HWV 309)
Concerto in D minor (HWV 304), also known as "No.15" (Occasional Oratorio)
Concerto in F major (HWV 305a), also known as "No.16"
Both the Georgian and Victorian periods of English musical history began with a German composer in whose shadow the indigenous composers worked - Handel and Mendelssohn, who were both patronised by the reigning monarch. The strong influence of both composers seem to have kick-started new styles. Handel settled in London in 1712, and became a naturalised British subject in 1727, the year Croft died. A national celebrity, a full-length marble statue of him was erected in Vauxhall Pleasure Gardens in 1738, at a time when statues of still-living subjects were limited to royalty and military commanders. Handel was 53 at the time. His influence lasted well into the 19th century - Haydn was amazed at the hold Handel still had on English music in the 1790s.
[Wikipedia biography]
[The statue formerly in Vauxhall Pleasure Gardens]
[Handel's memorial in Wesminster Abbey]
[The Organs used by George Frideric Handel - Dominic Gwynn]
Handel's organ works consist of the Six Fugues (HWV 605-610) and 18 organ concertos.
Six Fugues or VOLUNTARYS for the ORGAN or HARPSICHORD, Compos'd by G.F. HANDEL, Troisieme Ovarage. London. Printed for and Sold by I. Walsh, Music Printer and Instrument Maker to his Majesty, at the Harp and Hoboy in Catharine Street in the Strand.
Composed in 1716, and published by John Walsh in 1735.
The Walsh edition is not available for download, but the following two contemporary copies are:
French edition published in Paris: Chez Md. Boivin, Mr. le Clerc, n.d.[1738]
Manuscript copy by Johann Christian Kittel (1732-1809), dating from ca.1760
The Kittel MS has markings for manual and pedal in the bass line, possible in Germany, but impossible on English organs, which had no pedals.
Three copies of the solo keyboard arrangements of the Op.4 concertos published by Walsh are available:
SIX CONCERTOS For the Harpsicord or Organ Compos'd by Mr: HANDEL. These Six Concertos were Publish'd by Mr. Walsh from my own Copy Corrected by my Self, and to Him only I have given my Right therein. George Frideric Handel. London. Printed for & Sold by I. Walsh, Musick Printer & Instrument maker to his Majesty, at the Harp & Hoboy in Catherine Street in the Strand, where may be had the Instrumental Parts to ye above Six Concertos. (1738)
SIX CONCERTOS For the Harpsicord or Organ Compos'd by Mr: HANDEL. These Six Concertos were Publish'd by Mr. Walsh from my own Copy Corrected by my Self, and to Him only I have given my Right therein. George Frideric Handel. London. Printed for & Sold by I. Walsh, Musick Printer & Instrument maker to his Majesty, at the Harp & Hoboy in Catherine Street in the Strand, where may be had the Instrumental Parts to ye above Six Concertos. (1738)
A New Edition of SIX CONCERTOS For the Harpsicord or Organ Compos'd by Mr: HANDEL. NB. These Concertos were Originally Publish'd by the Late Mr. John Walsh, under the Inspection of the Author. LONDON. Printed for Wright & Wilkinson, Successors to the late Mr. Walsh, in Catharine Street in the Strand, Of whom may be had, The Instrumental Parts to the above. (1784)
Organ concertos, Op. 4 (Wikipedia)
Concerto Op.4 no.1 in G minor (HWV 289) (Alexander's Feast) [1st set, published 1738]
Concerto Op.4 no.2 in B flat major (HWV 290) (Esther) [1st set, published 1738]
Concerto Op.4 no.3 in G minor (HWV 291) (Esther) [1st set, published 1738]
Concerto Op.4 no.4 in F major (HWV 292) (Athalia) [1st set, published 1738]
Concerto Op.4 no.5 in F major (HWV 293) (Deborah) [1st set, published 1738]
Concerto Op.4 no.6 in B flat major for organ or harp (HWV 294) (Alexander's Feast) [1st set, published 1738]
A Second Set of SIX CONCERTOS For the Harpsicord or Organ Compos'd by Mr. HANDEL. London. Printed for I. Walsh in Catherine Street in the Strand where may be had the following Pieces of Musick Compos'd by Mr. Handel (1740)
Handel supplied only the first two concertos, previously published by Walsh as Two Concertos for the Organ and Harpsichord with the Instrumental Parts for Violins, Hoboys, &c. in Seven Parts. Compos'd by Mr. Handel. 2nd Set. To make up a set of six for this 1740 publication, Walsh added keyboard arrangements of four of Handel's Concerti Grossi Op.6.
Concerto "No.13" in F major (HWV 295) ('The Cuckoo and the Nightingale': Israel in Egypt 1739) [2nd set, published 1740]
Concerto "No.14" in A major (HWV 296a) (Alexander's Feast 1739) [2nd set, published 1740]
Concerto "No.15" in D minor (HWV 297, arrangement of Concerto Grosso Op.6 no.10) [2nd set, published 1740]
Concerto "No.16" in F major (HWV 298, arrangement of Concerto Grosso Op.6 no.1) [2nd set, published 1740]
Concerto "No.17" in D major (HWV 299, arrangement of Concerto Grosso Op.6 no.5) [2nd set, published 1740]
Concerto "No.18" in G minor (HWV 300, arrangement of Concerto Grosso Op.6 no.6) [2nd set, published 1740]
A Third Set of SIX CONCERTOS for the HARPSICORD or ORGAN Compos'd by Mr. Handel. Printed for I. Walsh in Catharine Street in the Strand. (1761)
Organ concertos, Op. 7 (Wikipedia)
Concerto Op.7 no.1 in B flat major (HWV 306) [3rd set, published 1761] First movement includes an independent pedal part.
Concerto Op.7 no.2 in A major (HWV 307) (Samson) [3rd set, published 1761]
Concerto Op.7 no.3 in B flat major (HWV 308) [3rd set, published 1761] Two variant autographs of first movement. Handel's last orchestral work.
Concerto Op.7 no.4 in D minor (HWV 309) (Occasional Oratorio?) [3rd set, published 1761]
Concerto Op.7 no.5 in G minor (HWV 310) (Theodora 1750) [3rd set, published 1761]
Concerto Op.7 no.6 in B flat major (HWV 311) [3rd set, published 1761]
There are also three other organ concertos which do not belong to these three sets:
Concerto for two organs in D minor (HWV 303). Later published as 1st movement of Organ Concerto in D minor, Op 7 No 4 (HWV 309)
Concerto in D minor (HWV 304), also known as "No.15" (Occasional Oratorio)
Concerto in F major (HWV 305a), also known as "No.16"
William Hine (1687-1730)
William Hine (1687-1730) was born at Brightwell, Oxfordshire, and was successively a chorister and lay clerk of Magdalen College, Oxford, whence he was dismissed 'prompter fornicationem, manifestam, et scandolasam' in 1705. Following this he became a student and assistant of Jeremiah Clarke at St. Paul's Cathedral in London, until Clarke's suicide in 1707. Hine was then Organist of Ludlow Parish Church until his appointment as Organist and Master of the Choristers at Gloucester Cathedral in 1711. Shortly after Hine's arrival in Gloucester he married Alicia, the daughter of the celebrated Gloucester bellfounder Abraham Rudhall. His time at Gloucester was very productive, and among his other accomplishments he was the teacher of Richard Church and William Hayes, and he was also one of the founders of the Three Choirs Festival. Hine was a success with the Dean and Chapter, who voluntarily raised his stipend by £20 (over £4000 in present-day money) in appreciation of his personal and musical qualities (according to his memorial). Following his untimely death at the age of 43, his widow Alicia published some of his choral and organ music under the title, Harmonia Sacra Glocestriensis: or, Select Anthems ... and a Voluntary for the Organ.
[Wikipedia biography]
HARMONIA SACRA GLOCESTRIENSIS or Select ANTHEMS for 1, 2 & 3 VOICES AND A TE-DEUM and JUBILATE Together with a VOLUNTARY for the ORGAN. Composed by Mr. William Hine, late Organist of the Cathedral Church At GLOCESTER. (1731?)
The Voluntary begins on page 45 of the volume, and consists of six movements:
Diapasons Slow - Flute Stop Brisk - Diapason & Flute Slow - Cornet and Sequialtera - Diapason & Flute - Full Organ
William Hine (1687-1730) was born at Brightwell, Oxfordshire, and was successively a chorister and lay clerk of Magdalen College, Oxford, whence he was dismissed 'prompter fornicationem, manifestam, et scandolasam' in 1705. Following this he became a student and assistant of Jeremiah Clarke at St. Paul's Cathedral in London, until Clarke's suicide in 1707. Hine was then Organist of Ludlow Parish Church until his appointment as Organist and Master of the Choristers at Gloucester Cathedral in 1711. Shortly after Hine's arrival in Gloucester he married Alicia, the daughter of the celebrated Gloucester bellfounder Abraham Rudhall. His time at Gloucester was very productive, and among his other accomplishments he was the teacher of Richard Church and William Hayes, and he was also one of the founders of the Three Choirs Festival. Hine was a success with the Dean and Chapter, who voluntarily raised his stipend by £20 (over £4000 in present-day money) in appreciation of his personal and musical qualities (according to his memorial). Following his untimely death at the age of 43, his widow Alicia published some of his choral and organ music under the title, Harmonia Sacra Glocestriensis: or, Select Anthems ... and a Voluntary for the Organ.
[Wikipedia biography]
HARMONIA SACRA GLOCESTRIENSIS or Select ANTHEMS for 1, 2 & 3 VOICES AND A TE-DEUM and JUBILATE Together with a VOLUNTARY for the ORGAN. Composed by Mr. William Hine, late Organist of the Cathedral Church At GLOCESTER. (1731?)
The Voluntary begins on page 45 of the volume, and consists of six movements:
Diapasons Slow - Flute Stop Brisk - Diapason & Flute Slow - Cornet and Sequialtera - Diapason & Flute - Full Organ
Thomas Roseingrave (1690-1766)
Roseingrave was born at Winchester but spent his early years in Dublin, studying music with his father, Daniel Roseingrave. In 1707 he entered Trinity College but failed to complete his degree. In 1710 he was sent to Italy with the financial assistance of St Patrick’s Cathedral, Dublin (awarded in 1709) in order 'to improve himself in the art of music'. In Venice he met Domenico Scarlatti and was greatly impressed by his harpsichord playing. He returned to England in 1717 (having left Italy for Dublin in 1713). He was appointed the first organist of St George's, Hanover Square, in 1725. He became known as an accomplished improviser, especially of fugues. He had a great admiration for the music of Palestrina and was highly skilled at contrapuntal writing. According to Charles Burney he could play the most difficult music by sight. In the 1730s he was at the height of his technique and skill. However, his career came to an end when he was denied permission to marry a young lady with whom he had become infatuated. Her father would not allow her to marry a musician. The disappointment affected Roseingrave psychologically; his behaviour reportedly became irrational at times, and he neglected his duties. Eventually he retired to Dublin in 1747 where he lived with his nephew William in Dún Laoghaire. He died at Dún Laoghaire in 1766 and was buried in his family's grave in the churchyard of St Patrick's Cathedral, Dublin.
[Wikipedia biography]
VOLUNTARYS and FUGUES made on purpose for the ORGAN or HARPSICORD By Mr. Thomas Roseingrave, Organist of St. George's Han: Square. London. Printed for and sold by I: Walsh servant to his Majesty at the Harp and Hoboy in Catherine Street in the Strand and Ioseph Hare at the Viol and Hoboy in Cornhill near the Royal Exchange.[1728]
Six Double Fugues for the Organ or Harpsicord. London: Unidentified publisher, (1750)
Fugue no.5 only is available for download from IMSLP.
Roseingrave was born at Winchester but spent his early years in Dublin, studying music with his father, Daniel Roseingrave. In 1707 he entered Trinity College but failed to complete his degree. In 1710 he was sent to Italy with the financial assistance of St Patrick’s Cathedral, Dublin (awarded in 1709) in order 'to improve himself in the art of music'. In Venice he met Domenico Scarlatti and was greatly impressed by his harpsichord playing. He returned to England in 1717 (having left Italy for Dublin in 1713). He was appointed the first organist of St George's, Hanover Square, in 1725. He became known as an accomplished improviser, especially of fugues. He had a great admiration for the music of Palestrina and was highly skilled at contrapuntal writing. According to Charles Burney he could play the most difficult music by sight. In the 1730s he was at the height of his technique and skill. However, his career came to an end when he was denied permission to marry a young lady with whom he had become infatuated. Her father would not allow her to marry a musician. The disappointment affected Roseingrave psychologically; his behaviour reportedly became irrational at times, and he neglected his duties. Eventually he retired to Dublin in 1747 where he lived with his nephew William in Dún Laoghaire. He died at Dún Laoghaire in 1766 and was buried in his family's grave in the churchyard of St Patrick's Cathedral, Dublin.
[Wikipedia biography]
VOLUNTARYS and FUGUES made on purpose for the ORGAN or HARPSICORD By Mr. Thomas Roseingrave, Organist of St. George's Han: Square. London. Printed for and sold by I: Walsh servant to his Majesty at the Harp and Hoboy in Catherine Street in the Strand and Ioseph Hare at the Viol and Hoboy in Cornhill near the Royal Exchange.[1728]
Six Double Fugues for the Organ or Harpsicord. London: Unidentified publisher, (1750)
Fugue no.5 only is available for download from IMSLP.
Maurice Greene (1695-1755)
Greene was a chorister at St Paul's Cathedral under Jeremiah Clarke and Charles King. Studying the organ under Richard Brind, the cathedral organist, he served as organist of St. Dunstan in the West, 1713/14-18 and St. Andrew, Holborn, 1717/18-before succeeding Brind at St Paul's 1717/18. He was an unsuccessful candidate at All Hallows Bread Street in 1723, but was organist of St. Clement Danes in 1730. When Croft died in 1727, Greene took his place as organist in the Chapel Royal, in 1730 becoming professor of music at Cambridge. In 1735 he was appointed Master of the King's Musick. He inherited a fortune in 1750, and gathered manuscripts together for the publication of a series of 'Cathedral Music', a project started by John Alcock senior. He, in his turn, never completed the project, and left his research materials to William Boyce, who was to become ultimately responsible for the completion of the project. Originally buried at the Church of St. Olave's Old Jewry in London, which was demolished in 1887, Greene's remains were transferred to St. Paul's on May 18, 1888. He now rests beside Boyce.
[Wikipedia biography]
[Roger Slade biography]
[Find A Grave]
Twelve Voluntarys for the Organ or Harpsichord Composed by the late Dr. Green. London (1779)
Voluntary no.10 only is available for download from IMSLP.
Greene was a chorister at St Paul's Cathedral under Jeremiah Clarke and Charles King. Studying the organ under Richard Brind, the cathedral organist, he served as organist of St. Dunstan in the West, 1713/14-18 and St. Andrew, Holborn, 1717/18-before succeeding Brind at St Paul's 1717/18. He was an unsuccessful candidate at All Hallows Bread Street in 1723, but was organist of St. Clement Danes in 1730. When Croft died in 1727, Greene took his place as organist in the Chapel Royal, in 1730 becoming professor of music at Cambridge. In 1735 he was appointed Master of the King's Musick. He inherited a fortune in 1750, and gathered manuscripts together for the publication of a series of 'Cathedral Music', a project started by John Alcock senior. He, in his turn, never completed the project, and left his research materials to William Boyce, who was to become ultimately responsible for the completion of the project. Originally buried at the Church of St. Olave's Old Jewry in London, which was demolished in 1887, Greene's remains were transferred to St. Paul's on May 18, 1888. He now rests beside Boyce.
[Wikipedia biography]
[Roger Slade biography]
[Find A Grave]
Twelve Voluntarys for the Organ or Harpsichord Composed by the late Dr. Green. London (1779)
Voluntary no.10 only is available for download from IMSLP.
John Travers (1703-1758)
Travers was son of Joseph Travers of Windsor, shoemaker. A chorister at St. George’s Chapel, Windsor, Travers was a pupil of Maurice Greene and Pepusch. Organist of St. Paul, Covent Garden (1725) and Fulham Church, and sub-organist of St. Paul’s Cathedral (ca.1727), he was appointed organist of the Chapel Royal in 1737, as the partner of his teacher Greene. Best known for his church and vocal music, a set of ‘XII Voluntaries for the Organ or Harpsichord’ was published posthumously.
[Wikipedia biography]
[Rousseau Media Music biography]
XII Voluntaries For the ORGAN or HARPSICHORD Compos'd by the late Ingenious Joannis [sic] Travers. London. Printed for C. & S. THOMPSON, No.75 St. Paul's Church Yard. (1769)
Voluntary no.11 only is available for download.
Travers was son of Joseph Travers of Windsor, shoemaker. A chorister at St. George’s Chapel, Windsor, Travers was a pupil of Maurice Greene and Pepusch. Organist of St. Paul, Covent Garden (1725) and Fulham Church, and sub-organist of St. Paul’s Cathedral (ca.1727), he was appointed organist of the Chapel Royal in 1737, as the partner of his teacher Greene. Best known for his church and vocal music, a set of ‘XII Voluntaries for the Organ or Harpsichord’ was published posthumously.
[Wikipedia biography]
[Rousseau Media Music biography]
XII Voluntaries For the ORGAN or HARPSICHORD Compos'd by the late Ingenious Joannis [sic] Travers. London. Printed for C. & S. THOMPSON, No.75 St. Paul's Church Yard. (1769)
Voluntary no.11 only is available for download.
John James (ca.1708-1746)
After many posts as deputy, John James was organist of St. Olave, Southwark 1729/30-36, possibly moving to St. George-in-the-East. He was noted for his skills in extemporisation. A volume of 'Ten Voluntarys' was published by C. & S. Thompson (1767). His family history is still uncertain, and there is at present nothing to indicate that he was a relative of the John James, architect, who designed the present church of St. Mary, Rotherhithe (1715) and St. George, Hanover Square (1721-25). Donovan Dawe deals at length with his identity.
After many posts as deputy, John James was organist of St. Olave, Southwark 1729/30-36, possibly moving to St. George-in-the-East. He was noted for his skills in extemporisation. A volume of 'Ten Voluntarys' was published by C. & S. Thompson (1767). His family history is still uncertain, and there is at present nothing to indicate that he was a relative of the John James, architect, who designed the present church of St. Mary, Rotherhithe (1715) and St. George, Hanover Square (1721-25). Donovan Dawe deals at length with his identity.
William Boyce (1710-1779)
Son of John and Elizabeth Boyce of St. James Garlickhythe, Boyce became a chorister at St Paul's Cathedral before studying music with Maurice Greene. He was appointed organist of St. Michael Cornhill 1736-1768 (where he had been unsuccessful in 1734), All Hallows the Great 1749-64, Master of the King's Musick in 1755 and organist of the Chapel Royal in 1758. From 1745 onwards, he was a composer for the Vauxhall Pleasure Gardens. When Boyce's deafness became so bad that he was unable to continue as a working organist, he retired and worked on completing the compilation of ‘Cathedral Music’ that his teacher Greene had left incomplete at his death. Boyce died of gout, and is buried underneath the dome of St. Paul's Cathedral.
He married Hannah Nixon at St. Dunstan Stepney 9 June 1759, when his abode was given as St. Andrew Holborn.
[Wikipedia biography]
[Roger Slade biography]
[Hawkins: Memoirs of Dr. William Boyce, part 1]
[Hawkins: Memoirs of Dr. William Boyce, part 2]
[Find A Grave]
Ten VOLUNTARIES for the ORGAN or HARPSICHORD Composed by the late Dr. William Boyce. London. Printed for S. A. & P. Thompson, No.75 St. Paul's Church Yard. (ca.1785)
Son of John and Elizabeth Boyce of St. James Garlickhythe, Boyce became a chorister at St Paul's Cathedral before studying music with Maurice Greene. He was appointed organist of St. Michael Cornhill 1736-1768 (where he had been unsuccessful in 1734), All Hallows the Great 1749-64, Master of the King's Musick in 1755 and organist of the Chapel Royal in 1758. From 1745 onwards, he was a composer for the Vauxhall Pleasure Gardens. When Boyce's deafness became so bad that he was unable to continue as a working organist, he retired and worked on completing the compilation of ‘Cathedral Music’ that his teacher Greene had left incomplete at his death. Boyce died of gout, and is buried underneath the dome of St. Paul's Cathedral.
He married Hannah Nixon at St. Dunstan Stepney 9 June 1759, when his abode was given as St. Andrew Holborn.
[Wikipedia biography]
[Roger Slade biography]
[Hawkins: Memoirs of Dr. William Boyce, part 1]
[Hawkins: Memoirs of Dr. William Boyce, part 2]
[Find A Grave]
Ten VOLUNTARIES for the ORGAN or HARPSICHORD Composed by the late Dr. William Boyce. London. Printed for S. A. & P. Thompson, No.75 St. Paul's Church Yard. (ca.1785)
Thomas Augustine Arne (1710-1773)
Best known as the composer of 'Rule Britannia', Arne worked mainly in the theatre. Being a Roman Catholic, he did not write music for the Anglican rite, his organ music consisting of six concertos. Composer and musical director of Vauxhall Pleasure Gardens 1745–1777. Arne, who lived very close to Vauxhall in the 1740s, had also been engaged at Drury Lane in 1744 at a salary of £3 per week
[Wikipedia biography]
[Roger Slade biography]
Six Favourite Concertos for the Organ, Harpsichord or Piano Forte, London, ca.1793 (posthumous publication).
Concerto in C major (largo ma con spirito, andante, allegro, minuetto)
Concerto in G major (allegro, lento, moderato, allegro, con spirito)
Concerto in A major (con spirito, con spirito, minuetto, moderato)
Concerto in B flat major (con spirito, minuetto, giga moderato)
Concerto in G minor (largo, allegro con spirito, adagio, vivace)
Concerto in B flat major (allegro, moderato, ad libitum, allegro, minuetto)
Best known as the composer of 'Rule Britannia', Arne worked mainly in the theatre. Being a Roman Catholic, he did not write music for the Anglican rite, his organ music consisting of six concertos. Composer and musical director of Vauxhall Pleasure Gardens 1745–1777. Arne, who lived very close to Vauxhall in the 1740s, had also been engaged at Drury Lane in 1744 at a salary of £3 per week
[Wikipedia biography]
[Roger Slade biography]
Six Favourite Concertos for the Organ, Harpsichord or Piano Forte, London, ca.1793 (posthumous publication).
Concerto in C major (largo ma con spirito, andante, allegro, minuetto)
Concerto in G major (allegro, lento, moderato, allegro, con spirito)
Concerto in A major (con spirito, con spirito, minuetto, moderato)
Concerto in B flat major (con spirito, minuetto, giga moderato)
Concerto in G minor (largo, allegro con spirito, adagio, vivace)
Concerto in B flat major (allegro, moderato, ad libitum, allegro, minuetto)
John Keeble (1711-1786)
A former chorister of Chichester Cathedral, he became the second organist of St George's, Hanover Square, in 1744, but did not receive full pay until after Thomas Roseingrave's death in 1766. He was appointed as Roseingrave's assistant, succeeding to the full post when Roseingrave retired to Ireland. Keeble was appointed as the first organist of Ranelagh Gardens in 1746. He published three volumes of 'Select Pieces for the Organ' in 1777-78, though they are the product of a much longer time span. Whereas the majority of organ composers of the time explored the many different colours available on the eighteenth century organ, Keeble's strength was in his counterpoint. He writes in the Preface: 'This style of writing, so proper for the Church, has of late been too much neglected by the young professors, from an opinion of its dryness, want of air, and destroying the true and original spirit of genius. How far I have succeeded in removing this objection, by the freedom of Modulation, is now submitted to the public; whose approbation will be a sufficient motive to publish others of the same sort.'
Select Pieces for the ORGAN Performed at the Church of St. George Hanover Square. Dedicated to The Right Honble. LADY MARY DUNCAN by Her Ladyships Most Obedient Servant John Keeble. Printed for & Sold by the Author at his House in Hanover Street, Hanover Square. Price 10s 6d. (1777)
A SECOND SET of Select Pieces for the ORGAN Performed at the Church of St. George Hanover Square. Dedicated to The Right Honble. Lady Viscountess Cranborne by Her Ladyships Most Obedient Servant John Keeble. These Pieces altho' Composed for the Organ, are equally improving and entertaining on the Harpsichord. Printed for & Sold by the Author at his House in Hanover Street, Hanover Square. Price 10:6d (1777)
A THIRD SET of Select Pieces for the ORGAN Performed at the Church of St. George Hanover Square. Dedicated to The Right Honble. Lord Viscount Fitzwilliam by His Lordships Most Obedient Servant John Keeble. These Pieces altho' Composed for the Organ, are equally improving and entertaining on the Harpsichord. Printed for & Sold by the Author at his House in Hanover Street, Hanover Square. Price 10:6d (1778)
A former chorister of Chichester Cathedral, he became the second organist of St George's, Hanover Square, in 1744, but did not receive full pay until after Thomas Roseingrave's death in 1766. He was appointed as Roseingrave's assistant, succeeding to the full post when Roseingrave retired to Ireland. Keeble was appointed as the first organist of Ranelagh Gardens in 1746. He published three volumes of 'Select Pieces for the Organ' in 1777-78, though they are the product of a much longer time span. Whereas the majority of organ composers of the time explored the many different colours available on the eighteenth century organ, Keeble's strength was in his counterpoint. He writes in the Preface: 'This style of writing, so proper for the Church, has of late been too much neglected by the young professors, from an opinion of its dryness, want of air, and destroying the true and original spirit of genius. How far I have succeeded in removing this objection, by the freedom of Modulation, is now submitted to the public; whose approbation will be a sufficient motive to publish others of the same sort.'
Select Pieces for the ORGAN Performed at the Church of St. George Hanover Square. Dedicated to The Right Honble. LADY MARY DUNCAN by Her Ladyships Most Obedient Servant John Keeble. Printed for & Sold by the Author at his House in Hanover Street, Hanover Square. Price 10s 6d. (1777)
A SECOND SET of Select Pieces for the ORGAN Performed at the Church of St. George Hanover Square. Dedicated to The Right Honble. Lady Viscountess Cranborne by Her Ladyships Most Obedient Servant John Keeble. These Pieces altho' Composed for the Organ, are equally improving and entertaining on the Harpsichord. Printed for & Sold by the Author at his House in Hanover Street, Hanover Square. Price 10:6d (1777)
A THIRD SET of Select Pieces for the ORGAN Performed at the Church of St. George Hanover Square. Dedicated to The Right Honble. Lord Viscount Fitzwilliam by His Lordships Most Obedient Servant John Keeble. These Pieces altho' Composed for the Organ, are equally improving and entertaining on the Harpsichord. Printed for & Sold by the Author at his House in Hanover Street, Hanover Square. Price 10:6d (1778)
Starling Goodwin (1711-1774)
Goodwin was the second of four sons born to master baker Michael Goodwin and his wife Judith at Bishopsgate in the City of London. At the age of ten he contracted smallpox which caused him to go blind. Although apprenticed as a baker, he changed to music, being proficient on the violin and the organ. He was, as was common in those days, a pluralist, being organist simultaneously of St. Olave, Southwark (1736 to death), St. Mary Magdalen, Bermondsey (1738 to death), St. Saviour, Southwark (1750 to death), and two additional parishes, St. Mary, Newington, and St. George the Martyr, Southwark. He also performed as organist at Ranelagh Gardens in succession to Butler. His son William succeeded him in these parishes and at Ranelagh.
[Rousseau Media Music biography]
The Complete ORGANIST'S POCKET COMPANION Containing a choice Collection of PSALM-TUNES with their GIVINGS-OUT, and Interludes as used in Parish Churches By the late Mr. Starling Goodwin. London. Printed for C. and S. Thompson, No.75 St. Paul's Church Yard.
The book shows the fashion for exuberant hymn accompaniment at the time. A highly-ornamented giving-out on the Cornet led to the first verse accompanied by full organ, followed by short interludes between the verses. The 'givings-out' corresponded to the Lutheran chorale prelude, and were just as ornamented as anything by Bach!
Twelve Voluntarys for the Organ or Harpsichord composed by Mr. Sterling Goodwin
Voluntary no.12 is available for download on IMLSP.
Goodwin was the second of four sons born to master baker Michael Goodwin and his wife Judith at Bishopsgate in the City of London. At the age of ten he contracted smallpox which caused him to go blind. Although apprenticed as a baker, he changed to music, being proficient on the violin and the organ. He was, as was common in those days, a pluralist, being organist simultaneously of St. Olave, Southwark (1736 to death), St. Mary Magdalen, Bermondsey (1738 to death), St. Saviour, Southwark (1750 to death), and two additional parishes, St. Mary, Newington, and St. George the Martyr, Southwark. He also performed as organist at Ranelagh Gardens in succession to Butler. His son William succeeded him in these parishes and at Ranelagh.
[Rousseau Media Music biography]
The Complete ORGANIST'S POCKET COMPANION Containing a choice Collection of PSALM-TUNES with their GIVINGS-OUT, and Interludes as used in Parish Churches By the late Mr. Starling Goodwin. London. Printed for C. and S. Thompson, No.75 St. Paul's Church Yard.
The book shows the fashion for exuberant hymn accompaniment at the time. A highly-ornamented giving-out on the Cornet led to the first verse accompanied by full organ, followed by short interludes between the verses. The 'givings-out' corresponded to the Lutheran chorale prelude, and were just as ornamented as anything by Bach!
Twelve Voluntarys for the Organ or Harpsichord composed by Mr. Sterling Goodwin
Voluntary no.12 is available for download on IMLSP.
John Stanley (1713-1786)
John Stanley was born in London, and was baptised at the church of St. Swithin, London Stone. He was one of six children born to his father, also John Stanley (an Officer at Swithin’s Lane Post Office) and his wife Elizabeth (nee Davy) who had married in 1707.. At about the age of two, he had the misfortune to fall on a marble hearth with a china basin in his hand, an accident which left him almost blind, although he could apparently still distinguish colours and possibly some shapes.
He began studying music at the age of seven under the guidance of Maurice Greene, composer and organist at St. Paul's Cathedral. At the age of nine he played the organ, probably as an occasional deputy to William Babell, at All Hallows Bread Street. Babell died in 1723 and exactly one month later eleven-year-old Stanley was appointed organist to the church at a salary of £20 per annum, in preference to his teacher Maurice Greene and Obadiah Shuttleworth, the unsuccessful candidates. He resigned in 1727.
In 1726, when he was fourteen he was chosen as organist at St Andrew's, Holborn, which post he held for a staggering total of 59 years 9 months, and at the age of seventeen became the youngest person ever to obtain the Bachelor of Music degree (B.Mus.) at the University of Oxford.
In 1734 he was appointed organist to the Society of the Inner Temple, a position which he held until his death in 1786. It was at the ancient Temple Church that his brilliant playing upon the organ and harpsichord attracted the attention of many fine musicians including George Frideric Handel, who regularly visited the church to hear him. Stanley was also an outstanding violinist.
In 1738 Stanley married Sarah Arlond (daughter of Captain Edward Arlond of the East India Company), who brought him a dowry of £7,000 per annum. Sarah's sister Ann, who at this time lived with them, became the blind composer's copyist. From 1738 to 1751, the Stanleys were residents of St. Stephen Walbrook parish, but had moved to Hatton Garden before 1763.
In 1779 Stanley succeeded William Boyce as Master of the King's Band of musicians. In this capacity he composed many New Year and Birthday odes to the King but unfortunately this music has not survived. Stanley's last work was probably an ode written for the King's birthday (4 June 1786). Stanley never heard its performance as he died at his home in Hatton Garden, opposite the home of the musical historian John Hawkins. on 19 May 1786 aged 74, having given 62 years 7 months continuous service to the City of London.
Detailed biographies:
[Wikipedia]
[John Stanley, a Concise Biography]
[HOASM]
[Roger Slade biography]
Ten Voluntarys for the ORGAN or HARPSICHORD Composed by Mr. John Stanley, Opera Quinta. London. Printed for John Johnson at the Harp and Crown in Cheapside. (1748)
Johnson's edition is the first edition. Op.6 followed in 1752 and Op.7 in 1754. James Harrison reprinted all three volumes ca.1785, correcting some mistakes in Johnson's edition.
The Oxford University Press published a facsimile of Johnson's edition in three volumes in 1957, together with an introduction by Denis Vaughan. This was reissued in a combined volume in 1989. However, all passages in C clefs were subtly altered to G and F clefs, without adequate editorial explanation of where these changes were made. Comparison with the above download shows that four changes were made in the Opus 5 set:
TEN VOLUNTARIES FOR THE ORGAN or HARPSICHORD Composed by John Stanley, Esqr. M.B. MASTER OF HIS MAJESTY'S BAND (Opera V.) LONDON: Printed for Harrison and Co. No.18 Paternoster Row.
TEN VOLUNTARIES FOR THE ORGAN or HARPSICHORD Composed by John Stanley, Esqr. M.B. MASTER OF HIS MAJESTY'S BAND (Opera VI.) LONDON: Printed for Harrison and Co. No.18 Paternoster Row.
[TEN VOLUNTARIES FOR THE ORGAN or HARPSICHORD Composed by John Stanley, Esqr. M.B. MASTER OF HIS MAJESTY'S BAND (Opera VII.) LONDON: Printed for Harrison and Co. No.18 Paternoster Row.]
The title is conjectured, as the title page on the downloaded copy is missing.
SIX CONCERTOS for the Organ, Harpsichord or FORTE PIANO, With Accompaniments for two Violins and a Bass Composed by JOHN STANLEY, M.B. Organist to the Honble. Society of the Inner Temple & of St. Andrews Church Holborn. OPERA X. Price 12s. LONDON. Printed for the Author, and Sold by Mr. Welcker, In Gerrard Street, Soho, Mr. Randal, in Catherine Street in the Strand, Mr. Bennett, No.61 Holborn Hill, and Mrs. Johnson, in Cheapside. (1775)
There is also a voluntary in D 'Composed by the late Mr. STANLEY never before printed' at no.3 in:
Twelve VOLUNTARIES for the Organ or Harpsichord selected from the Works of Several Eminent Authors (never before published). Price 6s. London. Printed for J. Carr, Middle Row, Holborn. (after 1786)
John Stanley was born in London, and was baptised at the church of St. Swithin, London Stone. He was one of six children born to his father, also John Stanley (an Officer at Swithin’s Lane Post Office) and his wife Elizabeth (nee Davy) who had married in 1707.. At about the age of two, he had the misfortune to fall on a marble hearth with a china basin in his hand, an accident which left him almost blind, although he could apparently still distinguish colours and possibly some shapes.
He began studying music at the age of seven under the guidance of Maurice Greene, composer and organist at St. Paul's Cathedral. At the age of nine he played the organ, probably as an occasional deputy to William Babell, at All Hallows Bread Street. Babell died in 1723 and exactly one month later eleven-year-old Stanley was appointed organist to the church at a salary of £20 per annum, in preference to his teacher Maurice Greene and Obadiah Shuttleworth, the unsuccessful candidates. He resigned in 1727.
In 1726, when he was fourteen he was chosen as organist at St Andrew's, Holborn, which post he held for a staggering total of 59 years 9 months, and at the age of seventeen became the youngest person ever to obtain the Bachelor of Music degree (B.Mus.) at the University of Oxford.
In 1734 he was appointed organist to the Society of the Inner Temple, a position which he held until his death in 1786. It was at the ancient Temple Church that his brilliant playing upon the organ and harpsichord attracted the attention of many fine musicians including George Frideric Handel, who regularly visited the church to hear him. Stanley was also an outstanding violinist.
In 1738 Stanley married Sarah Arlond (daughter of Captain Edward Arlond of the East India Company), who brought him a dowry of £7,000 per annum. Sarah's sister Ann, who at this time lived with them, became the blind composer's copyist. From 1738 to 1751, the Stanleys were residents of St. Stephen Walbrook parish, but had moved to Hatton Garden before 1763.
In 1779 Stanley succeeded William Boyce as Master of the King's Band of musicians. In this capacity he composed many New Year and Birthday odes to the King but unfortunately this music has not survived. Stanley's last work was probably an ode written for the King's birthday (4 June 1786). Stanley never heard its performance as he died at his home in Hatton Garden, opposite the home of the musical historian John Hawkins. on 19 May 1786 aged 74, having given 62 years 7 months continuous service to the City of London.
Detailed biographies:
[Wikipedia]
[John Stanley, a Concise Biography]
[HOASM]
[Roger Slade biography]
Ten Voluntarys for the ORGAN or HARPSICHORD Composed by Mr. John Stanley, Opera Quinta. London. Printed for John Johnson at the Harp and Crown in Cheapside. (1748)
Johnson's edition is the first edition. Op.6 followed in 1752 and Op.7 in 1754. James Harrison reprinted all three volumes ca.1785, correcting some mistakes in Johnson's edition.
The Oxford University Press published a facsimile of Johnson's edition in three volumes in 1957, together with an introduction by Denis Vaughan. This was reissued in a combined volume in 1989. However, all passages in C clefs were subtly altered to G and F clefs, without adequate editorial explanation of where these changes were made. Comparison with the above download shows that four changes were made in the Opus 5 set:
- Voluntary 1 - on page 2, the first 18 bars of the right hand of the diapason movement were originally in the tenor clef.
- Voluntary 3 - on page 9, the whole of the right hand in the diapason movement was originally in the alto clef.
- Voluntary 5 - on page 16, the whole of the right hand in the diapason movement was originally in the alto clef. Also on page 18, the left hand was originally in the tenor clef in bars 77-78 and 101-104 of the second (trumpet) movement.
TEN VOLUNTARIES FOR THE ORGAN or HARPSICHORD Composed by John Stanley, Esqr. M.B. MASTER OF HIS MAJESTY'S BAND (Opera V.) LONDON: Printed for Harrison and Co. No.18 Paternoster Row.
TEN VOLUNTARIES FOR THE ORGAN or HARPSICHORD Composed by John Stanley, Esqr. M.B. MASTER OF HIS MAJESTY'S BAND (Opera VI.) LONDON: Printed for Harrison and Co. No.18 Paternoster Row.
[TEN VOLUNTARIES FOR THE ORGAN or HARPSICHORD Composed by John Stanley, Esqr. M.B. MASTER OF HIS MAJESTY'S BAND (Opera VII.) LONDON: Printed for Harrison and Co. No.18 Paternoster Row.]
The title is conjectured, as the title page on the downloaded copy is missing.
SIX CONCERTOS for the Organ, Harpsichord or FORTE PIANO, With Accompaniments for two Violins and a Bass Composed by JOHN STANLEY, M.B. Organist to the Honble. Society of the Inner Temple & of St. Andrews Church Holborn. OPERA X. Price 12s. LONDON. Printed for the Author, and Sold by Mr. Welcker, In Gerrard Street, Soho, Mr. Randal, in Catherine Street in the Strand, Mr. Bennett, No.61 Holborn Hill, and Mrs. Johnson, in Cheapside. (1775)
There is also a voluntary in D 'Composed by the late Mr. STANLEY never before printed' at no.3 in:
Twelve VOLUNTARIES for the Organ or Harpsichord selected from the Works of Several Eminent Authors (never before published). Price 6s. London. Printed for J. Carr, Middle Row, Holborn. (after 1786)
Voluntary in D minor (Op.5 no.6) – John Stanley (recorded on the Rotherhithe organ)
The Cornet is one of the most characteristic colours of the English eighteenth-century organ. This organ used to have two, one on the Great and an Echo Cornet inside the Swell box, but since Russell’s remodelling, this has been lost. The present Cornet was made by Noel Mander, and reconstructed by Goetze and Gwynn. This voluntary shows off the Cornet in its usual flamboyant manner, with almost continuous semiquavers from beginning to end. Click here to hear how this voluntary sounds on the 1886 Father Willis organ of St. Barnabas, Beckenham.
The Cornet is one of the most characteristic colours of the English eighteenth-century organ. This organ used to have two, one on the Great and an Echo Cornet inside the Swell box, but since Russell’s remodelling, this has been lost. The present Cornet was made by Noel Mander, and reconstructed by Goetze and Gwynn. This voluntary shows off the Cornet in its usual flamboyant manner, with almost continuous semiquavers from beginning to end. Click here to hear how this voluntary sounds on the 1886 Father Willis organ of St. Barnabas, Beckenham.
Voluntary in D minor (Op.5 no.8) – John Stanley (recorded on the Rotherhithe organ)
This voluntary is in three movements. The first uses a 4 foot flute as solo stop, accompanied by the Swell Open Diapason. There was originally a Nason stop on the Great, a 4 foot flute, but this was removed by Russell and replaced by another 8 foot Open Diapason. I use the only surviving 4 foot flute, that on the Choir. The slow movement in the middle is entirely on the Swell, and does not go below fiddle G, the lowest note of the original compass. The finale is a vigorous fugue on full Great, with episodes on the Choir.
This voluntary is in three movements. The first uses a 4 foot flute as solo stop, accompanied by the Swell Open Diapason. There was originally a Nason stop on the Great, a 4 foot flute, but this was removed by Russell and replaced by another 8 foot Open Diapason. I use the only surviving 4 foot flute, that on the Choir. The slow movement in the middle is entirely on the Swell, and does not go below fiddle G, the lowest note of the original compass. The finale is a vigorous fugue on full Great, with episodes on the Choir.
Voluntary in D (Op.6 no.5) – John Stanley (recorded on the Rotherhithe organ)
This voluntary in three movements demonstrates three different reed stops. After the customary diapason movement on the Great, the second movement uses the Great Trumpet echoed by the Swell Trumpet, with the box closed, both of which are original Byfield stops. The slow movement which follows uses the Swell diapasons in alternation with the Choir Cremona, one of Russell’s stops. As the original Swell only went down to fiddle G and the Cremona to tenor C, the bass line of this movement is played on the Great Stopped Diapason.
This voluntary in three movements demonstrates three different reed stops. After the customary diapason movement on the Great, the second movement uses the Great Trumpet echoed by the Swell Trumpet, with the box closed, both of which are original Byfield stops. The slow movement which follows uses the Swell diapasons in alternation with the Choir Cremona, one of Russell’s stops. As the original Swell only went down to fiddle G and the Cremona to tenor C, the bass line of this movement is played on the Great Stopped Diapason.
John Alcock senior (1715-1806)
A chorister at St. Paul’s Cathedral, Alcock was given the chance to take part in the coronation of George II on 22 October 1727 (New Style) taking the place of a Chapel Royal chorister who had died suddenly. He therefore was privileged to sing in the first performance of 'Zadok the Priest' especially composed by Handel for the event. At the age of 14, Alcock became a pupil of John Stanley, himself only 16 at the time. He was organist at St. Andrew's, Plymouth (1737), and, on the recommendation of Stanley, at St. Laurence's, Reading (1742), both churches having new organs. He then became organist, master of the choristers and lay vicar of Lichfield Cathedral (1749). Resigning from Lichfield around 1760, he became organist at Sutton Coldfield (1761-86) and St. Editha's, Tamworth (1766-90). During his time at Sutton Coldfield, he was awarded the degree of Doctor of Music by the University of Oxford in 1766. At the same degree ceremony, his son John junior also received his bachelor's degree - a double celebration. He generously handed over to Greene materials which he had collected for his own ‘Cathedral Music’ project.
[Rousseau Media Music biography]
Voluntary 5 in D minor (from Ten Voluntaries for Organ or Harpsichord, London: C. & S. Thompson, n.d.(1774)
The second movement of Alcock’s voluntary is registered precisely: ‘Stopt Diapason and Flute, in the Choir Organ, or Echo’ with ‘Sexquialtra and Diapsons’ in the bass. This combination was used as a kind of bass Cornet, and was used extensively in Restoration Double Voluntaries.
A chorister at St. Paul’s Cathedral, Alcock was given the chance to take part in the coronation of George II on 22 October 1727 (New Style) taking the place of a Chapel Royal chorister who had died suddenly. He therefore was privileged to sing in the first performance of 'Zadok the Priest' especially composed by Handel for the event. At the age of 14, Alcock became a pupil of John Stanley, himself only 16 at the time. He was organist at St. Andrew's, Plymouth (1737), and, on the recommendation of Stanley, at St. Laurence's, Reading (1742), both churches having new organs. He then became organist, master of the choristers and lay vicar of Lichfield Cathedral (1749). Resigning from Lichfield around 1760, he became organist at Sutton Coldfield (1761-86) and St. Editha's, Tamworth (1766-90). During his time at Sutton Coldfield, he was awarded the degree of Doctor of Music by the University of Oxford in 1766. At the same degree ceremony, his son John junior also received his bachelor's degree - a double celebration. He generously handed over to Greene materials which he had collected for his own ‘Cathedral Music’ project.
[Rousseau Media Music biography]
Voluntary 5 in D minor (from Ten Voluntaries for Organ or Harpsichord, London: C. & S. Thompson, n.d.(1774)
The second movement of Alcock’s voluntary is registered precisely: ‘Stopt Diapason and Flute, in the Choir Organ, or Echo’ with ‘Sexquialtra and Diapsons’ in the bass. This combination was used as a kind of bass Cornet, and was used extensively in Restoration Double Voluntaries.
George Green
Published a volume of Six Voluntaries in 1775.
Published a volume of Six Voluntaries in 1775.
James Nares (1715-1783)
Nares was born in Stanwell, Middlesex, and was a pupil of Bernard Gates (Master of the King's Choristers), Johann Christoph Pepusch and William Croft. He began his career as Deputy Organist of St. George's Chapel in Windsor Castle, and was later appointed Organist of York Minster in 1735. He married soon after that. By the influence of his patron and friend, John Fountayne, the Dean of York, he succeeded Maurice Greene as first organist of the Chapel Royal in 1755. and his teacher, Gates, as Master of the Children at the Chapel Royal in 1757. At this time the University of Cambridge bestowed the degree Doctor of Music upon him.
Nares resigned his duties in July 1781 due to declining health, and died two years later. He is buried in St. Margaret's, Westminster.
Wikipedia biography
Dictionary of National Biography
Biography on nares.net
St. Margaret's, Westminster, memorial
Six FUGES with Introductory Voluntary's for the ORGAN OR HARPSICHORD Composed by Dr. Nares, Organist and Composer to his MAJESTY. LONDON Printed by WELCKER in Gerrard Street, St. Ann's Soho. (1772)
Nares was born in Stanwell, Middlesex, and was a pupil of Bernard Gates (Master of the King's Choristers), Johann Christoph Pepusch and William Croft. He began his career as Deputy Organist of St. George's Chapel in Windsor Castle, and was later appointed Organist of York Minster in 1735. He married soon after that. By the influence of his patron and friend, John Fountayne, the Dean of York, he succeeded Maurice Greene as first organist of the Chapel Royal in 1755. and his teacher, Gates, as Master of the Children at the Chapel Royal in 1757. At this time the University of Cambridge bestowed the degree Doctor of Music upon him.
Nares resigned his duties in July 1781 due to declining health, and died two years later. He is buried in St. Margaret's, Westminster.
Wikipedia biography
Dictionary of National Biography
Biography on nares.net
St. Margaret's, Westminster, memorial
Six FUGES with Introductory Voluntary's for the ORGAN OR HARPSICHORD Composed by Dr. Nares, Organist and Composer to his MAJESTY. LONDON Printed by WELCKER in Gerrard Street, St. Ann's Soho. (1772)
William Walond senior (1719-1768)
William Walond senior (1719 – 1768) was an organist and composer who appears who have spent all his life based in Oxford. He was not an academic but ranked as a tradesman, employed by Christ Church College as an assistant organist, yet he won the respect of professors of music and organists throughout Britain. In 1757 he was granted honorary membership of the university as a 'privilegiatus' by virtue of his skills as an 'organorum pulsator'. Having matriculated, he was now entitled to supplicate for a degree. For his exercise, he set the text of Alexander Pope’s 'Ode on St Cecilia’s Day' and he was awarded the Bachelor of Music degree (BM).
On 21 July, 1768, shortly before Walond’s death in August, the Oxford University Professor of Music, Dr William Hayes, conferred the great honour of conducting a benefit performance of Handel’s “Messiah” to a to a full house at St Peter in the East Church, the proceeds going to Walond, the organist. The church recently had bought the organ that had been in the Sheldonian Theatre and it was rebuilt there under Walond’s supervision by Byfield and Green of London, who were also installing the theatre’s new organ. The concert was also the official opening of the transferred organ and featured an organ concerto in addition to the oratorio.
William Walond died at his home in Coach and Horses Lane in August, 1768.
[Rousseau Media Music biography]
William Walond senior (1719 – 1768) was an organist and composer who appears who have spent all his life based in Oxford. He was not an academic but ranked as a tradesman, employed by Christ Church College as an assistant organist, yet he won the respect of professors of music and organists throughout Britain. In 1757 he was granted honorary membership of the university as a 'privilegiatus' by virtue of his skills as an 'organorum pulsator'. Having matriculated, he was now entitled to supplicate for a degree. For his exercise, he set the text of Alexander Pope’s 'Ode on St Cecilia’s Day' and he was awarded the Bachelor of Music degree (BM).
On 21 July, 1768, shortly before Walond’s death in August, the Oxford University Professor of Music, Dr William Hayes, conferred the great honour of conducting a benefit performance of Handel’s “Messiah” to a to a full house at St Peter in the East Church, the proceeds going to Walond, the organist. The church recently had bought the organ that had been in the Sheldonian Theatre and it was rebuilt there under Walond’s supervision by Byfield and Green of London, who were also installing the theatre’s new organ. The concert was also the official opening of the transferred organ and featured an organ concerto in addition to the oratorio.
William Walond died at his home in Coach and Horses Lane in August, 1768.
[Rousseau Media Music biography]
George Berg (ca.1720-1775)
A German who settled in London, and a pupil of Dr. Pepusch, he was an unsuccessful applicant for St. Andrew Undershaft in 1749, and at St. Margaret Pattens in 1771. However, he was successfully appointed Organist of St. Mary at Hill 1762, and kept this position until his death in 1775.
Berg was a professional member of the Gentlemen and Noblemen’s Catch Club and was elected a member of the Royal Society of Musicians 1763, when he was listed in ‘Mortimer’s Universal Director’ as a composer and harpsichord teacher at Lincoln’s Inn Fields.
He is listed as one of the subscribers to the 1746 original edition of Handel’s ‘Judas Maccabaeus’. He published seven volumes of keyboard music, including a set of organ voluntaries in 1757, and three sets of sonatinas for the harpsichord. But he also wrote other instrumental music, an opera, glees and songs which were sung at Marylebone Gardens, and other London pleasure gardens.
For at least fifteen years, Berg engaged in a project to learn chemistry, specifically chemistry related to glassmaking and especially glasses used to make fake gemstones or enamel colours. For more on this side of his life, see:
[Sarah Lowengard: "George Berg and the Society of Arts: Interest, Improvement and the Meaning of a Practical Engagement"]
A German who settled in London, and a pupil of Dr. Pepusch, he was an unsuccessful applicant for St. Andrew Undershaft in 1749, and at St. Margaret Pattens in 1771. However, he was successfully appointed Organist of St. Mary at Hill 1762, and kept this position until his death in 1775.
Berg was a professional member of the Gentlemen and Noblemen’s Catch Club and was elected a member of the Royal Society of Musicians 1763, when he was listed in ‘Mortimer’s Universal Director’ as a composer and harpsichord teacher at Lincoln’s Inn Fields.
He is listed as one of the subscribers to the 1746 original edition of Handel’s ‘Judas Maccabaeus’. He published seven volumes of keyboard music, including a set of organ voluntaries in 1757, and three sets of sonatinas for the harpsichord. But he also wrote other instrumental music, an opera, glees and songs which were sung at Marylebone Gardens, and other London pleasure gardens.
For at least fifteen years, Berg engaged in a project to learn chemistry, specifically chemistry related to glassmaking and especially glasses used to make fake gemstones or enamel colours. For more on this side of his life, see:
[Sarah Lowengard: "George Berg and the Society of Arts: Interest, Improvement and the Meaning of a Practical Engagement"]
Simon Stubley (d.1754)
Unsuccessful candidate for deputy organist at St. George Botolph Lane in 1739, and for organist at St. Martin Ludgate in 1745.
Organist of St. John Clerkenwell 1740 to his death in 1754.
Described as composer of vocal music in the Gentleman’s Magazine. Composition(s) included in a collection of voluntaries 1767.
Unsuccessful candidate for deputy organist at St. George Botolph Lane in 1739, and for organist at St. Martin Ludgate in 1745.
Organist of St. John Clerkenwell 1740 to his death in 1754.
Described as composer of vocal music in the Gentleman’s Magazine. Composition(s) included in a collection of voluntaries 1767.
John Worgan (1724-1790)
Of Welsh descent, and the son of a surveyor, he was born in London in 1724. He became a pupil of his brother, James Worgan (1715−1753), organist of Vauxhall Gardens, and he subsequently studied under Thomas Roseingrave and Geminiani. In succession to his brother James he was organist of the parish of St. Andrew Undershaft with St. Mary Axe, about 1749, at Vauxhall Gardens, 1751 to 1774, and at St. Botolph, Aldgate, in 1753. He subsequently became organist of St. John's Chapel, Bedford Row, in 1760; and, in succession to his brother, he held the post of ‘composer’ to Vauxhall Gardens from 1753 to 1761, and again from 1770 to 1774. He took the degree of Bachelor in Music at Cambridge in 1748, and the Doctorate in 1775. He died at 22 (now numbered 65, and forming one half of the Ridgemount Hotel) Gower Street on 24 Aug. 1790, and was buried in St. Andrew Undershaft on 31 Aug., when Charles Wesley (1757−1834), one of his favourite pupils, presided at the organ.
He was a subscriber to William Riley's 'Parochial music corrected' (1762), contributing the 'Apostle's Tune' and 'St. John's Tune' to Riley's companion volume 'Parochial Harmony',
On 29th September 1765, he gave the opening recital on John Byfield’s newly-completed organ at St. Mary Rotherhithe. In all my time at Rotherhithe, I never managed to discover his programme!
His sister Mary Worgan was the earliest female organist in the City of London, being organist of St. Dunstan in the East 1753, resigning at her marriage.
[Wikisource biography (Dictionary of National Biography)]
Of Welsh descent, and the son of a surveyor, he was born in London in 1724. He became a pupil of his brother, James Worgan (1715−1753), organist of Vauxhall Gardens, and he subsequently studied under Thomas Roseingrave and Geminiani. In succession to his brother James he was organist of the parish of St. Andrew Undershaft with St. Mary Axe, about 1749, at Vauxhall Gardens, 1751 to 1774, and at St. Botolph, Aldgate, in 1753. He subsequently became organist of St. John's Chapel, Bedford Row, in 1760; and, in succession to his brother, he held the post of ‘composer’ to Vauxhall Gardens from 1753 to 1761, and again from 1770 to 1774. He took the degree of Bachelor in Music at Cambridge in 1748, and the Doctorate in 1775. He died at 22 (now numbered 65, and forming one half of the Ridgemount Hotel) Gower Street on 24 Aug. 1790, and was buried in St. Andrew Undershaft on 31 Aug., when Charles Wesley (1757−1834), one of his favourite pupils, presided at the organ.
He was a subscriber to William Riley's 'Parochial music corrected' (1762), contributing the 'Apostle's Tune' and 'St. John's Tune' to Riley's companion volume 'Parochial Harmony',
On 29th September 1765, he gave the opening recital on John Byfield’s newly-completed organ at St. Mary Rotherhithe. In all my time at Rotherhithe, I never managed to discover his programme!
His sister Mary Worgan was the earliest female organist in the City of London, being organist of St. Dunstan in the East 1753, resigning at her marriage.
[Wikisource biography (Dictionary of National Biography)]
Samuel Long (ca.1725-1764)
A chorister of St. Paul's Cathedral under Charles King, Long was appointed organist of St. Peter le Poer, Broad Street, about 1745, and kept this appointment until his death in 1764. He was buried in St. Andrew Holborn. Four Lessons and two Voluntarys for the Harpsichord or Organ were published posthumously for his widow Sarah (formerly Whitefoot).
He was a subscriber to William Riley's 'Parochial music corrected' (1762), contributing the 'Mecklenburg Tune' and 'St. Peter's Tune' to Riley's companion volume 'Parochial Harmony',
The Royal Society of Musicians reports he was admitted a member on 3 January 1757, and died on 7 August 1764. The Society also states that he was born ca.1725.
FOUR LESSONS and two VOLUNTARYS for the HARPSICHORD or ORGAN Composed by Mr. SAMUEL LONG, Late Organist of St. Peter-le-Poor, Broad Street. LONDON. Printed for and Sold by the Widow at Mr. Whitefoots in Hatton Garden, and Chas. and Saml. Thompson in St. Paul's Church Yard.
The Lessons can be downloaded here.
The Voluntaries can be downloaded here.
A chorister of St. Paul's Cathedral under Charles King, Long was appointed organist of St. Peter le Poer, Broad Street, about 1745, and kept this appointment until his death in 1764. He was buried in St. Andrew Holborn. Four Lessons and two Voluntarys for the Harpsichord or Organ were published posthumously for his widow Sarah (formerly Whitefoot).
He was a subscriber to William Riley's 'Parochial music corrected' (1762), contributing the 'Mecklenburg Tune' and 'St. Peter's Tune' to Riley's companion volume 'Parochial Harmony',
The Royal Society of Musicians reports he was admitted a member on 3 January 1757, and died on 7 August 1764. The Society also states that he was born ca.1725.
FOUR LESSONS and two VOLUNTARYS for the HARPSICHORD or ORGAN Composed by Mr. SAMUEL LONG, Late Organist of St. Peter-le-Poor, Broad Street. LONDON. Printed for and Sold by the Widow at Mr. Whitefoots in Hatton Garden, and Chas. and Saml. Thompson in St. Paul's Church Yard.
The Lessons can be downloaded here.
The Voluntaries can be downloaded here.
William Jones (1726-1800)
Jones, descended from an old Welsh family, was born at Lowick, Northamptonshire. One of his ancestors was Colonel John Jones, brother-in-law of Oliver Cromwell, and one of the signatories to the death warrant of King Charles I of England. He used to regularly observe January 30 as a day of fasting and humiliation for his ancestor’s sin. He was educated at Charterhouse School and University College, Oxford. There a taste for music, as well as a similarity of character, led to his close intimacy with George Horne, later bishop of Norwich, whom he induced to study Hutchinsonian doctrines.
After obtaining his bachelor's degree at University College, Oxford in 1749, Jones held various preferments, being Vicar of Bethersden, Kent (1764) and Rector of Pluckley, Kent (1765). In 1777 he obtained the perpetual curacy of Nayland, Suffolk, and on Horne's appointment to Norwich became his chaplain, afterwards writing his life. In the same year, he obtained a Samuel Green organ from Canterbury Cathedral, and installed it in his new church. It has since been extensively altered.
His vicarage at Nayland became the centre of a High Church group who explored the spiritual nature of the church, and attempted to reintroduce ideas to their parishioners like the real presence in the Eucharist. Amongst his early followers was John Wesley, who founded the Methodist movement. Another was the father of John Keble, who went on to be the inspiration behind the Oxford Movement. Yet another person inspired by the legacy of his spiritual writings was the young John Henry Newman.
Thus Jones himself was a link between the non-jurors and the Oxford Movement. He could write intelligibly on abstruse topics.He was a zealous student of music and of natural science, as well as of theology.
[Wikipedia biography]
[Dictionary of National Biography]
[The Reverend William Jones 'Jones of Nayland' (1726-1800) Part of a display to mark the Bicentenary of Constable's Nayland Altarpiece]
A TREATISE ON THE ART OF MUSIC; IN WHICH The Elements of HARMONY and AIR are practically considered, AND ILLUSTRATED BY AN HUNDRED AND FIFTY EXAMPLES IN NOTES Many of them taken from the best Authors: The whole being intended as a Course of Lectures, PREPARATORY TO THE PRACTICE OF Thorough-Bass and Musical Composition: AND DEDICATED To the Right Honourable, &c. the DIRECTORS of the CONCERTS of ANTIENT MUSIC. COLCHESTER: PRINTED FOR THE AUTHOR BY W. KEYMER, MDCCLXXXIV [12 January 1784]
Ten Church Pieces for the ORGAN with Four Anthems in Score Composed for the Use of the Church of Nayland in Suffolk And Published for its Benefit By William Jones, MA FRS (Author of a Treatise on the Art of Music &c &c). Opera II. LONDON Printed for the AUTHOR & Sold by Messrs. Longman & Broderip, Cheapside and Hay Market. [25 March 1789]
Jones's well-known hymn tune 'St. Stephen' (English Hymnal 337) appears on page 32 of the 'Four Anthems in Score' as 'St. Stephen's Tune', set to Psalm 23.
This two-part work was dedicated to Lady Rushout, an organist in her own right. Born in 1740, Rebecca Bowles was the daughter of Humphrey Bowles and Hannah Hurst. On 3 June 1766 at Wanstead in Essex, she married John Rushout, MP (1738-1800), 1st Baron Northwick of Northwick Park, Worcestershire, son of the Rt. Hon. Sir John Rushout, 4th Bt. and Lady Anne Compton. The couple had three daughters, Anne (1768-1849), Harriet (ca.1770-1851) and Elizabeth (1774-1862), collectively known in fashionable circles as the 'Three Graces', and two sons, John, 2nd Baron Northwick (1770-1859) and George (later Reverend, 1772-1842). She became Lady Rushout when her husband succeeded to the baronetcy in 1775, and Lady Northwick in 1797. On 3 October 1818, Lady Northwick died at Northwick Park.
Jones, descended from an old Welsh family, was born at Lowick, Northamptonshire. One of his ancestors was Colonel John Jones, brother-in-law of Oliver Cromwell, and one of the signatories to the death warrant of King Charles I of England. He used to regularly observe January 30 as a day of fasting and humiliation for his ancestor’s sin. He was educated at Charterhouse School and University College, Oxford. There a taste for music, as well as a similarity of character, led to his close intimacy with George Horne, later bishop of Norwich, whom he induced to study Hutchinsonian doctrines.
After obtaining his bachelor's degree at University College, Oxford in 1749, Jones held various preferments, being Vicar of Bethersden, Kent (1764) and Rector of Pluckley, Kent (1765). In 1777 he obtained the perpetual curacy of Nayland, Suffolk, and on Horne's appointment to Norwich became his chaplain, afterwards writing his life. In the same year, he obtained a Samuel Green organ from Canterbury Cathedral, and installed it in his new church. It has since been extensively altered.
His vicarage at Nayland became the centre of a High Church group who explored the spiritual nature of the church, and attempted to reintroduce ideas to their parishioners like the real presence in the Eucharist. Amongst his early followers was John Wesley, who founded the Methodist movement. Another was the father of John Keble, who went on to be the inspiration behind the Oxford Movement. Yet another person inspired by the legacy of his spiritual writings was the young John Henry Newman.
Thus Jones himself was a link between the non-jurors and the Oxford Movement. He could write intelligibly on abstruse topics.He was a zealous student of music and of natural science, as well as of theology.
[Wikipedia biography]
[Dictionary of National Biography]
[The Reverend William Jones 'Jones of Nayland' (1726-1800) Part of a display to mark the Bicentenary of Constable's Nayland Altarpiece]
A TREATISE ON THE ART OF MUSIC; IN WHICH The Elements of HARMONY and AIR are practically considered, AND ILLUSTRATED BY AN HUNDRED AND FIFTY EXAMPLES IN NOTES Many of them taken from the best Authors: The whole being intended as a Course of Lectures, PREPARATORY TO THE PRACTICE OF Thorough-Bass and Musical Composition: AND DEDICATED To the Right Honourable, &c. the DIRECTORS of the CONCERTS of ANTIENT MUSIC. COLCHESTER: PRINTED FOR THE AUTHOR BY W. KEYMER, MDCCLXXXIV [12 January 1784]
Ten Church Pieces for the ORGAN with Four Anthems in Score Composed for the Use of the Church of Nayland in Suffolk And Published for its Benefit By William Jones, MA FRS (Author of a Treatise on the Art of Music &c &c). Opera II. LONDON Printed for the AUTHOR & Sold by Messrs. Longman & Broderip, Cheapside and Hay Market. [25 March 1789]
Jones's well-known hymn tune 'St. Stephen' (English Hymnal 337) appears on page 32 of the 'Four Anthems in Score' as 'St. Stephen's Tune', set to Psalm 23.
This two-part work was dedicated to Lady Rushout, an organist in her own right. Born in 1740, Rebecca Bowles was the daughter of Humphrey Bowles and Hannah Hurst. On 3 June 1766 at Wanstead in Essex, she married John Rushout, MP (1738-1800), 1st Baron Northwick of Northwick Park, Worcestershire, son of the Rt. Hon. Sir John Rushout, 4th Bt. and Lady Anne Compton. The couple had three daughters, Anne (1768-1849), Harriet (ca.1770-1851) and Elizabeth (1774-1862), collectively known in fashionable circles as the 'Three Graces', and two sons, John, 2nd Baron Northwick (1770-1859) and George (later Reverend, 1772-1842). She became Lady Rushout when her husband succeeded to the baronetcy in 1775, and Lady Northwick in 1797. On 3 October 1818, Lady Northwick died at Northwick Park.
Charles Burney (1726-1814)
Born at Shrewsbury, Burney studied in Chester, Shrewsbury and later in London under Thomas Arne. In 1749 he was elected organist of St. Dionis Backchurch. Suffering from tuberculosis, he moved for the sake of his health to King's Lynn in Norfolk in 1752, where he became organist of the parish church. In 1754, he persuaded the parish to install a new organ built by the Swiss organ builder John Snetzler. In King's Lynn he laid the foundations for his great work as music historian. He returned to London fully recovered nine years later. Travelling extensively throughout Europe, he published the first volume of his 'General History of Music' in 1776. He also played the violin and viola at Vauxhall Pleasure Gardens. For the last 25 years of his life, he was organist of the Royal Hospital at Chelsea, where he was buried with his wife, Elizabeth, who had died in 1796.
[Wikipedia biography]
[RCO biography]
[Find A Grave]
VI CORNET PIECES with an Introduction for the DIAPASONS and a FUGUE. Proper for young Organists and Practitioners on the HARPSICHORD. Compos'd by Mr CHARLES BURNEY. London. Printed for I. Walsh in Catharine Street in the Strand. (1751)
Members of the Royal College of Organists can access on the College's website another digital copy of the Cornet Pieces and an introductory essay on Burney and this set of pieces by Andrew McCrea (March 2015)
Preludes. Fugues and Interludes for the Organ. Alphabetically arranged in all the keys that are most perfectly in tune upon that Instrument & printed in a Pocket size for the convenience of YOUNG ORGANISTS, for whose use this book is particularly calculated & Published By CHAS. BURNEY, Mus: D: Book 1. London. Printed for the Author & sold at the Music Shops. (ca. 1787)
Born at Shrewsbury, Burney studied in Chester, Shrewsbury and later in London under Thomas Arne. In 1749 he was elected organist of St. Dionis Backchurch. Suffering from tuberculosis, he moved for the sake of his health to King's Lynn in Norfolk in 1752, where he became organist of the parish church. In 1754, he persuaded the parish to install a new organ built by the Swiss organ builder John Snetzler. In King's Lynn he laid the foundations for his great work as music historian. He returned to London fully recovered nine years later. Travelling extensively throughout Europe, he published the first volume of his 'General History of Music' in 1776. He also played the violin and viola at Vauxhall Pleasure Gardens. For the last 25 years of his life, he was organist of the Royal Hospital at Chelsea, where he was buried with his wife, Elizabeth, who had died in 1796.
[Wikipedia biography]
[RCO biography]
[Find A Grave]
VI CORNET PIECES with an Introduction for the DIAPASONS and a FUGUE. Proper for young Organists and Practitioners on the HARPSICHORD. Compos'd by Mr CHARLES BURNEY. London. Printed for I. Walsh in Catharine Street in the Strand. (1751)
Members of the Royal College of Organists can access on the College's website another digital copy of the Cornet Pieces and an introductory essay on Burney and this set of pieces by Andrew McCrea (March 2015)
Preludes. Fugues and Interludes for the Organ. Alphabetically arranged in all the keys that are most perfectly in tune upon that Instrument & printed in a Pocket size for the convenience of YOUNG ORGANISTS, for whose use this book is particularly calculated & Published By CHAS. BURNEY, Mus: D: Book 1. London. Printed for the Author & sold at the Music Shops. (ca. 1787)
Matthias Hawdon (1732-1789)
Hawdon was the son of Thomas Hawdon, and christened in All Saints' Church, Newcastle-upon-Tyne. He studied organ under Charles Avison (1709–1770), and married Mary Browne on 6 March 1760 in Holy Trinity Church, Hull (now Hull Minster).
He was organist at Holy Trinity Church, Hull 1751 – 1769, during which time there was work done on the organ by John Snetzler (1756 and 1758) , Beverley Minster 1769 – 1776, where Snetzler buit the organ in 1769, and St. Nicholas' Church, Newcastle 1776 – 1789, where Snetzler had already rebuilt the organ in 1767. As well as being organist of St. Nicholas' Church, he promoted public concerts in Newcastle, but this led to his bankruptcy.
His son, Thomas Hawdon, was also an organist, and followed in his footsteps as organist of Holy Trinity Church, Hull in 1787, and was probably responsible for the new stops added by Ryley of York in 1788.
[Wikipedia biography]
Two CONCERTOS for the HARPSICORD,Organ or Piano Forte with accompaniments for Two Violins & a Violoncello: Composed by Matthias Hawdon, Organist of the Minster at Beverley. LONDON. Printed & Sold by LONGMAN, LUKEY & Co., No.26 Cheapside. (1780)
A First Sett of Six SONATAS SPIRITUALE or Voluntarys for the HARPSICHORD, ORGAN or PIANO FORTE, Composed by Matthias Hawdon, ORGANIST, Newcastle upon Tyne. Price 7/6. Op.IV. LONDON. Printed & sold by Jno. Preston, at his Music Warehouse, No.97 Strand. (1784)
Hawdon was the son of Thomas Hawdon, and christened in All Saints' Church, Newcastle-upon-Tyne. He studied organ under Charles Avison (1709–1770), and married Mary Browne on 6 March 1760 in Holy Trinity Church, Hull (now Hull Minster).
He was organist at Holy Trinity Church, Hull 1751 – 1769, during which time there was work done on the organ by John Snetzler (1756 and 1758) , Beverley Minster 1769 – 1776, where Snetzler buit the organ in 1769, and St. Nicholas' Church, Newcastle 1776 – 1789, where Snetzler had already rebuilt the organ in 1767. As well as being organist of St. Nicholas' Church, he promoted public concerts in Newcastle, but this led to his bankruptcy.
His son, Thomas Hawdon, was also an organist, and followed in his footsteps as organist of Holy Trinity Church, Hull in 1787, and was probably responsible for the new stops added by Ryley of York in 1788.
[Wikipedia biography]
Two CONCERTOS for the HARPSICORD,Organ or Piano Forte with accompaniments for Two Violins & a Violoncello: Composed by Matthias Hawdon, Organist of the Minster at Beverley. LONDON. Printed & Sold by LONGMAN, LUKEY & Co., No.26 Cheapside. (1780)
A First Sett of Six SONATAS SPIRITUALE or Voluntarys for the HARPSICHORD, ORGAN or PIANO FORTE, Composed by Matthias Hawdon, ORGANIST, Newcastle upon Tyne. Price 7/6. Op.IV. LONDON. Printed & sold by Jno. Preston, at his Music Warehouse, No.97 Strand. (1784)
Thomas Sanders Dupuis (1733-1796)
Born in London of an old Huguenot family, son of John and Susannah Dupuis, he was probably born on 5 November 1733., Dupuis was a chorister of the Chapel Royal under Bernard Gates, later becoming a pupil of John Travers. Organist of the Charlotte Street Chapel, near Buckingham Palace, a daughter church of St. George, Hanover Square, he succeeded William Boyce as organist and composer to the Chapel Royal in 1779. For the 1784 Handel Festival held in the Abbey he was assistant director. In 1792, Haydn, on a visit to London, was highly impressed when he heard Dupuis playing the organ at the Chapel Royal. He died from an overdose of opium at his house in King's Row, Park Lane. His wife, who predeceased him, was named Martha Skelton. They had three sons, Thomas Skelton (1766-1795), George (died an infant), and Charles (1770-1824). Although he had specifically asked to be buried with his wife in Fulham, his wishes were disregarded and he was buried in the west cloister of Westminster Abbey. His memorial reads: "Sacred to the memory of Thomas Sanders Dupuis, Mus.Doc.Oxon, organist and composer to his Majesty, who departed this life July 17th 1796, aged sixty six years. He was a man as much esteemed for every moral and social virtue, as he was eminently distinguished in his profession".
[Wikipedia biography]
[Rousseau Media Music biography]
[Dictionary of National Biography]
Nine Voluntaries for the Organ, performed before their Majesties at the Chapel Royal, St. Paul's Cathedral, etc.
Born in London of an old Huguenot family, son of John and Susannah Dupuis, he was probably born on 5 November 1733., Dupuis was a chorister of the Chapel Royal under Bernard Gates, later becoming a pupil of John Travers. Organist of the Charlotte Street Chapel, near Buckingham Palace, a daughter church of St. George, Hanover Square, he succeeded William Boyce as organist and composer to the Chapel Royal in 1779. For the 1784 Handel Festival held in the Abbey he was assistant director. In 1792, Haydn, on a visit to London, was highly impressed when he heard Dupuis playing the organ at the Chapel Royal. He died from an overdose of opium at his house in King's Row, Park Lane. His wife, who predeceased him, was named Martha Skelton. They had three sons, Thomas Skelton (1766-1795), George (died an infant), and Charles (1770-1824). Although he had specifically asked to be buried with his wife in Fulham, his wishes were disregarded and he was buried in the west cloister of Westminster Abbey. His memorial reads: "Sacred to the memory of Thomas Sanders Dupuis, Mus.Doc.Oxon, organist and composer to his Majesty, who departed this life July 17th 1796, aged sixty six years. He was a man as much esteemed for every moral and social virtue, as he was eminently distinguished in his profession".
[Wikipedia biography]
[Rousseau Media Music biography]
[Dictionary of National Biography]
Nine Voluntaries for the Organ, performed before their Majesties at the Chapel Royal, St. Paul's Cathedral, etc.
John Bennett (ca.1735-1784)
A pupil of Johann Christoph Pepusch, Bennett became organist of St. Dionis Backchurch on 3 April 1752 at around 17 years of age, in succession to Charles Burney.
A typical versatile eighteenth-century English musician, he played the organ and the viola, taught the harpsichord, and performed at Drury Lane Theatre as a singer in the chorus and as a dancer.
Henry William Beechey suggested that in 1760 Bennett must have been suffering financial difficulty as he applied for a second organist’s post (with permission from St. Dionis) which he was unsuccessful in gaining. Donovan Dawe ('Organists of the City of London 1666-1850') has no record of this application.
He died at the early age of about 49 in September 1784, after having served his whole life as organist at St. Dionis. He was buried at St. Dionis on 24 September. On the church's demolition in 1878, the burials from the graveyard were relocated to the City of London Cemetery and marked by a large communal memorial.
[Wikipedia biography]
TEN VOLUNTARIES for the Organ or Harpsichord Composed by John Bennett, Organist of St. Dionis Backchurch, Fenchurch Street. LONDON. Printed for the Author, and Sold by him at his House in Boswell Court near Queen's Square Holbourne. (ca.1757-58)
A long and distinguished list of 228 subscribers from as far afield as Malaga, Barbados and Boston, Mass. included Handel himself, and also Michael Topping, who later became the first organist (1765) of St. Mary Rotherhithe. We can be sure, therefore, that these substantial pieces of Bennett's were among the first pieces to be played on John Byfield's new organ at Rotherhithe. According to the rate-books, Bennett moved to the Holborn address in 1753, and left between 1759 and 1763.
A pupil of Johann Christoph Pepusch, Bennett became organist of St. Dionis Backchurch on 3 April 1752 at around 17 years of age, in succession to Charles Burney.
A typical versatile eighteenth-century English musician, he played the organ and the viola, taught the harpsichord, and performed at Drury Lane Theatre as a singer in the chorus and as a dancer.
Henry William Beechey suggested that in 1760 Bennett must have been suffering financial difficulty as he applied for a second organist’s post (with permission from St. Dionis) which he was unsuccessful in gaining. Donovan Dawe ('Organists of the City of London 1666-1850') has no record of this application.
He died at the early age of about 49 in September 1784, after having served his whole life as organist at St. Dionis. He was buried at St. Dionis on 24 September. On the church's demolition in 1878, the burials from the graveyard were relocated to the City of London Cemetery and marked by a large communal memorial.
[Wikipedia biography]
TEN VOLUNTARIES for the Organ or Harpsichord Composed by John Bennett, Organist of St. Dionis Backchurch, Fenchurch Street. LONDON. Printed for the Author, and Sold by him at his House in Boswell Court near Queen's Square Holbourne. (ca.1757-58)
A long and distinguished list of 228 subscribers from as far afield as Malaga, Barbados and Boston, Mass. included Handel himself, and also Michael Topping, who later became the first organist (1765) of St. Mary Rotherhithe. We can be sure, therefore, that these substantial pieces of Bennett's were among the first pieces to be played on John Byfield's new organ at Rotherhithe. According to the rate-books, Bennett moved to the Holborn address in 1753, and left between 1759 and 1763.
Voluntary no.5 in A – John Bennett (recorded at St. Mary's Dalmahoy, Scotland, September 2015)
A two-movement work, opening with an Adagio for the Great diapasons. The Allegro which follows it is precisely registered 'Diapasons, Principal, Teirc, 12th and 15th for Forte, Stop'd Diapason and Principal for Piano'. This, apart from the Tierce, was all possible on Byfield's organ at Rotherhithe.
A two-movement work, opening with an Adagio for the Great diapasons. The Allegro which follows it is precisely registered 'Diapasons, Principal, Teirc, 12th and 15th for Forte, Stop'd Diapason and Principal for Piano'. This, apart from the Tierce, was all possible on Byfield's organ at Rotherhithe.
Voluntary no.8 in G minor – John Bennett (recorded at St. Mary's Dalmahoy, Scotland, September 2015)
After an opening slow movement for full organ, the fugue which follows introduces a faster semiquaver section in the middle, which later incorporates the fugue subject. By analogy to similar pieces, this middle section, although unmarked, was probably played on the Choir, returning to the Great for the final section.
After an opening slow movement for full organ, the fugue which follows introduces a faster semiquaver section in the middle, which later incorporates the fugue subject. By analogy to similar pieces, this middle section, although unmarked, was probably played on the Choir, returning to the Great for the final section.
Philip Hayes (1738-1797)
Son of William Hayes, Philip Hayes was a chorister in the Chapel Royal. Organist at Oxford of Christ Church (1763-65), New College (1776), and Magdalen College (1777), he succeeded his father as Heather Professor of Music at Oxford in 1777. In 1791 he presided over Haydn’s visit to Oxford. As a conductor, he was one of the first English musicians to use a roll of paper with which to beat time. But he was best known for his difficult personality and corpulence. His frequent trips to London in a post chaise did not go unnoticed by the Oxford wags who had little difficulty in punning a nickname from 'Phil Hayes' – thus he was fondly known as 'Fill Chaise'. A cartoon of him, entitled simply '--- From Oxford', was etched by Philippe Jacques de Loutherbourg in 1790. He died 19 March 1797, and was buried in St. Paul's Cathedral, London.
[Wikipedia biography]
Son of William Hayes, Philip Hayes was a chorister in the Chapel Royal. Organist at Oxford of Christ Church (1763-65), New College (1776), and Magdalen College (1777), he succeeded his father as Heather Professor of Music at Oxford in 1777. In 1791 he presided over Haydn’s visit to Oxford. As a conductor, he was one of the first English musicians to use a roll of paper with which to beat time. But he was best known for his difficult personality and corpulence. His frequent trips to London in a post chaise did not go unnoticed by the Oxford wags who had little difficulty in punning a nickname from 'Phil Hayes' – thus he was fondly known as 'Fill Chaise'. A cartoon of him, entitled simply '--- From Oxford', was etched by Philippe Jacques de Loutherbourg in 1790. He died 19 March 1797, and was buried in St. Paul's Cathedral, London.
[Wikipedia biography]
William Selby (1738–1798)
William Selby was the third known son of Joseph Selby, a London fishmonger, and Mary. Beginning at the age of 17 he held several positions in London as organist: All Hallows, Bread Street (1756-73), joint organist with Samuel Jarvis at St. Sepuchre, Holborn (1760-73) and the Magdalen Hospital (1766-69)
He was a subscriber to William Riley's 'Parochial music corrected' (1762), contributing the 'St. Sepuchre's Tune' to Riley's companion volume 'Parochial Harmony', and a volume of ten voluntaries was published in London in 1767.
In 1773, at the age of 35, he emigrated to Boston, Massachusetts. In 1774 he became the organist at Trinity Church, Newport, RI. Three years later, Selby became organist at King's Chapel in Boston where he organized the first colonial music festival.
Selby's surviving works include two voluntaries and one Fugue for the organ, a lesson in C for the harpsichord, and an anthem for Thanksgiving Day.
In addition to his musical work, he managed a grocery and liquor store in Boston.
[Wikipedia biography]
Lesson in C
Ten Voluntarys for the Organ or Harpsichord (London 1767)
William Selby was the third known son of Joseph Selby, a London fishmonger, and Mary. Beginning at the age of 17 he held several positions in London as organist: All Hallows, Bread Street (1756-73), joint organist with Samuel Jarvis at St. Sepuchre, Holborn (1760-73) and the Magdalen Hospital (1766-69)
He was a subscriber to William Riley's 'Parochial music corrected' (1762), contributing the 'St. Sepuchre's Tune' to Riley's companion volume 'Parochial Harmony', and a volume of ten voluntaries was published in London in 1767.
In 1773, at the age of 35, he emigrated to Boston, Massachusetts. In 1774 he became the organist at Trinity Church, Newport, RI. Three years later, Selby became organist at King's Chapel in Boston where he organized the first colonial music festival.
Selby's surviving works include two voluntaries and one Fugue for the organ, a lesson in C for the harpsichord, and an anthem for Thanksgiving Day.
In addition to his musical work, he managed a grocery and liquor store in Boston.
[Wikipedia biography]
Lesson in C
Ten Voluntarys for the Organ or Harpsichord (London 1767)
William Herschel (1738-1822)
Herschel, musician and astronomer (the discoverer of Uranus), was born in the Electorate of Hanover in Germany, his father being an oboist in the Hanover Military Band. In 1755 the Hanoverian Guards regiment, in whose band Wilhelm and his brother Jakob were engaged as oboists, was ordered to England. At the time the crowns of Great Britain and Hanover were united under King George II. As the threat of war with France loomed, the Hanoverian Guards were recalled from England to defend Hanover. After they were defeated at the Battle of Hastenbeck, Herschel's father Isaak sent his two sons to seek refuge in England in late 1757. Although his older brother Jakob had received his dismissal from the Hanoverian Guards, Wilhelm was accused of desertion (for which he was pardoned by George III in 1782). Wilhelm, nineteen years old at this time, was a quick student of the English language. In England he went by the English rendition of his name, Frederick William Herschel. In addition to the oboe, he played the violin and harpsichord and later the organ. He composed numerous musical works, including 24 symphonies and many concertos, as well as some church music.
Herschel moved to Sunderland in 1761 when Charles Avison immediately engaged him as first violin and soloist for his Newcastle orchestra, where he played for one season. In ‘Sunderland in the County of Durh: apprill [sic] 20th 1761’ he wrote his Symphony No. 8 in C Minor. He was head of the Durham Militia band 1760–61 and visited the home of Sir Ralph Milbanke at Halnaby Hall in 1760, where he wrote two symphonies, as well as giving performances himself.
After Newcastle he moved to Leeds and Halifax where he was the first organist at St John the Baptist church (now Halifax Minster). He became organist of the Octagon Chapel, Bath, a fashionable chapel in a well-known spa, in which city he was also Director of Public Concerts. He was appointed as the organist in 1766 and gave his introductory concert on 1 January 1767. As the organ was still incomplete, he showed off his versatility by performing his own compositions including a violin concerto, an oboe concerto and a harpsichord sonata. The organ was completed in October 1767. His astronomer sister Caroline, also a harpsichordist and singer, came to England in 1772 and lived with him there at 19 New King Street, Bath. The house they shared is now the location of the Herschel Museum of Astronomy. His brothers Dietrich, Alexander and Jakob (1734–1792) also appeared as musicians of Bath. In 1780, Herschel was appointed director of the Bath orchestra, with his sister often appearing as soprano soloist.
The Herschels left Bath on 1 August 1782, and settled in Datchet. In June 1785, owing to damp conditions, he and Caroline moved to Clay Hall in Old Windsor. On 3 April 1786, the Herschels moved to a new residence on Windsor Road in Slough. He lived the rest of his life in this residence, which came to be known as Observatory House. It is no longer standing.
On 8 May 1788, he married the widow Mary Pitt (née Baldwin) at St Laurence's Church, Upton in Slough. The marriage caused a lot of tension in his relationship with his sister Caroline.
According to H.C. Robbins Landon (Haydn: Chronicle and Works, Volume 3. Bloomington: Indiana University Press, 1976) Haydn, after watching the horse-racing at Ascot, visited William and Caroline at the Observatory House in Slough on 15 June 1792, giving rise to the story that Haydn was inspired to write 'The Creation' by his visit to the Herschels. Although William was not at home, Caroline was, and as an expert astronomer herself, would have been amply qualified to show Haydn the latest astronomical discoveries.
William died in 1822, and he, his wife and his grandson are all interred in a family vault at the base of the tower of St. Laurence's.
[Wikipedia biography]
[Find A Grave]
Works for organ (Manuscripts ca.1760-1800 in the library of the University of Edinburgh)
6 fugues for organ A more correct title would be 6 Sonatas and Fugues since every Fugue is preceded by an introductory Sonata.
12 Full Organ Pieces, Set 1 – no.12 unfinished and illegible.
12 Full Organ Pieces, Set 2 - Unfinished: Nos. 7 (written out in full, but only partially harmonized), 9 and 10. No. 12 missing completely. Furthermore there is an unfinished, unrelated (?) sketch at the end of no. 5.
24 sonatas for organ - The Edinburgh copy only contains Sonatas 1-10 and 21-24.
32 Voluntaries and Full Pieces - The pieces are titled Preludium in the score, rather than Voluntary. Page reserved for no. 16, but nothing written there. No. 27 missing completely. No. 33 unfinished.
12 voluntaries - This score only contains an unfinished piece in G minor (adagio-andante), labelled Nr. 3 and a complete piece in B flat major (adagio-andante con moto).
Herschel, musician and astronomer (the discoverer of Uranus), was born in the Electorate of Hanover in Germany, his father being an oboist in the Hanover Military Band. In 1755 the Hanoverian Guards regiment, in whose band Wilhelm and his brother Jakob were engaged as oboists, was ordered to England. At the time the crowns of Great Britain and Hanover were united under King George II. As the threat of war with France loomed, the Hanoverian Guards were recalled from England to defend Hanover. After they were defeated at the Battle of Hastenbeck, Herschel's father Isaak sent his two sons to seek refuge in England in late 1757. Although his older brother Jakob had received his dismissal from the Hanoverian Guards, Wilhelm was accused of desertion (for which he was pardoned by George III in 1782). Wilhelm, nineteen years old at this time, was a quick student of the English language. In England he went by the English rendition of his name, Frederick William Herschel. In addition to the oboe, he played the violin and harpsichord and later the organ. He composed numerous musical works, including 24 symphonies and many concertos, as well as some church music.
Herschel moved to Sunderland in 1761 when Charles Avison immediately engaged him as first violin and soloist for his Newcastle orchestra, where he played for one season. In ‘Sunderland in the County of Durh: apprill [sic] 20th 1761’ he wrote his Symphony No. 8 in C Minor. He was head of the Durham Militia band 1760–61 and visited the home of Sir Ralph Milbanke at Halnaby Hall in 1760, where he wrote two symphonies, as well as giving performances himself.
After Newcastle he moved to Leeds and Halifax where he was the first organist at St John the Baptist church (now Halifax Minster). He became organist of the Octagon Chapel, Bath, a fashionable chapel in a well-known spa, in which city he was also Director of Public Concerts. He was appointed as the organist in 1766 and gave his introductory concert on 1 January 1767. As the organ was still incomplete, he showed off his versatility by performing his own compositions including a violin concerto, an oboe concerto and a harpsichord sonata. The organ was completed in October 1767. His astronomer sister Caroline, also a harpsichordist and singer, came to England in 1772 and lived with him there at 19 New King Street, Bath. The house they shared is now the location of the Herschel Museum of Astronomy. His brothers Dietrich, Alexander and Jakob (1734–1792) also appeared as musicians of Bath. In 1780, Herschel was appointed director of the Bath orchestra, with his sister often appearing as soprano soloist.
The Herschels left Bath on 1 August 1782, and settled in Datchet. In June 1785, owing to damp conditions, he and Caroline moved to Clay Hall in Old Windsor. On 3 April 1786, the Herschels moved to a new residence on Windsor Road in Slough. He lived the rest of his life in this residence, which came to be known as Observatory House. It is no longer standing.
On 8 May 1788, he married the widow Mary Pitt (née Baldwin) at St Laurence's Church, Upton in Slough. The marriage caused a lot of tension in his relationship with his sister Caroline.
According to H.C. Robbins Landon (Haydn: Chronicle and Works, Volume 3. Bloomington: Indiana University Press, 1976) Haydn, after watching the horse-racing at Ascot, visited William and Caroline at the Observatory House in Slough on 15 June 1792, giving rise to the story that Haydn was inspired to write 'The Creation' by his visit to the Herschels. Although William was not at home, Caroline was, and as an expert astronomer herself, would have been amply qualified to show Haydn the latest astronomical discoveries.
William died in 1822, and he, his wife and his grandson are all interred in a family vault at the base of the tower of St. Laurence's.
[Wikipedia biography]
[Find A Grave]
Works for organ (Manuscripts ca.1760-1800 in the library of the University of Edinburgh)
6 fugues for organ A more correct title would be 6 Sonatas and Fugues since every Fugue is preceded by an introductory Sonata.
12 Full Organ Pieces, Set 1 – no.12 unfinished and illegible.
12 Full Organ Pieces, Set 2 - Unfinished: Nos. 7 (written out in full, but only partially harmonized), 9 and 10. No. 12 missing completely. Furthermore there is an unfinished, unrelated (?) sketch at the end of no. 5.
24 sonatas for organ - The Edinburgh copy only contains Sonatas 1-10 and 21-24.
32 Voluntaries and Full Pieces - The pieces are titled Preludium in the score, rather than Voluntary. Page reserved for no. 16, but nothing written there. No. 27 missing completely. No. 33 unfinished.
12 voluntaries - This score only contains an unfinished piece in G minor (adagio-andante), labelled Nr. 3 and a complete piece in B flat major (adagio-andante con moto).
Jonathan Battishill (1738-1801)
Battishill, a chorister at St. Paul's under Charles King, and later deputy organist to William Boyce at the Chapel Royal, was organist concurrently of St. Clement Eastcheap (1764) and Christ Church Newgate Street (1767) until his death.
During the mid-1750s he began appearing as a tenor soloist in London concerts. In 1756 he became the conductor and harpsichordist at the Covent Garden Theatre. In 1758 he became a member of the Madrigal Society and in 1761 a member of the Royal Society of Musicians. He was also a 'priviledged member' [sic] of the Noblemen and Gentlemen's Catch Club from c1762, but lost his membership twice for not attending meetings. In 1771 his glee Come bind my hair, ye wood nymphs fair won the club's gold medal.
Most of Battishill's compositions date from the period 1760–1775, and reflect his diverse employments during this time.
He was buried, according to his own wishes, near the grave of William Boyce in St. Paul's Cathedral.
He was a subscriber to William Riley's 'Parochial music corrected' (1762), contributing 'St. Pancras's Tune' to Riley's companion volume 'Parochial Harmony',
[Wikipedia biography]
Battishill, a chorister at St. Paul's under Charles King, and later deputy organist to William Boyce at the Chapel Royal, was organist concurrently of St. Clement Eastcheap (1764) and Christ Church Newgate Street (1767) until his death.
During the mid-1750s he began appearing as a tenor soloist in London concerts. In 1756 he became the conductor and harpsichordist at the Covent Garden Theatre. In 1758 he became a member of the Madrigal Society and in 1761 a member of the Royal Society of Musicians. He was also a 'priviledged member' [sic] of the Noblemen and Gentlemen's Catch Club from c1762, but lost his membership twice for not attending meetings. In 1771 his glee Come bind my hair, ye wood nymphs fair won the club's gold medal.
Most of Battishill's compositions date from the period 1760–1775, and reflect his diverse employments during this time.
He was buried, according to his own wishes, near the grave of William Boyce in St. Paul's Cathedral.
He was a subscriber to William Riley's 'Parochial music corrected' (1762), contributing 'St. Pancras's Tune' to Riley's companion volume 'Parochial Harmony',
[Wikipedia biography]
William Goodwin (d.1784)
The son of Starling Goodwin, he was organist of St. George the Martyr, Southwark, from before 1764 until his appointment to St. Bartholomew by the Exchange from 1766 ('no other post allowed') until his death. On the death of his father in 1774, he took over as organist at St. Saviour, Southwark, St. Mary Newington, and Ranelagh Gardens (See Starling Goodwin above). He is buried at St. Saviour's (now Southwark Cathedral).
St. Bartholomew's was demolished in 1840 for road widening. The organ was then transferred to St. Bartholomew, Moor Lane, then to St. Alban the Martyr, Fulham, and finally to St. Vedast, Foster Lane. See the history on the National Pipe Organ Register.
TWELVE Voluntaries for the ORGAN OR HARPSICHORD Composed by WILLIAM GOODWIN Organist of St. Bartholomew at the Royal Exchange (after 1766)
No printer's name is given on the title page.
The IMSLP download of the volume is missing pages 29-end; Voluntary 10 is incomplete, and 11 and 12 are missing. Later copies (1776) of two of these voluntaries can be downloaded here:
Voluntary 7 in G (pages 19 to 21)
Voluntary 8 in D minor (pages 22 to 23)
The son of Starling Goodwin, he was organist of St. George the Martyr, Southwark, from before 1764 until his appointment to St. Bartholomew by the Exchange from 1766 ('no other post allowed') until his death. On the death of his father in 1774, he took over as organist at St. Saviour, Southwark, St. Mary Newington, and Ranelagh Gardens (See Starling Goodwin above). He is buried at St. Saviour's (now Southwark Cathedral).
St. Bartholomew's was demolished in 1840 for road widening. The organ was then transferred to St. Bartholomew, Moor Lane, then to St. Alban the Martyr, Fulham, and finally to St. Vedast, Foster Lane. See the history on the National Pipe Organ Register.
TWELVE Voluntaries for the ORGAN OR HARPSICHORD Composed by WILLIAM GOODWIN Organist of St. Bartholomew at the Royal Exchange (after 1766)
No printer's name is given on the title page.
The IMSLP download of the volume is missing pages 29-end; Voluntary 10 is incomplete, and 11 and 12 are missing. Later copies (1776) of two of these voluntaries can be downloaded here:
Voluntary 7 in G (pages 19 to 21)
Voluntary 8 in D minor (pages 22 to 23)
Henry Heron (1738-1795)
Heron was a dancing and music teacher in London during the second half of the 18th century and for many years organist of St Mary’s, Ewell. Heron’s main income, following his father, came from giving dancing and music lessons, including singing. In later life he was assisted in this by his son, Henry, who was also a composer and teacher. And like many musicians of the time Henry senior wrote popular songs and pieces for performance at the London pleasure gardens, such as Ranelagh, in Chelsea.
After Ewell, Henry was appointed organist at the more prestigious city church of St Magnus the Martyr, London Bridge, in 1762. In 1770 he published a set of ten voluntaries for organ or harpsichord. In 1774 he was listed as organist of St Magnus when he subscribed to a volume of music published by Joseph Ganthony (d. 1795).
Around 1780, Henry moved from Holborn and set up his dancing and music school at 3 York Row, Newington Butts, in Lambeth. It was there in 1794 that his wife, Elizabeth, died, an event that prompted him to re-write his will, leaving everything equally to his five surviving children. They were instructed to keep the house and its contents intact and Henry junior was further required to keep the school going until the lease on the property expired.
Henry Heron died in mid-June, 1795 and was buried alongside his wife in the churchyard of St Magnus. The parish records state that 'No charge to be made for funeral of Henry Heron deceased late organist'.
[Rousseau Media Music biography]
Heron was a dancing and music teacher in London during the second half of the 18th century and for many years organist of St Mary’s, Ewell. Heron’s main income, following his father, came from giving dancing and music lessons, including singing. In later life he was assisted in this by his son, Henry, who was also a composer and teacher. And like many musicians of the time Henry senior wrote popular songs and pieces for performance at the London pleasure gardens, such as Ranelagh, in Chelsea.
After Ewell, Henry was appointed organist at the more prestigious city church of St Magnus the Martyr, London Bridge, in 1762. In 1770 he published a set of ten voluntaries for organ or harpsichord. In 1774 he was listed as organist of St Magnus when he subscribed to a volume of music published by Joseph Ganthony (d. 1795).
Around 1780, Henry moved from Holborn and set up his dancing and music school at 3 York Row, Newington Butts, in Lambeth. It was there in 1794 that his wife, Elizabeth, died, an event that prompted him to re-write his will, leaving everything equally to his five surviving children. They were instructed to keep the house and its contents intact and Henry junior was further required to keep the school going until the lease on the property expired.
Henry Heron died in mid-June, 1795 and was buried alongside his wife in the churchyard of St Magnus. The parish records state that 'No charge to be made for funeral of Henry Heron deceased late organist'.
[Rousseau Media Music biography]
John Alcock junior (1740-1791)
John Alcock, Jr. was born at Plymouth whilst his father was organist at St. Andrew's Church, and became a chorister at Lichfield Cathedral during his father's time as cathedral organist there. He received his Bachelor of Music degree at Oxford University at the same degree ceremony when his father received his Doctor of Music degree. John Alcock, Jr., published Eight Easy Voluntarys ca.1775. He was successively organist of St. Mary Magdalen, Newark-on-Trent (1758-68) and St. Matthew, Walsall (1773-91). His appointment in Walsall coincided with the building of a new organ by Samuel Green, which was either planned by him or the reason for his application. He died at Walsall.
Eight Easy VOLUNTARYS for the ORGAN, Composed by John Alcock Junr. M.B. London. Printed and Sold by LONGMAN, LUKEY & Co. No.26 Cheapside. (ca.1775)
John Alcock, Jr. was born at Plymouth whilst his father was organist at St. Andrew's Church, and became a chorister at Lichfield Cathedral during his father's time as cathedral organist there. He received his Bachelor of Music degree at Oxford University at the same degree ceremony when his father received his Doctor of Music degree. John Alcock, Jr., published Eight Easy Voluntarys ca.1775. He was successively organist of St. Mary Magdalen, Newark-on-Trent (1758-68) and St. Matthew, Walsall (1773-91). His appointment in Walsall coincided with the building of a new organ by Samuel Green, which was either planned by him or the reason for his application. He died at Walsall.
Eight Easy VOLUNTARYS for the ORGAN, Composed by John Alcock Junr. M.B. London. Printed and Sold by LONGMAN, LUKEY & Co. No.26 Cheapside. (ca.1775)
John Christmas Beckwith (1750-1809)
Beckwith, born on Christmas Day, hence his middle name, was son of Edward Beckwith, Master of the Choristers at Norwich Cathedral and organist of St. Peter Mancroft. In 1775, at the age of 15, John became an articled pupil of Drs. William and Philip Hayes at Oxford, becoming sub-organist of Magdalen College. His 'Six Voluntaries for the Organ, Harpsichord, etc' were published privately in London in 1780, when Beckwith was just 21 years old. He returned to Norwich in 1784 as Assistant Master of the Choristers in order to help out his ailing father. On his father's death in 1794, he succeeded him as organist of St Peter Mancroft 1794 – 1808, and succeeded Thomas Garland as organist of Norwich Cathedral in 1808. Beckwith died, probably of a stroke, the following year. He was buried beneath the organ at St. Peter Mancroft.
Beckwith is credited with inventing the system of pointing the Prayer Book psalms for singing to Anglican chants, publishing a psalter in 1808. He was also an active campaigner in the fight to abolish slavery.
[Rousseau Media Music biography]
SIX VOLUNTARIES for the Organ, Harpsichord, Etc. Composed by JOHN BECKWITH, ORGANIST. London. Printed for the Author 1780. To be had of Messrs. Longman & Broderip, Cheapside, Mr. Straight, St. Martin's Lane, and of Mr. Mathews in Oxford.
The list of subscribers includes a large number of distinguished names from both Norfolk and Oxford.
Beckwith, born on Christmas Day, hence his middle name, was son of Edward Beckwith, Master of the Choristers at Norwich Cathedral and organist of St. Peter Mancroft. In 1775, at the age of 15, John became an articled pupil of Drs. William and Philip Hayes at Oxford, becoming sub-organist of Magdalen College. His 'Six Voluntaries for the Organ, Harpsichord, etc' were published privately in London in 1780, when Beckwith was just 21 years old. He returned to Norwich in 1784 as Assistant Master of the Choristers in order to help out his ailing father. On his father's death in 1794, he succeeded him as organist of St Peter Mancroft 1794 – 1808, and succeeded Thomas Garland as organist of Norwich Cathedral in 1808. Beckwith died, probably of a stroke, the following year. He was buried beneath the organ at St. Peter Mancroft.
Beckwith is credited with inventing the system of pointing the Prayer Book psalms for singing to Anglican chants, publishing a psalter in 1808. He was also an active campaigner in the fight to abolish slavery.
[Rousseau Media Music biography]
SIX VOLUNTARIES for the Organ, Harpsichord, Etc. Composed by JOHN BECKWITH, ORGANIST. London. Printed for the Author 1780. To be had of Messrs. Longman & Broderip, Cheapside, Mr. Straight, St. Martin's Lane, and of Mr. Mathews in Oxford.
The list of subscribers includes a large number of distinguished names from both Norfolk and Oxford.
Voluntary no.3 in C minor and major – John Christmas Beckwith (recorded on the 1760 George England organ at Christ's Chapel, Dulwich, February 2014)
A voluntary in three movements, beginning with the customary diapason introduction. The second movement is for the Great trumpet with echoes on the Swell. The trumpet part is in two parts throughout. The bass part towards the end moves to the Great trumpet for a few bars, reverting to the Choir manual, indicated in the score by the directions 'Loud' and 'Soft'. The last movement is an Allegro for the 4ft Flute, sounding like the well-known pieces for musical clocks.
A voluntary in three movements, beginning with the customary diapason introduction. The second movement is for the Great trumpet with echoes on the Swell. The trumpet part is in two parts throughout. The bass part towards the end moves to the Great trumpet for a few bars, reverting to the Choir manual, indicated in the score by the directions 'Loud' and 'Soft'. The last movement is an Allegro for the 4ft Flute, sounding like the well-known pieces for musical clocks.
Voluntary no.4 in G minor – John Christmas Beckwith (recorded on the 1760 George England organ at Christ's Chapel, Dulwich, February 2014)
Following a slow diapason movement, there are two movements for Bassoon (the Vox Humana stop used in the tenor register), accompanied by the two diapasons (open and stopped). To avoid the excessive use of ledger lines, Beckwith, in common with all eighteenth-century composers, uses the tenor clef for the solo part.
Following a slow diapason movement, there are two movements for Bassoon (the Vox Humana stop used in the tenor register), accompanied by the two diapasons (open and stopped). To avoid the excessive use of ledger lines, Beckwith, in common with all eighteenth-century composers, uses the tenor clef for the solo part.
Voluntary no.5 in A minor – John Christmas Beckwith (recorded on the 1760 George England organ at Christ's Chapel, Dulwich, February 2014)
A long diapason introduction leads into an allegro for Great Cornet echoed by the Swell Cornet, usually a three-rank stop which has to be supplemented with a stopped diapason and principal.
A long diapason introduction leads into an allegro for Great Cornet echoed by the Swell Cornet, usually a three-rank stop which has to be supplemented with a stopped diapason and principal.
Voluntary no.6 in C minor – John Christmas Beckwith (recorded on the 1760 George England organ at Christ's Chapel, Dulwich, February 2014)
A powerful prelude in C minor for full organ marked 'Tempo Ordinario Pomposo' is followed by a fugue in 6/8 time.
A powerful prelude in C minor for full organ marked 'Tempo Ordinario Pomposo' is followed by a fugue in 6/8 time.
John Marsh (1752-1828)
English gentleman, composer, diarist and writer born in Dorking. A lawyer by training, he is known to have written at least 350 compositions, including at least 39 symphonies. While today known primarily for his music, he also had strong interest in other fields, including astronomy and philosophy, and wrote books about astronomy, music, religion, and geometry. Marsh lived in Dorking, Gosport, Romsey, Salisbury and Canterbury before settling in Chichester in 1787 until his death in 1828. As a concert organiser, he was responsible for the music making in the towns and cities where he worked, especially in Chichester, where he led the subscription concerts for some 35 years. He was the author of one of the three important organ tutors of the period.
[Wikipedia biography]
EIGHTEEN VOLUNTARIES for the ORGAN, Chiefly intended for the use of YOUNG PRACTITIONERS Composed by J[OHN] MARSH, Esq., To which is prefix'd An Explanation of the different Stops of the Organ & of the several combinations that may be made thereof – With a few Thoughts on Style, Extempore Playing, Modulation &c. London. Printed & Sold by Preston, 71 Dean Street, Soho. (1791)
A Fifth Set of VOLUNTARIES for Young Practitioners on The Organ Arranged in Three Divisions, namely Voluntaries for the Opening of the Service, Voluntaries for the Middle of the Service and Concluding Voluntaries, Composed by J[OHN] MARSH Esqr. Price 7/6. London. Published by Goulding D'Almaine, Potter & Co., 20 Soho Square & to be had of I. Willis, 7 Westmorland St., Dublin.
English gentleman, composer, diarist and writer born in Dorking. A lawyer by training, he is known to have written at least 350 compositions, including at least 39 symphonies. While today known primarily for his music, he also had strong interest in other fields, including astronomy and philosophy, and wrote books about astronomy, music, religion, and geometry. Marsh lived in Dorking, Gosport, Romsey, Salisbury and Canterbury before settling in Chichester in 1787 until his death in 1828. As a concert organiser, he was responsible for the music making in the towns and cities where he worked, especially in Chichester, where he led the subscription concerts for some 35 years. He was the author of one of the three important organ tutors of the period.
[Wikipedia biography]
EIGHTEEN VOLUNTARIES for the ORGAN, Chiefly intended for the use of YOUNG PRACTITIONERS Composed by J[OHN] MARSH, Esq., To which is prefix'd An Explanation of the different Stops of the Organ & of the several combinations that may be made thereof – With a few Thoughts on Style, Extempore Playing, Modulation &c. London. Printed & Sold by Preston, 71 Dean Street, Soho. (1791)
A Fifth Set of VOLUNTARIES for Young Practitioners on The Organ Arranged in Three Divisions, namely Voluntaries for the Opening of the Service, Voluntaries for the Middle of the Service and Concluding Voluntaries, Composed by J[OHN] MARSH Esqr. Price 7/6. London. Published by Goulding D'Almaine, Potter & Co., 20 Soho Square & to be had of I. Willis, 7 Westmorland St., Dublin.
Jonas Blewitt (1757-1805)
English organist and composer. He seems to have studied with R.J.S. Stevens, who said that he was almost blind. From about 1795 he was organist of St Katherine Coleman, Fenchurch Street (1777) and of the united London parishes of St Margaret Pattens and St Gabriel Fenchurch (1783). His Complete Treatise on the Organ (c1795) was, together with Marsh and Linley, one of the first-published English organ tutors.- Grove Music Online
Blewitt was an unsuccessful candidate for the post of organist at St. Mary Rotherhithe in 1787, losing the competition to Mrs. Martha Tibbatts, who went on to hold the post for 27 years.
His daughter Ann Blewitt (b.1784) succeeded him as organist at St. Katherine Coleman in 1805, failing to achieve re-election in 1833. She became Mrs. Barker ca.1817-18.
[Wikisource biography (1900 Grove)]
A Complete Treatise on the ORGAN To which is added a Set of Explanatory VOLUNTARIES Composed expressly for the purpose of rendering THEORY and PRACTICE Subservient to mutual elucidation By JONAS BLEWITT Organist of the united Parishes of St. Margaret Pattens and St. Gabriel Fenchurch, Also of St. Catherine Coleman, Fenchurch Street. Op.4. LONDON. Printed by Longman and Broderip No.26 Cheapside and No.13 Hay Market. (ca.1795)
English organist and composer. He seems to have studied with R.J.S. Stevens, who said that he was almost blind. From about 1795 he was organist of St Katherine Coleman, Fenchurch Street (1777) and of the united London parishes of St Margaret Pattens and St Gabriel Fenchurch (1783). His Complete Treatise on the Organ (c1795) was, together with Marsh and Linley, one of the first-published English organ tutors.- Grove Music Online
Blewitt was an unsuccessful candidate for the post of organist at St. Mary Rotherhithe in 1787, losing the competition to Mrs. Martha Tibbatts, who went on to hold the post for 27 years.
His daughter Ann Blewitt (b.1784) succeeded him as organist at St. Katherine Coleman in 1805, failing to achieve re-election in 1833. She became Mrs. Barker ca.1817-18.
[Wikisource biography (1900 Grove)]
A Complete Treatise on the ORGAN To which is added a Set of Explanatory VOLUNTARIES Composed expressly for the purpose of rendering THEORY and PRACTICE Subservient to mutual elucidation By JONAS BLEWITT Organist of the united Parishes of St. Margaret Pattens and St. Gabriel Fenchurch, Also of St. Catherine Coleman, Fenchurch Street. Op.4. LONDON. Printed by Longman and Broderip No.26 Cheapside and No.13 Hay Market. (ca.1795)
Charles Wesley (1757-1834)
Son of Charles Wesley, the great hymn-writer and one of the founders of Methodism, and the brother of Samuel Wesley, also an organist and composer. He never married, living for most of his life with his mother and sister.
Although Charles Wesley junior is much less well known than his brother Samuel Wesley, he was like Samuel regarded as a musical prodigy in childhood, and he was playing the organ before the age of three. He became a professional musician in adulthood, and Matthews (1971) quotes the European Magazine of 1784 as reporting that 'his performance on the organ has given supreme delight'. However he did not enjoy public performance, and worked mainly as a private organist, at one time to the Prince Regent; he was connected with the royal family through much of his life, having first played at the Queen's House at the age of 18.
[Wikipedia biography]
Son of Charles Wesley, the great hymn-writer and one of the founders of Methodism, and the brother of Samuel Wesley, also an organist and composer. He never married, living for most of his life with his mother and sister.
Although Charles Wesley junior is much less well known than his brother Samuel Wesley, he was like Samuel regarded as a musical prodigy in childhood, and he was playing the organ before the age of three. He became a professional musician in adulthood, and Matthews (1971) quotes the European Magazine of 1784 as reporting that 'his performance on the organ has given supreme delight'. However he did not enjoy public performance, and worked mainly as a private organist, at one time to the Prince Regent; he was connected with the royal family through much of his life, having first played at the Queen's House at the age of 18.
[Wikipedia biography]
Matthew Camidge (1758-1844)
The Camidge family supplied York Minster with organists continuously for 103 years. After some time as a chorister of the Chapel Royal under James Nares, Matthew returned to York where he lived the rest of his life. He served as his father's assistant and in 1799 he succeeded his father as organist of the Minster. Matthew Camidge was known for his brilliant organ improvisations. He organized large music festivals given at York in 1823, 1825, and later. He frankly acknowledged, in the preface to his set of organ concertos published in 1817, that he was writing them in the 'so long admired' style of Handel and Corelli. Matthew Camidge published works of practical material written for his work as a church musician and teacher as well as anthems and service settings in Cathedral Music, Hymn and psalm tunes, an edition of Henry Lawes' 'Psalmody for a single voice', 'Instructions for the Piano-forte or Harpsichord' and some songs.
[Wikipedia biography (English)]
[Wikipedia biography (French)]
Six Concertos for the Organ or grand Piano Forte composed and dedicated with greatest Respect to his much esteemed friend William Shield Esqr. by Matthew Camidge. Op. 13 Pr. 8/- N.B. the Author in this Work has Endeavoured to imitate the particular Style of Music which has been so long Admired namely that of Handel and Corelli, this Acknowledgement will he hopes secure him from the Critics Censure. (1817)
The Camidge family supplied York Minster with organists continuously for 103 years. After some time as a chorister of the Chapel Royal under James Nares, Matthew returned to York where he lived the rest of his life. He served as his father's assistant and in 1799 he succeeded his father as organist of the Minster. Matthew Camidge was known for his brilliant organ improvisations. He organized large music festivals given at York in 1823, 1825, and later. He frankly acknowledged, in the preface to his set of organ concertos published in 1817, that he was writing them in the 'so long admired' style of Handel and Corelli. Matthew Camidge published works of practical material written for his work as a church musician and teacher as well as anthems and service settings in Cathedral Music, Hymn and psalm tunes, an edition of Henry Lawes' 'Psalmody for a single voice', 'Instructions for the Piano-forte or Harpsichord' and some songs.
[Wikipedia biography (English)]
[Wikipedia biography (French)]
Six Concertos for the Organ or grand Piano Forte composed and dedicated with greatest Respect to his much esteemed friend William Shield Esqr. by Matthew Camidge. Op. 13 Pr. 8/- N.B. the Author in this Work has Endeavoured to imitate the particular Style of Music which has been so long Admired namely that of Handel and Corelli, this Acknowledgement will he hopes secure him from the Critics Censure. (1817)
Francis Linley (1774-1800)
Francis Linley was born in Doncaster. Blind from birth, he was taught the organ by Edward Miller, the organist of Doncaster parish church. In his early twenties he moved to London as organist of St James’s Chapel, Pentonville, and in December 1795 he purchased the music publishing business of John Bland in Holborn. Bland published Linley's 'Practical Introduction to the Organ'. After the failure of the business in 1797 he went to America, but returned to his birthplace in 1799, where he died the following year, aged 29.
[Wikipedia biography]
[Dictionary of National Biography]
A Practical Introduction to the ORGAN in Five Parts. Viz. Necessary Observations, Preludes, Voluntarys, Fugees [sic] & Full Pieces and a Selection of all the Psalms in General Use with Interludes. HUMBLY INSCRIBED BY PERMISSION TO Dr. ARNOLD, Organist & Composer to his MAJESTY. By F[RANCIS] LINLEY. Op.6. London. Printed & Sold by J. BLAND, No.45 High Holborn (ca.1795)
Francis Linley was born in Doncaster. Blind from birth, he was taught the organ by Edward Miller, the organist of Doncaster parish church. In his early twenties he moved to London as organist of St James’s Chapel, Pentonville, and in December 1795 he purchased the music publishing business of John Bland in Holborn. Bland published Linley's 'Practical Introduction to the Organ'. After the failure of the business in 1797 he went to America, but returned to his birthplace in 1799, where he died the following year, aged 29.
[Wikipedia biography]
[Dictionary of National Biography]
A Practical Introduction to the ORGAN in Five Parts. Viz. Necessary Observations, Preludes, Voluntarys, Fugees [sic] & Full Pieces and a Selection of all the Psalms in General Use with Interludes. HUMBLY INSCRIBED BY PERMISSION TO Dr. ARNOLD, Organist & Composer to his MAJESTY. By F[RANCIS] LINLEY. Op.6. London. Printed & Sold by J. BLAND, No.45 High Holborn (ca.1795)
William Russell (1777-1813)
One of the two sons (the other was Timothy) of the organ builder Hugh Russell. From age seven Russell was taught by the organists William Cope, William Shrubsole, and John Groombridge. Between 1789 and 1793 he was deputy to his father, who was organist to St. Mary's, Aldermary. In 1793 Russell was appointed organist to the Great Queen Street chapel; cathedral services were performed there until 1798, when the chapel became a Wesleyan meeting-house. On 2 September 1798 he was elected organist at St. Anne's, Limehouse, which his father Hugh subsequently rebuilt in 1799, extending the compass, and adding Principal, Cornet & Clarion to the Swell with a new swell box and soundboard and 1 1/2 octaves of pedals. In 1801 he was elected to a similar post at the Foundling Hospital, also revoiced with a revised tonal scheme by Hugh in 1805. Both of these posts he retained for the rest of his life. About the same time he resumed musical studies under Samuel Arnold, and in 1808 Russell graduated Mus. Bac. at Oxford. He published two books of twelve voluntaries each, one in 1804 and the other in 1812. Russell’s style is typical of the Regency period, and well suits the Rotherhithe organ, which Hugh Russell & Son remodelled in 1828-29, including a pedal board for the first time. Hugh Russell & Son (Hugh and Timothy) maintained the Rotherhithe instrument from 1805 to 1859. The new style of Russell, Cecil and Wesley is typical of the change of taste in the Regency period, parallelled by the general remodelling of organ specifications which took place then.
Russell's voluntaries were published during the lifetime of the novelist Jane Austen. The list of subscribers to the 1804 set includes a 'Miss Austen'. Could this have been Jane herself?
Russell died on 21 November 1813 at Cobham Row, Coldbath Fields, in Clerkenwell, and is buried at St. Andrew, Holborn, Gray's Inn Road burial ground.
[Wikipedia biography]
[Dictionary of National Biography]
Twelve VOLUNTARIES for the Organ or Piano-Forte, COMPOSED BY William Russell, Mus. Bac. Oxon, Organist of the 'Foundling Hospital' and 'St. Ann's Limehouse'. Price 10/6. LONDON. PRINTED FOR S.J. BUTTON & J. WHITAKER, No.75 ST. PAUL'S CHURCH YARD.
Both 1804 and 1812 volumes can be downloaded as a single file. The 1804 title page is missing.
One of the two sons (the other was Timothy) of the organ builder Hugh Russell. From age seven Russell was taught by the organists William Cope, William Shrubsole, and John Groombridge. Between 1789 and 1793 he was deputy to his father, who was organist to St. Mary's, Aldermary. In 1793 Russell was appointed organist to the Great Queen Street chapel; cathedral services were performed there until 1798, when the chapel became a Wesleyan meeting-house. On 2 September 1798 he was elected organist at St. Anne's, Limehouse, which his father Hugh subsequently rebuilt in 1799, extending the compass, and adding Principal, Cornet & Clarion to the Swell with a new swell box and soundboard and 1 1/2 octaves of pedals. In 1801 he was elected to a similar post at the Foundling Hospital, also revoiced with a revised tonal scheme by Hugh in 1805. Both of these posts he retained for the rest of his life. About the same time he resumed musical studies under Samuel Arnold, and in 1808 Russell graduated Mus. Bac. at Oxford. He published two books of twelve voluntaries each, one in 1804 and the other in 1812. Russell’s style is typical of the Regency period, and well suits the Rotherhithe organ, which Hugh Russell & Son remodelled in 1828-29, including a pedal board for the first time. Hugh Russell & Son (Hugh and Timothy) maintained the Rotherhithe instrument from 1805 to 1859. The new style of Russell, Cecil and Wesley is typical of the change of taste in the Regency period, parallelled by the general remodelling of organ specifications which took place then.
Russell's voluntaries were published during the lifetime of the novelist Jane Austen. The list of subscribers to the 1804 set includes a 'Miss Austen'. Could this have been Jane herself?
Russell died on 21 November 1813 at Cobham Row, Coldbath Fields, in Clerkenwell, and is buried at St. Andrew, Holborn, Gray's Inn Road burial ground.
[Wikipedia biography]
[Dictionary of National Biography]
Twelve VOLUNTARIES for the Organ or Piano-Forte, COMPOSED BY William Russell, Mus. Bac. Oxon, Organist of the 'Foundling Hospital' and 'St. Ann's Limehouse'. Price 10/6. LONDON. PRINTED FOR S.J. BUTTON & J. WHITAKER, No.75 ST. PAUL'S CHURCH YARD.
Both 1804 and 1812 volumes can be downloaded as a single file. The 1804 title page is missing.
Voluntary 2 in C (1812) – William Russell (recorded on the Rotherhithe organ)
This consists of two movements. The first is a slow movement for Swell Oboe and Great Diapasons (including the Russell Open Diapason), followed by a lively movement contrasting the Swell Oboe with the Choir Cremona (another of the 1829 Russell additions).
This consists of two movements. The first is a slow movement for Swell Oboe and Great Diapasons (including the Russell Open Diapason), followed by a lively movement contrasting the Swell Oboe with the Choir Cremona (another of the 1829 Russell additions).
Theophania Cecil (1782-1879)
Theophania Cecil was for many years organist of St. John's Chapel, Bedford Row, London, where her father, the Revd. Richard Cecil, was minister from 1780 to his death in 1810. He was associated with the Clapham Sect whose best known member was William Wilberforce. Theophania published a set of twelve voluntaries ca.1810 in the new Regency style, and uses the pedals, a feature first seen in William Russell's voluntaries of 1804. Indeed, the copy in the library of the Royal College of Organists (Sowerbutts Collection) is bound between Russell's two sets of voluntaries (1804 and 1812). Cecil's voluntaries were written for the old John Harris organ, as rebuilt by Hugh Russell in 1803, and which was removed and transferred to St. Michael & All Angels, Blackheath Park in 1821). which was replaced by a new instrument by Henry Lincoln in 1821 (the Lincoln organ was subsequently removed to Thaxted Parish Church in 1858). St. John's Chapel was demolished in 1863, by which time Theophania had moved to Islington.
Whilst at Bedford Row, Theophania also published 'The Psalm and Hymn Tunes used at St. John's Chapel' in 1814.
[RCO biography]
Twelve VOLUNTARIES FOR THE Organ Composed by THEOPHANIA CECIL. Organist of St. John's Chapel, Bedford Row. LONDON. Printed for the Author & Sold by C. Mitchell, 51 Southampton Row, Russell Square. (ca.1810)
Only Voluntary no.1 in F minor and major is freely available for download on IMSLP, but members of the Royal College of Organists can download the other voluntaries from the College's own website.
Theophania Cecil was for many years organist of St. John's Chapel, Bedford Row, London, where her father, the Revd. Richard Cecil, was minister from 1780 to his death in 1810. He was associated with the Clapham Sect whose best known member was William Wilberforce. Theophania published a set of twelve voluntaries ca.1810 in the new Regency style, and uses the pedals, a feature first seen in William Russell's voluntaries of 1804. Indeed, the copy in the library of the Royal College of Organists (Sowerbutts Collection) is bound between Russell's two sets of voluntaries (1804 and 1812). Cecil's voluntaries were written for the old John Harris organ, as rebuilt by Hugh Russell in 1803, and which was removed and transferred to St. Michael & All Angels, Blackheath Park in 1821). which was replaced by a new instrument by Henry Lincoln in 1821 (the Lincoln organ was subsequently removed to Thaxted Parish Church in 1858). St. John's Chapel was demolished in 1863, by which time Theophania had moved to Islington.
Whilst at Bedford Row, Theophania also published 'The Psalm and Hymn Tunes used at St. John's Chapel' in 1814.
[RCO biography]
Twelve VOLUNTARIES FOR THE Organ Composed by THEOPHANIA CECIL. Organist of St. John's Chapel, Bedford Row. LONDON. Printed for the Author & Sold by C. Mitchell, 51 Southampton Row, Russell Square. (ca.1810)
Only Voluntary no.1 in F minor and major is freely available for download on IMSLP, but members of the Royal College of Organists can download the other voluntaries from the College's own website.
Samuel Wesley (1766-1837)
Samuel, son of Charles the hymn-writer, was born in Bristol. Samuel showed his musical talent early in life. As a boy, he was recognised as a child prodigy by the British musical establishment, along with his elder brother, Charles. He quickly mastered the violin, harpsichord and organ. By the age of eight, he was becoming known for his composing and improvisational skills, writing an oratorio at the age of eight. He was one of the foremost organists of his day and seems to have been one of the pioneers of the British organ recital: prior to his time, entertainment was not considered appropriate for a church building. In 1784, Wesley privately converted to Roman Catholicism, to the dismay of his uncle John Wesley and in 1788 Wesley was initiated into Freemasonry in the Lodge of Antiquity. The Duke of Sussex appointed him Grand Organist in 1812, but he resigned the appointment in 1818. Despite a reputation as the best improviser on the organ in England, he never succeeded in obtaining an organist's post though he applied to the Foundling Hospital both in 1798 and 1813 and to St George's, Hanover Square in 1824. Generally he appeared to be mistrusted by the British establishment. From 1815 onwards, he was beset by lack of money and depression. At one stage, he was reduced to asking Vincent Novello for copying work.
Wesley seems to have become acquainted with the works of Johann Sebastian Bach sometime between 1796 and 1806. He lost no time in converting others to the Bach cause; his principal converts were William Crotch and Charles Burney. In a series of letters to his friend, Benjamin Jacob, Wesley documented how he made Bach better appreciated. He demonstrated his appreciation for Bach by naming his son Samuel Sebastian in 1810.
His ability on the organ was so highly regarded that on Tuesday 12 September 1837, a month before Wesley's death, he was introduced to, and played for Felix Mendelssohn (who had first visited England in 1829) . Mendelssohn gave a recital that morning at Christ Church Newgate Street (see below) to a packed church, during which Wesley said to his daughter Eliza, 'This is transcendent playing! Do you think I dare venture after this?' As Henry Gauntlett observed, 'One thing which particularly struck our organists was the contrast between his massive effects and the lightness of his touch in rapid passages. The touch of the Christ Church [Newgate Street] organ was both deep and heavy, yet he threw off arpeggios as if he were at a piano.' It seems that Mendelssohn persuaded the old man, who was by now very frail, to play. Wesley played the Fugue in B minor, which he had written especially in preparation for this meeting three days earlier. Mendelssohn stood by his side while he was playing and complimented him on the excellence of his performance, but Wesley replied 'Ah, Sir! you have not heard me play; you should have heard me forty years ago!' On his return home, Wesley hung his hat on a peg in the hall, saying 'I shall never go out again alive'. Nor did he. Samuel died at 4.20 p.m. on Wednesday 11 October, and was buried in the churchyard of Old St. Marylebone church, in the same grave in which the remains of his father, mother, and other near relatives had been deposited.
With Wesley's last performance in 1837, the 'Gorgeous Georgians' can be said to come to the end of the line. With the new influence of Mendelssohn (his Six Sonatas being published in July 1845, eight years after the meeting with Wesley), organ music entered the Victorian era.
Samuel Wesley's organ works consist of over 120 individual pieces, five organ concertos, the Sinfonia Obligatto in D for organ, violin and 'cello, and a quintet for strings, organ and two horns.
In addition to his famous son Samuel Sebastian, his daughters Eliza and Thomasine were also organists.
Eliza was organist of St. Katharine Coleman 1837-1844, and St. Margaret Pattens 1844-1887 in succession to her brother in law Robert Glenn.
Thomasine was organist of St. Andrew by the Wardrobe 1842-1858 and St. Bride Fleet Street 1858-1882. She married Richard Alfred Martin.
[Wikipedia biography]
[Wikisource biography (Dictionary of National Biography)]
[Find a Grave.com]
Duett for the Organ Composed by Samuel Wesley, 1812.
Completed on 24 May 1812, the title page of the manuscript contains Vincent Novello's hand-written note 'This was written on purpose for me to play with Mr. S. Wesley at the Hanover Square Rooms'.
Twelve Short Pieces for the Organ with a Full Voluntary added. Composed and inscribed to Organists in General (1815)
Containing the well-known 'Air' (no.8, with solos on Swell, Cremona or Voxhumana, and Flute) and 'Gavotte' (for Diapasons and Principal). The set as a whole uses the complete range of colours available on the late Georgian organ.
A Voluntary for the ORGAN Composed by SAMUEL WESLEY Op.6. LONDON. Printed & Sold by W. Hodsoll at his Music Warehouse, No.45 High Holborn.
The set of voluntaries Op.6 was published between 1805 and 1818. Each voluntary, individually published with the above title page, has its number at the top of the page. The IMSLP copy is the presentation copy given by Wesley to Benjamin Jacob, organist of the Surrey Chapel, and inscribed by both of them. A subsequent inscription at the beginning records that that the volume was a 1954 Christmas gift from Alfred Whitehead to Gerald Knight, who became Director of the Royal School of Church Music in that year, when the RSCM moved from Canterbury to Addington Palace. Nos.10 to 12 are missing.
Fugue composed expressly for Dr. Mendelssohn by S. Wesley, Sep. 9 1837
His daughter Eliza wrote at the foot of the first page: 'Samuel Wesley died Oct. 11th 1837' (see facsimile below)
Samuel, son of Charles the hymn-writer, was born in Bristol. Samuel showed his musical talent early in life. As a boy, he was recognised as a child prodigy by the British musical establishment, along with his elder brother, Charles. He quickly mastered the violin, harpsichord and organ. By the age of eight, he was becoming known for his composing and improvisational skills, writing an oratorio at the age of eight. He was one of the foremost organists of his day and seems to have been one of the pioneers of the British organ recital: prior to his time, entertainment was not considered appropriate for a church building. In 1784, Wesley privately converted to Roman Catholicism, to the dismay of his uncle John Wesley and in 1788 Wesley was initiated into Freemasonry in the Lodge of Antiquity. The Duke of Sussex appointed him Grand Organist in 1812, but he resigned the appointment in 1818. Despite a reputation as the best improviser on the organ in England, he never succeeded in obtaining an organist's post though he applied to the Foundling Hospital both in 1798 and 1813 and to St George's, Hanover Square in 1824. Generally he appeared to be mistrusted by the British establishment. From 1815 onwards, he was beset by lack of money and depression. At one stage, he was reduced to asking Vincent Novello for copying work.
Wesley seems to have become acquainted with the works of Johann Sebastian Bach sometime between 1796 and 1806. He lost no time in converting others to the Bach cause; his principal converts were William Crotch and Charles Burney. In a series of letters to his friend, Benjamin Jacob, Wesley documented how he made Bach better appreciated. He demonstrated his appreciation for Bach by naming his son Samuel Sebastian in 1810.
His ability on the organ was so highly regarded that on Tuesday 12 September 1837, a month before Wesley's death, he was introduced to, and played for Felix Mendelssohn (who had first visited England in 1829) . Mendelssohn gave a recital that morning at Christ Church Newgate Street (see below) to a packed church, during which Wesley said to his daughter Eliza, 'This is transcendent playing! Do you think I dare venture after this?' As Henry Gauntlett observed, 'One thing which particularly struck our organists was the contrast between his massive effects and the lightness of his touch in rapid passages. The touch of the Christ Church [Newgate Street] organ was both deep and heavy, yet he threw off arpeggios as if he were at a piano.' It seems that Mendelssohn persuaded the old man, who was by now very frail, to play. Wesley played the Fugue in B minor, which he had written especially in preparation for this meeting three days earlier. Mendelssohn stood by his side while he was playing and complimented him on the excellence of his performance, but Wesley replied 'Ah, Sir! you have not heard me play; you should have heard me forty years ago!' On his return home, Wesley hung his hat on a peg in the hall, saying 'I shall never go out again alive'. Nor did he. Samuel died at 4.20 p.m. on Wednesday 11 October, and was buried in the churchyard of Old St. Marylebone church, in the same grave in which the remains of his father, mother, and other near relatives had been deposited.
With Wesley's last performance in 1837, the 'Gorgeous Georgians' can be said to come to the end of the line. With the new influence of Mendelssohn (his Six Sonatas being published in July 1845, eight years after the meeting with Wesley), organ music entered the Victorian era.
Samuel Wesley's organ works consist of over 120 individual pieces, five organ concertos, the Sinfonia Obligatto in D for organ, violin and 'cello, and a quintet for strings, organ and two horns.
In addition to his famous son Samuel Sebastian, his daughters Eliza and Thomasine were also organists.
Eliza was organist of St. Katharine Coleman 1837-1844, and St. Margaret Pattens 1844-1887 in succession to her brother in law Robert Glenn.
Thomasine was organist of St. Andrew by the Wardrobe 1842-1858 and St. Bride Fleet Street 1858-1882. She married Richard Alfred Martin.
[Wikipedia biography]
[Wikisource biography (Dictionary of National Biography)]
[Find a Grave.com]
Duett for the Organ Composed by Samuel Wesley, 1812.
Completed on 24 May 1812, the title page of the manuscript contains Vincent Novello's hand-written note 'This was written on purpose for me to play with Mr. S. Wesley at the Hanover Square Rooms'.
Twelve Short Pieces for the Organ with a Full Voluntary added. Composed and inscribed to Organists in General (1815)
Containing the well-known 'Air' (no.8, with solos on Swell, Cremona or Voxhumana, and Flute) and 'Gavotte' (for Diapasons and Principal). The set as a whole uses the complete range of colours available on the late Georgian organ.
A Voluntary for the ORGAN Composed by SAMUEL WESLEY Op.6. LONDON. Printed & Sold by W. Hodsoll at his Music Warehouse, No.45 High Holborn.
The set of voluntaries Op.6 was published between 1805 and 1818. Each voluntary, individually published with the above title page, has its number at the top of the page. The IMSLP copy is the presentation copy given by Wesley to Benjamin Jacob, organist of the Surrey Chapel, and inscribed by both of them. A subsequent inscription at the beginning records that that the volume was a 1954 Christmas gift from Alfred Whitehead to Gerald Knight, who became Director of the Royal School of Church Music in that year, when the RSCM moved from Canterbury to Addington Palace. Nos.10 to 12 are missing.
Fugue composed expressly for Dr. Mendelssohn by S. Wesley, Sep. 9 1837
His daughter Eliza wrote at the foot of the first page: 'Samuel Wesley died Oct. 11th 1837' (see facsimile below)
Esther Elizabeth Fleet (1809-1851)
Esther Elizabeth Fleet was organist of St. Botolph, Bishopsgate, from 1825 to 1839 where she played a three-manual Byfield organ of a similar specification to the Rotherhithe instrument. She resigned on being elected organist of St. Saviour, Southwark, but then put in an unauthorised deputy at St. Botolph's to continue to collect her salary, hence an enquiry in the vestry minute book for May 1839! She was shortlisted as one of the top four candidates for St. Bride Fleet Street in 1821, but disqualified because of age (she was just 12 years old!). Both Esther (now aged 14) and Henry Cope, her future husband (age unknown), were both unsuccessful candidates for All Hallows Barking by the Tower and St. Lawrence Jewry in 1823. As they married in 1830-31, when Esther reached the age of 21, did they first meet at the interviews?
[John Speller biography]
Her Voluntary for the Organ in C major, an Introduction and Fugue, was published in 1826, at the age of 17, and was one of only two works published by her. It is remarkable for its early use of metronome markings, the metronome having been patented by Johann Nepomuk Maelzel in England only eleven years previously.
Esther Elizabeth Fleet was organist of St. Botolph, Bishopsgate, from 1825 to 1839 where she played a three-manual Byfield organ of a similar specification to the Rotherhithe instrument. She resigned on being elected organist of St. Saviour, Southwark, but then put in an unauthorised deputy at St. Botolph's to continue to collect her salary, hence an enquiry in the vestry minute book for May 1839! She was shortlisted as one of the top four candidates for St. Bride Fleet Street in 1821, but disqualified because of age (she was just 12 years old!). Both Esther (now aged 14) and Henry Cope, her future husband (age unknown), were both unsuccessful candidates for All Hallows Barking by the Tower and St. Lawrence Jewry in 1823. As they married in 1830-31, when Esther reached the age of 21, did they first meet at the interviews?
[John Speller biography]
Her Voluntary for the Organ in C major, an Introduction and Fugue, was published in 1826, at the age of 17, and was one of only two works published by her. It is remarkable for its early use of metronome markings, the metronome having been patented by Johann Nepomuk Maelzel in England only eleven years previously.