In England few organs from before the 19th century have been
preserved; few in comparison to the mainland European states.
One of the reasons for this could be that most organs of the
17th and 18th century were relatively small, with only one manual
and without a pedal. Such instruments were unsuitable for the
liturgical practice of the 19th century. As a result in many
churches new, much larger organs were built, in the tradition
of the French symphonic instrument. Considering the small number
of historical organs it is important to preserve and restore
those which have survived. This disc presents a very fine specimen
of English organ-building of the early 18th century.
The organ was built by Abraham Jordan, member of a family of
organ builders which started its activities around 1700. Father
and son Abraham built their largest example in 1712; this was
the first with a Swell box. This is also part of the organ which
Abraham the younger built in 1723 in St George's, Botolph
Lane, in London. The first organ recital on this instrument
was given by Maurice Green, who at the time was Master of the
King's Musick, organist and composer of the Chapel Royal,
and organist of St Paul's Cathedral. The fact that such
a prominent musician played this organ suggests that its inauguration
was considered a major event. In 1862 the it was repaired and
adapted by William Hill. Fortunately he realized its qualities
and historical importance, and as a result his interventions
didn't completely destroy its 18th-century features.
Toward the end of the 19th century the church increasing fell
into disrepair, and was finally demolished in 1904. The organ
was saved, and in 1907 was installed in the newly-built St George's,
Southall. In 2008 a complete restoration and reconstruction
of the organ to its original state was undertaken. The result
is a beautiful-sounding organ which seems pretty much the ideal
instrument for the repertoire which William Whitehead has chosen.
The programme is divided into two sections. The first is devoted
to music from the Restoration period, in which Blow and Purcell
were the leading composers. Whitehead shows historical consciousness
in that he avoids the use of the Swell organ here, which did
not exist at the time they wrote their keyboard music. The Voluntary
in d minor by Purcell exists in two versions, one for double
organ - meaning two manuals - and one for a single manual; the
latter is played here. This section of the programme ends with
the Fugue in F by Philip Hart, who was organist of
several churches. I found this piece not particularly interesting,
but it is understandable that Whitehead included a piece by
Hart, as he played this particular organ one week after its
inauguration by Greene.
The second section comprises music from the Georgian period.
Here the Swell organ is regularly used, often as an Echo, which
was one of its main functions. The most interesting composer
in this section is definitely Thomas Roseingrave. As a young
man he was sent to Italy where he met Domenico Scarlatti, to
whom he became closely attached and who deeply influenced his
own style of playing and composing. After his return to England
Roseingrave published a number of Scarlatti's sonatas.
He was considered the most brilliant improvisor of his time,
but his compositions were often considered too learned. This
had everything to do with his great love for counterpoint, reflected
by his admiration for the music of Palestrina. The three pieces
on this disc are especially striking because of their bold harmonic
language which comes particularly well to the fore thanks to
the mean-tone temperament of the organ.
This section begins with an overture by Greene which Whitehead
transcribed for organ. This was common practice at the time;
in particular instrumental movements, but also choruses from
oratorios by Handel were frequently transcribed. One of the
leading composers in England, but a little overshadowed by Handel,
was Thomas Augustine Arne. Whitehead plays a movement from a
keyboard concerto, the first of a set of six which was published
long after his death in 1793. This first concerto also exists
in manuscript in an early version for keyboard without orchestra.
The disc ends with a quite curious piece, the Voluntary
in C by Johann Christoph Pepusch. It has come down to us
in manuscript, and the indications in regard to registration
suggest it could have been written for the inauguration of an
organ. In no fewer than twelve movements - of which here eight
are played - the various features of the organ are demonstrated.
In one movement Pepusch asks for flutes, which are absent from
this organ. In another he requires the Sesquialter, which was
far from common among organs of the 18th century. The closing
movement is a fugue for full organ. It ends with a short free
toccata-like passage. One is inclined to see here the influence
of the German organ school. After all, Pepusch was born in Germany
and had settled in England at the end of the 17th century.
This ends a most interesting disc with a survey of typical English
repertoire which is well suited to demonstrate the qualities
of this organ. William Whitehead is a technically impressive
and stylish performer who makes the most of the pieces he has
chosen. Fortunately the acoustical circumstances allow the organ
to blossom. It is an important instrument which deserves to
be carefully preserved.
The booklet contains much information about the organ, notes
relating to the music as well as a specification for the organ
and the registration of every single piece. Unfortunately the
dates of birth and death of the composers have been omitted.
Otherwise this is an exemplary production.
Johan van Veen
http://www.musica-dei-donum.org
https://twitter.com/johanvanveen
Full contents list
John BLOW (1648/49-1708)
[Verse] in D [2:33]
anon
Verse in g minor [1:53]
John BLOW
Voluntary in d minor [For the Cornet Stop] [5:53]
anon
Trumpet Voluntary in D [3:31]
Henry PURCELL (1659-1695)
Voluntary in G (Z 720) [4:16]
Voluntary in d minor (Z 718) [4:04]
Philip HART (1674-1749)
Fugue in F [3:49]
Maurice GREENE (1696-1755),
arr William WHITEHEAD
Overture to Phoebe, arr. for organ [9:26]
Thomas ROSEINGRAVE (1690/91-1766)
Voluntary IV in g minor [2:26]
Voluntary VIII in g minor [1:47]
Fugue I in f minor [4:11]
Thomas Augustine ARNE (1710-1778)
Concerto No. 1 in C: allegro [2:59]
William WALOND (1719-1768)
[Trumpet] Voluntary IV in D, op. 2,4 [7:52]
Johann Christoph PEPUSCH
(1667-1752)
Voluntary in C (extr) [13:43]
William Whitehead (organ - Abraham Jordan, 1723)