Heavenly Harmony: Organs and Organists of Exeter Cathedral

Heavenly Harmony

Organs and Organists

of Exeter Cathedral

Malcolm Walker

David Davies

Contents

Title Page

Foreword Andrew Millington, Director of Music, Exeter Cathedral, 1999–2015

Foreword The Very Revd Dr Jonathan Draper, Dean of Exeter

Acknowledgements

List of Figures

List of Plates

1. A Rich and Lofty Organ

Early Organs and Organists

A Large Organ on the Pulpitum

A Time of Uncertainty

Two Organists from Canterbury

Musical Progress

A Rare Organist

2. Turmoil and Triumph

Dissent and Discontent

Troubled Times

The Organ Silenced

Organ Music Returns to the Cathedral

The Organists of the Early 1660s

Loosemore’s Masterpiece

The Chief among Craftsmen of His Kind

The Organists of the 1670s and 1680s

3. Defects and Decorations

A New Era

A Defective Organist

A Defective Organ

The Organ Rebuilt Again

Another Defective Organist

An Organist and Composer

The Organ Adorned and Repaired

Retrospect

4. In Pursuit of Quality and Satisfaction

William Jackson of Exeter

Another Organist from Exeter

Caring for the Organ

A Dispute over Gilding

The Organ Repaired and Improved

Problems with the Organ

Whither the Music of Exeter Cathedral?

5. A Time of Change

Choosing Paddon’s Successor

Samuel Sebastian Wesley

Further Work on the Organ

Changes in the Organ Loft

Cathedral Restoration

Problems

Yet Another Rebuild of the Organ

A Modest and Dignified Man

6. The Modern Era

Organists Who Served in the Great War

A Major Renovation of the Organ

Difficult Times

Organists Who Served in the Second World War

Problems with the Organ

The Musical Centre of Exeter

Further Renovations of the Organ

And So to the Future

Appendices

1 The King of Instruments

2 Organ Specification, 1859

3 Organ Specification, 1876

4 Organ Specification, 1891

5 Organ Specification, 1933

6 Organ Specification, 1965

7 Organ Specification, 1985

8 Organ Specification, 2002

9 Organ Specification, 2014

Glossary

Index

About the Author

Copyright

Foreword

Andrew Millington, Director of Music, Exeter Cathedral, 1999–2015

The view from the west end of Exeter Cathedral down the length of the nave and beyond to the east window is one of the finest architectural sights in the land. The feast of English decorated style would be enough in itself, but it is punctuated by the magnificent seventeenth-century organ case, imperiously situated on the stone pulpitum and seemingly almost reaching the vault above. The date of the Loosemore case, 1665, is a significant milestone in the history of the Exeter organ, but the story of its evolution is a complex and colourful narrative spanning several centuries. Previous attempts to chronicle this story have been worthy and enthusiastic, but, for the first time, this volume provides a comprehensive and meticulously researched study of the instrument, from the earliest records to the current and extensive restoration (2014). In addition, the long procession of organists and masters of choristers is described in detail, as well as the various organ specifications down the centuries.

The publication coincides with the return of the refurbished instrument in all its glory. During the time that the organ has been dismantled, much has been learned about its history from close inspection of the empty case and the precise evidence which that has provided.

I am sure that this book will appeal to organ enthusiasts far and wide, and to all those who work and worship at Exeter Cathedral. Our warmest thanks go to Malcolm Walker for his exceptional eye for detail, his passion for scholarly and accurate information, and for his support for the music of Exeter Cathedral and the Diocese. We are also indebted to David Davies for his skilled and supportive contribution to the project. Long may the organs and organists of Exeter Cathedral continue to make ‘Heavenly Harmony’.

Foreword

The Very Revd Dr Jonathan Draper, Dean of Exeter

Andrew Millington’s description of the place of the organ in the architecture and the worshipping life of Exeter Cathedral is a fitting description and needs no embellishment. Deans come and go in cathedrals, but music and its making remain central to the cathedral’s life and witness. This organ, in its various developments, has served the cathedral in Exeter for 350 years, and the current work, undertaken by Harrison & Harrison of Durham to a very high standard, will give it another generation or two of excellent service. We are grateful to them and to the main funders of the project – Viridor Credits, the Friends of Exeter Cathedral, the Music Foundation Trust and the many individuals who have contributed to the funding of its restoration – for bringing our organ back to life.

Music remains central to the ways in which we worship God and this book tells an important part of the story of music at Exeter Cathedral. I hope many people will enjoy reading it.

Acknowledgements

The origins of this book lie in a work by the late Betty Matthews published in 1965, The Organs and Organists of Exeter Cathedral. Nearly half a century on, Betty’s booklet needed at least to be updated. More than that, some of the material in it raised questions which could not be answered in so short a work, with many of its thirty pages taken up with specifications of organs. What really happened to the instrument in the English Civil War? How much has the magnificent case been altered since it was made in 1665? How badly damaged was the organ when a bomb struck the cathedral in 1942? What does the splendid Tudor memorial in the north nave aisle tell us about an organist who was only seventeen years of age when he died? To what extent have organists been responsible for changes in specifications over the years? A book proposal was born. Our very grateful thanks go to the Dean and Chapter of Exeter for approving the proposal, Impress Books Ltd for agreeing to publish the book, and the Friends of Exeter Cathedral for their generous support.

During the research phase of the project, many people provided assistance. In the Exeter Cathedral Library and Archives, Ann Barwood, Peter Thomas, Angela Doughty, Stuart Macwilliam, John Draisey and Ellie Jones were very helpful, especially Ellie, who supplied document after document and answered many queries. And staff of Harrison & Harrison Ltd, the organ-builders who have cared for the Exeter Cathedral organ since the early 1930s, welcomed us to their factory at Durham and not only allowed us access to their archives but also provided a number of illustrations for the book. We are particularly grateful to Christopher Batchelor, Dot Henderson, Jim Reeves and Carole Jeffery.

Specific queries have been answered by many people, in particular: John Allan (Exeter Cathedral archaeologist), Mike Dobson (Exeter Cathedral lay vicar), Todd Gray (historian, Exeter), Toby Huitson (archivist, Canterbury Cathedral), Jo Bartholomew (curator and librarian, Winchester Cathedral), Gill Rushton (archivist, Hampshire Record Office), Frances Lansley (searchroom supervisor, West Sussex Record Office), Julia Wood (archivist, Wells Cathedral), Robin Darwall-Smith (archivist, Magdalen College, Oxford), Eleanor Fleetham (archive and records manager, Keble College, Oxford), Peter Horton (deputy librarian, Royal College of Music), Erin McHugh (museum assistant, Royal College of Music), Kathryn Adamson (librarian, Royal Academy of Music), Anna Wright and Geoff Thomason (librarians, Royal Northern College of Music), John Henderson and Trevor Jarvis (Royal School of Church Music), Peter Privett (assistant secretary, Friends of Exeter Cathedral), Mary Neale (daughter of Alfred Wilcock), Lucian Nethsingha (former organist of Exeter Cathedral), Renée Jackaman (collections development manager, Devon Heritage Centre), Anne Maskell (assistant librarian, House of Lords Library), Martin Cottam (freelance artist), Sarah Beedle (editor, Organists’ Review), David Wyld (managing director, Henry Willis & Sons Ltd), Ian Payne (music editor, Severinus Press), Mark Stoyle (professor of early modern history, University of Southampton), Laura Elliott (library assistant, Lambeth Palace Library), Tom Corfield (assistant organist, Derby Cathedral), and William Hunt (Windsor Herald, College of Arms).

A number of other people helped us get the story right, notably Eddie Sinclair (Exeter Cathedral conservator), Paul Morgan (Exeter Cathedral organist emeritus), Stephen Tanner (assistant organist of Exeter Cathedral and head of music at Exeter Cathedral School), Stuart Blaylock (archaeologist, Exeter), Richard Parker (archaeologist, Richard Parker Historic Buildings Recording and Interpretation, Exeter), David Conway (an Exeter Cathedral worshipper for many decades), Philip Hickman (former chorister of Exeter Cathedral), and Philip Hobbs (former lay vicar, Exeter Cathedral). We are very grateful to them all.

It has been a great pleasure and honour to have two advisors for the book, Andrew Millington (director of music, Exeter Cathedral) and Dominic Gwynn (director, Martin Goetze and Dominic Gwynn Ltd, organ-builders). Their guidance and support are hugely appreciated.

Our thanks go also to Conrad Donaldson (chairman, Friends of Exeter Cathedral) and Richard Willis (director, Impress Books Ltd) for their support and encouragement and to Ann Barwood and Ellie Jones for permission to reproduce documents in the Cathedral Archives. We are grateful, too, to Norman and Linda Hart, Naomi Hart and Geoffrey Morgan (friends of David) for their assistance and support; and finally, we acknowledge with many thanks Malcolm’s beloved wife, Diane, who has not only taken a very close interest in the story of Exeter Cathedral’s organs and organists but also shown extraordinary skill in unearthing obscure facts.

Malcolm Walker and David Davies 

August 2014

Figures

The authors and publisher are grateful for permission to reproduce illustrations from the Dean and Chapter of Exeter (Figures 1.1, 2.1 and 2.2), Martin Cottam and Dominic Gwynn (Figure 2.3), Diane Walker (Figures 5.2, 5.3, 5.4 and 5.5), University of Aberdeen (Figure 5.6), Harrison & Harrison Ltd (Figures 6.1, 6.5 and 6.6), Todd Gray (Figure 6.2), Mary Neale (Figure 6.3), Mike Dobson (Figure 6.4), the Royal School of Church Music (Figure 6.7), Lucian Nethsingha (Figure 6.8).

1.1 Account roll for the building of an organ on the pulpitum by Laurence Playssher, 1513. Document in Exeter Cathedral Library and Archive, D&C 2704/7.

2.1 Document headed ‘layd out about the organs spoyled by the Roundheads’, showing weekly payments totalling £20 for repairing the organ in the last three months of 1643. Document in Exeter Cathedral Library and Archive, D&C 2542/7.

2.2 John Loosemore’s account for ‘the total sume the Organ cost’, 13 December 1664. Document in Exeter Cathedral Library and Archive, D&C 4683.

2.3 Organ cases bereft of their pipes and action were not uncommon during the Interregnum. It is possible that the Chair case of the organ remained in position on the eastern face of the pulpitum throughout the Interregnum. From D.Gwynn, 2009, ‘How organs and organists survived the Commonwealth’, Organists’ Review, Vol.95, No.1, p.23.

2.4 Loosemore ledger stone, north quire aisle. Photograph by Malcolm Walker.

5.1 Angel memorial, north nave aisle. Photograph by Malcolm Walker.

5.2 The organ from the nave in the 1860s, showing the large pipes clustered around the columns on the edges of the pulpitum, with the circular iron bands around the pipes fitted by Henry Willis in 1859. From Stereoview No.298 by George Washington Wilson.

5.3 View from the south-west, showing the large pipes around the columns and the organ case before it was expanded to its present depth. From a stereoview by Francis Bedford (Exeter Illustrated 1638).

5.4 The organ from the quire in the 1860s. Notice the relative heights of the Chair and main cases. From Stereoview No.296 by George Washington Wilson.

5.5 The organ from the nave, 1876, showing the tops of bass pipes protruding above the case. Notice that the burnished display pipes of pure tin presented a brilliant appearance. Notice also that the diameters of the cornices have been reduced since the 1860s and the cresting on the pulpitum has been removed. In addition, on the lower part of the organ case, four pilasters have been fitted and decorated carvings applied. From a stereoview by Francis Bedford (Devonshire Illustrated 2897).

5.6 The organ from the quire as it appeared from 1876 to 1891. Notice that the Chair case was raised relative to the main case during Scott’s restoration of the cathedral. Notice also that the tops of two of the longest bass pipes protrude above the right-hand side of the case. Part of photograph GB0231 MS3792/C0987X (Choir, Exeter Cathedral, looking west), in the George Washington Wilson Collection, University of Aberdeen Library.

6.1 The telegram sent by organist Alfred Wilcock to Harrison & Harrison on 6 May 1942, two days after a bomb destroyed one of the cathedral’s chapels. Telegram held in the archive of Harrison & Harrison Ltd.

6.2 The organ case in 1942, soon after the bomb dropped, with pipes missing and others leaning against the north wall of the quire. From Todd Gray, 2007, Exeter News Photographs the 1940s, Exeter: 

The Mint Press, page 134.

6.3 Alfred Wilcock (organist 1933–1952). From a photograph supplied by Mary Neale.

6.4 Reginald Moore (organist 1953–1957). From a photograph supplied by Mike Dobson.

6.5 The Chapter House being used as a workshop when the organ was overhauled in 1965. Photograph supplied by Harrison & Harrison Ltd.

6.6 Cleaning the woodwork above the Chair case, 1965. Photograph supplied by Harrison & Harrison Ltd.

6.7 Lionel Dakers (organist 1957–1972). Photograph supplied by the Royal School of Church Music.

6.8 Lucian Nethsingha (organist 1973–1999). Photograph supplied by Lucian.

Plates

The authors and publisher are grateful for permission to reproduce colour plates from Harrison & Harrison Ltd, Andrew Millington, the Royal College of Music.

1 Matthew Godwin memorial, north nave aisle. Photograph by Malcolm Walker.

2 Inscription on Matthew Godwin memorial. Photograph by Malcolm Walker.

3 The keyboards that were taken out by Henry Willis in 1891. Note the reversed colour of the keys (ebony naturals and ivory sharps), the rounded sharps and the elegantly carved key cheeks. Photograph by Malcolm Walker.

4 Spiral stone staircase to the organ loft. Photograph by Malcolm Walker.

5 The organ as it now appears from the quire. Notice that the relative heights of the Chair and main cases are now the same as they were before 1870. The main case was raised five feet when Henry Willis rebuilt the organ in 1891. From a photograph by Harrison & Harrison Ltd.

6 The lowest sixteen pipes of the Pedal Organ’s Contra Violone rank were moved to the south transept in 1891. Note the ingenious calculation that enabled the longest pipes to fit so neatly within the architectural constraint. Although not particularly loud in terms of volume, the rich harmonic development of the notes produced by these pipes means that the notes can be heard and felt throughout the building. Three of the sixteen pipes are behind the pipes which are visible in this picture. Photograph by Malcolm Walker.

7 Part of the Exeter Blitz commemoration window by Christopher Webb in the south nave aisle, showing a stone mason and an organ-builder. Photograph by Malcolm Walker.

8 The Chair case today, with the inscription above it: ‘John Loosemore made this organ 1665’. The lettering of the inscription was gilded in 1965. Photograph by Malcolm Walker.

9 Pipework of the Minstrels’ Gallery division. The principal and flute ranks can be seen in the foreground, while the pipes of the impressive Trompette stop occupy the middle. Note how the larger pipes are tied with black cotton tape to support the body of the pipe structure, and also how the largest pipes are ‘mitred’ (not dissimilar from an orchestral instrument where the resonating tube is folded over to lend rigidity and to save space). One of the wind reservoirs, complete with metal weights, can be seen behind the Trompette on the left. Note the wooden enclosure of the whole division on the back, top and sides to promote sound projection and climatic control. Photograph by Malcolm Walker.

10 The organ under construction in Durham in the Harrison & Harrison workshop during 2014. Here we are looking from the south side to the north. The different levels upon which the organ departments will sit can be clearly seen. Sited prominently on the left is the Solo division that occupies the Willis case on the lower order of the west façade of the organ. Here we see it side on. The height from floor level to the top of the organ is 8.1 metres (26.6 feet). Photograph by Malcolm Walker by kind permission of Harrison & Harrison Ltd.

11 The restored console in 2014, showing the small revisions of some of the stop jambs and piston designations.

12 The Solo and main cases from the nave. Photograph by Malcolm Walker.

13 The chamber organ built by Kenneth Tickell & Co Ltd in 2007. The details of the display pipes and of the wood carving were designed to complement the existing colour and woodwork patterns of the quire. The organ has four stops: Fifteenth (2), Chimney Flute (4), Principal (4), Stopped Diapason (8). Photograph by Malcolm Walker.

14 Andrew Millington (director of music since 1999). Behind him, the organ in the Lady Chapel, purchased in 1959 through the generosity of the Friends of Exeter Cathedral. The organ, which has one manual and no pedals, was built in the nineteenth century by Samuel Parsons of 2 Little Russell Street, Bloomsbury, London. It has six stops: Fifteenth (2), Principal (4), Stopped Diapason Bass (8), Twelfth (2⅔), Stopped DiapasonTreble (8), Open Diapason (8). Photograph supplied by Andrew Millington.

15 Samuel Sebastian Wesley in the 1830s. Courtesy of the Royal College of Music, London.

16 Detail on the east face of the organ case built by John Loosemore in 1665. Photograph by Malcolm Walker.

CHAPTER 1

A Rich and Lofty Organ

The year was 1635. Lieutenant Hammond was in Exeter. Though a voluntary member of the Military Company in Norwich, he was not in Exeter on military business. He was there as a tourist, pursuing his interest in the great churches of England. The organ in the cathedral impressed him greatly. It was, he said:¹

A delicate, rich and lofty organ, which has more additions than any other, as fair pipes of an extraordinary length, and of the bigness of a man’s thigh, which, with their viols and other sweet instruments, the tunable voices and the rare organist, together make a melodious and heavenly harmony, able to ravish the hearer’s ears.

Who built this organ, and when? Where in the cathedral was it? Who was the ‘rare organist’? What ‘other sweet instruments’ were used, and why? How long had there been an organ in the building? To answer these questions, we begin the story of Exeter Cathedral’s organs and organists centuries before the Lieutenant’s visit.

Early Organs and Organists

There were pipe organs in churches across Europe more than a thousand years ago, including, in England, Malmesbury Abbey, Ramsey Abbey and Winchester Cathedral. The earliest record of an organ in Exeter Cathedral so far discovered dates from 17 July 1284, when the Bishop of Exeter granted a tenement in Paignton to a bell-founder, Roger de Ropford (or Ropforde), on condition that he and his wife Agnes, their son Walter and their heirs made bells for the cathedral, or caused them to be made. They were also to repair the cathedral’s organs and clock as often as necessary (fieri facient organa et orologium quociens opus fuerit reparabunt). The grant was made with the consent of the cathedral’s Chapter, who agreed to bear all costs.²

Another reference to organa can be found in the cathedral’s fabric accounts for 16 February 1286/87, this being, in the words of Audrey Erskine’s translation, ‘expenses concerning the closing [encasing] of the organs’ (in expensis circa organa claudenda).³ The use of organa seems to refer to organs in the plural but in old usage meant one instrument. Encasement of pipes was a mediæval development.

In the thirteenth century, organa could mean pipe organs in particular or musical instruments in general. The record in the fabric accounts appears to confirm that organa in 1284 referred to a pipe organ, for it is unlikely that any other instrument would have been encased. Payments were also made on 16 February 1287 to ‘Roger the bell-founder and his son’ (i.e. Roger and Walter) for work on the bells, from which it is reasonable to assume that they were the people who encased the organ.

Construction of the building which was seen by the Lieutenant from Norwich began about 1270 and took a hundred years. Built in the Decorated Gothic style, this cathedral replaced one that had been built in the Romanesque (Norman) style between c.1114 and c.1200. This, in turn, had replaced the Anglo-Saxon minster in which, in the year 1050, Leofric had been installed as the first Bishop of Exeter. Though no reference to an organ in Exeter Cathedral before the 1280s has yet come to light, we should not be surprised if we find some day there had been one in the Romanesque cathedral or even the Anglo-Saxon minster. There were boy choristers in Exeter Cathedral in Leofric’s time.⁴

The organ seen by the Lieutenant was on the pulpitum (the screen or platform at the western end of the quire). However, the organ(s) of the 1280s could not have been there, for this pulpitum did not then exist. It was built between 1317 and 1325. The supposition is that services were held in the nave of the Romanesque building while construction of the Lady Chapel and other eastern parts of the Gothic cathedral took place. This being so, we may wonder if the instrument of the 1280s was in the nave of the Romanesque cathedral. On the other hand, the Lady Chapel may have been sufficiently complete by 1284 for the organa to have been situated there; and we may speculate further to wonder if the instrument in question was a brand new one and encased for the first time by Roger and his son.

After 1287, the next record of an organ that has so far come to light appeared in a document dated 8 Edward II (i.e. July 1314 to July 1315), in which it was stated that Robert, son of Walter le Belleyetere (bell-founder), was to ‘retain a messuage and land in Paignton which Roger le Belleyetere his grandfather acquired from Peter [Quivil] late Bishop of Exeter and the Chapter for making and repairing, at the expense of the Chapter, all the bells, organs and clocks of the Cathedral Church’.⁵ And there was a further reference to Robert, son of Walter, in January 1318, when he was appointed to ring the bells and repair the organs and clocks.⁶ Responsibility for the cathedral’s bells, clock and organs was indeed being passed down to the heirs of Roger and Agnes.

After 1318, there was no mention of an organ until 11 December 1389, when there was a payment of 12s 4d for mending the organs in the Lady Chapel at the Cathedral Chapter’s expense.⁷ There is in the fabric accounts for 1353, however, a tantalizing entry which has long exercised the minds of scholars but never been explained satisfactorily.

In the first week after Trinity, i.e. the week beginning 20 May 1353, new work began in the cathedral before, or in the vicinity of, the great cross (fuit incept’ novi operis ecclesiæ beati Petri coram magna cruce). For the following nineteen weeks, masons, carpenters, sawyers and labourers were employed on the work, assisted for a week and a half by Master Richard Farleigh, the cathedral’s architect. Audrey Erskine discussed in her translation of the fabric accounts the possible nature of the ‘new work’ and concluded that ‘the only guess which it seems reasonable to hazard is that the new work was a structure on the pulpitum itself, where the organ now stands, to raise and enhance Thomas of Witney’s original design’.⁸

Unfortunately, the nature of the new work was not specified in the fabric accounts, and the accounts for the seventeen years beginning Michaelmas (29 September) 1353 have not survived. However, we may speculate that the work possibly involved modifications to the pulpitum for an organ to be placed on it. Exeter’s bishop at the time, John de Grandisson, possessed great enthusiasm for music and indeed introduced at the cathedral liturgical reforms which involved polyphony and both vocal and instrumental music.

The pulpitum appears to have been made sturdy enough to support an organ from the outset, as it is recorded in the fabric accounts that the weight of iron which was purchased for it in 1319 and 1320 specifically for making into bars exceeded 1,220 pounds. The existence of iron bars an inch and a quarter square set horizontally and vertically into the pulpitum was revealed by the architect Sir George Gilbert Scott during his restoration of the cathedral in the 1870s, and a simple calculation shows that the weight of iron purchased in 1319 and 1320 matches almost exactly the weight in the bars which Scott revealed.⁹

There