ORGANS IN & AROUND CHESTERFIELD

ST. MARY & ALL SAINTS, CHESTERFIELD
PART TWO: 1862-1922

BRINDLEY & FOSTER, 1862 & 1875
Norman Biggin's notes on the organ continue:

In the year 1862 it was again moved into the North Transept by Messrs. Brindley & Foster of Sheffield. There is no record of any addition to the Organ in this year.

About the year 1875, the same builders added 4 Pedal stops, viz.:- Bourdon 16ft., Bass Flute 8ft., Quint 5ft., and Trombone 16ft., thus constituting a complete and independent Pedal Organ of 5 stops.

A new Cremona Stop was also added by them at the time, the gift of Mr. S.F. Marsden and Mr. H.N. Biggin.

Pedantically speaking, it is not quite true to state that the 1862 work was carried out by Brindley & Foster. Charles Brindley worked alone from 1854 until 1870, at which date he took A.H. Foster into partnership.

We may assume that the 1875 Pedal replaced the 'continuation stops' of 1851. The Swell must have been completed to 8ft. C by this date if not before. That the Pedal chorus culminates in an uncovered quint is unusual though not unprecedented; it would throw down resultant tones which would give bite and body to the bass.

 

ABBOTT & SMITH, 1891

 

To continue with Biggin's account:

The last and most thorough renovation was completed in 1891, the Organ being opened by Dr. Haydn Keeton, Organist of Peterborough Cathedral. The following alterations were effected:

Great Organ:-  Double Open Diapason 16ft. tone was added and the Claribel renamed Gedact.
Swell Organ:-  Violin e Cello 8ft., Voix Celestes 8ft., Contra Fagotto 16ft. tone, Vox Humana 8ft. and Tremulant. The "Twelfth" was removed to make way for the "Vox Humana", which was added during rebuilding.
Choir Organ:-  The "Vox Angelica" was substituted for the Principal. These latter pipes, together with the above-mentioned "Twelfth", were incorporated in the new stop.
Couplers:-  Choir to Great and Swell super Octave were added.
The compass of the manuals was carried up to A and the Pedals to F. There are still 10 of Snetzler's stops remaining, which for quality could not be replaced.

After pointing out that he console plaque with its date of 1741 must be in error in view of Snetzler's signature dated 1756, Biggin gives the stoplist of the organ after the 1891 work, which was carried out by Abbot & Smith (Leeds).

In his 1931 article for 'The Organ', Herbert Snow added that in 1891 a new Swell soundboard was provided, though the Snetzler soundboards for Great and Choir were retained. A completely new key action was fitted, tracker to the manuals, tubular-pneumatic to the pedals, together with a new drawstop console.

Stops marked S are by Snetzler; J by Jones; B&F by Brindley & Foster; A&S by Abbott & Smith.

GREAT
    16       Bourdon                     A&S
     8       Large Open Diapason         J
     8       Small Open Diapason         S
     8       Stopt Diapason              S
     8       Gedact                      J/A&S
     4       Principal                   S
    2 2/3    Twelfth                     S
     2       Fifteenth                   S
    III      Mixture                     S
     8       Trumpet                     J
     4       Clarion                     J
 
SWELL
    16       Bourdon                     J
     8       Open Diapason               J
     8       Stopt Diapason              J
     8       Violin e Cello              A&S
     8       Voix Celestes               A&S
     4       Principal                   J
     2       Fifteenth                   J
    III      Mixture                     J
    16       Contra Fagotto              A&S
     8       Cornopean                   J
     8       Oboe                        J
     8       Vox Humana                  A&S
     4       Clarion                     J
             Tremulant                   A&S
 
CHOIR
     8       Stopt Diapason              S
     8       Dolce                       S
     8       Vox Angelica                A&S
     4       Flute                       S
     2       Piccolo                     S
     8       Clarionet                   B&F
               
PEDAL    
    16       Open Diapason               J
    16       Bourdon                     B&F
     8       Bass Flute                  B&F
    5 1/3    Quint                       B&F
    16       Trombone                    B&F
 
Couplers: 6 unison; Swell super8ve.

Certain details of the stoplist are uncertain. The Great double which Biggin referred to in his text as "Double Open Diapason, 16ft. tone", (i.e. a stopped rank) was called "Bourdon" in his stoplist, as it is in Snow's 1891 stoplist. Snow gives the Swell Bourdon as "Double Diapason". In Biggin's stoplist the Choir 2ft. is called "Piccolo"; in Snow's specification it was still a "Fifteenth". Snow names the pedal open "Open Bass", and gives the pedal Quint a pitch of 10 2/3ft., which for 1891 is more likely than 5 1/3ft.

 

ABBOTT & SMITH, 1922
It is time to return to Herbert Snow (1931) for an account of the next stage of the organ's life. The photographs which illustrated his article in 'The Organ' are included below. He wrote:

The final renovation of the organ by Messrs. Abbott & Smith took place in 1922, when it was placed on a platform in the north transept, the architect, Mr. Temple Moore, choosing the site. (It was previously at floor-level in the transept - j.r.) This position, however, is not nearly so satisfactory, from the tonal point of view, as that previously occupied by this much-moved organ. The additions were as follows: great, open diapason 8ft.; choir, orchestral oboe 8ft, tremulant; pedal, harmonic bass 32ft. (acoustic), bourdon 16ft. (from swell); couplers, swell octave to great, swell suboctave to great, swell suboctave, great reeds on choir; accessories, a complete range of pistons, and the Abbott & Smith master-switch system of stop control, whereby any combination of stops can be pre-arranged and brought into operation by depressing a pedal piston. The whole of the manual and drawstop actions were replaced by the most up-to-date tubular-pneumatic action, and all the reeds were revoiced; soundboards were retained and completely overhauled; and all Snetzler pipes were strengthened to aid their speech. A new electric blowing plant was also installed.

The complete specification of the organ as it stands to-day is as follows. (Certain details from the Willis inspection of the 1950s are included; S = stops by Snetzler - j.r.):

GREAT
    16       Bourdon
     8       Major Open Diapason
     8       Large Open Diapason
     8       Small Open Diapason       S
     8       Stopped Diapason          S
     8       Gedact                    tc
     4       Principal                 S
    2 2/3    Twelfth                   S
     2       Fifteenth                 S
    III      Mixture                   S
     8       Trumpet (heavy wind)
     4       Clarion                   extension
 
SWELL
    16       Bourdon
     8       Open Diapason
     8       Stopped Diapason
     8       Viol d'Orchestre
     8       Voix Célestes
     4       Principal
     2       Fifteenth
    III      Mixture
    16       Contra Fagotto
     8       Cornopean
     8       Oboe
     8       Vox Humana
     4       Clarion
             Tremulant
 
CHOIR (2 3/4in. w.g.)
     8       Stopped Diapason         S
     8       Dolce                    S
     8       Vox Angelica
     4       Flute                    S
     2       Fifteenth                S
     8       Clarinet
     8       Orchestral Oboe
             Tremulant           
PEDAL
    32       Harmonic Bass (acoustic)
    16       Open Bass
    16       Soft Bass 
    16       Bourdon (from Swell)
     8       Bass Flute   
    16       Trombone
 
Couplers: 6 unison; Swell 8ve & sub8ve; 
          Swell 8ve & sub8ve to Great; 
          Great reeds on Choir.
Combination pistons:  4 to Great and Pedal, 4 to Swell, 
                      Great to Pedal (reversible).
Duplicating pedal pistons: 4 to Great and Pedal, 4 to Swell.
Master switch control.
Balanced pedals:  1 to Swell, 1 to Choir.

My visit to Chesterfield was highly interesting, particularly as I there made the acquaintance of Mr. G.F. Smith (of Abbott & Smith, of Leeds), who very readily provided me with some authentic and important details. Unfortunately, Dr. Frederic Staton, the organist of the Parish Church, was away abroad, but his son, Mr. F. Cecil Staton, very ably displayed the tonal resources of the organ, which greatly assisted me in my preparation of the following commentary on the various sections of the organ.

The first impression centres on the all-important flue-work, and it speaks much for the craft of British organ building that so many among them can and do produce true diapason tone. There are two such specimens in the great at Chesterfield: the larger one of 6 1/2in. scale, and the medium size 6in., both giving a clear, ringing tone; whilst the Snetzler diapason is a delightful companion, seeing that it blends so very well with all the rest. I am not usually very partial to great bourdons, but the one here - with metal trebles and scale 7 1/2in. by 5 3/4in. - is rather good tonally, so we were at once on the best of terms. The stopped diapason, gedact and principal are all charming; equally so are the compound stops, mixture 15 19 22 (sic - j.r.); whilst the trumpet and clarion, both on 6in. wind pressure, complete a fine division. The full effect is very satisfying.

Considering the position this organ occupies, the swell ensemble is very surprising. I was amazed how successfully the tone came through, with nothing blurred in the crescendo. The stops individually are good; but the diapasons - open and stopped, viole d'orchestre, céleste, and oboe - are worthy of special mention. So are the fine chorus reeds.

The little choir organ contains a metal dolce inserted by Snetzler; it is unique, and at one time attracted the attention of the late Dr. E.J. Hopkins. Mr. Smith showed me a post card, written by the genial old gentleman in 1891, having reference to the peculiar shape of these dolce pipes. The tone is delicate and silvery, and is for beauty no isolated example in this section of the organ. There is a delicious stopped diapason, flute, and a most imitative orchestral oboe, besides the exquisite vox angelica and a fine clarinet. I regard this division as the best for tonal purity.

The pedal organ is extremely good, and although the 32ft. effect is obtained by acoustic means, the pipes are open throughout (presumably incorporating the former 10 2/3ft. quint - j.r.). I have heard few better and many far less successful. The open bass and the soft bass are of just the correct scale; the first has weight without being obtrusive, while the softer stops are ideal for their respective uses. I liked the trombone very much; it is virile, and speaks out beautifully. The action is excellent, as are the helps, including the combination switch control. The whole constitutes a fine organ, full of historic charm, and in all bearing testimony to Messrs. Abbot & Smith's conscientious work.

Mr. Biggin's search among the records reveals the names of the following organists: Thomas Leyland (or Layland) 1756, Samuel Bower c.1773, Mrs. Dutton, Trimnell 1848, Vaughan 1874, H. Norman Biggin 1875-1910, Dr. Frederic Staton (the well-known conductor and adjudicator) 1910.

One might wish that Herbert Snow had indulged in fewer bland generalisations and written with more attention to detail. He failed to notice that the Great reeds were a unit. Did the three Stopped Diapasons all sound alike? What was the point of a second unison stopped flute on Great? How did the Great chorus, comprised mainly of Snetzler stops, sound? How did the two additional unison diapasons fit in with it?

 

INTERLUDE: J. FREDERIC STATON'S MUSIC LIBRARY

 

The photograph left shows a concert by the Chesterfield Orchestral Society, c.1905. The conductor is Norman Biggin, and J. Frederic Staton is at the piano. Staton succeeded to the post of organist at the Parish Church and conductor of the Orchestral Society upon Biggin's death in 1910.

In the late 1970s I studied the organ with F. Cecil Staton, J. Frederic's son, who was mentioned in Snow's article above. Through him I inherited a substantial portion of his father's music library, a series of leather-bound, gilt-edged volumes of organ music. It is a fascinating insight into the working repertoire of a skilled provincial organist during the early 1900s. There is a noticeable catholicity of taste - one thin volume includes works by W.T. Best and Max Reger in juxtaposition. A good part of it comprises works by British organist-composers such as Hopkins, Spark, Silas, d'Evry and Faulkes. There are substantial works by Widor, Merkel and Rheinberger, and French character pieces by Guilmant and Batiste. Transcriptions abound, from Best's Handel to Lemare's Wagner, though few show serious signs of study. Other works are meticulously marked-up either in blue pencil or ink, not only with matters of touch, tempo and fingering, but also with thorough analyses of the musical structures. A 'Scherzo Symphonique' by Herbert Fricker has been carefully registered for performance on the 1873 Cavaillé-Coll organ in Sheffield's Albert Hall. Other pieces specify stops for the Brindley & Foster organ at Bolsover Church, with its characteristic Stentorphone, Unda Maris, Flute Fondamentale etc. Several works show registrations for what can only be the Chesterfield organ, though these are relatively few; we may assume that Staton knew his instrument so thoroughly that detailed preparation was not necessary. Two of his pièces de résistance appear to have been a 'Storm' fantasia by Edwin M. Lott, and a 'Concert Toccata in C' by Purcell J. Mansfield. A revival of this late Victorian/Edwardian repertoire would go a long way to validating the musical utility of the rather insular organs of the time.

Part three continues the story of the organ to the 1958 rebuild.

PICTURE CREDITS
Aerial view of the church, c.1930: from an old photograph
The case and console, 1931: photographs by H.J. Morgan, Chesterfield
Chesterfield Orchestral Society concert: photograph, c.1905

Return to the index of organs
Return to the introduction to organs in & around Chesterfield
Return to the front page of the website