This stoplist concentrates on a variety of unison colour for high-church choral accompaniment
and 'mood music' rather than on a bold chorus to lead congregational hymn-singing. Such a
disposition of stops is very similar to many other small instruments of the time such as the
even more foundational 1935 Bower & Dunn at Sheepbridge
Methodist and the 1924 Keates at St. Leonard's Mission Church,
Spital. Such schemes were common throughout the country, such as the undated organ
(c.1905?) by Lewis & Co., at St. Margaret, Cowlinge, Suffolk:
GREAT: Open Diapason, Lieblich Gedact, Dulciana
SWELL: Rohr Flute, Salicional, 4 Salicet
PEDAL: 16 Sub Bass
3 unison couplers.
and the 1902 Bishop organ at Keymer Road URC, Hassocks, Sussex:
GREAT: Open Diapason, Clarabella, Lieblich Gedact
SWELL: Violin Diapason, Hohl Flute, 4 Salicet
PEDAL: 16 Bourdon
3 unison couplers.
and the 1942 Noterman at Frimley Green Methodist, Surrey:
GREAT: Open Diapason, Claribel Flute, Dulciana
SWELL: Hohl Flute, Gamba, 4 Gemshorn
PEDAL: 16 Bourdon
3 unison couplers.
Note the absence of octave couplers in all these instruments; there was no intention to eke out
a chorus by their use. The absence of reeds means that tuning could be kept to a minimum.
Such schemes are in sharp contrast to the more progressive instruments of the Livesey/Dixon
school, rich in chorus-work and bold effects, such as the 1906 Harrison & Harrison at
All Saints, Sawley, Derbyshire:
GREAT: Open Diapason, Hohl Flöte, 4 Principal, 2 Fifteenth
SWELL: Viola, 4 Lieblich Flöte, 8 Cornopean
PEDAL: 16 Bourdon
Couplers: 3 unison and Swell octave.
In the 1900s and 1910s this was a revolutionary style of stoplist, and one that eventually won
the day. It clearly has much to say for itself in what we regard as mainstream repertoire, and
in leading congregational singing. But we must not forget that to the organist at New
Whittington and innumerable other churches, mainstream repertoire would have been the
voluntaries of Caleb Simper, and the assorted original pieces and transcriptions in 'The
Village Organist' series published by Novello. Nor should we forget the competent choirs
which sung in almost every church a century ago; the foundational type of organ was designed
to accompany the choir which, in turn, led the congregational singing.
Furthermore, this style of stoplist expressed perfectly the concepts of 'dignity' and
'reverence' which were highly valued liturgical ideals. Despite its lack of
musical drama and aural titillation, the New Whittington organ was in fact
perfectly suited to its job. It is unfortunate that such instruments, lacking boldness
of ensemble and the pedigree of a famous builder's name, are easy targets
for both rebuilders and destroyers.
In 1996 I was surprised and delighted to learn that the Bower and Dunn organ had been
"refurbished" and was once more in regular use in the church. I look forward to re-visiting
this characterful instrument, and hope to give a fuller report here
in due course.
SOURCES
Visit to the church August 1991; booklet on the history of Whittington parish.
Lewis, Bishop and Noterman stoplists from the notebooks of Michael Watcham, Kent.
WELLINGTON STREET METHODIST, NEW WHITTINGTON
This chapel was built in 1861.
The organ was in the care of Willis from 1963. In 1978 a thorough inspection was made; it was
evidently the work of Bower and Dunn (Sheffield), date unknown. The stoplist was as
follows:
GREAT
8 Open Diapason
8 Stopt Diapason
8 Dulciana 1-12 wood
4 Harmonic Flute
SWELL
8 Gedact
8 Viol d'Orchestre
8 Voix Celestes tc
4 Principal
8 Oboe
Tremulant
PEDAL
16 Bourdon
3 unison couplers.
2 composition pedals to Great.
Balanced pedal to Swell.
Compass: 56/30.
Tracker action to manuals, pneumatic to pedals.
3in. wind.
In 1963 only a few notes of the Bourdon were working; the stop was returned to speech.
Suggestions for tonal alterations were made and declined, repeated in 1973, and by 1982
an overhaul was necessary. This was pre-empted by the closure of the church three years later.
The fate of the organ is unknown.
BAPTIST, NEW WHITTINGTON
A piano accompanied singing in this church before an organ was installed by Binns, Fitton
& Haley (Leeds) in 1949. It was made up of second-hand parts rebuilt as new.
The stoplist was:
GREAT
8 Open Diapason
8 Stopped Diapason
8 Dulciana
4 Principal
SWELL
8 Gedact
8 Gamba
8 Celeste
4 Gemshorn
8 Oboe
Tremulant
PEDAL
16 Bourdon
8 Bass Flute extension
Couplers: 3 unison; Swell 8ve & sub8ve; Swell 8ve & sub8ve to Great.
Thumb pistons: 2 Swell, 2 Great & Pedal.
Toe pistons: 2 Swell, 2 Great & Pedal.
Balanced pedal to Swell.
Compass: 58/30.
Tubular-pneumatic action.
Drawstop console.
The organ was opened on July 9th 1949 by the organist of Holy Trinity Church, Chesterfield,
George H. Sadler HonRCM, FRCO, FTCL, ARCM. Those were the days when many local churches
could easily attract such musicians to the organ bench.
I am grateful to the late Harry Lumby of Leeds for information about this organ, which
he installed in 1949.
