Organs in Glasgow

DELPHIAN

organs in glasgow

DCD34032

john kitchen and john butt

Also available on Delphian Records

organs in glasgow

___________________________________________________________________________________________________

The Kelvingrove Organ

Shettleston Old Parish Church (John Kitchen)

Timothy Byram-Wigfield DCD34004

1-3 Sonata in C minor/major Op. 65 no.2 Felix Mendelssohn (1809-1847)

Grave - Adagio Allegro maestoso e vivace Fugue: Allegro moderato

[3.53] [2.14] [4.18]

4-5 Two hymn tune preludes C.H.H. Parry (1848-1918)

Melcombe Rockingham

[3.55] [3.18]

Partick Methodist Church (John Kitchen) 6

Praeludium in E

“[C]arefully crafted interpretations played with consummate skill.

There's rhythmical and incisive phrasing in the faster music, and a spacious, singing style in the slower passages. Full and imaginative use is made of the Kelvingrove organ's colourful registers, and the opulent magnificence of this instrument is well captured by Delphian's recording." - Gramophone, March 2004

The Usher Hall Organ [3.55]

Francis Jackson (b. 1917) 7-8 Two hymn tune preludes Kenneth Leighton (1929-1988)

9

Timothy Byram-Wigfield, master of music at St George’s, Windsor, plays a variety of Edwardian transcriptions on one of the world’s finest concert organs: the Lewis organ in Glasgow's Kelvingrove Gallery.

Lumetto Rockingham

[2.39] [3.20]

Allegro assai in C

[4.55]

Henry Smart (1813-1879)

Dennistoun Blackfriars (John Butt) 10 Feux follets Louis Vierne (1870-1937)

[4.12]

11 Carillon de Westminster Louis Vierne

[6.46]

John Kitchen DCD34022 John Kitchen, Edinburgh’s City Organist, presents a wide-ranging and eclectic programme of music brilliantly brought to life on the Usher Hall’s newly-refurbished monumental Norman and Beard concert organ: never before heard on disc.

"Supported by a splendidly vivid recording, [Kitchen] revels in Walton's jazzy rhythms. Altogether this is a thoroughly enjoyable disc and the programme, ranging from Bach's E flat Prelude and Fugue (BWV552) to three delightful Scottish folk melody arrangements by Geoffrey Atkinson provides a source of endless delight." - Gramophone, September 2004

Delphian Records is one of the UK’s fastest-growing independent labels and is lauded for its recordings of contemporary and early music alike.

Please visit www.delphianrecords.co.uk.

Acknowledgements:

Concert Hall, University of Glasgow (John Butt)

Delphian Records wishes to thank all who have assisted in any way at each of the venues used in this recording, in particular David Crosbie at Dennistoun Blackfriars; Christine Furnish at St. Margaret's, Knightswood; Craig Martin at Partick Methodist; Bill Stewart and Willie McEachan at Shettleston Old; and Michael Rae and Kerr Jamieson for page turning.

Pastorella in F

Cover Images (clockwise from top left):

Four Orgelbüchlein chorales

J.S. Bach (1685-1750) 12 Prelude 13 Allemande 14 Aria 15 Gigue

[2.23] [2.22] [1.58] [3.46]

16 A Fancy: for two to play (John Butt & John Kitchen) Thomas Tomkins (1572-1656)

[1.58]

St. Margaret's, Knightswood (John Kitchen)

St. Bride's Episcopal Church, Hyndland; St. Margaret's Parish Church, Knightswood; Shettleston Old Parish Church; Dennistoun Blackfriars Parish Church; University of Glasgow Concert Hall; Partick Methodist Church.

Tracks 1-5 recorded in Shettleston Old Parish Church on 22 July, 2004 Tracks 6-9 recorded in Partick Methodist Church on 23 July, 2004 Track 10-12 recorded in Dennistoun Blackfriars Parish Church on 2 September, 2004 Tracks 13-17 recorded in University of Glasgow Concert Hall on 3 September, 2004 Tracks 18- 24 recorded in St. Margaret's Parish Church, Knightswood on 23 July, 2004 Tracks 25-29 recorded in St. Bride's Episcopal Church, Hyndland on 2 September, 2004 Producer: Paul Baxter Executive Producer: Matthew Hynes Engineer: David Strudwick Instrument Preparation: James MacKenzie Digital Editing and Mastering: Paul Baxter Photography: © Delphian Records Photograph Editing: Raymond Parks Design: Kevin Findlan

J.S. Bach 17 Der Tag der ist so freudenreich 18 Christ lag in Todesbanden 19 Komm Gott, Schöpfer, heilige Geist 20 Alle Menschen müssen sterben

[1.56] [1.13] [0.54] [1.37]

Voluntary in G minor Op. 6, no. 9 Samuel Wesley (1766-1837) 21 Larghetto 22 Quasi-Fantasia 23 Moderato

[1.39] [1.55] [3.43]

St. Bride's Episcopal Church, Hyndland (John Butt) 24-25 Settings of Herzlich tut mein verlangen Johannes Brahms (1833-1897)

[1.36] [2.34]

26 Nun freut dich sehr, O meine Seele Sigfrid Karg-Elert (1877-1933)

[1.41]

27 Nun danket alle Gott Sigfrid Karg-Elert

[3.48]

Total Playing Time

[78.32]

Organs in Glasgow

During the past 150 years, the organ landscape of Glasgow has, as is the case in almost any other British town or city, experienced widely fluctuating fortunes.

Perhaps most acutely, during recent decades, urban redevelopment and accelerating frequency of church closure have resulted in the loss of definitive examples of British organbuilding, particularly those examples of smaller provincial firms. Although having lost many such instruments, Glasgow has managed to retain a modest but varied palette from which those on this disc have been selected.

With one exception, the organs featured in this recording date from a very productive five decades of organbuilding which lasted from 1864 until the onset of the Great War. The significance of 1864 is considerable being the year that the General Assembly of the Established Church (known today as the Church of Scotland) commenced the legislative process to permit the use of pipe organs in public worship. The first pipe organ to be legally used as a consequence of this legislation, and opened in January, 1865, is heard on this disc in St. Bride's Episcopal Church, Hyndland, its home since 1971.

The organs of Hill & Son, Henry Willis, T. C. Lewis (Lewis & Co. from 1884), Forster & Andrews (the last two particularly so)

Instrument Specifications

accounted for a substantial share of post-1864 installations. Other firms, such as Peter Conacher of Huddersfield, enjoyed the support of prominent figures, an example being Dr. A. L. Peace, who, as organist of Glasgow University and later Glasgow Cathedral, recommended the firm of his birthplace to many clients, despite his subsequent collaborations with Willis. The demand was such, however, that there were few established British organ builders who did not receive an opportunity to provide an example of their work in the city. The authorities at Bellahouston Parish Church ventured yet further afield, acquiring an organ from Aristide Cavaillé-Coll, France's foremost builder of the day, in 1874.

The opening decade of the twentieth century witnessed a relentless surge in organbuilding activity, with firms such as Abbott & Smith, Brindley & Foster, J. J. Binns, and Norman & Beard expanding their profiles in the city. Like the Conacher firm before them, the order books of J. J. Binns of Leeds were to benefit greatly from a strong association with a leading organist, in this instance Herbert Walton, who had held a prominent church post (with Binns organ) in that Yorkshire city, prior to succeeding Albert Peace as Organist of Glasgow Cathedral in 1897. Whilst new instruments continued to be built, there was much rebuilding (in the prevailing fashion) and even replacement, of

St. Bride's Episcopal Church, Hyndland Whilst General Assembly legislation permitting the use of pipe organs in the Established Church was pending, the authorities at Anderston Established Church (latterly known as Anderston & St. Peter's) acted decisively, placing an order for a two-manual instrument with William Hill of London in 1864. Originally comprising a tenor c Swell and an Open Diapason 16 as the sole Pedal stop, the organ was opened in January, 1865, becoming the first pipe organ to be legally used for public worship in an Established church. In 1882, Harrison & Harrison of Durham provided a new CC compass Swell soundboard, providing pipework for the lowest octaves of all but the Stopped Diapason and Oboe of that department. At the same time, the Great Mixture and Twelfth (transposed to a Fifteenth) were transferred to the Swell, and were replaced by a Clarinet and Gamba respectively, whilst a Pedal Bourdon was also provided. Following closure of the Anderston church in 1968 the organ was installed, after restoration, in St. Bride's Scottish Episcopal Church, Hyndland in 1971 by James MacKenzie. The original Great Mixture and Twelfth were returned to their native soundboard, new Mixture and Fifteenth stops being provided for the Swell, where also the compasses of the Stopped Diapason and Oboe were completed.

Hill & Son, London, 1865 Harrison & Harrison, Durham, 1882 James A. MacKenzie, Glasgow, 1971 (new pipework marked *) Mechanical action throughout Compasses: 56/30

Great Open Diapason Stopped Diapason Dulciana Principal Wald Flute Twelfth Fifteenth Mixture 17:19:22 Trumpet

8 8 8 4 4 22/3 2 III ranks 8

Swell Bourdon Open Diapason Stopped Diapason Principal Fifteenth Sharp Mixture 15:19:22 Horn Oboe

16 8 8 4 2* III ranks* 8 8

Pedal Open Diapason Bourdon

16 16

Couplers Swell to Great Swell to Pedal Great to Pedal Accessories Swell Tremulant Balanced Swell pedal 3 combination pedals to Great Watkins & Watson “Discus” blower Watkins & Watson humidifier

Instrument Specifications

Organs in Glasgow

St. Margaret's Parish Church, Knightswood Installed in the newly completed Townhead Established Church (latterly TownheadBlochairn) by Henry Willis in 1866, this organ is understood to be his first contract for the Established church. Having been removed from a side gallery onto the chancel in the 1870's, the instrument survived on little more than routine maintenance (no electric blowing until 1960) until its removal in 1993, following closure of the church. After a period of storage in St. Margaret's Parish Church, Knightswood, the organ was restored and erected on the west gallery of that church. This project, undertaken by James MacKenzie of Glasgow and completed in 2002, received grant assistance from the Heritage Lottery Fund.

Henry Willis, London, 1866 James A. MacKenzie, Glasgow, 2002

8 8 4 8

Pedale Bourdon

16

Couplers Swell to Great Swell to Pedals Great to Pedals Accessories Lever Swell pedal Three combination pedals to Great Watkins & Watson “Discus” blower Watkins & Watson humidifier

Mechanical action throughout Compasses: 56/30

Great Open Diapason Viola da Gamba Stopped Diapason Bass (1-12) Claribel Flute (tenor c) Dulciana (tenor c) Principal Flute Harmonique Fifteenth Sesquialtera 17:19:22 Corno di Bassetto (tenor g)

Swell Lieblich Gedact Open Diapason (1-12 from Gedact) Gemshorn Cornopean

8 8 8 8 8 4 4 2 III ranks 8

organs which had been built no more than a few decades earlier. Lewis & Co. of Brixton further consolidated their healthy Glasgow portfolio with instruments for the 1901 exhibition (transferred the following year to the Art Gallery & Museum, Kelvingrove; a recording of transcriptions on this organ, by Timothy Byram-Wigfield, is available on Delphian DCD34004), Glasgow City Hall, University of Glasgow Bute Hall, and a rebuild of the 1877 T.C. Lewis in St. Andrew's Hall, the largest organ to leave their Ferndale Road works.

Of the Glasgow builders, the firm of J. & A. Mirrlees, having branched into organ building as early as 1812, made a considerable contribution both within and beyond the city, until their acquisition by Hill, Norman & Beard in 1948. The scope of their work was comprehensive, embracing new organs; restoration; and conservative rebuilding.

Despite the fact that their 1872 magnum opus at St. Andrew's Roman Catholic Cathedral no longer exists, there are excellent examples outwith Glasgow which remain in regular use.

Andrew Watt, who learnt his trade with Mirrlees, commenced independently in 1898, completing some fifty new instruments by the time his two sons took control of the business, following his death c.1922. The firm remained

busy after WWII with rebuilds, overhauls, and new electric action instruments, before being purchased by J. W. Walker & Sons in 1965. As is the case with Mirrlees, many of Watt's earlier organs, in good working order, continue to give service, though none sadly within the city.

Richard Smith arrived in Glasgow in 1878, as the sole Scottish representative of the firm then known as T. C. Lewis & Co., of Brixton. In 1888 he started working on his own account and from 1898 was receiving commissions for new organs in addition to rebuilding work. The Dennistoun Blackfriars instrument, heard on this disc, clearly betrays Smith's Lewis upbringing in the use of the highest quality of materials and workmanship. This is the only organ built by Richard Smith remaining in use. Upon his death in 1926, the business was acquired by Andrew Watt & Son. Having served his apprenticeship with Andrew Watt & Son, James MacKenzie set up on his own in 1960, since when the core of his work, outwith the demands of regular tuning and maintenance, has been the restoration of mechanical action organs.

Matthew Hynes © 2004 Matthew Hynes studied organ with George McPhee at the RSAMD prior to his appointment as Director of Music at Pollokshields Parish Church in Glasgow, and has worked with organbuilder James MacKenzie since 1997. He is currently President of the Scottish Federation of Organists.

Notes on the music

Shettleston Old Parish Church FELIX MENDELSSOHN (1809-1847) Sonata in C minor/major Op. 65 no.2 I II III

Grave—Adagio Allegro maestoso e vivace Fugue: Allegro moderato

Mendelssohn's Six Organ Sonatas Op. 65 have been standard repertory since their publication in 1845. They were commissioned by the English publisher, Coventry and Hollier, and composed between 1839 and 1845, although some movements are revisions of earlier pieces. They were originally to be entitled 'voluntaries', and do indeed owe something to the eighteenth- and early nineteenth-century voluntaries by Stanley, Boyce and Russell; these were often suites of several movements in different styles. In this, the second sonata, we begin with a serious opening Grave, leading into a gently lyrical, Romantic Adagio; a robust Allegro; and finally a grand fugue which owes much to Bach.

C.H.H. PARRY (1848-1918) Two hymn tune preludes: (i) Melcombe (ii) Rockingham Parry's two sets of hymn-tune preludes (1916) use Bachian contrapuntal, motivic and other techniques, but combined with a Romantic harmonic idiom. Melcombe places

Instrument Specifications

the melody in the pedals, but each phrase, remarkably, is in a different key; the melody in Rockingham is placed in the tenor. On this recording each prelude is followed by the hymn tune on which it is based.

Partick Methodist Church FRANCIS JACKSON (b. 1917) Praeludium in E This mellifluous piece was written in 1985 outside the Thomaskirche in Leipzig during an organists' visit, and of course pays homage to Bach. Listeners may detect quotations from a well-known Bach prelude— but the overall mood is quintessentially English.

KENNETH LEIGHTON (1929-1988) Two hymn tune preludes (i) Lumetto (ii) Rockingham 'Lumetto' is one of Leighton's Six Fantasies on Hymn Tunes which were dedicated to Herrick Bunney and first performed by him in St Giles' Cathedral, Edinburgh, in 1976. It is subtitled 'Little canonic variations on Jesus bids us shine' and an apparent simplicity disguises some very sophisticated canonic procedures.

'Rockingham', the well-known tune for the hymn 'When I survey the wondrous cross', was published as a separate piece, and weaves a melancholy and highly individual harmonic and melodic web around the melody.

University of Glasgow Concert Hall In 1775, the single-manual organ which John Snetzler had provided in 1747 for the Qualified Episcopal Chapel, Carrubers Close, Edinburgh, was installed in the Episcopal Chapel of St. Andrew by the Green, Glasgow. John Donaldson of York having provided a tenor c Swell in 1788, the organ was again removed, c.1813, to the Unitarian Chapel in Union Street.

This was one of the earliest contracts to be carried out by J. & A. Mirrlees of Glasgow following their expansion into organbuilding.

New premises were taken by the Unitarians in St. Vincent Street in 1856, for which Bevington & Sons of Soho were engaged to rebuild and enlarge the instrument. No further significant work was undertaken until 1959, when, having fallen into disuse, rehabilitation work carried out

by James MacKenzie (in whose care the organ has since remained), enabled the organ to return to regular service. Following complete restoration in 1974 (with tonal alterations marked* on the specification), the organ was installed in the University of Glasgow Concert Hall in 1985, having been gifted to the University by the Unitarians on their removal to a smaller Sanctuary.

John Snetzler, 1747 John Donaldson, York, 1788 Bevington & Son, Soho, 1856 James A. MacKenzie, Glasgow, 1974 (new pipework marked *), 1985 Mechanical action throughout Compasses: 54/30

Great Open Diapason Stop Diapason Principal Twelfth Fifteenth Seventeenth Furniture 15:19:22

8 8 4 22/3 2 13/5* III/IV ranks*

Swell (1-12 common bass) Double Diapason Open Diapason Principal Oboe Cornopean

16 8 4 8 8

Pedal Bourdon

16

Couplers Swell to Great Great to Pedal Accessories Lever Swell pedal Two combination pedals to Great Watkins & Watson “Discus” blower Watkins & Watson humidifier Hand blowing Temperament: Young (1800)

Instrument Specifications

Notes on the music

Dennistoun Blackfriars Parish Church Completed by Richard Smith in 1902 for what was then known as Whitehill United Free Church, the characteristics of the Lewis firm with which Smith trained, and subsequently served as sole Scottish Representative, are found not only in the stop nomenclature, but also the quality of pipework (spotted metal used as standard), and the varnished finish of all interior woodwork. Both the electropneumatic mechanism, in full working order after over a century of use, and detached console are of Smith's design, whilst individual stop crescendo pedals (blind) are provided for both Great and Swell, in addition to a general crescendo pedal.

Richard Smith & Company, Glasgow, 1902 Electro-pneumatic action Compasses: 61/30

Great Bourdon Open Diapason Harmonic Flute Lieblich Gedact Dulciana Principal Flauto Traverso Trumpet

16 8 8 8 8 4 4 8

Swell Lieblich Bourdon Geigen Open Rohr Flöte Viole di Gamba Vox Angelica Voix Célestes tenor c Geigen Principal Flautina Mixture 19:22 Horn Oboe

16 8 8 8 8 8 4 2 II ranks 8 8

Pedal Great Bass (resultant) Open Bass Sub Bass Octave Bass (from Open Bass) Flute Bass (from Sub Bass)

32 16 16 8 8

HENRY SMART (1813-1879) Allegro assai in C

Concert Hall, University of Glasgow

Smart, remembered as a composer of hymn tunes, also wrote a good deal of straightforward, functional organ music. This optimistic-sounding piece is one of a set rather unimaginatively entitled Twelve pieces of various kinds and was obviously intended as a postlude to the service.

J.S. BACH (1685-1750) Pastorella in F

Dennistoun Blackfriars

Couplers Swell to Great Swell to Pedal Great to Pedal Swell Octave Super Swell Octave Sub Great Octave Super Accessories Swell Tremulant Balanced Swell pedal General Crescendo pedal Swell Crescendo pedal Great Crescendo pedal Reversible pedal for Great to Pedal Watkins & Watson “Discus” blower

This is one of Bach's lesser-known organ works, but, with its touches of modern galant phrasing and harmony, it clearly belongs among his mature works. It is essentially a suite of four pieces, the first of which is the pastorale giving the piece its title. This is followed by a light-hearted binary movement, an expressive cantilena, and, finally a brilliant gigue-like conclusion.

LOUIS VIERNE (1870-1937) Feux follets Carillon de Westminster Vierne was the quintessential French organist of the late nineteenth century. Blind, and supremely talented as an improviser, his playing at Notre Dame in Paris attracted many admirers, including Rodin and Debussy.

His fantasy pieces of the late 1920s show his absorption of the impressionistic idiom, ranging the colourful flashes of Feux follets (will o' the wisp) to the climactic improvisation on the Westminster chimes. He has long been berated for getting these slightly wrong, although their sequence through the quarters is actually less predictable than most imagine; Vierne's version merely combines authentic four-note patterns in an idiosyncratic order.

THOMAS TOMKINS (1572-1656) A Fancy: for two to play This is one of very few extant keyboard duets from this period, although more may have existed. A contrapuntal texture, influenced by Byrd's style, is skilfully divided among four hands at one keyboard, with engaging results.

Notes on the music

St. Margaret's, Knightswood J.S. BACH (1685-1750) Four Orgelbüchlein chorales Der Tag der ist so freudenreich (Christmas) Christ lag in Todesbanden (Easter) Komm Gott, Schöpfer, heilige Geist (Pentecost) Alle Menschen müssen sterben (for the dying) Bach's unfinished Orgelbüchlein contains 45 concise chorale settings which, while using well-established techniques, are unsurpassed in fluency and variety of expression. They are pieces of the first order which are liturgically useful, compositionally instructive, and which further the player's technique. As so often, Bach's inspirational music serves simultaneously on many levels.

SAMUEL WESLEY (1766-1837) Voluntary in G minor Op. 6, no. 9 In addition to his well-known shorter organ pieces, Samuel Wesley (father of Samuel Sebastian) wrote a number of more ambitious voluntaries (with fugues) which reflect his interest in Bach, and in turn influenced Mendelssohn's organ sonatas. The present work, written in 1808, begins with a gentle larghetto which prepares for a dramatic, stormy passage that must have surprised its first listeners. A gentler bridge passage leads into a finely-wrought fugue. This music seems particularly well-served by the Willis at Knightswood.

Instrument Specifications

St. Bride's Episcopal Church, Hyndland JOHANNES BRAHMS (1833-1897) 2 settings of Herzlich tut mein verlangen Although Brahms is not obviously associated with the organ medium, he gained an interest in the instrument through his early association with Schumann. Shortly after Clara Schumann's death in 1896 he prepared the eleven chorale preludes for organ, retrospective but highly subtle in style. The two settings of ‘Herzlich tut’, in particular, show an obvious debt to Bach.

SIGFRID KARG-ELERT (1877-1933) Nun freut dich sehr, O meine Seele Nun danket alle Gott Karg-Elert had multiple musical talents, initially as a pianist, but progressively as a composer.

His works show the obvious influence of Grieg and Reger, and he was later attracted to early modernist composers. The ChoralImprovisations of 1908-10 contain some of his most accessible works, including the lyrical 'Nun freut dich sehr, O meine Seele' and the bombastic 'Nun danket alle Gott'.

Partick Methodist Church By the time Forster & Andrews completed this organ in 1886, the Hull firm was an established force in the city, having provided their first instrument (of over thirty subsequently), for Claremont Street United Presbyterian Church, in 1856. Alterations were carried out c.1928 by Hilsdon, principally the replacement of the Swell Piccolo by the Great Clarinet, the derivation of the Pedal Bourdon to the Great, the treble being provided by the Stopped Diapason, itself ousted by a new Clarabella.

Other alterations are marked (*) on the specification. The organ remains in this form today. Though the wisdom of Hilsdon's attentions might be debatable, the quality of the original material remains.

Forster & Andrews, Hull, 1886 H. Hilsdon Ltd., Glasgow, c.1928 (Alterations marked *) Mechanical action to manuals and drawstops Pneumatic action to pedal Compasses: 56/30

Great Bourdon (1-30 from Pedal) Open Diapason Clarabella Dulciana Principal Waldflöte Fifteenth

16* 8 8* 8 4 4 2

Swell Violin Diapason Salicional Voix Célestes tenor c Gemshorn Clarinet tenor c Cornopean Oboe Tremulant Pedal Bourdon Bass Flute (1-18 from Bourdon) Couplers Swell Super Octave Swell to Great Swell to Pedals Great to Pedals Accessories Balanced Swell Pedal Three combination pedals to Great Meidinger electric blower

8 8 8 4 8* 8 8 -*

Instrument Specifications

The Performers

Shettleston Old Parish Church Completed by Lewis & Co. of Brixton in 1903 (during a period of almost continuous activity in Glasgow by the firm), the organ remained in original condition until a rebuild in 1961 by the local firm of H. Hilsdon Ltd. (extant c.1912c.1980 and founded by Norman & Beard's Scottish Manager Harry Hilsdon). The mechanisms were converted to electropneumatic, the adapted Lewis console incorporating stopkeys instead of drawstops.

Tonal changes, all using second-hand pipework, saw the compass of the Pedal department extended to thirty two notes, together with 8 and 4 foot extensions to the Pedal Great Bass 16. Critically, the Lewis pipework was left unaltered.

Lewis & Co., Brixton, 1903, (job no. 658) H. Hilsdon Ltd., Glasgow, 1961 (Additions marked *) Electro-pneumatic action Compasses: 61/32

Great Bourdon Large Open Diapason Small Open Diapason Harmonic Flute Dulciana Octave Flauto Traverso Super Octave Trumpet

16 8 8 8 8 4 4 2 8

Swell Lieblich Bourdon Geigen Principal Rohr Flute Viol de Gamba Voix Celeste tenor c Geigen Principal Mixture 15:19:22 Horn Oboe Tremulant

16 8 8 8 8 4 III ranks 8 8 -

Pedal Great Bass Sub Bass Octave (from Great Bass) Flute Bass (from Sub Bass) Super Octave (from Octave) Contra Fagotto

16 16 8* 8 4* 16

Couplers Swell to Great Swell Octave to Great Swell Sub Octave to Great Swell Octave Swell Sub Octave Swell to Pedal Great to Pedal Accessories Balanced Swell Pedal Four thumb and toe pistons to Swell Four thumb and toe pistons to Great & Pedal Reversible thumb piston for Great to Pedal Reversible toe piston for Great to Pedal Pistons adjustable by switch Electric blower

JOHN BUTT was born in 1960 (in Solihull, West Midlands) and was educated at Solihull School. As an undergraduate at Cambridge University, he was organ scholar at King's College where he continued as a graduate student studying the music of Bach, receiving his PhD in 1987. He was subsequently a lecturer at the University of Aberdeen and a Fellow of Magdalene College Cambridge, joining the faculty at UC Berkeley in 1989 as University Organist and Assistant Professor in Music. In 1997 he returned to Cambridge as a University Lecturer and Fellow of King's College, and in 2001 he was appointed to the Gardiner Chair of Music at the University of Glasgow. His interpretative theories on Bach's music are widely published, and he enjoys an extensive recording career including eleven recordings on the Harmonia Mundi label.

JOHN KITCHEN was educated in the Universities of Glasgow and Cambridge, and was organ scholar of Clare College. From 1976-88 he was Lecturer in Music and Organist in the University of St Andrews; since 1988 he has been a Senior Lecturer in Music and University Organist in the University of Edinburgh. He also directs the Edinburgh University Singers, is organist of Old Saint Paul's Episcopal Church and Edinburgh City Organist. For many years he played with the Scottish Early Music Consort as harpsichordist, organist and fortepianist, and he plays regularly with several other ensembles, covering a wide range of musical styles. He gives many solo recitals both in the UK and further afield, and is much in demand as a continuo player, accompanist, lecturer, writer and reviewer. Recent acclaimed recording projects include a recording of the newly-restored Usher Hall organ in Edinburgh on Delphian and the complete works of Johann Ludwig Krebs with Priory (six discs).

The Instruments

The Instruments

Shettleston Old Parish Church Console (Lewis & Co., Brixton, 1903, altered H. Hilsdon, 1961)

University of Glasgow Concert Hall Console (Originally John Snetzler, 1747)

St. Margaret’s Parish Church, Knightswood Console (Henry Willis, London, 1866)

Partick Methodist Church Console (Forster & Andrews, Hull, 1886)

St. Bride's Episcopal Church, Hyndland Console (Hill & Son, London, 1865)

Dennistoun Blackfriars Parish Church Console (Richard Smith & Company, Glasgow, 1902)