The Organ in the Church of the Holy Rude, Stirling

CTP Template: CD_DPS1 Compact Disc Booklet:

Page No.

16 - 1

The Organ in the Church of the Holy Rude, Stirling John Kitchen

DCD34064

Customer : Tintoy Catalogue No. : DCD34064 Job Title : Organ at Holy Rude

COLOURS CYAN MAGENTA YELLOW BLACK

CTP Template: CD_DPS1 Compact Disc Booklet:

COLOURS CYAN MAGENTA YELLOW BLACK

Customer : Tintoy Catalogue No. : DCD34064 Job Title : Organ at Holy Rude

Page No.

The Organ in the Church of the Holy Rude, Stirling – John Kitchen 1 Grand Choeur in D (alla Handel) Op. 18/1 Alexandre Guilmant (1837–1911)

[7.13]

2 Méditation pour orgue Maurice Duruflé (1902–1986)

[4.08]

Symphony No. 4, Op. 13 Charles-Marie Widor (1844–1937) 3 Toccata [3.39] – 4 Fugue – [3.23] 5 Andante cantabile [4.14] 6 Scherzo [5.54] – 7 Adagio [5.34] – 8 Finale [4.47] 7 Fantasie over de Avondzang “ ‘k wil U o God mijn dank betalen” Feike Asma (1912–1984)

Three hymn tune preludes 8 St Columba Op. 101 Charles Villiers Stanford (1852–1924) 9 St Columba Op. 14 (1928) Robin Milford (1903–1959) 10 Croft’s 136th Charles Hubert Hastings Parry (1848–1918)

[7.35]

[2.28] [2.51] [3.43]

11 Benedictus (1931) Alec Rowley (1892–1958)

[4.11]

12 Pomp and Circumstance March no. 1 in D Op. 39/1 Edward Elgar (1857–1934)

[6.55]

13 Variations on a Dutch song ‘Merck toch hoe sterck’ Cor Kee (1900–1997)

[11.51]

Total playing time

[78.32]

Recorded in the Church of the Holy Rude, Stirling on 31 October & 1 November, 2007 with kind permission of the Kirk Session.

Producer & engineer: Paul Baxter Page turner: Ivor Norridge

24-Bit digital editing: Adam Binks 24-Bit digital mastering: Paul Baxter Design: Drew Padrutt Photography: Dr Raymond Parks Delphian Records Ltd – Edinburgh – UK www.delphianrecords.co.uk

© 2008 Delphian Records P 2008 Delphian Records Organ tuned and maintained

by Forth Pipe Organs Ltd. With thanks to David Page, Jim Smail, and Mike Makower.

2 - 15

Alfred Hollins Organ Work Timothy Byram-Wigfield (DCD34044) Designed by the blind organist Alfred Hollins, the Caird Hall instrument is one of the finest recital organs in the UK – as ideal a vehicle for Hollins’ music as Byram-Wigfield is an exponent of it. Hollins effortlessly combines keyboard pyrotechnics with a quasi-orchestral approach to sonority. These works bristle with vigour, their swaggering confidence complemented by their ingenuity and wit. ‘it is impossible to praise the choice of instrument or the performances on this CD too highly ... : I enjoyed this disc very much. It is made more valuable by being sonically one of the best recordings of an organ I have heard for some time.’ - International Record Review, March 2007 Olivier Messiaen: Organ Works Michael Bonaventure (DCD34016) Nourished by Messiaen’s beloved birdsong and Hindu rhythms, the Méditations bring alive the deepest mysteries of Catholicism and are here performed with a visceral intensity by Michael Bonaventure. This powerfully idiosyncratic composer’s music has been realised on an organ of immense range and apocalyptic power.

‘Two things make this latest release essential listening: the brilliance of the wonderful Rieger organ in St Giles’ Cathedral with its deliciously pungent tone and clarity of attack; and the virile and imaginative playing of Edinburgh-born organist Michael Bonaventure. The combination is electrifying in the two significant works that make up this absorbing double disc’ - The Scotsman, February 2008

CTP Template: CD_DPS1 Compact Disc Booklet: Customer : Tintoy Catalogue No. : DCD34064 Job Title : Organ at Holy Rude

COLOURS CYAN MAGENTA YELLOW BLACK Page No.

Organ music on Delphian The Usher Hall Organ John Kitchen (DCD34022) John Kitchen, Edinburgh’s City Organist, presents a wide-ranging 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. ‘a source of endless delight’ - Gramophone, September 2004

The Kelvingrove Organ Timothy Byram-Wigfield (DCD34004) 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 Art Gallery and Museum.

Byram-Wigfield’s performances are superb; there’s none of the shallow, showy musicianship one hears from a few international recitalists, but instead, carefully crafted interpretations played with consummate skill.’

- Gramophone, March 2004

14 - 3

CTP Template: CD_DPS1 Compact Disc Booklet: Customer : Tintoy Catalogue No. : DCD34064 Job Title : Organ at Holy Rude

COLOURS CYAN MAGENTA YELLOW BLACK Page No.

4 - 13

Organ of the Church of Holy Rude, Stirling The central Scotland city of Stirling is clustered around a medieval old-town in which the historic Stirling Castle shares a hilltop position with the Church of the Holy Rude. Known as the mither kirk of the city, the church was largely built in the fifteenth and sixteenth centuries and is of cathedral proportions. It has been centre of many historic occasions: although Mary Queen of Scots was crowned in the castle in 1543, the coronation of her infant son James VI in 1567 was in the church; the great reformer John Knox was the preacher.

zenith, Rushworth & Dreaper had established a reputation for building splendid instruments full of colour, grandeur and every modern convenience, as evidenced in the impressive organs of Christ’s Hospital, Horsham (1931) and the Reid Memorial Church, Edinburgh (1933).

Rushworth & Dreaper were duly commissioned to build the new Holy Rude instrument, a four-manual organ with 82 speaking stops and 4289 pipes. The instrument was installed in a dignified Gothic style case and inaugurated in April 1940. It was then, and remains, the largest organ in Scotland.

Ecclesiastical arguments led to the erection of a dividing wall in 1656 between nave and choir, so that two separate congregations met in the The tonal palette is remarkably complete. same building. The full scale of the church could Rushworth & Dreaper were masters of reed not be appreciated until the congregations voicing at the time, and the vivid flutes and were united and the wall taken down in 1935. string stops are accompanied by a battery of It was clear that the organ in the choir would orchestral reeds, voiced to a very high standard. not do justice to the now 207ft sanctuary, and The chorus reeds have a welcome edge that thus the north transept was prepared for a gives life to the ensemble, while the solo reeds new instrument. The Scottish distillery owner are particularly fine. There is endless colour John Risk provided £9,000 for the large new and variety available to the player. Baird Ross organ (three of Scotland’s six largest organs was keen that the chorus pipework should be have been built on the proceeds of drink) on influenced by the style of Edmund Schulze, condition that Dr William Baird Ross, then renowned for his bold voicing style. As such, organist of the church, was in charge. the upperwork of the Holy Rude organ is perhaps surprisingly clear and bright for an By the 1930s, the Liverpool organ-building firm organ from the period. The bright chorus voicing of Rushworth & Dreaper Ltd (fl. 1822-2005) ensures a melody is carried clear above the had to some extent usurped Harrison & huge weight of full organ.

Harrison as the British organ builder of choice for iconic instruments. At their Romantic

Great 42 Geigen Diapason 16 43 Lieblich Bourdon 16 44 Open Diapason I 8 45 Open Diapason II 8 46 Open Diapason III 8 47 Harmonic Claribel Flute 8 48 Stopped Diapason 8 49 Octave 4 50 Principal 4 51 Octave Quint 2 2/3 52 Super Octave 2 53 Harmonics (15:19:22:26) IV 54 Contra Posaune 16 55 Posaune 8 56 Clarion 4 Solo to Great Swell to Great Choir to Great

66 Mixture (15:17:19:22) IV 67 Contra Fagotto 16 68 Hautboy 8 69 Vox Humana 8 Tremulant 70 Double Trumpet 16 71 Trumpet 8 72 Clarion 4 Sub Octave Octave Unison Off Solo to Swell Solo (enclosed) 73 Viole d’Orchestre 8 74 Viole Celeste 8 75 Orchestral Flute 8 76 Flute Bouchée Harmonique 8 77 Cor Anglais 16 78 Corno di Bassetto 8 79 Orchestral Oboe 8 Tremulant 80 French Horn 8 81 Orchestral Trumpet 8 82 Tuba Mirabilis (unenclosed) 8

Swell (enclosed) 57 Contra Viola 16 58 Geigen Diapason 8 59 Lieblich Gedeckt 8 60 Salicional 8 61 Vox Angelica (to AA) 8 62 Gemshorn 4 Sub Octave 63 Lieblich Flöte 4 Octave 64 Nazard 2 2/3 Unison Off 65 Fifteenth 2 Burmese Gong (push button in left key jamb) Full complement of pistons and accessories

CTP Template: CD_DPS1 Compact Disc Booklet: Customer : Tintoy Catalogue No. : DCD34064 Job Title : Organ at Holy Rude

COLOURS CYAN MAGENTA YELLOW BLACK Page No.

12 - 5

Instrument Specification Rushworth & Dreaper, Liverpool, 1939, 1992-94

Pedal 1 Double Open Wood (from 3) 32 2 Sub Bass (quint from 43) 32 3 Open Wood 16 4 Open Diapason 16 5 Double Bass (from 42) 16 6 Bourdon 16 7 Violone (from 57) 16 8 Dulciana (from 23) 16 9 Octave Wood (from 3) 8 10 Principal (from 4) 8 11 Violoncello (from 7) 8 12 Bass Flute (from 6) 8 13 Super Octave (from 4) 4 14 Octave Flute (from 6) 4 15 Mixture (12:15:17:19:22) V 16 Bombarde (from 17) 32 17 Ophicleide 16 18 Trombone (from 54) 16 19 Fagotto (from 67) 16 20 Cor Anglais (from 77) 16 21 Clarion (from 17) 8 22 Octave Clarion (from 17) 4

Choir to Pedal Great to Pedal Swell to Pedal Solo to Pedal 8 Solo Octave to Pedal 4 Pedal Tenor to Solo

Choir (enclosed) 23 Double Dulciana 16 24 Viola da Gamba 8 25 Wald Flöte 8 26 Zauber Flöte 8 27 Unda Maris (tenor C) 8 28 Salicet 4 29 Flauto Traverso 4 30 Trompette 8 31 Corno di Bassetto (from 78) 8 Positive (enclosed) 32 Open Diapason 8 33 Principal 4 2 34 Nazard 2 /3 35 Flageolet 2 36 Tierce 1 3/5 37 Larigot 1 1/3 38 Mixture (15:19:22) III Tremulant (to Choir and Postive) 39 Contra Posaune (from 59) 16 40 Posaune (from 55) 8 41 Clarion (from 56) 4

Sub Octave Octave Unison Off Solo to Choir Swell to Choir Great on Choir

The original Great and Swell mixture The Holy Rude organ was restored by the compositions featured seventeenths and flat original builders in 1992-1994 and is now an twenty-firsts; in the manner of the time these important example of the late Romantic period were replaced in the 1970s, and it is hoped of British organ building. that these might one day be returned. Some stops on the Choir organ made way for a small © 2008 Andrew Caskie Positive division. Happily, one musical mystery Andrew Caskie is organist of Palmerston Place Church from Baird Ross’ original specification remains: in Edinburgh, and is active as an organ recitalist, writer the Burmese Gong (used on this recording!) and adviser.

CTP Template: CD_DPS1 Compact Disc Booklet: Customer : Tintoy Catalogue No. : DCD34064 Job Title : Organ at Holy Rude

COLOURS CYAN MAGENTA YELLOW BLACK Page No.

Notes on the music Grand Choeur in D (alla Handel) Op. 18/1 Symphony No. 4, Op. 13 Alexandre Guilmant (1837–1911) Charles-Marie Widor (1844–1937) Guilmant was organist at La Trinité in Paris for It is well-known that Widor was for many 30 years, but resigned when he returned to years — 64 to be precise — organist of the Paris after a concert tour to find that the clergy fashionable church of Saint-Sulpice in Paris; had instigated a rebuilding scheme for the he retired from this post on 31 December organ without his knowledge — a most unusual 1933 at the age of 89. Perhaps it is because occurrence! Although much of his prolific of the longevity of his career that we tend to compositional output was for liturgical use, forget how comparatively early some of his Guilmant really made his name as a travelling organ works are in the history of the French recitalist, giving concert tours in England and Romantic school. For example, the first four the USA, and writing showpieces for these organ symphonies, Op. 13, were published in recitals. He was also a distinguished editor and 1872, eighteen years before the appearance teacher whose pupils included Marcel Dupré of Franck’s Three Chorals. The Op. 13 pieces and Nadia Boulanger. The Grand Choeur in D is are less ‘symphonic’, less integrated than the one of his best-known works, appropriate both later symphonies; they give the impression, as a sortie after Mass, or as a recital piece. rather, of suites of movements originally written

separately for use in services and recitals.

Méditation pour orgue Widor was an inveterate reviser of his work Maurice Duruflé (1902–1986) (presumably to the despair of his publishers) This piece appeared in print only in 2001, but and various editions of the symphonies the music is familiar from the Agnus Dei of the appeared. Some of these changes were Messe ‘Cum Jubilo’ of 1966, a liturgical mass- undoubtedly improvements, but others look like setting for baritone voices and organ. According unnecessary tinkerings. The fourth symphony to its editor Frédéric Blanc, the Méditation underwent several revisions, and there at least dates from 1964; he tells us that Duruflé was three versions of the finale, as well as changes in the habit of playing this piece in the context in the fugue. of the liturgy. But it is not really clear which work came first; it could be that the Méditation Like the other early symphonies, no. 4 contains began as an improvisation on ideas taken from great stylistic diversity. The imposing opening the Messe. At all events, it is a restrained and Toccata owes something to the Baroque French effective movement, demonstrating well the overture style, and sounds nothing like a classic composer’s lush and distinctive harmonic idiom. French organ toccata; one can imagine it played

6 - 11

CTP Template: CD_DPS1 Compact Disc Booklet: Customer : Tintoy Catalogue No. : DCD34064 Job Title : Organ at Holy Rude

COLOURS CYAN MAGENTA YELLOW BLACK Page No.

10 - 7

John Kitchen John Kitchen is a Senior Lecturer in Music and University Organist in the University of Edinburgh. He also directs the Edinburgh University Singers, is Director of Music of Old Saint Paul’s Episcopal Church and Edinburgh City Organist with duties at the Usher Hall. He gives many solo recitals both in the UK and further afield and also plays regularly with several ensembles, covering a wide range of musical styles. In addition, he is much in demand as a continuo player, accompanist, lecturer, writer and reviewer. John has recorded extensively for both Priory and for the Edinburgh-based label, Delphian Records.

Forthcoming recording projects include a triple album of the complete organ voluntaries of William Russell (1777–1813) on the organ of St James’, Bermondsey (DCD34062), and recording of nine keyboard instruments from the recently bequeathed Roger Mirrey Collection at the University of Edinburgh (DCD34057).

at the Solemn Entrance at the beginning of High Mass. The fugue is well-wrought but rather sombre, contrasting with the celebrated Andante cantabile which consists of a folk-like theme with two variations. The Scherzo is witty and effervescent, providing a model for later scherzos such as Vierne’s. The introspective Adagio, featuring the voix humaine stop, at first seems naively simple, but reveals its beauties gradually. The Finale is a rousing rondo which develops a potentially mundane idea in an effective way — the sort of thing that no doubt did, and still does, sound thrilling after High Mass on Sunday morning.

front: John Kitchen talks to producer Paul Baxter during playback. rear (l–r): Jim Smail, David Page, Ivor Norridge

at the Holy Rude is of small scale and not at all like a big Dutch cornet, it is here played on the solo French horn. In the final section, Asma makes much of a particular rising motif derived from the tune. As the harmonies grow increasingly sumptuous, the music builds to a huge climax, finishing with the hymn tune triumphantly singing out on full organ (here including the tuba).

Three hymn tune preludes St Columba Op. 101 Charles Villiers Stanford (1852–1924) St Columba Op. 14 (1928) Robin Milford (1903–1959) Fantasie over de Avondzang “ Croft’s 136th ‘k wil U o God mijn dank betalen” Charles Hubert Hastings Parry (1848–1918) Feike Asma (1912–1984) The first two preludes are based on the wellFeike Asma was a distinguished Dutch organist known tune from the Petrie Collection of Irish in his day, holding appointments successively Melody, generally known in hymn books as ‘St in Leiden, The Hague, and Maasluis near Columba’, and often sung to the paraphrase Rotterdam. Most of his published works are of Psalm 23, ‘The King of Love my shepherd based on hymn tunes, such as the Fantasie is’. Stanford’s gentle setting was published over de Avondzang “ ‘k wil U o God mijn dank in 1907 as part of his Op. 101 set of Six Short betalen’ which translates as ‘Fantasy on the Preludes and Postludes. Less well-known is evening hymn “I will, o God, give [pay] you Robin Milford’s imaginative setting which places my thanks”‘. This may have begun life as an the melody on a 4-foot stop in the pedal, and improvisation, later to be written down for embellishes it with beautifully-wrought melodies, publication. Enigmatically, it begins with a harmonies and textures. Parry’s stirring setting different theme, but gradually the hymn tune of Croft’s 136th is from his second set of Seven proper emerges, and in the central section is Chorale Preludes of 1916. The well-known hymn heard as a cantus firmus in long notes. Asma tune permeates the busy texture and appears specifies the cornet stop for this solo, but as as a cantus firmus; a grand peroration brings the the cornet combination on the choir division movement to a fine conclusion.

CTP Template: CD_DPS1 Compact Disc Booklet: Customer : Tintoy Catalogue No. : DCD34064 Job Title : Organ at Holy Rude

COLOURS CYAN MAGENTA YELLOW BLACK Page No.

Benedictus (1931) Alec Rowley (1892–1958) Rowley was for many years professor of piano wonder Proms audiences enjoy singing it every and composition at Trinity College, London, year. The oft-criticised words were of course a and was a highly-regarded and dedicated later addition; but it is the tune that people enjoy. teacher; he left much choral and organ music. The basis of this organ transcription is that In his monumental A Directory of Composers by Edwin Lemare, which John Kitchen has for the Organ (2005), John Henderson rates adapted by thinning out the texture in places.

Rowley’s organ music as ‘of variable quality, from the delightful and graceful to the rather Variations on a Dutch song dull’. The Benedictus surely falls into the former ‘Merck toch hoe sterck’ category: while forging no original path, its Cor Kee (1900–1997) pleasing arch-shape and rich harmonies make Cor(nelis) Kee, father of the renowned Dutch it a most attractive miniature, and allow the organist Piet Kee, had an extraordinarily long player to demonstrate a wide range of organ and distinguished career as a writer, teacher, colour and dynamic. organist and composer. The early seventeenthcentury Netherlandish song, Merck toch hoe Pomp and Circumstance March no. 1 in D sterck, refers to resisting Spanish invasion, and Op.39/1 standing firm against the enemy. (“See how Edward Elgar (1857–1934) strong they are as they fight to set us free This celebrated piece needs no introduction, from the Spaniards…”) Cor Kee’s variations and its transcription is well-served by the on this fine melody are straightforward but ample resources of the Holy Rude organ. Elgar highly inventive, exploiting a wide range of wrote it in 1901 since when it has been a imaginative textures and figurations. The firm favourite, mainly because of its ‘big tune’ tripartite form of the tune, with each section which the composer claimed would “knock repeated, offers the player many opportunities ‘em flat” and which he said was “a tune…that for varied registrations. The theme is followed comes once in a lifetime”. It is indeed one of by seven variations; particularly striking are the great tunes of all time. The work is in four the alla marcia and the luscious adagio. The main sections, of which the ‘big tune’ forms final movement begins as a fugue, but soon the second and fourth. Elgar’s plan of first becomes freer and rhapsodic in style, leading introducing it in the subdominant (G major) of to the final climax of the andante maestoso. the home key means that when it returns in the tonic of D major it is all the more uplifting. No © 2008 John Kitchen

8 - 9