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FUGUE:
CHAPTER X1
THE
FUND-RAISING GATHERS PACE -
FROM THE GALA CONCERT SOUVENIR
BROCHURE OF 1990
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Christopher
Newton, (left), assistant organist for over 40
years, reflects: “It is a measure of the reputation of
this organ that in 1986, the post of Organist should attract a
musician of the stature of Graham Barber. In addition to
developing the regular series of concerts at St. Bartholomew's,
he has shown great energy and enthusiasm in promoting awareness
of this instrument. He has made two solo recordings, including
its first appearance on CD, and the Sheffield Philharmonic
Choir recorded a cassette of Christmas music - a reflection of
the merits of St. Bartholomew's as a more general recording
venue.
Listening to the Armley Schulze Organ, you may well
think that it sounds remarkably healthy. If so, then this is a
tribute to J. T. Jackson, who somehow manages to keep it in
playing order, and to the musicianship, skill and sheer
ingenuity - sometimes well beyond the call of duty - of those
who play it. Finally, it is a tribute to Edmund Schulze, whose
genius shines through the organ's many - temporary -
shortcomings.”
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Graham
Barber, (left), wrote an Introduction to the
fund-raising Gala Concerts he organised in September and
October, 1990:
“The
Schulze Organ here at St. Bart's is of world-wide significance.
It is partly the responsibility of the parish community, and no
custodians could have been more unswerving in aim or more
assiduous in effort to secure its preservation; but it is also
a civic and, indeed, a national responsibility, which is why
our appeal for £300,000 has been placed on a broad
platform. We are glad to say that the Fund is progressing well.
In the last few years we have seen it grow to over
£50,000 and we have good cause for believing that we are
on the edge of a significant breakthrough which would bring the
target figure within striking distance.
We
must not forget that you are here for a musical celebration. I
would like to thank all those who have made these events
possible, and especially the musicians for giving up their time
and talents. Welcome to St. Bartholomew's and to these Gala
Concerts! I hope you will enjoy the musical feast we have in
store for you, and thank you for donating so generously to the
appeal.”
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The
Rev. Nicholas Plant, Vicar, 1982-1991, added:
The
Church of St. Bartholomew stands as a symbol of the beauty and
grandeur of God's Presence in Creation, as an expression of His
participation in the Fullness of Worship.
In
the 1970s, part of the received wisdom was that church buildings
and their contents were at best purely functional necessities, and
at worst a positive hindrance to the life and body of Christ. It
would now appear that the pendulum is swinging the other way and
in this parish we try to reflect this new mode of thought. The
Church of St. Bartholomew has a value which goes beyond its own
narrow confines. It is used for Worship, Recreation, Teaching, the
Arts, Community Activity, for Celebration and for Commemoration,
and as a focus for Care and Compassion. Of course, it continues to
speak of the other, the Holy, Christ's Presence in His
World and our need to respond.
This
brochure is about our Appeal for the Schulze Organ, but I feel it
important that we should not view this magnificent instrument in
isolation but see it as part of a total theology stemming from our
vision of Christ and His relation to our Church. As I have tried
to show, the Church is a symbol of Christ's Presence within this
community of Armley and the City of Leeds. Surely it is right then
that within the church building we should seek to incorporate the
best that Man can offer whether in words, music or material
things. Not only does the Schulze organ provide us with the
opportunity of listening to superb musical sounds for their own
sake, but music (even for those of us who are totally unmusical!)
can, I believe, speak to us as a vehicle of divine meaning,
whether in times of sadness or exultation, despair or hope - the
experience of man is that music can raise our hearts in joy and
bring comfort in sorrow.
The
Schulze organ has, I believe, a further role. It is very easy in
an area such as this - that just as over a century ago has more
than its share of problems, like poor housing, unemployment,
vandalism and deprivation - for people to feel isolated and
unwanted. For them to have something such as the Schulze organ
that draws folk from all over the country to their church is a
great source of inspiration. Links can be built up, fellowship
established and a greater sense of integration and value felt
within our community. Hence a wider, more catholic conception of
the relationship of the Arts to religion can be seen to operate,
to the benefit of all concerned. I hope you enjoy your visit to
St. Bart's and thank you for your generosity.”
The
Gala Concert of the 29th September
welcomed four internationally acclaimed organists:
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Nicolas
Kynaston
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Francis
Jackson
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Gillian
Weir
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Graham
Barber
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Programme:
Nicolas
Kynaston
Francis
Jackson
Gillian
Weir & Nicolas Kynaston
Graham
Barber
Francis
Jackson
Graham
Barber
Nicolas
Kynaston
Graham
Barber & Francis Jackson
Graham
Barber
Gillian
Weir
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Allegro
Maestoso
Allegro
in Bb
Il Spozalizio
Adagio
for a Musical Clock
Toccata-Prelude
“Vom Himmel Hoch”
Cantilène from Sonata
No.11, Op.148
Sortie
Chorale
Prelude “In Dir ist Freude”
Fantasie
III in C
Tu es Petra
Nocturne
(A Midsummer Night’s Dream)
Fantasy
on “Sine Nomine”
Rosace
Finale
(Symphonie No.1)
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Edward
Elgar
Felix
Mendelssohn
Franz Liszt (arr. Jackson)
Ludwig
van Beethoven
Garth
Edmundson
Josef Rheinberger
Percy
Whitlock
J.
S. Bach
Camille
Saint-Saëns
Henri Mulet
Felix
Mendelssohn (arr. Barber)
Francis
Jackson
Henri
Mulet
Louis Vierne
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The
above Recital was sponsored by National Westminster Bank PLC
The
Choral Concert on Sunday, 28th October,
was given by the Leeds Philharmonic Chorus and
Members of
the English Northern Philharmonia
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Leader:
Baritone:
Soprano:
Conductor:
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David
Greed
Philip O’Reilly
Rachel Copley
Graham
Barber
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The
three works performed were:
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Blest
Pair of Sirens
Five Mystical Songs
Requiem
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Charles
H. H. Parry
Ralph Vaughan-Williams
Gabriel Fauré
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The
Appeal which appeared in the Gala Concert brochure sums up the
situation of the organ at this time:
Why
do we need £300,000?
“Considering
that the mechanism of the organ was last renewed in 1905, it is
surprising that the organ still functions at all. One can not
praise too highly the excellent quality of workmanship shown by
Binns when he replaced the original actions (systems for
transmitting the music from keyboard to pipes) with
tubular-pneumatic action. However, this action is now excessively
worn and extremely slow to react. It continually frustrates the
performer's musical intentions and often simply can't cope with
the demands being made on it. The regulation of individual manuals
is uneven so that to attempt to play an evenly-spaced series of
notes is often hazardous. Besides the problems of the action,
there are many pipes not working. The Echo division is virtually
unusable, because so many notes are not speaking, due to decay in
the leatherwork. The same is happening to the Swell, in particular
the lowest octave of the Geigen Principal. Many of the pedal notes
are not speaking, in particular those of the Open Wood 16 and Sub
Bass 32. There are continual faults connected with the manual to
pedal couplers, and there are numerous leaks in the wind supply.
There is a considerable amount of rust and corrosion of the metal
pipes, and the whole organ is covered in a layer of dust and
grime.
Given
that the organ remains tonally untouched, and that the
specification has not been altered, a complete historic
restoration, such as that proposed by honorary organ consultant
Ralph Downes, CBE, in 1974, is totally feasible. This would entail
reverting to trackers to the Choir and Echo Organs, and pneumatic
lever to the Great, Swell and Pedal Organs. It would be necessary
to dismantle the sound-boards and rebuild them as well as to clean
and restore all the pipes, remaking those that were irredeemable -
all this using 19th-century organ-building techniques. The case
would also need to cleaned and the front pipes polished. All the
wind trunking and blowing plant would need a thorough overhaul.
Clearly, this is a very specialised operation, which is why it is
expensive, but the historic importance of the instrument is such
that it would be negligent to pursue a compromised course. When
restored, the organ would rank among the finest 19th-century
instruments in Europe. It would stand as a tribute to the
munificence and vision of all those who have contributed to its
preservation – to the Church, to individual and corporate
benefactors, and to the City. It would, of course, continue to be
an instrument of supreme quality for the enhancement of worship at
St. Bartholomew's, where it has always immeasurably enriched the
beauty and solemnity of the Anglican rite. It could also become
the focus for thousands of visitors from far and wide who would be
able to hear and marvel at the stirring and uplifting sounds of
the mighty Schulze organ. Please help us to transform this vision
into reality.”
The
story moves on with exciting news on two fronts. The Organ
received a most generous legacy in 1990, and in 1995, our Vicar,
Rev. Timothy Lipscomb, set about applying for a lottery grant from
English Heritage to restore the Church.
Neither
Organ or Church elements of this proved an easy passage!
Meanwhile,
it is fitting to remember those who did not see the results of
their labours:
Marjorie
Brown
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it was with great sadness that our meticulous secretary, Marjorie,
died suddenly in 1991. A recital was given by Graham Barber, Chris
Newton and Arnold Mahon at her memorial service, a fitting tribute
to her tireless work.
Ted
and Vera Rhoades,
regular attendees at our Concerts, were “roped in” to
help. Ted loved the organ, and died knowing that the restoration
was to happen. They died within weeks of each other, early in
2002.
Harold
Franklin took
over the management of the sales at our Concerts, and was highly
regarded by all. He was destined not to hear the triumphant sounds
of the Organ, which was being dismantled in June, 2002, and, in
fact, many of its pipes lay in the North Aisle, perhaps in silent
tribute to a good friend and servant.
Dr.
Kenneth Johnstone
from
Kenneth’s funeral service (29th
November,
2004) with the kind permission of his family.
“was
born in Leeds to a Scottish mother - a teacher, and an English
father - an accountant. An only child, he was educated by his
Mother until he was seven. He used to go to the kitchen asking for
something to mend, quickly developing many skills - piano playing,
photography and woodwork. As a child, he asked impossible
questions about the organ during service. He acquired his first
organ in his teens and played hymns at his aunt's Sunday School,
accounting for his collection of hymn books.
His
ambition was to be an organ builder, but his father said that he
would not be able to make a living. He was sent to the University
of Leeds to study bacteriology (the first to take this degree) so
that he could contribute to his father's cheese factory. In
parallel, he studied medicine, gaining honours in both degrees. He
returned to the Bacteriology Department to gain his PhD. He became
Reader in Public Health Bacteriology, managing skilfully to
relinquish all routine diagnostic microbiology and to focus on his
research. He retired at the age of 60 in 1970, having
inspirationally lectured to the next generation of
microbiologists, carried out innovative research into
micro-manipulation of bacteria and authored the standard text on
his micro-manipulation techniques.
Kenneth
was an old soul, having such a wide range of skills and interests.
First - at least until he met Sheila - was organs, including
design, playing, listening, and research. He wrote a history of
the Armley Schulze organ. He designed his own organ, which was
built by Davies of Northampton, and graced his hall until
1985.
Then
there were churches - a tour of a cathedral with Kenneth was an
education. His family also often went to concerts and recitals in
churches as well as in Leeds Town Hall.
Essentially
a man of peace, Kenneth attended Carlton Hill Friends Meeting,
being a staunch member of the Society of Friends ever since.
During the war he registered as a conscientious objector and was
accepted conditionally on continuing his work in the Bacteriology
Department. He taught himself to play the flute lest he should
become separated from his beloved organ.
Beneath
his quiet, unassuming nature, Kenneth belied a huge intellect, a
passion for music and a deep integrity. He thought a great deal
and said very little. Death was very peaceful in his sleep at home
in bed. We
are grateful to him and for him.”
It
is so sad that he was too ill to hear the restored organ, but he
died knowing that the work was done – hopefully, he is
hearing it now.
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