"Speaking to one another with psalms, hymns and songs from the Spirit. Sing and make music from your heart to the Lord"
Ephesians 5:19
Ephesians 5:19
Music in worship at All Souls Church has always held an important place, particularly during the Solemn Mass of Sunday morning.
The Organ
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There is brief reference to a temporary organ being at All Souls until the 1881 organ was in situation, however there are no details of this instrument.
The 1881 organ at All Souls was by the renowned local builder - Isaac Abbott (specification illustrated below). It was significantly larger than the current organ in the church, which in itself is a fine 3 manual instrument. The organ cost £1,400 and was paid for by a subscription among the parishioners. The organ had significant 16 foot tone with a 16 foot rank on each manual, much in contrast to todays organ which unusually for an organ of its size has no 16 foot flue rank on the manuals, and just one 16 foot reed on the Swell Organ. In addition the organ had a plethora of differing 8 foot tones on the manuals, which was no doubt in line with the taste of the time of little upper work and lots of 8 foot tone. |
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Organ Specification - 1881
The Casework
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An undated photograph (right) leads us to believe that the 1881 organ must have had a basic pipe rack as the aisle case until 1903 when the current one was installed. If one looks carefully there also appears to be no pipes on the base of the existing chancel case, which can be seen overhanging the console, just to the right of the banner above the pulpit. There lies a mystery as the lowest octave of the 'second diapason' pipes are painted (left), and stand on an offset chest at the east side of the swell box. Were these original to the organ or where they used from another instrument? Equally the lowest octave of the 'first diapason' pipes are also parallel to the pedal trombone at ground level, just behind the choir organ. One theory is that Abbott and Smith used this arrangement of a seperate chest so the pipes could be used for a different stop at another pitch. None of the pipes in the current cases are actually speaking pipes which is unusal in an organ, though possibly testament to the expansive chamber that we are blessed with at All Souls'. |
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The splendid case which adorns the chancel front of the instrument was paid for out of the legacy left by John and Israel Braithwaite, the one a retired schoolmaster and the other an engineer of the L. B. & S. C. Railway, who left all they had to the beautifying of the memorial of one they both honoured and esteemed (Dr Hook). 
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This beautiful piece of oak-work was the design of Mr Robert James Johnson of Newcastle. Mr Johnson was born in 1832 and became an assistant to George Gilbert Scott from 1849 - 1858. Johnson became a particular favourite of Scott who used him in many of his later designs.
Johnson then became partner with Thomas Austin in 1865, who unfortunately died in 1867. Johnson joined William Searle Hickes in partnership in 1875 and the firm then became known as Austin, Johnson and Hicks. Johnson died in 1892. The lower part of the case contains the console. The case projects forward above the console and widens to a plain panel supported on each side by an ornamental bracket. A brass plate records in Roman caps the rebuilding and rededication of the organ. |
R. J. Johnson
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The impressive gilded oak casework for the choir organ that we see today facing into the chancel between the console and altar was designed by A. Crawford Hick of Newcastle, with woodwork by Ralph Hedley of Newcastle and gilding by Joseph Broadhead of Leeds.
This pierced and linenfold screen fill the pointed stone arch to the Est of the organ. It is formed of 28 rectangular recessed panels decorated top and bottom with vine leaves, grapes and entwisted stems. The frieze has a lower solid wooden rail carved with vine leaves, fruit and tendrils, all repeated 3 1/2 times. The upper section consists of 4 gilded cone shaped brackets supporting 4 angels with gilded haloes and playing gilded musical instruments. The 2 outer angels have raised wings and play trumpets. The inner 2 have folded wings and play lutes and cymbals. Above the angels are gilded canopies with crocketted spires. The 2 outer spires have gilded finals, the inner two support brackets on which stand 2 more angels with gilded wings and haloes, playing flutes. |
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The beautiful organ case standing at the East end of the North Aisle (now behind the Lady Chapel altar) was installed in 1903. Designed by A. Crawford Hick (then of London), with woodwork by Percey Bacon & Bros Ltd, London and gilding by W. Walsh & Sons, Leeds. It was a erected through a donation by the children of Charles Carr Wilson and Elizabeth Ashton Wilson, his wife, at Ascensiontide, 1903. |
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Organ Specification and Tender - 1938
The organ was rebuilt in 1938 by the firm of Abbott & Smith. It is not clear why this rebuild occurred, as the organ was totally redesigned and completely rebuilt, albeit much of the existing pipework was used where it fit with the new specification. Some changes occurred, such as the reeds being used on higher pressure (7 inch, with the swell reeds being moved up one note to accommodate this change) and at the time of its rebuilding it was remarkable for the number of mutation stops which were included.
Abbott and Smith took exceptional pride in the new organ and regarded it as their 'showpiece organ'. Their organ workshop stood slightly further down Blackman Lane on the opposite side of the road (now demolished and site of housing development). An agreement was made with the Church that they could show perspective clients the instrument and the acoustic of the Church certainly showed their work in a stunning setting with the Great organ resounding off the stone vaulting in the Chancel down the nave.
Map showing Organ Works in relation to All Souls Church
The rebuilding of the organ was made possible by a legacy of £1000 left by Edith Hook, wife of the first vicar of this parish. It was re-dedicated by the Bishop of Ripon on the 2nd December 1938.
Further Work
1976
Further work was carried out by Wood, Wordsworth & Co. Ltd. in 1976 which seems to have been included -
Revoicing of the Tromba/Trombone unit to a more Tuba like sound
Change of Swell mixture to 15/19/22 formation
£3,443.50
Replacing the Swell Piccolo with Fifteenth
Replace Swell Tierce with Larigot
Exchange Swell Wald Flute with Choir Flute
Replace Swell Celeste with Choir Salicional, revoicing as Celeste
Move Choir Viol d'Orchestra to Choir Salicional footboard
Fit Swell Piccolo to Choir Viol d'Orchestra footboard
£3,644
Though documentation is sketchy, it would appear that changes to the Great Organ at this time included the introduction of a mixture at a cost of £783. At this time it would seem that the Great 16 foot diapason was removed.
The Mystery of the Mixture!
To be continued.........
The Console
The organ consists of three manuals and pedals with forty speaking stops (current specification shown below).
The speaking stops are controlled by angled draw stops on each side of the console while the mechanical stops are controlled by 'tabs' arranged above the swell manual.
The pedal board is unique in that it is slightly off centre and catches unsuspecting visitors by surprise!
The speaking stops are controlled by angled draw stops on each side of the console while the mechanical stops are controlled by 'tabs' arranged above the swell manual.
The pedal board is unique in that it is slightly off centre and catches unsuspecting visitors by surprise!
Keith Senior - Organist
Organ Specification - Current
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Great:
Open Diapason 8' Small open Diapason 8' Gedact 8' Principal 4' Harmonic Flute 4' Twelfth 2 2/3' Fifteenth 2' Furniture IV ranks Tromba 8' |
Choir: (Enclosed) Dulciana 8' Viol d' Orchestre 8' Hohl Flute 8' Flute 4' Nazard 2 2/3' Piccolo 2' Clarionette 8' Tromba 8' |
Pedal:
Sub Bass 32' Open Diapason 16' Quint 10 2/3' Bourdon 16' Violone 16' Bass Flute 8' Cello 8' Principal 8' Trombone 16' Trumpet 8' |
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Swell: (Enclosed)
Voix Celeste 8' Violincello 8' Geigen Principal 8' Rhor Flute 8' Gemshorn 4' Wald Flute 4' Doublette 2' Sesquialtera II ranks Mixture III ranks Oboe 8' Contra Fagotto 16' Horn 8' Clarion 4' |
Couplers:
Choir Sub Octave Choir Octave Swell Sub Octave Swell Octave Great to Pedal Choir to Pedal Swell to pedal Swell Sub to Great Swell Octave to Great Swell to Great Swell to Choir Choir to Great Great Pistons to Pedal Pistons Choir Tremulant Swell Tremulant Swell Reeds Tremulant |
Compass: c-c five octaves
Action: Tubular Pneumatic Pedal Fluework - 4 inches Reeds - 7 inches Choir Fluework & Clarinet - 4 inches Tromba - 7 inches Great Fluework - 4 inches Tromba - 7 inches Swell Fluework - 4 inches Reeds - 6 inches |
Inside the Organ
Organ Restoration
In 2015 and 2016 the Tromba stop on our organ was restored due to the generosity of the Pilling Trust.
The pipework and chest have suffered over the years due to the placement of the chest and pipework under the stone arch in front of the north aisle case. Water ingress over many years caused the stonework to perish and dissintrigate, dropping dust and larger particles of stone into the pipework.
A canopy had been placed over the pipes at a previous time, in an attempt to stop damage, however this had not been wholly successful.
The pipework and chest were removed and restored by Andrew Carter of Wakefield and reinstalled during the summer of 2016.
Following reinstallation of the pipework a further extension to the canopy was installed using plastic corigated sheeting, thus hopefully reducing any further falls of stone and allowing any dust to collect in the sheeting and enable it to be swept away without further damage to the pipes, which should also stabilise tuning.
In April 2017 we hope to have further restoration undertaken on our organ to rectify faults in the pedal department and also to the piston system which wheezes significantly and gives us the most unusual combinations, rendering it unusable! Fortunately the skill of our organist Keith still manages to make the most beautiful music and amazing improvisations despite our organs delicate state.
The pipework and chest have suffered over the years due to the placement of the chest and pipework under the stone arch in front of the north aisle case. Water ingress over many years caused the stonework to perish and dissintrigate, dropping dust and larger particles of stone into the pipework.
A canopy had been placed over the pipes at a previous time, in an attempt to stop damage, however this had not been wholly successful.
The pipework and chest were removed and restored by Andrew Carter of Wakefield and reinstalled during the summer of 2016.
Following reinstallation of the pipework a further extension to the canopy was installed using plastic corigated sheeting, thus hopefully reducing any further falls of stone and allowing any dust to collect in the sheeting and enable it to be swept away without further damage to the pipes, which should also stabilise tuning.
In April 2017 we hope to have further restoration undertaken on our organ to rectify faults in the pedal department and also to the piston system which wheezes significantly and gives us the most unusual combinations, rendering it unusable! Fortunately the skill of our organist Keith still manages to make the most beautiful music and amazing improvisations despite our organs delicate state.
| noel_rawsthorne_-_organ_report_1989.pdf |
| all_souls_church_leeds_-_paul_hale_report_organ_-_2010.pdf |