Stephen Hamilton, concert organist, is Minister of Music Emeritus at the Church of the Holy Trinity (Episcopal) in New York City. He concertizes internationally and is especially well known for his interpretation of Dupré’s Le Chemin de la Croix.
Kenneth Huber, concert pianist, is retired Senior Lecturer in Piano at Carleton College, Northfield, Minnesota. He frequently performs as soloist and collaborator. Both authors reside in Minneapolis, Minnesota.
What a thrill it was to hear famed organist Dame Gillian Weir play her final public recital at Westminster Cathedral in London on December 5, 2011. It was a magical and historical moment for the standing-room-only audience of organ aficionados, fans, and professionals. To be a part of history is always exhilarating; to be a part of musical performance history adds a layer of gravitas that tunes our listening in unique ways. One tries to become a human-digital-recording device in order to preserve forever that great moment in our aural memory.
However, when Dame Gillian was making plans for that “farewell” performance, the upcoming 40th anniversary of the installation of the beautiful Lawrence Phelps pipe organ at Hexham Abbey was probably not on her radar screen. Under normal circumstances, any acclaimed concert organist might have played that date. But for Hexham Abbey, it was essential that Dame Gillian mark that occasion—after all, it was her late husband’s instrument! What other living organist would do?!
So with a bit of reluctance and chagrin, Dame Gillian consented to “come out of retirement” for a “coda” performance on September 13, 2014. Although Hexham is a bit off the beaten path, the announcement that Dame Gillian indeed would play insured that the abbey was full to capacity, including several long-time friends and fans from the United States. What a lovely setting and how exciting to hear this remarkable instrument installed in 1974 to mark the abbey’s 1300th anniversary! Ironically Queen Elizabeth II, upon attending Dame Gillian’s dedicatory recital, made mention of the historic dichotomy presented by the Phelps instrument—“it looks rather new.” But there was no dichotomy on this occasion—just a seamless marriage of venue, instrument, and performer.
This stunning two-manual and pedal, 34-stop, mechanical-action instrument was a significant installation for many reasons, but chiefly that of contracting an American as its designer and builder—never mind he was married to a young British organist-legend. It turned out to be a win/win situation since Dame Gillian spent many hours helping her husband tweak it both tonally and mechanically into one of the most beautiful instruments of its kind.
Since the 1974 installation, Dame Gillian has played recitals celebrating each decade, so it seemed fitting that she play the 40th as well. Her eclectic program showed off the organ in all of its resplendent glory with works from Buxtehude and Bach to Marchand, Messiaen, and Daquin, to Bridge, Widor, and Mushel. What a delight to hear such diverse repertoire played brilliantly in this acoustically vibrant space. It was a bit like indulging one’s self as a kid in an aural candy store! Dame Gillian’s aesthetically satisfying and creatively constructed program allowed us to experience all of the instrument’s sonorities while embracing music of vastly varied styles, colors, dynamics, and articulations.
Coincidentally with this anniversary, Burton Tidwell’s definitive book, Lawrence Phelps, Organbuilder, is to be published by the Organ Historical Society in May 2015. This study chronicles Phelps’s work from the mid-1952 completion of the Aeolian-Skinner at Boston’s First Church of Christ, Scientist—The Mother Church, to his work as tonal director of Casavant Frères, and moving on to his own instruments. Anyone who may not be intimately familiar with the exceptional history of this prolific builder will be fascinated with Tidwell’s in-depth account. In a day and age when historical pipe organ building is often under siege from the digital technology of the 21st century, this treatise will serve as a sobering reminder of the beauty and artistry of dedicated builders such as Phelps. What a privilege and inspiring afternoon to hear this exquisite instrument played by the one performer who knows it better than anyone. Bravi to Lawrence and Dame Gillian!
