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How did Compton meet the demands for the Southampton organ? This was not to be a few theatre ranks tacked on to a classical instrument. Compton designed a dual-purpose instrument of 50 ranks of pipes, extended to supply about 120 speaking stops. Instead of a single console which tried to embrace all the tonal features, two impressive 4 manual consoles were provided.
Twin consoles are not uncommon, but the Southampton consoles proudly proclaim their specific purpose. The “grand” console with illuminated push-button stops on the right-hand side of the proscenium controls the well-balanced tonal range, with each division well represented in flutes, an excellent diapason chorus, mixtures, strings and a generous distribution of reeds. On the left of the proscenium is the Variety – or theatre console, with the traditional “horseshoe” arrangement of stop tabs controlling the pipework and the features which identify a theatre organ, including traps, percussion, chimes, xylophone etc: A special feature is a Melotone unit, a forerunner in the field of electronic tone generation, notable as one of the inventions which emanated from Compton’s.
The organ like so many of its time, fell into disrepair and was neglected until 2007 when the City Council embarked on a restoration project to bring the organ back into popular use again. All the original pipework, console stop-lists and mechanisms have been retained so the organ is exactly as it was when first heard in the 1930s.
Richard Hills (b. 1980) is a very talented organist; well-trained in the classical tradition, having studied at Oxford, with scholarships at Portsmouth Cathedral and Westminster Abbey. His ability as a theatre organist is well established, including winning several prizes in the U.K and the USA, where he was named “Organist of the Year” at the 2010 convention of the American Theatre Organ Society. He is also a Fellow of the Royal College of Organists – London.
With these skills he was the ideal performer to record this CD, offering a congenial mixture of music by British composers. The result is nearly 80 minutes of very enjoyable repertoire, most of it rarely heard nowadays. On the classic console, Hills begins with a stunning rendition of the “Concert Overture in C minor” of Alfred Hollins. Herbert Brewer’s “March Heroique” is impressive for its crisp attack and prompt speech, especially of the reeds. In contrast, “A Fancy” by William Harris reveals the softer qualities of the flutes. Appropriately, the disc ends with George Thalben-Ball’s “Elegy”, a tribute to its composer who gave the opening recital on this organ in 1937.
Richard Hills then moves to the theatre console and presents an entertaining selection of light music. In traditional style, he includes two medleys, the first just had to be Sir Arthur Sullivan; a pot-pourri of themes from The Mikado - colourful, but for my taste played a shade too fast and some of the rubato was a little exaggerated. The selection from Ivor Novello’s “Dancing Years” was superbly done however. Familiar tunes of the 1939 show are amongst his best music. Richard gives added beauty to “Waltz of My Heart” and “I Can Give You the Starlight”, both being particularly attractive on this organ.
Noted theatre organist Quentin Maclean is represented with his “Parade of the Sunbeams”, and Hills gives it a strong rhythmic impulse and with impressive registration changes. Likewise, Reginald Porter-Brown, another of the great British theatre organists is there with his all-time favourite “Cheeky Chappie”, which Hills dashes off with virtuosity. What is particularly notable is the response of the organ to the demands for rapid staccato attack, a compliment to the restoration team. The disc would be incomplete without something from the pen of Eric Coates. “Bird Songs at Eventide” and the “Knightsbridge March” are beautifully played, the orchestral quality of the ensembles being superbly demonstrated in each of these pieces.
This CD is a fascinating display of a unique organ, embracing traditional pipe organ and theatre organ repertoire. The recording quality is good, well balanced and not overly reverberant. It is a disc which should please organ devotees of all shades, and my overall impression is the delight in hearing a splendid restoration of a significant instrument, put through its paces by a multi-talented organist.
I would want this CD in my collection.
Peter Averi is a New Zealand organist with a career spanning 65 years. He has held organist-choirmaster positions in Wellington, Auckland and Sydney, and as a recitalist he has been a frequent performer in New Zealand, Australia and the United States of America, where for several years he appeared in the Temple Square Concert Series in Salt Lake City, performing on the famous organ in the Mormon Tabernacle. For nearly forty years he was on the staff of New Zealand Broadcasting, culminating in twelve years as manager of the New Zealand Symphony Orchestra. During those years he organised the first overseas tours by the orchestra to Australia and Hong Kong, and also the National Youth Orchestra world tour. As a conductor he was for many years musical director of the Wellington Gilbert & Sullivan Society and also directed numerous opera productions. For several years he was artistic administrator of Wellington City Opera. Since 1999 he has been music director of the TVNZ programme Praise Be. For services to music he was awarded the ONZM in 1996.
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