St George’s Hanover Square

Audition for the first organist, on the 300th anniversary of St George’s, Hanover Square

~ Andrew Benson-Wilson

Early Music Day 2025

Mayfair Organ Concerts
St George’s, Hanover Square
Tuesday 11 March 2025, 1.10pm

Andrew Benson-Wilson

Audition for the first organist
on the 300th anniversary of St George’s, Hanover Square


The church of St George’s Hanover Square was consecrated by the Bishop of London
on March 23rd, 1725. The three-manual organ was built by Gerard Smith, nephew and successor of the famous Father Smith. The case of his organ remains as the central part of the current organ case. This recital will reflect the audition for the first organist, with music by the four assessors (Pepusch, Croft, Handel and Geminiani) and the successful candidate, Thomas Roseingrave, chosen for his ability to improvise fugues.

Johann Christoph Pepusch (1667-1752) Lesson in D (Two Aires)
William Croft (1678-1727) Voluntary IX in d; Voluntary X in D;
Handel (1685-1759) Fugue in B flat; Fugue in a (HWV607/609)
Francesco Geminiani (1687-1762) Duo in F
Thomas Roseingrave (1690-1766) Voluntary & Fugue in f; Fugue in d

Details of the 2012 Richards, Fowkes & Co organ in St George’s Hanover Square organ can be found here and here.

Admission is free, with a retiring collection.
The programme notes can be read here.

Two German Anniversaries: 1624 & 1674

~ Andrew Benson-Wilson

Mayfair Organ Concerts
St George’s, Hanover Square
Tuesday 2 July 2024, 1.10pm

Two German Anniversaries: 1624 & 1674
Samuel Scheidt and Matthais Weckmann
Andrew Benson-Wilson


This concert celebrates the 400th and 350th anniversaries of two of the most important German composers of the early 17th century: the publication in 1624 of Samuel Scheidt’s seminal three-volume Tabulatura nova and the death in 1674 of Matthias Weckmann.

Samuel Scheidt (1587-1654)
Tabulatura nova, 1624
Echo ad manuale duplex forte et lene
Fantasia super Io son ferito lasso
Modus pleno Organo pedaliter: Benedicamus à 6 Voc

Matthias Weckmann (c1616-1674)
Canzon in G
Nun freut euch, lieben Christen gmein
Praeludium A.5 Vocem

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A farewell to Mr Handel’s organ

~ Andrew Benson-Wilson

The Handel Friends
“A farewell to Mr Handel’s organ“
A recital on the Handel chamber organ
before its move to The Handel House Museum
Andrew Benson-Wilson
St George’s, Hanover Square, Tuesday 25 April 2023, 7pm

The Handel chamber organ was made in 1998 by Goetze & Gwynn for the Handel House Trust. They opened the Handel House Museum in 2001 in Handel’s own house at 25 Brook Street, his home for the last 36 years of his life. As the Handel organ was too large for the limited space available at the time, it has lived in St George’s Hanover Square, Handel’s nearby parish church. As part of the Hallelujah Project, which will enlarge the space of the museum and add the flat next door where Jimi Hendrix lived in the 1960s, the chamber organ is being moved into Handel House in May. The organ is based on the chamber organs of Richard Bridge and Thomas Parker, who built the organ which belonged to Charles Jennens, the librettist of Messiah, which still exists close to its original condition.

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Alexander’s Feast 

~ Andrew Benson-Wilson

Handel: Alexander’s Feast 
London Handel Orchestra & Singers, Laurence Cummings 
London Handel Festival
St George’s, Hanover Square. 23 February 2023


Handel’s birthday seemed a particularly appropriate day to open the 2023 London Handel Festival and to hear his ode for St Cecilia’s Day Alexander’s Feast. The libretto is based on John Dryden’s 1697 Alexander’s Feast, or the Power of Music, written to for Saint Cecilia’s Day. It recounts the story of a banquet held by Alexander the Great and his mistress, Thaïs, in the captured Persian city of Persepolis, during which the musician Timotheus sings and plays his lyre, arousing various moods in Alexander. The power of music takes a turn for the worse when Alexander is incited to destroy Persepolis in revenge for his dead Greek soldiers.   

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Organ Recital: “Upon thes nots”

~ Andrew Benson-Wilson

For those who came to this recital, despite the travel problems, the encore that I played was Thomas Tomkins: “Sad Paven for these distracted times”
It seemed appropriate

“Upon thes nots“
Two 450th anniversaries – Thomas Tomkins & Michael Praetorius
Andrew Benson-Wilson, organ
St George’s, Hanover Square, London W1S 1FX
1 March 2022, 1:10

This recital contrasts the contrasting music of two composers born 600 miles apart, 450 years ago. It also reflects the way in which the two composers treat melodic lines, whether in the form of a powerful Lutheran hymn or the seven-note plainchant-based phrase upon which Tomkins based his monumental Offertory, noting in the opening bar that the piece was based “upon thes nots“.

Thomas Tomkins 1572–1656
“For Mr Arc[hdeacon] ThornBurgh”
“Mr Thomas Tomkins offertorye” [upon thes nots] (1637)
Michael Praetorius 1571-1621
O lux beata Trinitas (Hymnodia Sionia, 1611)
Chorale Fantasia: Ein’ feste Burg ist unser Gott (Musæ Sioniæ VII, 1609)

Thomas Tomkins was organist of Worcester Cathedral until its closure during the Civil War as well as the Chapel Royal in London. Michael Praetorius was organist and Kapellmeister in the courts of the Duke of Wolfenbüttel and the Elector of Saxony in Dresden.  

The concert is given on the Richards, Fowkes & Co organ in Handel’s church of St George’s Hanover Square as part of the Mayfair Organ Concerts series. Admission is free, with a retiring collection.

The programme notes can be found here.

Handel: Aminta e Fillide

~ Andrew Benson-Wilson

Handel: Aminta e Fillide
Fair Oriana
Opera Settecento, Leo Duarte
The Handel Friends
St George’s, Hanover Square, 28 November 2019

It was entirely appropriate that this concert, given under the auspices of The Handel Friends, should take place in Handel’s own church of St George’s, Hanover Square, just round the corner from his surviving home. After 30-minutes of instrumental music and sumptuous interval refreshments (all part of the deal) came an inspirational performance of Handel’s pastoral cantata Aminta e Fillide, performed with the soprano duo Fair Oriana (Angela Hicks & Penelope Appleyard).

Aminta 4.jpegPenelope Appleyard & Angela Hicks (Fair Oriana) Continue reading →

LHF: Handel Venceslao

~ Andrew Benson-Wilson

London Handel Festival
Handel: Venceslao
Opera Settecento, Leo Duarte
St George’s, Hanover Square, 26 April 2019

As the London Handel Festival (LHF) draws towards its closing events, they presented the last, and one of the more interesting of Handel’s three pasticcio operas (the other two being Elpidia and Ormisda in 1724/5. These were made up of music pinched from other composers and loosely gathered together into a single opera. Venceslao was first performed in 1731 and contained music ‘borrowed’ from Giacomelli, Hasse, Lotti, Orlandini, Porpora, Porta, and Vinci. The Venceslao of the title is Wenceslas, but not the one that looked out on the Feast of Stephen. This one was Bohemian King Wenzel (1271-1305) who became King of Poland as Wenceslas II. He also appears in Dante’s Divine Comedy, but in very unflattering form. He was a descendant of St Wenceslaus I, the 10th-century Duke of Bohemia who inspired the Christmas carol – he posthumously upgraded to King.

Toruń_-_Wacław_Czeski.jpg

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LHF: Costly Canaries

~ Andrew Benson-Wilson

London Handel Festival
“Costly Canaries”
London Early Opera, Brigit Cunningham
St George’s, Hanover Square, 11 April 2019

London Early Opera’s programme explored the ‘Costly Canaries’ gathered by Handel from around Europe during the early years of the Royal Academy of Music, the aristocratic corporation founded 300 years ago, in 1719. Handel was ‘Master of the Orchestra’ with responsibility for composing his own works to Italian libretti, adopting mostly Italian operas for performance in London, and engaging singers and players, usually from Italy. Enormous fees were paid to many of these singers, leading to Mainwaring description of them as ‘costly canaries’. The three singers that Handel procured highlighted in this concert were Margherita Durastanti, Anastasia Robinson (an Italian born and trained, but English singer) and, later, Anna Maria Strada del Pò. They joined others such as Francesca Cuzzoni and Faustina Bordoni, the two singers whose fabricated rivalry was whipped up by Academy audiences. These imported stars were paid extraordinary amounts of money, leading to the ultimate collapse of the Academy in 1729. Continue reading →

Andrew Benson-Wilson plays Reincken

~ Andrew Benson-Wilson

Mayfair Organ Concerts
Andrew Benson-Wilson plays Johann Adam Reincken (1643-1722)
St George’s, Hanover Square, London W1S 1FX
30 April 2019 @ 1:10pm 

Toccata in G (Andreas Bach Book)
Toccata in A (Anon?)
Chorale Fantasia: An Wasserflüssen Babylon

Johann Adam Reincken was one of the most important and influential 17th-century North German organist-composers. He forms a unique link between the Sweelinck influenced organists of the earlier part of the century and JS Bach. Little is known about his life, and very few of his organ compositions survive. He was born to North German parents in Deventer in The Netherlands around 1643. An earlier supposed birthdate of 1623 is now accepted as incorrect. He moved to Hamburg in 1654, aged just 11, to study with the famed organist of the Katharinenkirche, Heinrich Scheidemann, a pupil of Sweelinck. After a brief return to Deventer, he came back to Hamburg in 1659 as Scheidemann’s assistant, replacing him as organist in 1663 on Scheidemann’s death. As was the custom of the time, he married one of Scheidemann’s daughters in 1665. He remained there for 60 years until his death in 1722. As well as his church duties, he co-founded the Hamburg Opera and was involved in the city’s musical life. He is known from two pictures dating from around 1674; the portrait painting and the now well-known ‘Musical Company’ painting by Johannes Voorhout.

Reincken. Kniller, c1674.jpg

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LHF: Handel Singing Competition 2019

~ Andrew Benson-Wilson

Handel Singing Competition 2019
London Handel Festival
Semi-Final: Grosvenor Chapel, 5 March 2019
Final: St George’s, Hanover Square, 6 April 2019

The Handel Singing Competition has been a key part of the London Handel Festival since 2002. The finalists form a key part of future festivals, with invitations to return over the years ahead. The current festival includes such 20 past finalists, including specific solo recitals for the two main prize-winners (see here and here). Many successful careers have gained from the exposure that the competition offers although, for any potential applicants,  it is worth noting that some of the most famous of those were not first prize winners. Indeed, an unsuccessful finalist in the very first 2002 competition is currently top-of-the-bill at English National Opera (Lucy Crowe), and an unsuccessful finalist from last year is one of the stars of the current Royal Opera House/LHF Berenice (Jacquelyn Stucker). Of the LHF’s own list of seven of those who have gone on to “internationally recognised soloists”, only one was a first prize winner. And, over the years, I have also spotted several excellent singers in the semi-finals that don’t even make it into the finals. For that reason, I usually try to review the semi-final, but this year I went to both. Continue reading →

LHF: Helen Charlston

~ Andrew Benson-Wilson

London Handel Festival
Helen Charlston, Baroque Ensemble LUX
St George’s, Hanover Square, 1 April 2019

This year’s London Handel Festival has the theme of  ‘Handel’s Divas’, and explores the female singers associated with Handel. One of the key events of the annual festival is the Handel Singing Competition, with the winners and finalists of each year’s competition playing a key part in following festival events. Last year’s winner was mezzo-soprano Helen Charlston with Lauren Lodge-Campbell winning the second and audience prizes. I heard both in last year’s semi-finals rather than the final, and was very impressed with both: it was a rare occasion when I agree with the LHF judges! Both give solo lunchtime recitals this week, starting with Helen Charlston. Her programme featured the (exclusively male) heroes and villains found in Handel’s operas and solo cantatas, giving Helen Charlston ample opportunity to display a wealth of different personalities and moods.  Continue reading →

Peter Williams Memorial Recital

~ Andrew Benson-Wilson ~ Leave a comment

Peter Williams Memorial Recital
David Ponsford & Ghislaine Reece-Trapp
St George’s, Hanover Square. 24 May 2018

Peter Williams (1937–2016) was a renowned Bach scholar, organist, harpsichordist, music and publications editor, and writer. His notable publications include seminal works on Bach, Bach’s organ music, and historic organs. One of his most important books was his 1966 ‘European Organ 1450-1850’. a key introduction to the different styles of the wider European organ culture, published at a time when most UK organists had little experience of continental organs. This was followed in 1993 by ‘The Organ in Western Culture, 750-1250’. His three-volume ‘Organ Music of J. S. Bach’ (Cambridge University Press 1980, revised as a single volume in 2003) is still essential reading for anybody wanting to understand the complex background of Bach’s most famous repertoire. His most recent book, ‘Bach: A Musical Biography‘ was published posthumously in 2016, a few months after his death.  Some of the obituaries can be found here and here and here.

Peter Williams.jpg

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LHF: Mr Handel’s Vauxhall Pleasures

~ Andrew Benson-Wilson ~ Leave a comment

Mr Handel’s Vauxhall Pleasures
London Handel Festival
London Early Opera, Bridget Cunningham
St George’s, Hanover Square, 4 April 2018

 

London Early Opera have released two CDs reflecting the musical life of the Vauxhall Pleasure Gardens during the mid 18th century (reviewed here and here). Their London Handel Festival concert drew on music from both CDs with a backdrop of projected contemporary images and a spoken text setting the scene. Pleasure Gardens like Vauxhall were a focus for musical and other entertainments in 17th and 18th century London, including ‘music, food and amorous dalliance’. Such amorous dalliances were explored in the spoken commentary, given by Lars Tharp, including a diary entry from an American noting a meeting with one of the young Vauxhall ladies, who he ‘rogered twice’ and then forgot to say his prayers. As the Air from the Water Music played, we heard a description of a river journey to Vauxhall from Westminster. It was followed by Handel’s bubbly Sinfonia to Acis and Galatea, the source of a couple of later arias.  Continue reading →

LHF: Handel – Amadigi di Gaula

~ Andrew Benson-Wilson ~ Leave a comment

Handel: Amadigi di Gaula
London Handel Festival
Opera Settecento, Leo Duarte
St George’s, Hanover Square. 24 March 2018

Amadigi di Gaula (HWV 11) is a rarely performed early opera by Handel, composed in 1715 while he was staying at Burlington House (pictured), the London home of the young Earl of Burlington, Richard Boyle. It is now, in altered form, the home of the Royal Academy. Boyle had inherited the house and adjoining estate aged 10. He was around 9 years younger than Handel and was to become an influential amateur architect in Georgian London, notably for Chiswick House. By 1715, he had already completed the first of his ‘Grand Tours’ and was fast becoming a major patron of the arts and music.

Burlington_House_1698-99.jpgAmadigi di Gaula is a curious and complex tale, based on a late 14th-century Castillian chivalric fantasy romance that also inspired Don Quixote. The tale involves Princess Oriana (not to be confused with the hero of Felix the Cat), a fictional heiress to the throne of England (the ‘Fortunate Isles’) and her protector knight, the Scottish born Amadigi of Gaul, who is love with her, as is his companion Dardano, Prince of Thrace. The evil sorceress Melissa is infatuated with Amadigi. To this end, she imprisons Oriana in a tower and Amadigi and Dardano in a nearby garden. She tries various spells to attract Amadigi, who, initially together with Dardano, is trying to rescue Oriana. After a complex series of deceptions, betrayals, jealousy and sorcery, Amadigi and Oriana are finally united, but not before Amadigi has killed Dardano and Melisa has stabbed herself as her supernatural powers fail against the power of love.

Amadigi.jpg
Continue reading →

Parthenia Nova

~ Andrew Benson-Wilson ~ Leave a comment

Parthenia Nova
Richards, Fowkes & Co Opus 18 organ: St George’s Hanover Square
Simon Thomas Jacobs
Fugue State Records FSRCD009. 77’40

Parthenia Nova

The 2012 opening of the new organ in St George’s Hanover Square was an important event in the London organ world. The church itself has a strong musical identity, not least by being Handel’s own parish church when he lived a couple of streets away. It was the first organ in London by any American organ builder, in this case Richards, Fowkes & Co. Despite some concessions to present day Church of England use, it is at heart a relatively uncompromising take on the 16th and 17th century organs on North Europe, the specialism of the organ builders. It is housed in a case spread across the west end of the church gallery. The central portion of the case is an historically important 18th century one, although nothing remains of the organ that it originally contained. Continue reading →