Music for a Grand Exhibition Organ
Andrew Benson-Wilson
St Anne’s, Limehouse. Friday 2 October, 7:30
Johann Sebastian Bach (1685-1750)
Alle Menschen müssen sterben BWV 643
Wenn wir in höchsten Nöten sein BWV 641
Ich ruf’ zu dir, Herr Jesu Christ BWV 639
Wer nur den lieben Gott läßt walten BWV 642
‘Cathedral’ Prelude and Fugue in E minor, BWV 533
Alexandre Pierre-François Boëly (1785–1858)
Quatour
Offertoire pour le Jour de Paques
Dialogue
Fantasia pour le verset Judex Crederis au Te Deum
Louis-James Alfred Lefébure-Wély (1817-1869)
Scène pastorale avec orage pour une inauguration d’orgue
J S Bach
‘St Anne’ Fugue in E flat, BWV 552
Welcome to a rare opportunity to hear the magnificent 1850 Gray & Davison organ in Nicholas Hawksmoor’s stunning 1730 church of St Anne’s, Limehouse – the “Cathedral of the East End”. The organ won first prize at the 1851 ‘Crystal Palace‘ Great Exhibition in Hyde Park. The organ features several gentle stops as well as some astonishingly powerful reeds. Around the late 1980s, I gave some annual recitals here, around the time a book was published that described the organ as “decrepit but still magnificent”. The idea of those recitals was to let people hear this important organ, whatever state it was in, before it became unplayable and forgotten. Following the 2006 William Drake restoration, I am delighted to be invited back for this recital.
All the proceeds from the retiring collection will go towards the continuing maintenance of this important organ.
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The completion of the restoration of the famous 1735 Richard Bridge organ in Hawksmoor’s Christ Church, Spitalfields was one of the most important musical events in London during 2015. My review of John Scott’s opening recital, and details of the organ, can be seen 
designed by the famed Baroque architect Nicholas Hawksmoor. The organ was built in 1735 by Richard Bridge, who became one of the leading organ builders of the day. Spitalfields seems to have been only his second commission, perhaps explaining the comparatively low price of £600 for such a substantial instrument. For the following 100 years or so, it was the largest organ in the country. It suffered the inevitable changes over the years, but retained enough of its original pipework to form the basis for a historically based reconstruction, returning it broadly to its original specification and construction. It was dismantled in 1998 while the church was being restored and was then restored to its 1735 specification, with very few concessions. Its completion in 2015 makes this by far the most important pre-1800 organ in the UK.
One of the most important musical events in London in 2015 was the long-awaited opening of the 1735 Richard Bridge organ (restored by William Drake) in the Hawksmoor designed Christ Church, Spitalfields. For many decades it was the largest organ in the UK, and its musical importance is immeasurable. My review of the gala opening recital, given by (the now sadly, late) John Scott, and information about the restoration and an organ specification can be found 
child prodigy, writing his first oratorio, Ruth, aged 6. When he was 8, the composer Dr William Boyce referred to him as the ‘English Mozart’. His family moved to London when he was about 12, living in Marylebone. He led a colourful life, some of his apparent eccentricities possibly being caused by a serious head injury when he was about 21. An organ virtuoso, Samuel Wesley was the leading pioneer of the Bach revival in England. Bach seems to have been a strong influence on his Opus 6 Organ Voluntaries, published between about 1807 and 1820, and the focus of this recital.
Christ’s Chapel of Alleyn’s College of God’s Gift in Dulwich was consecrated 400 years ago, in 1616. The chapel and adjoining almshouses were the first of the charity foundations set up by the wealthy actor, Edward Alleyn, owner of the manor of Dulwich. Shortly afterwards, the foundation’s status as a educational college was confirmed, leading to the present day Dulwich College.
time the Chapel’s first organ was installed. In 1760 it was replaced by a new organ by George England which, despite the usual additions and alterations over the years, still survives with a considerable amount of mid- 18th century pipework and a fine Gothick case. In 2009 it was restored back to its 1760 state (with modest additions) by the UK’s leading specialist on historic organs, William Drake. The original pitch (A430) and modified fifth-comma meantone temperament was restored. It is now one of the most important historic instruments in the UK.
