Alfred Hollins (1865-1942): Organist and Composer- Achievement

His organ recitals were not only entertaining but were also instructive. He introduced the practice of discussing the programme with the audience before each piece. He would describe the main elements of the composition and would pick out the key themes on the keyboard. He brought a tremendous enthusiasm to both his playing and teaching. His ability to entertain and instruct was based on a sound musicianship derived from a profound understanding of the music and a thorough knowledge of the musical instruments. It is well known that he had models of various organ actions. He was able to explain the mechanisms to all enquirers. They were even designed so that a blind person could ‘feel’ their way to an appreciation of the construction of the organ. From this understanding of the mechanics of the organ he was able to develop the principles of the tonal characteristics of the pipework and build on this appreciation when contracted to design specifications for new and rebuilt organs. 

His style of playing was colourful. The Sydney Sunday Sun is reported as stating: - “…from the moment he placed his fingers on the keyboard, Mr Hollins showed his confident command of the instrument.”  His earlier expertise on the piano was transferred to the organ. His fingering and hand action was freer than was normal for organists. Perhaps it resembled the type of playing developed by the ‘cinema’ organists of the later generation? However Hollins did not appreciate jazz. His main inspiration was the classics.

In those days organ recitals contained many more ‘transcriptions’ than would now be the case. In the days before wireless and superior quality records it was far harder for audiences to regularly hear the standard orchestral repertoire. So the recitals would contain a variety of transcriptions and original works. The tonal balance of the organ was often designed to parody the instrumental capabilities of the orchestra.

Hollins himself believed in contrast in his programmes. He would always include a ‘scherzo’ like piece. He tried to balance heavy and light classics. He contrasted works in key, tone colour and style.

Hollins favourite composers seemed to be the romantics. He included the Meistersingers Overture and the Prelude and Liebstod to Tristan, the Schumnan Quintet and Listz’s Les Preludes as being amongst his key formative works. In the ‘organ loft’ he had a lifelong appreciation and enjoyment of Alexander Guilmant and the Englishman Henry Smart. A brief overview of a series of concerts discovers pieces originally written for organ by J.S Bach, William Wolstenholme, Healey Willan, Leon Boëllmann and Josef Rheinberger. Transcriptions included the Largo from Anton Dvorak’s New World Symphony and three pieces by Edward MacDowell.

Hollins was a prolific composer. He wrote much for the organ – there are some fifty five pieces. However, he composed surprisingly little for his other instrument – the piano. He contributed to the repertoire of songs and choral works. Unfortunately, due to changing fashions these have become virtually unknown.

Typically, his music was light and airy. Often it was tuneful with conventional harmonies. The music of Hollins was written as if he had an orchestra in mind – not necessarily parodies of the various instruments - but a genuine feel for orchestral tone and colour. All his pieces for organ display a consummate musical skill – and a quite a degree of original ideas. His writing was eloquent displaying many of the tools in the composer’s toolbox. His works freely utilise both harmonic and contrapuntal styles.  Hollins was a great improvisor, however virtually none of his extant compositions are based on any performed improvisation. It would be fair to say that most of his music is suffused by an improvisatory character worked out in pen and ink to a high degree of sophistication.

The three pieces which have best stood the test of time are: -
1. The Trumpet Minuet, written in a Handelian style.
2. A Song of Sunshine, perhaps his best known and best loved work – really one of those pieces where we feel better after having listened to it.
3. Spring Song – another joyful excursion into the dappled English landscape!

After the release of The Organ Music of Alfred Hollins played by David Liddle by Priory Records, and Timothy Byram-Wigfield on the Delphian label, listeners have become more aware of Hollins’ compositional skills. Many of his less-remembered works are beginning once again to find their ways into the repertoire of recitalists – both on CD and in the concert hall. For example, the Concert Overtures and the Grand Choeur’s have found a slot in the discographies. Even the lighter salon piece such as the Intermezzo in Db has its enthusiasts.

It is to be hoped that one day an enterprising record company may bring out some of the lesser known pieces and a few of the better choral works and songs.

W.T. Best once claimed that Hollins ought to have the epithet ‘Alfred the Great.’ And this summed up the respect in which he was held. Perhaps he was the Carlo Curley or Kevin Bowyer of his age?

Hollins himself is quoted as having said that the “happiest days of his life had been spent at the church organ.” Surely there are no finer testimonies to one of the most charismatic organists of the past 150 years.

With thanks to MusicWeb International where this essay was first published.