Minor Masterpieces of Organ Music No.4: Alec Rowley’s Benedictus

Few piano students of a certain generation will have escaped encountering the music of Alec Rowley. Whether through his “progressive” studies or one of his distinctive suites, Rowley’s “graceful and expertly crafted” writing remains a delight to play. Yet his contributions beyond the classroom - particularly to the recital room and concert hall - are less widely appreciated. His organ music, too, has long languished in obscurity. Important works include The Four Winds, Five Improvisations and two Organ Symphonies. A notable exception to this neglect is Herman Jordaan’s recent two-disc recording at Albion Church, Ashton-under-Lyne - a splendid introduction to this overlooked repertoire.

Alec Rowley (1892-1958) was a prolific English composer, organist, pianist, and educator whose achievement bridged the realms of pedagogy and performance. Born in Ealing, London, he studied at the Royal Academy of Music under Frederick Corder and others, winning multiple prizes. His career was deeply rooted in musical education: he taught at Trinity College of Music from 1920 and became a respected lecturer and broadcaster. For several years he was organist at St Alban’s Cathedral. Rowley died suddenly while playing tennis in 1958.

His compositional output was vast and varied, with a particular emphasis on the piano for students and amateur performers. These, often lyrical and accessible, became staples of mid-century British piano teaching. Yet Rowley also ventured into larger forms, producing three piano concertos, an oboe concerto, and orchestral music such as the Three English Idyls, and a Sinfonietta. His catalogue also includes a wealth of songs and piano solos. Stylistically, he leaned toward Romanticism, occasionally tinged with French impressionist influences.

Within “quires and places where they sing” Benedictus has a twofold meaning. Fundamentally, the word translates “Blessing or Blessed.” In some major denominations the Benedictus is part of Matins or Morning Prayer and is often sung by the choir. Drawn from Luke 1:68-79, the text offers praise to God for His promise of redemption - fulfilled through a mighty Saviour, the enduring covenant with Abraham, and the prophetic mission of John the Baptist to prepare the way for Christ.

However, Rowley’s Benedictus is not a straightforward meditation on the liturgical use of the words. The score is prefaced by a quotation from Christina Rossetti’s (1830-94) poem, All thy works praise Thee, O Lord. This devotional poem imagines a grand cosmic procession in praise of God. Each stanza gives voice to a different element of creation - from angels and heavenly bodies to seasons, weather, and natural forces - all proclaiming their purpose and beauty as reflections of divine will. The tone is reverent and celebratory, blending theological imagery with poetic dignity. The ‘Medicinal Herbs’ section includes the words “I bring refreshment/I bring ease and calm,” which can be construed as bringing spiritual consolation through reflection on creation, more particularly its pastoral or natural elements.

Benedictus for organ was written in 1931. The previous year, he had married Mary Evelyn Shaw. Sadly, the union did not work out, and they were divorced in 1932. This was to be the end of his career as an organist at St Albans: in those days, divorce was frowned on by the church authorities. Yet, this contemplative voluntary indicates happier times.

Stylistically, Benedictus sits comfortably within the English pastoral tradition. Its lyrical lines and warm harmonic palette evoke the reflective charm of Harold Darke or Herbert Sumsion, with subtle modal tones lending a touch of antiquity. It unfolds with quiet dignity; its phrases shaped with a natural vocal sensibility - a nod to Rowley’s experience as a church organist and his affinity for liturgical forms. The central climax is powerful and exhilarating.

There is no detailed registration provided: the score suggests that the opening and closing sections are played on the Swell, with the middle development using the Great. There is a call for a Clarinet stop on the Choir organ shortly before the final recapitulation.

Benedictus was published by Novello in 1931 as part of their Original Compositions (New Series) No.130. It was reissued in the 1970s with a new cover.

Though modest in scale, Benedictus displays Rowley’s craftsmanship: the textures are clear, the voice leading elegant, and the emotional mood is gently uplifting. It is a piece that invites reflection, suitable for liturgical use or recital programming where intimacy and repose are desired.

With thanks to the Glasgow Society of Organists Journal where this essay was first published.