In London Town: British Organ Music on the Dobson Organ of St Thomas Church, Fifth Avenue

This Transatlantic Extravaganza gets off to an exuberant start. Listeners will know William Walton’s iconic Crown Imperial and the Orb and Sceptre Marches. I guess fewer will know his March for A History of the English-Speaking Peoples completed in 1959. This was commissioned by the ABC Television network as the opening and closing credit music for their proposed series based on Winston Churchill’s then recently published four volume history. Sadly the project never came to fruition. The present arrangement for organ was made by Tom Winpenny. Benjamin Sheen makes full use of the massive resources (mixtures, reeds and chamade trumpet) of the St Thomas Church organ to give an enthusiastic and commanding performance. 

John Ireland’s “one hit wonder” on Classic fm is the Minuet from the Downland Suite (1932). Originally for brass band, this movement is typically heard in its string orchestra incarnation. The other movements belong to the aficionado. In 1950, the composer and organist Alec Rowley arranged the deeply felt Elegy, the second movement. In this reflective piece, Ireland out-Elgar’s Elgar in developing a deep sense of loss and what might have been.

Talking of Elgar, the massive arrangement for organ of the Cockaigne Overture, op.40 (In London Town) (1900-01) is magnificent. All the magic of the original is present and correct: the Salvation Army brass band, the church bells, the strolling of lovers in the park, and the cheeky urchin. The Londoner’s theme, which is the heart of the overture, is heard Nobilmente. The present organist’s father, Graham Sheen, made this scintillating transcription. It functions perfectly and should be deemed a major recital piece.

Legend has it that St Bride travelled back in time to be present at the Nativity of Our Lord. She was attended by two angels. Judith Bingham has taken this thought and developed it into a meditation. In the score, Bingham has inscribed some lines from a poem that she has penned, illuminating the story. These act in lieu of expression marks, presumably allowing the organist a degree of flexibility in interpretation. The result is “dream-like” music that feels almost impressionistic in mood. Appropriately, St Bride assisted by angels (2000) has a sense of timelessness that reflects the saint’s legend.

Two numbers by Percy Whitlock are included. The first, Fantasie Choral No.1 in D flat, is a well-constructed work that explores several themes that develops into a set of three variations. There is much magic in this secular organ piece, especially the quicksilver scherzetto variation. The hushed closing is pure witchery. It is likely that the Belgian composer César Franck’s Three Chorals were models. The second work is the popular Scherzetto from his massive Sonata in C minor written in 1935-36. David Gammie (Liner Notes Hyperion CDA67470) suggested that this movement reflected the popular dance tunes that appealed to Whitlock. Once again, the impact of this thistledown music is “brilliant, witty, yet understated.” It is given a brilliant performance here.

It is appropriate that Benjamin Sheen chose to include the late Simon Preston’s tour de force Alleluyas. Messiaen is clearly a major influence here, most especially with Les Anges from his La nativité du Seigneur. There are two themes: one bold, spiky and rhythmic and the other more reticent, but nodding towards rich jazz chords. These two themes are juxtaposed in a variety of ways throughout the near six-minute duration. This calls for skilled changes of registration. Alleluyas aim is to recall the angels ascending to the throne of God. The score is prefaced by an appropriate quotation from the Liturgy of St James.

Master Tallis’s Testament is not one of my favourite works by Herbert Howells. I confess to finding it a bit stodgy. This number is the second of Six Pieces published in 1953 but written some years earlier. The slow exposition of the theme as a set of variations allows the organist to explore the contrast between the Tudor composer’s singing style and Howell’s “characteristic harmonic idiom.” Benjamin Sheen includes on this disc the short Tallis original organ Hymn: Veni Redemptor. He states that although “Howells’s work does not quote a specific tune by the elder composer, the theme of the hymn is of similar melodic shape…” As such it makes a satisfying introduction to Master Tallis’s Testament.

The short Lacrimae (Tears) by Andrew Carter was a response to the sudden death of organist John Scott in 2015. It was first heard during the Solemn Requiem mass in his memory. Carter explained that it was “both a funeral march and a desperate cry of anguish.” It is certainly deeply felt and imbued with sadness. It is appropriate that it appears on this disc to temper some of the more energetic music. It is good that Lacrimae has survived as an important organ work and was not simply an ephemeral response to a sad event.

Edward Elgar’s Imperial March was written in 1897 to celebrate Queen Victoria’s Diamond Jubilee. Strangely, this has probably had more success in its organ arrangement (1897) by George Martin than in the original orchestral version. This is an effective march that balances a grandiose tune with a softer, more reticent middle section. The liner notes suggest that in the coda “the imperialistic bombast is at last revealed.” That is the “proper” explanation these politically correct days, but perhaps it can be explained as sheer optimism and confidence, which is no terrible thing.

Benjamin Sheen is currently Sub-Organist at Christ Church Cathedral, Oxford, and Organ Tutor at the University of Oxford. He regularly performs on both sides of the Atlantic, South Africa, Singapore and Europe.

The booklet is typically helpful, with useful notes about each work devised by the organist. These are preceded by a personal introduction to the album. There are biographical notes about the soloist and a paragraph about the musical tradition at St Thomas Church. Finally, the all- important specification and history of the Dobson organ is included. On the downside, there are no dates given for the composers and arrangers, as well as for several of the pieces. This is essential information that should never be omitted.

I enjoyed this CD. The repertoire is impressive, the playing by Benjamin Sheen is outstanding and the recording captures the colours of the organ. This is a fantastic exploration of some popular pieces in arrangement and some less-well-known original works.

Track Listing
William Walton (1902-83)
March for A History of the English-Speaking Peoples (1959) arr. for organ by Tom Winpenny
John Ireland (1879-1962)
A Downland Suite: II Elegy Lento espressivo (1932/1950) arr. for organ by Alec Rowley (1892-1958)
Edward Elgar (1857-1934)
Cockaigne Overture, op.40 In London Town (1900-01) arr. Graham Sheen (b.1952)
Judith Bingham (b.1952)
St Bride assisted by angels (2000)
Percy Whitlock (1903-46)
Fantasie Choral No.1 in D flat major (1936)
Simon Preston (1938-2022)
Alleluyas (1965)
Thomas Tallis (c.1505-85)
Hymn: Veni Redemptor
Herbert Howells (1892-1983)
Six Pieces for organ: III Master Tallis’ Testament (pub.1953)
Percy Whitlock
Organ Sonata in C minor: Scherzetto (1936)
Andrew Carter (b.1939)
Lacrimae (written in memory of John Scott, 2015) (pub.2020)
Edward Elgar
Imperial March (1897) arr. for organ by George Martin (1844-1916)
Benjamin Sheen (organ)
rec. 15, 19, and 20 February 2020, St Thomas Church, Fifth Avenue, New York, USA
CRD RECORDS CRD3541

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