Minor Masterpieces of Organ Music No.2: Percy Whitlock’s Salix

Percy Whitlock (1903-1946) was an English organist and post-romantic composer. His music, influenced by his teachers Charles Villiers Stanford and Ralph Vaughan Williams, is characterized by its rich harmonic language and lyrical expressiveness. Whitlock's compositions, primarily for organ and choir, often feature a conservative yet imaginative use of traditional forms and structures. Notable works include the Plymouth Suite, the Sonata, and Five Short Pieces for Organ, which all retain their place in the repertoire. Whitlock’s style blends the romanticism of his era with a clear personal voice, that sometimes veers towards a cinema organ style. His music is always accessible and enduring.

In 1936, Whitlock became the full-time Borough Organist at Bournemouth, after resigning his post at St Stephen’s Church the previous Christmas Day. Major works at this time included the magisterial Sonata in C minor for organ. This, strangely, was dedicated to Dorothy L Sayers and Harriet Vane, the heroine of her Lord Peter Wimsey novels. Work also started on his largest score, the Organ Symphony, which premiered the following year.

The Plymouth Suite, written in 1937, is a celebrated work in the organ repertoire. Inspired by a trip Whitlock and his wife took to Plymouth for a conference of "The Incorporated Association of Organists," the suite consists of five movements, each dedicated to organists who attended the conference. The movements are: Allegro risoluto, Lantana, Chanty, Salix, and Toccata. The dedicatees, respectively, were Harvey Grace, then at Chichester Cathedral, Dom Wilfred of Buckfast Abbey, Dr J.H. Reginald Dixon, longtime organist at Lancaster Cathedral, Henry Austin Dewdney and Dr Harold Moreton, Plymouth’s Borough Organist.

The Allegro risoluto is energetic and bold, while Lantana is lyrical and flowing. Chanty evokes the spirit of sea shanties, and the Toccata is a virtuosic finale.

The fourth movement, called Salix is an example of the pastoral style just beginning to wane at the time of writing. The piece's depth is more intense than the 'light-hearted' dedication would imply. The dedicatee was the above-named Henry Austin Dewdney who was a Bournemouth pianist. He engaged in local music-making during the nineteen thirties. The composer himself states that he was “A perpetual grouser, yet with much humour.”

Salix means a willow tree - a weeping willow. The main theme is a gentle 'Sicilian' tune in 6/8 time. Whitlock expert, Malcolm Riley has noted echoes of the folksong Sing all a Green Willow my Garland Must Be and echoes of Percy Grainger’s song My Robin is to the Greenwood Gone in this movement.

This gentle piece opens [fig.1] in E minor with a wistful phrase supported by gentle dissonances and a little imitation of the melody. The middle section [fig.2] is brighter, but still thoughtful. The reprise of the main theme has a slightly more complex accompaniment before it concludes in a brighter E major.

Salix is characterized by its serene and lyrical nature, providing a tranquil contrast to the more robust and energetic movements of the suite. The music is marked ‘andante tranquillo,’ indicating a calm and peaceful tempo. Whitlock uses rich harmonies and flowing melodic lines to create a soothing atmosphere. The tune is simple, yet elegant, weaving through the texture with a sense of grace and poise. The gentle use of dissonance and resolution enhances the movement's emotional depth, making it both introspective and evocative.

The skilful registration choices allow the organ's timbres to shine, highlighting the instrument's expressive capabilities. Salix stands out as a beautiful example of Whitlock's ability to combine lyrical writing with subtle harmonic language.

One cannot discuss the Plymouth Suite without noting the concluding Toccata. This was dedicated to the above-mentioned Dr Harold George Moreton (1864-1961). Strangely, this is Whitlock's only essay in this form. It is in the tradition of the great French Toccatas of Boëllmann, Gigout and Mulet. This is a magnificent finale to a superb suite. Superficially, it is ‘easy’ to play, but the subtle changes of key and figuration make it much harder to 'bring off' than a first glance would suggest. There are two themes here: a slow-moving pedal tune is set against a semi-quaver accompaniment on the manuals. The solo reed emerges and lifts this piece into the heavens. The Toccata would make an excellent recessional for a wedding if only more people were aware of its existence.

With thanks to MusicWeb International where some elements of this essay were first published.

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