In 1823 it was then decided to dismantle the old organ in the chancel arch of St Mary’s, and rebuild it in the new gallery being erected at the west end of the nave, under the western arch, where it effectively blocked the draught from the tower arch. The details of this alteration have been recorded and include paying Mr. Smith, organ builder from Bath, £ 102 10 0 for repairing the organ and £37 18 ½d for moving it from the chancel to the west end and repairing its casing.
Towards the end of the 1840s it was decided to restore and re-build St Mary’s. This was the time of the Oxford Movement, begun in 1833. The aim was to ensure the Sacraments and Services of the Church were used meaningfully and above all really observed. It discouraged showiness and pomp. It wanted religion to be purified, deepened, and made more real. Above all the main aim was for a whole-hearted, supreme reverence for moral goodness.
By 1830, the music performed in churches reflected the general attitude of the Church at that time. Most of the parish churches had a choir in the west gallery which was accompanied by a barrel organ or the village band. They limited their singing to metrical psalms and a few hymns.
The Oxford Movement encouraged parish churches to aim for choral services similar to the cathedral type. These small churches did not have the singers nor the ability to sing difficult music. A great deal of simple music-anthems and services, was composed to meet their needs. Anglican chant was used more and more to fulfil the desire of those churches who wanted to have a fully Choral Service. It because the custom for all choirs to be vested. For more on the musical philosophy of the Oxford Movement, see the section further down this page.
St John’s Church in Eastover was the second church in the country to be built specifically under the influence of the Oxford Movement. It was built by the Reverend John Moore Capes, who was educated at Oxford, and was influenced by John Henry Newman, and in the spring of 1840 began a search for a district where there was a need for a new church. As the suggestion of the Reverend J. H. Pender of Wells, he decided upon Eastover, which then had a population of 3000. He offered to fund the church himself. A Town Meeting was held in November 1840, where his offer was gladly accepted. St John’s was consecrated on 17 August 1846.
At the end of 1848, the Reverend Thomas George James was inducted at St Mary’s. He was born in 1812 in Manchester and was educated at Oxford, at the same time as the Oxford Movement was born. His first living was at Holy Trinity, Habergham-Eaves, near Burnley. It was erected in 1836, partly by private subscriptions and partly by a grant from the Church Building Society. The consecration took place November 10th, 1836, but owing to some portions of the building not being completed, it was not opened until March 12th 1837. The church is what is known as a Commissioner’s church, built with funds set aside to celebrate the end of the Napoleonic wars, by building churches in industrial areas that did not have them.
In January 1849 it was decided to “repair and considerably enlarge” the organ. This was part of the major rebuilding of Saint Mary’s being planned then, which included the removal of all the galleries and their substitution by pews. A committee was set up to oversee the taking down of the organ and rebuilding it, with improvements, in the north chancel chapel. In addition, to be able to sing Cathedral type services, Antiphonally, the Chancel was fitted out with Medieval-style choir stalls.
The organ was rebuilt with a new sound board and wind chest. The pipes were reseated and revoiced to concert pitch. The additions were a large open diapason throughout, a large Venetian swell to gamut G, containing seven stops, — open diapason, stop diapason, principal, twelfth, fifteenth, hautboy, and trumpet, one and a half octaves of German pedals, and a set of compound pedals with new feeders etc. The bellows seem to have been below the church floor as a later report noted that the leather was damaged due to the damp.
This decision did not please all the parishioners—one gentleman sent a letter to the Bridgwater Times saying “And what do we gain by the present alteration? The disclosure of the dislocated arch of the tower, the unsightly bell ropes and the small western window; all of which re far better concealed, as heretofore they were by the organ …. but which is now to be deposited comparatively out of sight in the aisle the transept.”
The re-built organ was re-opened on 22 July 1849 at a special service, at which it was reported that the church was “densely crowded”. Also present was Mr. J. Beale of Bridgwater who undertook the rebuilding, This was the first service at which the newly-formed cathedral-style choir sang. There were eight choristers in surplices and bands. The music was by Tallis and Hill. The effect was slightly marred by the newspaper reporting that the organ was off-key and needed some adjustment. A member of the congregation wrote disparagingly in the Bridgwater Times about “Bawling boys in shirts”.
The organ suffered badly during the rebuilding work the church after October 1849. At one stage the roof of the chancel chapel was removed and replaced, so the organ was exposed to rain dust and damp, to the annoyance of Mr Akerman, who wrote to the Bridgwater Times complaining at having to remove brickbats and dust from it before he was able to play for Sunday services. Soon after the reopening of the church, on Easter Sunday, 1852, the organ gave out completely and had to be removed to an organ builder at Bath for extensive renovation.
This organ was short-lived for it was found to be getting unplayable as the pipes were rotting and collapsing under their own weight.
The Willis Organ
A meeting was held in October 1868 where some members of the congregation decided that a specification and price should be obtained from Henry Willis, the well-known London organ builder. The Revd W. O. Wintle, a curate, was deputed to see him. Wintle reported at a subsequent meeting that the organ would cost £550 and Willis would take the old instrument in part-exchange. A committee was set up but over the next 12 months nothing much happened. Another meeting was held in September 1869, and Mr J. R. Smith, a recently elected warden, was appointed chairman and secretary; much of the work of fund raising was done by him personally. He divided the town into sections and canvassed the households, securing promises of £420. At a meeting in November 1869 he proposed holding a bazaar to raise the balance. Soon after, Willis visited the church and found the old organ worthless. He was invited to enter into a bond to construct the new instrument for a fixed price and to a determined date. Willis said that due to the rising cost of material his estimate was increased by £50, making £600 in all.
On 4 July 1870 the bond was entered into between Willis, the Vicar and Mr Smith, stipulating that it was to be to an agreed specification, to be approved by Mr E. J. Hopkins, organist of the Middle Temple, London, and that it would be finished by 1 November following. A bazaar was held in the Town Hall in August, which raised £350.
Willis was heavily committed to the Albert Hall organ during this year and was unable to meet his Bridgwater deadline; he promised to complete the work the folloewing Whitsontide. He failed to achieve this also, so Mr Smith went to London to “come to terms” with Willis, who agreed to include his pneumatic action valued at £50 in compensation for the delay, together with a penalty of 10s. 6d. per day should the organ not be installed by 10 June. In the event that undertaking failed also, and Willis added further unspecified improvements in compensation.
The old organ was taken down in April 1871. The new one was installed by Willis’s workmen, Philpott and Prichard, by late August and the work was certified by Mr Hopkins. His letter reads:
In obedience to your request, I have examined and tried the new organ, just erected by Mr Henry Willis, of London, and I find that he has not only fulfilled the letter of his contract to the letter and spirit, but that he has literally gone beyond it. At a low valuation, the additions he has introduced exclusive of the pneumatic-action must be placed at £50. The interior arrangements of the organ are most conveniently made; the construction of the entire instrument is most neat and finished, and the voicing is well-balanced, even sweet, full and prompt speaking in its respective parts and combinations.
Edward T. Hopkins, organist of the Temple Church, London
Of the £420 promised as subscriptions about £130 remained unpaid. Various unpaid expenses would be partly covered by collections on the day. The carriage from London would also need to be funded. The committee felt that once the outstanding subscriptions had been collected, they would be able to cover all costs.
The opening ceremony was on Thursday 21 September, when there were two choral services, a public luncheon and a recital by the famous George Riseley, organist of All Saints, Clifton, and the Colston Hall, Bristol. The day of the opening was fine. At the suggestion earlier printed in the Bridgwater Mercury, the principal tradesmen of the town agreed to close their shops at 2.00 p.m. to allow their staffs to attend the afternoon concert.
At the invitation of the Mayor, the Bishop, clergy and members of the Corporation met at the Town Hall at 11.00. a.m. A “State” procession of the mayor and ex-mayors in robes of office and headed by the mace bearers walked to Saint Mary’s by way of the High Street and Cornhill. There were some floral decorations in the chancel of Saint Mary’s, these being the work principally of Mr George Hobbs. There was a large congregation for choral morning service, with clergy from many surrounding parishes and deaneries and the Bishop preached.
The music comprised:
Introductory voluntary: Andante Silas
Venite: (Chant) Ouseley, in B flat
Psalms cxlvii, cxiix: (Chant) Monk, in A
Te Deum: Dykes in F
Jubilate: (Chant) Ouseley in D
Anthem after 3rd Collect: Isaiah xiix, 13; li, 3, SingO Heaven C. Lucas
Middle Voluntary, Larghetto, from the Symphony in D, Beethoven
Kyrie from Mendelssohn, Joule
Hymn before sermon, “Ancient and Modern” No. 322
At the concluding sentence the “Hallelujah Chorus” was sung, and the final voluntary was “The Heavens are telling”.
The three voluntaries were played by Riseley, and the accompaniments to the rest of the service were played by Mr Lavington, organist of Saint Mary’s.
A luncheon afterwards took place at the Clarence Hotel under the presidency of the Vicar (Rev. W. G. Fitzgerald), supported by the Mayor and the Bishop. The numerous company included several ladies and the members of Saint Mary’s choir. Various speeches were made, including one by Mr Smith, secretary and treasurer of the organ committee, who thanked his helpers including Mr Batten and Mr Lucette.
The organ recital by Riseley began at 3.00 pm, and lasted about an hour and a half. About 500 people were present. The music comprised:
Organ concerto. No 6. Allegro, Larghetto, Allegro Handel
Allegretto, “Hymn of praise” Mendelssohn
Prelude and fuge [sic] (G minor) F.[sic] S. Bach
Duo “Quis est Homo” (Stabat Mater) Rossini
Chorus “The Horse and his Rider” and “But the waters” from Israel in Egypt, Handel
Pastorale Wely
Organ Sonata No I, (F Minor) Mendelssohn
Allegro Moderato, Adagio, Andante Recitando, Allegro Assai Vivace
Andante (in G) Batiste
March (Eli) Sir M. Costa
The newspaper commented:
The programme was an admirably-selected one, not only for displaying the talent of the performer, but also for the purpose of testing the qualities of the new organ: and the result was eminently successful.
The preacher at the evening service was the Revd Prebendary Sadler, who had been Vicar of Bridgwater until eight years previously. Such was his popularity that the church, large as it was, was crammed, forms were placed along the aisles to get the extra numbers in.
As earlier, Riseley played the voluntaries, and Mr Lavington played the accompaniments for the service.
Introductory Voluntary; Adagio from Quartet in B flat Mozart
Psalms: cxlviii, cl; (chant) Ouseley, in E
Cantate: (chant) Lee in G j
Deus Misereatur: (Chant) Tucker, in A
Anthem: (after third Collect) Psalm xxxiii, 1,2,4,
“Rejoice ,in the Lord” C. King
Hymn before sermon: Ancient and Modern No. 336
Motett[sic] “Hear my prayer Mendelssohn
After Offertory: “Hallelijah Chorus” from Messiah Handel
Concluding voluntary: Offertoire Wely
The amount of the collections at the two services was £35 2s 4½d., and the sum from the sale of programmes was £20 14s; total £65 16s. 4½d.
After the formation of the Bridgwater waterworks in 1880, the church installed a hydraulic organ blower, undoubtedly a David Joy patent one.
In 1879 the care of the organ was taken over by Vowles of Bristol, who rebuilt the organ in 1922. At this rebuilding, the mechanical action to the manuals and drawstops, and the pneumatic action to suboctave couplers were added to both Swell and Choir organs, and a new blowing plant was installed. The Choir organ was also enclosed and various tonal changes were made.
Sixteen years later, in 1938, it was found necessary completely to overhaul the instrument, and this time the work was carried out by Willis. On this occasion the reeds were revoiced and a new pedal board, two balanced crescendo pedals, and the “Great reed on choir” mechanism were added.
The Present Organ
The next scheme of rebuilding was undertaken in 1965. This scheme, which incorporated new electro-pneumatic action together with a new console, was drawn up by Mr W. E. Gulvin, Managing Director of Percy Daniels & Co. Ltd., in consultation with Mr R. W. Gillings, organist of the church. As far as possible the original tonal qualities of the old “Father” Willis organ were preserved, in keeping with current trends, however, by means of new stops, and with the aid of extensions the Choir and Pedal organs were enlarged. The work was finished in March, 1966 and a brief history of the organ by Robert Gillings published.
The organ was overhauled in 1975 and 1979, and repairs and adjustments have been carried out periodically since In the early 1980s the bodies of the organ pipes facing the chancel and nave were given an undercoat of metallic paint and re-painted a dove grey, placing the olive green of the original scheme. The coloured decoration approximates to the Victorian ideas.
Organists at Saint Mary’s
Incomplete list
Pre 1849, not known
1849 Mr Akerman
1871 Charles Lavington (son of the organist at Wells Cathedral)
1910 Frank Docksey, BMus, FRCO
1936 George Thompson
WW2 William Rains, formerly organist at Quebec Cathedral, was organist during the absence of George Thompson on War service
1953 Kenneth Brown
1962 Robert Gillings
1970 Geoffrey Bond
1996 John Bodiley
2002 Jenn Botterill Director of Music until 2003
2004 Dr Terry Norman Director of Music until August 2005
2006 onwards Doug Smith Director of Music
A Note on the Oxford Movement
In the early nineteenth century, different groups were present in the Church of England. Many clergy in the parishes were Evangelicals, as a result of the revival led by John Wesley. Alongside this, the universities became the breeding ground for a movement to restore liturgical and devotional customs which borrowed heavily from traditions before the English Reformation as well as contemporary Roman Catholic tradition.
The Reverend John Keble, delivered the Assize-Sermon, taking as his subject “National Apostacy”, on July 14, 1833. This sermon is considered the beginning of the Oxford Movement. A few days later a group of men of the Oxford University met and discussed methods of strengthening the Church’s position. As a result of this meeting, many Tracts were written concerning the true nature of the Christian Church, its Liturgy, its relation to the ancient Church, The early aims of the Movement were to revive doctrines; they wanted no new doctrine. They wanted the Sacraments and Services of the Church used meaningfully and above all really observed. They discouraged showiness and pomp. They wanted religion to be purified, deepened, and made more real. Above all the main aim was for a whole-hearted, supreme reverence for moral goodness.
The Oxford Movement encouraged parish churches to aim for choral services similar to the cathedral type. These small churches did not have the singers nor the ability to sing difficult music, Anglican chant was used more and more to fulfil the desire of those churches who wanted to have a fully Choral Service. It because the custom for all choirs to be vested.
Sung Eucharist was revived. At first only the Kyrie Eleison, Credo, and Sanctus were used. Later the Gloria in Excelsis was sung and finally the Benedictus qui venit and Agnus Dei were added. The revival of Plainsong in England was a definite result of the Oxford Movement. There was much interest in hymns and carols. With the publication of “Hymns Ancient and Modern”, (1861) a new type of hymn tune appeared which was more of a part song with the music composed for definite words and not interchangeable with other hymns.
Sources
Percy A. Scholes, The Puritans and Music, 1934
Percy A. Scholes, The Oxford Companion to Music, Rev.ed.,1938, for the history of parish church music
Edward F. Rimbault, New History of the Organ, 1877 ed, reprinted 2005. This formed the first part of Hopkins and Rimbault, The Organ. Its History and Construction, first published 1855
Robert Gillings and Andrew Barnes, A history of the Organ in the parish church of St Mary, Bridgwater Somerset. TS, June 1966
William Lesley Sumner, The organ: Its Evolution, Principles of Construction and Use, 4ed, 1973. First published 1952
Tony Woolrich, Saint Mary’s Church Bridgwater, how it came to be the way it is today.
Tony Woolrich, A history of the organs of St Mary’s Church, Bridgwater.
Both these were written and published in aid of the Re-orderdingAppeal, 2005
Bridgwater Mercury and Bridgwater Times for detailed accounts of the refurbishment of 1849 and the installation of the Willis Organ in 1871.
Somerset Studies Library, Taunton, for an account of the Daniels rebuild of 1965-6 and notes about the work previously done by Vowles and Willis
ORGAN SPECIFICATIONS
I) Henry Willis, 1871
The new organ comprised three manuals
Great organ
| 1) Double diapason | 16ft (wood and metal) |
| 2) Open diapason | 8ft |
| 3) Viola | 8ft |
| 4) Clarabel flute | 8ft |
| 5) Octave | 4ft |
| 6) Quint | 3ft |
| 7) Super octave | 2ft |
| 8) Mixture – | 3 ranks |
| 9) Bombard | 8ft |
Swell organ
| 1) Contra Gamba | 16ft |
| 2) Open Diapason | 8ft |
| 3) Stop Diapason | 8ft |
| 4) Octave | 4ft |
| 5) Super octave | 3ft |
| 6) Mixture | 3 ranks |
| 7) Cornopean | 8ft |
| 8) Hautboy | 8ft |
| 9) Clarion | 4ft |
Choir organ
| 1) Dulciana | 8ft |
| 2) Leiblich Gedacht | 8ft |
| 3) Gemshorn | 4ft |
| 4) Flute harmonique | 4ft |
| 5) Piccolo | 2ft |
| 6) Corno de bassetto | 8ft |
Pedal organ
| 1) Grand open diapason | 16ft (wood) |
| 2) Violin (metal) | 16ft |
| 3) Violoncello | 8ft |
| 4) Ophideide | 6ft |
Couplers
- Swell to great (super octave,-union and sub-octave)
- Swell to pedals
- Great to pedals
- Choir to pedals
- 4 composition pedals
2) Percy Daniels 1965-6
Great Organ
| 1) Double Diapason | 16ft |
| 2) Open Diapason No. I | 8ft |
| 3) Open Diapason No. 2 | 8ft |
| 4) Clarabel Flute | 8ft |
| 5) Harmonic Flute | 4ft |
| 6) Principal | 4ft |
| 7) Fifteenth | 2ft |
| 8) Mixture 17.19.22 | 3 ranks |
| 9) Trumpet | 8ft Revoiced, with harmonic trebles |
Swell Organ
| 1) Open Diapason | 8ft |
| 2) Gedacht | 8ft |
| 3) Salicional | 8ft |
| 4) Celeste | 8ft |
| 5) Gemshorn | 4ft |
| 6) Flageolet | 2ft |
| 7) Mixture 19.22.26 | 3 ranks. Reconstituted |
| 8) Oboe | 6ft Revoiced, with new bass |
| 9) Cornopean | 6ft Revoiced with harmonic trebles |
| 10) Clarion | 4ft Revoiced |
| Octave and suboctave | Also worked through Swell Great and Swell to Choir |
| Unison Off | |
| Tremulant |
Choir Organ
| 1) Dulciana | 8ft |
| 2) Gedacht | 8ft |
| 3) Viol | 8ft |
| 4) Wald Flute | 4ft |
| 5) Dulcet | 5ft From Dulciana |
| 6) Nazard | 2 ⅔ ft New |
| 7) Piccolo | 2ft |
| 8) Tierce | 1 ⅗ft from Dulciana |
| 9) Twenty-second | 1ft Great |
| 10) Trumpet | From Great Octave Also working through Choir Suboctave to Great |
Pedal Organ
| 1) Open Diapason | 16ft |
| 2) Violon | 16ft |
| 3) Bourdon | 16ft |
| 4) Flute | 8ft From Bourdon |
| 5) Cello | 8ft From open diapason |
| 6) Principal | 8ft |
| 7) Fifteenth | 4ft |
| 8) Trombone | 16ft Revoiced |
Couplers
- Swell to Great
- Swell to Choir
- Choir to Great
- Choir to Pedal
- Swell to Pedal
- Great to Pedal
- Great and Pedal Combination Coupled
Accessories
- 6 Thumb pistons to Great Organ
- 6 Thump pistons to Swell Organ
- 6 Thumb pistons to Choir Organ
- 6 Toe pistons to Swell organ (duplicating)
- 6 Toe pistons to Pedal Organ .
- 1 Thumb reverser Swell to Great
- 1 Thumb reverser Great to Pedal
- 1 Toe reverser Great to Pedal
- Pistons adjustable from a setter board behind music desk
- Transformer/rectifier for action current
Tony Woolrich 24 August 2020