My Early Years

Now that I have retired after a full active life, I thought it would be interesting if I recorded some of my experiences, both historical and musical.

I was born on 9th of March 1899 at Stamford Villa, East Peckham which is a small village in the parish of West Malling between Tonbridge and Maidstone in the County of Kent. My father was a Cambridge man and that city had an important influence on my childhood.

Obviously my recollections of my early life are now indistinct, but I can remember the local Salvation Army had their headquarters opposite our home. One of my first musical experiences was listening to their band playing. When I visited that district recently I found the Salvation Army Hall had been demolished and houses built on the site.

At the beginning of this century transport was very slow compared with today. The journey from Tonbridge to Peckham was by small horse-drawn coach, moving at walking pace, with frequent stops to deliver parcels at various houses. A small paraffin lamp gave an faint glow, too weak to be of any use. This journey was so unpleasant I can still recall it today. My mother often referred to her first ride in a motor car at East Peckham when a man carrying a red flag walked ahead of the vehicle warning the public to stand clear for their own safety

My father was interested in sporting activities, particularly in rowing, not surprisingly as he was born in Cambridge. However when he moved to Kent he took to fishing as so many of the locals were keen on this sport. Father joined a local club and often hired a rowing boat. As I was only four years of age I cannot remember much of these outings.

Soon after my brother, George, was born in November 1903, my mother had to go into Tunbridge Hospital for a serious operation and I had to live for some time with my uncle and aunt who lived in that beautiful town. We all regularly visited the hospital where mother was but I was not allowed to enter the building so her bed was moved to a large window to let me see her and wave. Either my uncle or aunt would stay with me on these numerous occasions. Tunbridge Wells was a very interesting place and I can still remember my visits to the Pantiles where band concerts were a regular feature. On our way to and from the hospital, we regularly passed Tunbridge Railway Station and I was allowed to stop and look at the trains and platforms. I had never seen anything like this in East Peckham. I enjoyed these trips to the railway station to see trains entering into and emerging from the dark tunnel adjoining the station. Once, when I was only four, I was able to slip out and was found much later at the station, much to the relief of my poor aunt. These trains held a great fascination for me as they do for most young boys.

Whilst I lived with my uncle and aunt, my father moved from Kent to Newington Green, North London. When my mother left hospital, I moved to my new home. My aunt took me by train to Cannon Street, then by bus to Newington Green. Here I found a much greater variety of transport, mostly horse-drawn. In 1905, trams were small and pulled by horses; extra animals were added to assist on hills. We used these trams to travel to Finsbury Park.

The horse bus was very common and when I travelled I preferred to sit on the top deck next to the driver. Both methods of transport were later improved by using engines and they were increased in size. Trams were electrified by the use of overhead wires and later by the electric wires being placed underground and connected to the tram by a middle rail in the tramway. Buses were powered by petrol engines and the upper deck was uncovered and open to the elements as were all buses in those days; however, tarpaulins were provided to keep the passengers dry on wet days. In a short space of time, the upper deck was covered so buses became the most popular form of transport and trams gradually were phased out because having tramlines in the centre of the road was inconvenient for both traffic and those alighting from the trams and buses.

I can well remember one amusing incident caused by tram lines. Inside a full bus a man was holding the central column, grasping a shilling piece in his hand. As the bus lurched in the tram lines, his money fell from his fingers down the dress of a young girl. She screamed as the cold coin fell down her back; at the same time the conductor called, "Fares, please." The man explained what had happened and the girl was asked if she could retrieve the coin as the man wanted to alight. She took his word for it and gave him a coin from her purse. Tram lines did cause problems.

In our house in North London we had gas lighting as did all our neighbours; few people had electric lights. We had to keep a good supply of mantles in the house and a box of matches by each gas lamp. Candles were used if one made a short visit to a dark room and candle light was considered adequate when I went to bed during the winter. I can well remember being afraid of gas and often before going to sleep, I would get out of bed to check the gas was switched off.

Street lighting was also provided by gas, a large number of men being employed as lighters. They passed from lamp to lamp with a long pole and hook which had a shielded taper at the top. The hook would turn on the gas and the taper would ignite the gas mantle; the reverse would be done at dawn by the same man. This was very time-consuming so many streets had no lighting at all.

Washing day was different at the turn of the century from today. We had a large built-in copper with a fireplace underneath. The washing was first boiled before being transferred to a metal bath and a scrubbing board. The next stage was to press the washing through a mangle- a large, clumsy thing- to remove the excess water which was collected in a bath placed beneath the mangle's rollers. The articles were repeatedly mangled with the pressure increased each time. This method of washing was in general use until well after the First World War. Nowadays this laborious task is done by efficient washing machines.

Our milk was delivered by a small milk trolley, just large enough to hold the normal milk can. The milkman carried a bucket which he filled from the large can. He had various measures and ladled out your order, adding a little extra dash to compensate for any spillages. We had to look out for the milkman as he did not call for orders. A few shops sold milk if we missed him. Modern milk bottles have made a great difference to both cleanliness and convenience.

In Newington Green, we were lucky enough to own a gramophone. Gramophone records were circular and had to slide on a circular holder. The actual machine had a very large horn which increased the volume and the scratchy tone as well. These early records always began with the words, "Edison Bell Record." At the time I considered them wonderful.

When a hole was dug in our road, six men with heavy hammers stood in a circle around a wedge being driven into the road. All hit the wedge in turn, then moved it to another place and repeated the process. I also saw as many as fifty men digging a trench, whereas one man with a modern pneumatic drill could do the job in less time today.

In the early years of this century, band concerts were a regular feature in parks. Seats were arranged around the bandstand and a charge made for each seat. It was a great treat to be taken by my parents to a performance in Finsbury Park. Although many parks still have a bandstand, few are used for band concerts as radio and television have superseded them.

Behind our house in Newington Green, was a fine, large synagogue which was well-attended by the Jews who lived in the neighbourhood. When I revisited the area recently, the building had disappeared. In its place was an estate of bungalows and there was no sign of the old place of worship. I wonder where the Jews have gone; perhaps they have emigrated to Israel. Today many Moslems live in the district and small Mosques have sprung up. I should like to know what happened to that lovely building.

While we were in Newington Green we regularly attended St. Augustine's Church Highbury New Park and I attended the Sunday School. At first my vicar was Rev. Catterall who was followed by the Rev. J. D. Griffiths.

At the age of five, I attended the Raleigh Church Kindergarten School, near Mildmay Park Railway Station, changing a few years later to the London County Council School at Newington Green.

An early local train service, introduced by the North London Railway and Mildmay Park Station, on that line, was near my home. This line took me to Broad Street Station, next to Liverpool Street Station, very convenient for my frequent trips to Cambridge to visit my grandmother during the holidays.

Cambridge

My father was a Cambridge man and lived on the Newmarket Road with his parents, brothers and sisters until he left home and married, when he settled in Kent.

In his school days at Cambridge my father sat next to Thomas Hayward who later became famous as the Surrey and England cricketer. After school many of the boys would go to Parker's Piece to play cricket but they could not get the future master out.  Hayward may have coached J.B. Hobbs, the great batsman of Surrey and England who was the son of the head groundsman at Jesus College.

Father was also very capable at rowing. He and his brothers were members of the 'Albert Club' and were 'Head of the River' for many years in the town races that were held after the University students had gone down in August.

In my very early days when I was about six I was taken regularly to Midsummer Common by the River Cam to see the Eights of the various colleges training for coming events such as the 'Lent' or 'May' races. I well remember that the river was a hive of activity about Easter. In a short time I knew the colours of each college. My grandmother also took me around the town and I soon knew the positions of the colleges and other important buildings such as the Senate House.

My Aunt Grace worked in an office in Petty Cury, opposite Christ's College, where I could see her at a window and would wave to her.

In later years (about 1911) it was often possible to visit the College chapels in order to hear the services. My favourites were Kings, Trinity and St. Johns. At that time Dr Mann was organist at Kings, Dr Allan Gray at Trinity and Dr Rootham at St. Johns. At Trinity I heard Dr Gray play Bach's great Prelude and Fugue in A minor which made a great impression on me at the time and I have enjoyed playing this in later years.

Now in 1986 (80 years on) my two grandchildren are undergraduates in the university. Adrian is reading Science at Christ's College and has a study and rooms in the College Tower very near to where I used to wave in about 1907. Catharine, Adrian's sister, is in her first year, reading English and is at Jesus College which is close to Midsummer Common. It was possible for us to see her rowing at No. 2 in a ladies' eight when we visited Cambridge recently. Jesus College has a very capable choir and two large organs with some very capable organists in charge.

In Hospital

When I was about eight I was very ill and a doctor was required. He at once diagnosed diphtheria and said it was necessary for me to go by ambulance to an isolation hospital in North London immediately. I well remember mother calling out to me "They are going to make you better - Be a good boy..." etc. I can remember these events and the journey in the ambulance accompanied by a nurse. After an examination at the hospital I was put to bed in a large ward and remained there for several weeks. Swabs were regularly taken from my nose and throat and I could see the chart over the bed indicating my progress in general, but of course could not understand it unless my progress and condition were mentioned. Nowadays this chart would be placed out of sight of the invalid.

After some weeks I was allowed to sit up in bed and could have books and toys that my parents had left for me. They were not allowed to visit me for obvious reasons. The hospital also provided me with books and objects which helped me to get over my parents' absence. Also the main line of the Midland Railway passed by the hospital and I could see the trains going to and from St. Pancras, the terminus. In time I knew the times when the expresses would pass the ward. These things and the fact that the doctors, nurses and others were so kind helped the time along.

In time I was allowed to sit up in a chair each day, and later was taken out into the grounds, eventually walking a little on my own. These gradual steps were possible during this period of convalescence, but I was warned not to go near the next building as Scarlet Fever cases were isolated in that ward.

When I had been in hospital for about six months, I was allowed to go home and my parents came to collect me. The excitement of this day can still be remembered and I had so much to say about my experiences there. It was now possible for me to change into my own clothes and discard the hospital attire that had been worn for so long. I now realise that I had been very ill as it was a winter's night when going away and it was a hot summer's night when I returned home. It was very noticeably that the drains which were the cause of the trouble had been renewed.

School Days

My father was not musical but my mother came from a musical family; her maiden name was Baynes and her first cousin was Sidney Baynes, a composer of old time dance music including the well known "Destiny Waltz ". My mother was only an average pianist but we had many friends who were capable pianists. One, a Miss Tabor, played sonatas of Mozart and Beethoven and works by Brahms, Ravel, Debussy and others of repute which greatly interested me, so at the age of eight I had my first piano lesson with a Miss Warren.

Miss Warren was a very kind lady and a conscientious teacher and my first lessons gave me a certain amount of pleasure, but in those days often too much time was spent on technical work.

I got tired of finger exercises and scales instead of learning some simple pieces, such as one uses in good modern methods. After a time I waded through Czerny's 101 exercises, which bored me so much that I lost some of my interest and almost wanted to drop lessons. Miss Warren, like most if not all music teachers of the time, used old-fashioned methods with the result that many children leaning the pianoforte often dropped lessons in a short time. Nowadays modern methods, such as those used by Carroll, Curwen, Joan Last, Felix Swinstead, to name a few, would keep the interest going and avoid much of the technical work in the early stages. The book ' Scenes at a Farm ' by Walter Carroll would keep the interest of youngsters' early lessons. Some technical exercises could be added when the need arises.

When Miss Tabor came to visit us and played works of the Masters, she kept my interest going as did others from time to time.

In the early days of this century, we had to make our own interests as there was no TV or wireless to entertain in the home. Games were often played and a gramophone (which was often of poor quality at that time) meant that there was little chance of hearing an orchestral composition unless an arrangement for piano was available. Some people, including my mother, would play some dance music, such as my Uncle's "Destiny Waltz ".

The above will give a general idea of musical prospects at the start of this century.

At the age of eight I joined the choir and continued in that capacity for many years. The church is a large building and has a magnificent organ built by the famous Henry Willis, with outstanding reeds for which he was so famous.

The first organist and choirmaster I sang under was Mr. Richardson, an F.R.C.O. He was a friendly person and we often performed choral works during his recitals. He was followed by Mr. Philip Henry who was a reserve tenor in St. Paul's Cathedral. When he was singing at the cathedral, he would take the senior boys to listen so we gained experience. On one occasion, I heard "The St. Matthew Passion" by Bach. At that time I had no idea that I should sing this work in the cathedral, as a bass, on several occasions, many years later.

I remember how frightened I was when I first heard Handel`s "Dead March" in Saul being played for the funeral service for a member of the congregation. This ends with a phrase played on the full organ after much soft music. This sudden blast scared me until I became familiar with the work.

The custom of playing this work at funerals has given way to playing Chopin`s work or Mendelssohn`s "O Rest in the Lord" from his oratorio "Elijah". It is worth noting that Mendelssohn disliked the latter piece and asked the publishers to remove it as it was too sentimental, but they refused.

My work in the choir continued and I became a Senior Chorister. Anthems were regularly performed and, in those days my favourite was Guonod`s "Send out thy Light", the delicate theme appealing to me then, but not now. In about 1910 Victorian music of rather poor quality was sung by many choirs, copies costing very little. Even today many church libraries are full of these works.

When I was eleven, I sat an entrance examination for the Central School, Cowper Street in the city, a very good and well-known company college. Here the teaching staff wore academic dress, which was a new experience for me. As we were in the centre of the city we had no sporting facilities, but we were able to go to Leyton, in the suburbs, on certain days of the week. In London, we played a type of rounders, peculiar to the school, played with tennis balls on the asphalt playground, which was very enjoyable.

Because I was a church chorister, I was given a place in the school choir and took part in several concerts. My treble voice meant that I was chosen to be a fairy in "Iolanthe" and a girl in "Yeoman of the Guard", two famous operettas by Gilbert and Sullivan. The upper school boys sang the men's parts, lower school boys were the girls and the masters were the male soloists. Boys with good treble voices sang the female roles. I have a photograph which shows me as a girl in "Yeoman of the Guard"-(front row, third from the left) .The school director of music, Mr. J. Curtis, no relation, can be seen at the rear holding a baton. He was my music master and gave me lessons in pianoforte playing and theory in extra lessons after school. The photograph was taken in 1911.

However, after a few years, my parents moved to Dulwich Village, South London and I had to leave this school as it would have been very difficult for me to have travelled there so I moved to Ascham College, Clacton-on-Sea in Essex. This was a boarding school so my association with St. Augustine's ended. Also my voice had changed so my days as a treble were over. I was advised to rest my voice and avoid singing until my bass voice had settled. Meanwhile, I continued my pianoforte playing under Mr. Green, a good teacher and organist of St. Paul's Church. Here I became a server, as the school attended services, and I was confirmed there by the Bishop of Colchester in 1913. While at this school I became interested in aeronautics and was an active member of the school model aeroplane club, learning to make models that could fly very successfully.

My mother's sister, Amy, was engaged to Mr. Arthur Walpole and they came for a holiday with my mother while I was at Ascham college. I well remember this as I was allowed to visit them at their hotel and enjoyed some good meals. This was in May 1914, only a few months before the outbreak of war. My aunt and Mr. Walpole were married soon after and he enlisted as a gunner on a new Dreadnought. He saw action in The Dardenelles and was responsible for the sixteen-inch guns, which caused his deafness in later years.

His brother, Wally, was very interested in wireless. He made himself a receiver set, which was confiscated by the Home Office, stored away for the duration of the war and returned to him in 1919. When I returned to London after my four years in Lincoln, Wally helped me to make a receiving set which enabled me to hear the Paris Clock on The Eiffel Tower at noon giving out the exact time. This took only five minutes -the last sound being exact noon. Many friends and neighbours came in to hear this wonderful sound which was merely a scratchy noise suitable for morse code messages. This was many years before the advent of radio.

At Lincoln

My interest in aeronautics generally persuaded my parents to suggest that I might like to consider taking it up later as a profession as there would probably be a good future in this line. So I went to Lincoln as an articled apprentice with Messrs. Ruston, Proctor Ltd, later known as Ruston and Hornsby. Initially I spent most of my time at the Lincoln Technical College, later getting practical experience at the works.

At this time (1914) the First World War had started and my articles were cancelled. I was compelled to do work of National Importance although well under the age for military service. At the start my work consisted of elementary turning and later turning aero engine valves to one thousandths of an inch accuracy. At one time I was told to assist in the making of fire-sprays for the front and was required to work through Sundays and do regular overtime as these infamous things were required in France. One student said on a Sunday morning "Let us Spray!". This was hardly the type of work that I had expected to do when I arrived at Lincoln.

All were expected to "clock in" at Ruston's in 1914, but there were no clocks as used today. All were given a number of discs containing works' numbers and on entry one of these had to be put into a slot. This fell into a large drawer which was removed at an appointed time. This left a lower drawer where the discs of all late arrivals would fall. By this means a time check was kept on all and it was impossible for an absentee to give his disc to a friend as the manager reported all absentees to the office.

I soon realised that Lincoln had a magnificent Cathedral. It attracted me so much that I visited the place whenever possible to hear the choir sing the services. Gradually I became known to the choristers and others, including Dr G. J. Bennet, the organist and I often asked him the titles of his voluntaries as the names of the organ pieces were not placed on the printed service papers at that time. At one time I was anxious to borrow a copy of the anthem they had performed and asked the first person available if he could tell me where I could see the librarian. His reply, given in true Yorkshire dialect was, "Thou has not got far to seek him - he stands before thee!"

This great interest in the Cathedral and its music made me anxious to continue my pianoforte work and I approached a well known musician who was the organist of St. Martin's Church, who said after hearing my playing, "Why don't you take up the organ as well?" This idea certainly appealed to me and so I started having organ lessons on St Martin's organ which was a very fine instrument (but alas no more as the church has been demolished. I should like to know what has happened to this instrument now that the church itself has been demolished to make room for the council offices).

Mr Ernest Pullein, the organist, was a good teacher and an excellent musician and so I divided my attentions between the Cathedral and St Martin's Church. My music had certainly come into its own at that time. I soon became the organ deputy and was able to play the children's services at the church. Later Mr Pullein was unable to play the Evensong service and I was asked to play. During the first hymn a policeman entered the church and went up to the Vicar and said that a Zeppelin had crossed the Lincolnshire coast and was slowly making its way to Lincoln by following a train. The Vicar was told that there was time for us to have the last hymn as long as we were out of the church and home within half an hour.

This we did but the last hymn was "Hark, hark my soul" of which the last lines of each verse are:

Angels of Jesus, angels of light
Singing to welcome the pilgrims of the night.

All present were highly amused, especially the choirboys who sang the lines loudly. The vicar came to me and said, "Play Amen at the end of this verse - we can't have any more of this." I always thought of this when this hymn was sung in later years.

The Zeppelin duly arrived but the train they were following stopped at Washingborough, the station before Lincoln, and so the bombs meant for us fell into fields making large craters. No-one was injured in any way. However on the following day crowds of people went to inspect the damage caused by the bombs and the ferry to cross the river at Witham overturned and many were drowned. The Germans had done no damage or harm to the people but the sightseers lost their lives.

Gradually I became known by musical people and was often asked to parties and musical evenings as in those days, before the wireless had arrived, people had to make their own amusements. Thus I met many capable performers, one of whom had been a pupil of Egon Petre the famous concert pianist. Miss Jones accepted me as a pupil for pianoforte playing and harmony and eventually I was able to sit a high grade examination. My examiner was Dr. John Warriner, a professor at the Trinity College of Music, who became one of my teachers in later years. About this time I had singing lessons with Mr Endersby, a bass with a very deep voice. My voice had settled and I developed a useful bass voice and so with organ, pianoforte and singing lessons as well as theory and harmony my spare time was fully occupied and music had become my chief interest in life and the work at Ruston's was rather a bore.

Many of the Cathedral choirmen had been called up for National Service and Mr Endersby mentioned me to Dr Bennet and after a sight-reading test I was admitted as a bass in the Cathedral Choir. My first service was on Sunday, March 9^th, which was my 18th birthday.

In the meantime my work at Ruston's continued, but the work was not interesting until I was asked by a military officer to join a select group to make a very secret weapon for use in France. We were informed that this had been invented by a director of Messrs. Robey, another small engineering firm, but it had been transferred to Ruston's as we had better resources. Sir William Tritton had worked out the idea and been knighted by the King for his efforts. We soon realised that we were making the first tanks, as they were called later, and when some had been completed we took them by night, disguised as traction engines to a farm on the Lincoln Wolds for testing. This farm had been requisitioned and the tanks were put through their paces by driving them through thick walls and over obstacles of various kinds, before being sent to the war front in France. These first efforts were rather crude to modern eyes, being shaped like a rhomboid, but they were a great help in the war effort.

The farm was guarded day and night by soldiers in plain clothes and it was necessary for me to have a pass and a password had to be used to gain admission. The tanks were stored in converted farm buildings during the daytime and the various tests necessitated night work as this could not be done secretly in daylight. My working times were generally from 8.00 pm until 6.00 am with an hour off for meals during the night. All daylight work started at 6.00 am and ended at 5.00 pm unless overtime was needed when all concerned carried on until 9.00 pm. Nowadays these long hours would not be expected or tolerated, especially the early start. At times one would not start until 8.30 am (after breakfast); this did not happen often - once a week at the most; this was known as having a "softun". The war effort needed extra effort and it was given willingly. I found this work interesting as one could see one's effort completed.

In the meantime my organ work continued and before long I was invited to be the organist and choirmaster of Saxilby Church, a village only a few miles from Lincoln, which was what might be termed a dormitory village for the city. I was glad to undertake this work as it gave me a useful start in choir training. The choir was small and the work consisted mostly of psalms and hymns and also the Merbecke Communion Service. However, I had to make it clear that often my war work at Ruston's might necessitate absences from some practices and services and that I might not be available for weddings, funerals or other daytime requirements. This they understood but they needed my help whenever possible. This appointment gave me an organ of my own where I could improve my technique in general. Saxilby was very near to the farm where my work on the tanks was mostly done, which was very convenient. This arrangement continued for over a year until it was necessary for me to retire when I became a temporary bass in the Minster Choir.

In 1978, when examining in Grimsby, my wife joined me in a visit to Lincoln and Saxilby and at the latter place I met the then vicar and played the organ that had started me on the road to my musical life. It was quite an experience to see my writing and manuscript work that I had done over 60 years before. My writing had certainly changed as one naturally expects. However I did recognise my writing and the work written was simple chants, all still in use.

About this time I was advised by friends to relax a little from some of my musical activities in the summer months and enjoy an active outdoor life as a normal youth. So, I became a member of the Lincoln Lindun Cricket Club, the senior club of the city; I had been fairly successful at cricket when at college and was able to give a good account of myself in a trial. The team had some of the Minor County Eleven in the side including Ernest Pullein, my organ tutor, Messrs Bavin and Betts and we had a very good ground near the Minster.

One evening when I arrived in the nets, before the senior players had arrived, a wounded soldier in hospital dress offered advice and criticised every shot I made which did not please me at the time. I soon got rather annoyed and gave up to allow another to bat. Later he introduced himself to all of us present - he was Patsy Hendren of England and Middlesex; he had been wounded in France and was having treatment at the Fourth Northern Hospital which was near to our ground. He was obviously keen to see us and to talk cricket. After this he came to us whenever possible and gave us all advice and said that he hoped that before long he would be able to get some practice with us. His brother, Dents Hendren came to see him - he was a professional for the Durham Minor County and stayed for a week - also Patsy had visitors from Lords. We met Tarrant and J. W. Hearne who entertained us with their batting.

At this time George, my brother, was at Blundell's School in Tiverton and was friendly with S.G.U. Considine in Westlake house. George had become a good fast bowler and was anxious to get me in the nets when we met later in London, with dire results when he did - but more of this later when dealing with my London exploits.

My life continued very much on these lines until 11am on 11th November 1918. I shall never forget that day; we were all sitting and waiting at the works - no work was done or expected to be done as we were waiting for the works' siren which was to be the signal that the Germans had surrendered. When the siren did sound we went mad with excitement and drove round the city on lorries or anything we could lay our hands on; it was an exciting experience. Eventually we reached the Cathedral, but the services of the choir were not required. Several men from the works who never visited a place of worship went in and knelt to offer their thanks. Gratitude was the order of the day. It was a most moving experience - the Cathedral Ringers were the only people at work and they were going at it non-stop.

After Armistice Day most of the employees were put on part-time and the apprentices also were given a break until their studies could be started again. Under the circumstances I was advised to change over to more congenial work.

I stayed in Lincoln for a couple of months until my parents decided to give me a chance to take up music for a career. In the meantime I worked at the many branches of music and as a recreation I joined the Lincoln Operatic Society, for a performance of "Miss Hook of Holland" which lasted for the last week that I spent in that city.

It was with mixed feelings that I walked to the station that Sunday morning. The bells of the Minster on the hill were ringing and were joined by the various churches in the lower part of the city and where I had played services. I was leaving behind many friends who had been a great help during the very trying four years of my stay. As the train passed the works of Messrs Ruston and Hornsby I felt glad that my early morning walks would not, in future, be in that direction.

In London

When I returned to London I took an entrance examination for Trinity College, London. I was successful and was placed under Dr. John Warriner who was a professor at the college as well as of University College, London. I deputised both for him and for other professors at the college at churches of all denominations. Dr. Warriner lived at Denmark Hill where he was organist of St. Matthew's, Denmark Hill, only about ten minutes' walk from my home in Dulwich Village. This made it possible for me to have my lessons at his house, thus saving the long journeys to college. Both his house and church were next-door to King's College Hospital. However I did have to travel to college for other lectures and to meet other professors.

On one occasion, I was sent to a spiritual church in Bayswater, West London. On arrival I found the meeting was to be conducted by a clairvoyant. After a short service with hymns, this lady spent an hour trying to get in touch with departed spirits, asking the congregation to explain how the messages helped them; of course, the names and descriptions were also given in graphic detail. This good lady saw spirits everywhere, including the organ keys, which agitated me. Afterwards she thanked me for playing and offered to get in contact with any of my departed relatives or friends. With a very hurried, "No, thank-you", I rushed out as quickly as possible. Later I asked the college not to send me there again, to which they replied, "It was good experience."

After The First World War, we had a very clever device that connected us to a theatre or concert hall. In one room, we had a stand containing four sets of earphones, connected by telephone lines to the office of the firm. This was called an electrophone and we were fortunate to own one. First, we telephoned the electrophone company, asking to be connected to a particular theatre or hall. My mother was always keen to hear musical comedy while I wanted the Queen's Hall. The electrophone company had a type of microphone at the front of the stage; it was rather like listening to a modern radio. Only a limited number of lines were available so we were sometimes unable to hear what we wanted and were offered alternatives. I cannot remember how this was paid for as my parents were responsible for it. This was the first time that outside entertainment was brought into the home.

About this time, I applied for membership of the St. Paul's Cathedral Special Service Choir as I had been a member of the Minster Choir at Lincoln. Eventually I received a letter from Mr. Nelson asking me to go to meet Dr. Macpherson at the chapter house of St. Paul's for sight-reading and voice tests. When I arrived Dr. Macpherson and Mr. Nelson explained that Dr. Bennett of Lincoln had spoken of me at The Royal Academy of Music. I explained that I was a full-time student at Trinity College and so was unable to be a full-time member of the choir. After the tests I was admitted to the special choir and invited to join the Evening Service Choir until I obtained an organist's post. In any case I could continue for major weekday services which were often required. In the tests I had to play the organ as well as sing several passages from various works.

On the following Sunday I went to the choir vestry which was on the north side of the crypt. I was given a cassock and surplice and introduced to other members of the choir, including Mr. Croydon who many years later became my father-in-law. He was also a member of the Chapel Royal, Savoy in the mornings.

At five minutes before the service a bell was rung to warn us to proceed to the Dean's Vestry. The route was through the crypt to the north-east end of the building, up a spiral staircase, then behind the High Altar to the South Choir Aisle where we found the choirboys waiting. Short practices for the settings and anthems were held near the vestry.

Practices for important occasions were always held in the Trophy Room which is over the north aisle. In order to reach this room we entered the north-west door, using a pass which was shown to the person on duty. Then we ascended the famous geometrical staircase, passed over the West Gallery to Wren's large model of the building as he had wanted it to be (before the Dean and Chapter had required several alterations) and into the Trophy Room. It is worth noting that on one occasion the Church Army was holding a large service with an enormous congregation, while we were rehearsing for an important service with the full augmented choir at the same time, without any interference to either the service or the choir. The Church Army Bands were leading the service without help from the choir.

The Wren Model is made of wood and is eighteen feet in length, standing on five-foot supports so that one can pass through the model and see his ideas both internally and externally. Today this interesting model is in the Crypt so that all can see it externally but not internally for fear of vandalism; the geometrical staircase is not open to the public for the same reason.

Because of my commitments as a bass in St. Paul's Cathedral Choir on Sunday evenings, I was unable to take on an organist's post, but at this time my studies came first. However I had many activities in the evenings which gave me valuable experience. For a couple of years or so I was conductor of the Orpington Choral and Orchestral Society, producing such works as concert versions of "Merrie England" and "Princess of Kensington" by Edward German. My uncle and aunt resided in Orpington so I usually stayed with them overnight. The orchestra occupied the first hour followed by the choir.

Messrs. Feldman Ltd., the music publishers, required someone to transpose the band parts of popular music-hall songs to suit the artistes' voices and compasses. This was not just a matter of transposing the existing parts but the compass and other difficulties usually meant re-scoring the whole song.

Here I met Mr. Shipley Douglas who was in charge of this department and who was able to offer valuable advice. This was only part-time work which did not take up much time. Messrs. Feldman Ltd. were the agents for the Donajowsky Miniature Scores of most orchestral works and I was able to procure many faulty scores before they were destroyed and have them repaired. Some were in good condition and they are still in my bookcase today. My work with Messrs. Feldman Ltd. only lasted one year.

Another temporary post I held at this time was Director of the Robert Browning Settlement, Walworth, South London which was founded by the poet to help the poor of that district. I was also appointed lecturer in musical appreciation, theory and harmony for the London County Council Evening Institute going to various places as directed.

All these were evening occupations so I was free during the day for my studies. Some days I deputised for Dr. Warriner and others at weddings and funerals.

The full augmented choir at the cathedral in those days, always sang "The St. Matthew Passion" by Bach on Tuesdays in Holy Week, preceded by Psalm 51; the oratorio "St. Paul" by Mendelssohn on St. Paul's Day (January 25), both with the London Symphony Orchestra. Also there was the "Sons of the Clergy Festival" for which special anthems were written by modern composers, preceded by a rendering of the "In Memorium Overture" by Sullivan, again with the orchestra. We gave the first performance of many works, such as Vaughan Williams' Psalm 90 (in which he gave us poor basses the very low D flat and grumbled because he could not hear us) and "Greater Love" by Ireland to name just two. It was a pleasure to meet these great men and to have a chat with them after practices.

The members of the Special Choir of the cathedral took part in many important services at this time, such as the first occasion that the two minutes' silence was observed at The Cenotaph (this had been dedicated just before) on the 11th November 1919, the anniversary of the signing of the Armistice. This was followed by the burial of the Unknown Soldier at the west-end of Westminster Abbey.

Early on the morning of this day, we assembled at St. Paul's Cathedral and, after collecting our cassocks and surplices, were taken by coach to Horse Guards' Parade. We entered the Home Office from the rear where we met the choristers of Westminster Abbey and of The Chapel Royal, St. James who were also taking part.

At ten forty five, we were led out to our respective places, followed by the members of the Houses of Lords and Commons. Meanwhile, the procession bringing the remains of the Unknown Warrior from France was on its way from Victoria Station to the Cenotaph. A few minutes before 11 a.m. the Royal Family emerged from the same Home Office Building, taking up their positions just before the arrival of the funeral cortege. My photograph shows us all looking towards the draped coffin bourne on a gun carriage. The large choir was only required to lead the singing of the hymns; no choral music was sung- it would have been out of place on such a solemn occasion. Later the whole procession moved off to the Abbey for the burial. I found it a very moving experience

Another event that has remained in my memory was the centenary service of the Royal Academy of Music held at St. Paul's Cathedral. The cathedral was closed to the public on the previous afternoon so that we could practise all the music to be sung with the London Symphony Orchestra. Many works were composed by past and present members of this famous institution, such as that by Dr. G J. Bennett of Lincoln (whose difficult anthem "This is the Day" was written for this event) and "Te Deum" by Dr. Charles Macpherson. Both these pieces had elaborate orchestral parts and showy organ accompaniments.

After working for two hours, we were given a short break so that Sir Henry Wood could rehearse "Benedictus" by Mackenzie. It was interesting to watch the great man pull their efforts to pieces several times. It took over thirty minutes before he was satisfied, much to the annoyance of Dr. Macpherson and others. This was the first and only time I witnessed Sir Henry Wood take a practice and I certainly felt sorry for the members of the orchestra. I still have a copy of the music performed at this service. All the professors of this and other institutions wore their full academic dress so the whole place was a blaze of colour. All went well at the service, but one afternoon was insufficient time for the rehearsal: the cathedral had had to be open to the public at four thirty the previous afternoon for the usual Evensong.

Another memorable occasion was when we sang at The Wembley Exhibition and were conducted by Edward (later Sir Edward) Elgar. At the choir dinner held afterwards, Elgar sat at our table. One of the men at our table asked which work he considered to be his greatest. Elgar looked out of the window at some dogs, saying he had dogs like them himself. The man who had asked the question was very embarrassed, thinking he had offended Elgar. However the following day Elgar gave him a hand-written copy of "Falstaff" which would be very valuable today. I often wish I had asked that question.

The Dean of St. Paul's in my time was Dean Inge, generally known as the "Gloomy Dean". This opinion of him may refer to his spiritual and general views - that matter I am not in a position to judge - but he was not a miserable man and his speeches were usually amusing. At the choir dinners, always held on St. Paul's Day (January 25th) after we had performed the oratorio "St. Paul" by Mendelssohn in the cathedral, we all went to a West End hotel where he was quite a cheerful character.

On one occasion, he told us all that the vergers always had instructions to place a copy of the anthem to be sung at each service on his desk. He admitted he was no musician and did not understand the strange figures; his chief concern was the price, usually written on the cover. If this was expensive he would know that it was long therefore he always had a religious book (so he said) available for these times. If it was cheap he knew it was short so would not bother to pick up the book.

I was a Cantores member of the choir, therefore I sat opposite the Dean. I noticed at the start of the sermon he would place his hand over his ear to hear the text of the sermon. When he knew what was coming for the next thirty minutes or so he took refuge in the usual book.

As I have mentioned that my place was on the Cantores side. I should explain that, facing the altar, the side on the left is called the Cantores and that on the right the Decani, because the Dean always sits on the right. It is a general rule that, in the singing of the psalms in cathedrals or large churches, the Decani side always sing the odd verses and the Cantores the even verses. The Glorias and verses resembling refrains are the only ones sung by both sides.

Of the men in the choir, three stand out in my memory: they were Messrs. Masters, Farrington and Collett. Mr. Masters had sung with me at Lincoln. Together we had visited the private parts of the building, especially the Triforia on several occasions. He left Lincoln and joined St. Paul's Choir in London so you can imagine the surprise when we met again in St. Paul's Vestry. Joseph Farrington and John Collett were well-known singers who regularly sang in or near London. Mr. Farrington was a magnificent bass and Collett was a fine tenor so they frequently worked together. They both came to Orpington, singing the solos in "Merrie England". These three men stand out in my memory, especially as they sometimes came to the vestry in full evening-dress prior to attending an evening engagement.

There were always a large number of vergers in St. Paul's because it is such a vast building: some collected fees for visiting places, such as the Crypt, Whispering Gallery, Stone Gallery etc.; several were on duty for security purposes. In my time Messrs. Skinner and Tanner were the seniors: the former was Dean's Verger, while Tanner supervised the remainder. I had a pass for all places open to the public and was always able to take friends and relatives round the cathedral. I well remember a young verger joining the staff. When I visited the cathedral some forty years later, he had risen to the position of Dean's Verger and he invited me into his cosy office which was under the choir stalls - I had no idea there was such a pleasant room underneath my old seat in the choir.

In 1927 Dr. Charles Macpherson died suddenly near Victoria Station. At Evensong the anthem was to have been "Hallelujah" from "Mount of Olives" by Beethoven, But when the sad news reached St. Paul's, this was changed to "Thou wilt keep him in perfect peace" by S.S.Wesley, a favourite of Dr. Macpherson. The full choir and the Special Choir sang this same anthem, with other suitable numbers, at his funeral service; Dr. Stanley Marchant (later Sir Stanley) was in charge of the choir. Dr. Macpherson's cremated remains were buried in the crypt with other great musicians who had served the cathedral. I have always been disappointed that Dr. Macpherson did not receive a knighthood as Goss, Stainer and Martin had been honoured before him and Marchant and Dykes-Bower after him. I am sure, however, that Macpherson would have been the last to expect this as he told me he had not worried about qualifications and that Durham had given him his D. Mus. otherwise he had not sat for any other degrees he held. He had been elected a Fellow of the Royal Academy of Music many years before. He was fifty-seven years of age when he died so I feel sad that he died so young.

After gaining the Licentiate of the Trinity College of Music in piano playing and teaching, I worked for my Associateship of the Royal College of Organists. For the L.T.C.L. my pieces were:

1)         Prelude and Fugue in G sharp minor by Bach

2)         Sonata in C sharp major by Beethoven

3)         Nocturne in E by Chopin.

For the A.R.C.O. the pieces were:

1)         Prelude in G by S.S. Wesley

2)         St. Anne's Fugue by Bach.

The examiners for the pianoforte playing were Alec Rowley and Wilfred Sanderson. I do not remember the examiners for the organ as I have destroyed the certificate. I can remember, however, that during the latter examination, I missed the Great to Pedal thumb piston and pressed the Full Great one instead. In the report the examiners stated that the candidate had corrected things without stopping and all was neatly managed. My chief concern was the effect this might have on the result, but the rest of the examination went well.

After the examination, I did not hurry out of the college, but had a look around the library, which was the waiting room for the candidates. When I eventually left, I heard voices in the hall passage as the examiners were about to leave. I hurried out just ahead of them, making for the bus stop near The Albert Hall. Imagine my surprise and embarrassment when Harvey Grace, one of the examiners, joined me in the queue and worse still he sat next to me as the bus was fairly full. He looked at my case and at me but, of course, nothing was said. I certainly knew him as we had met once before when he gave a talk to the organists at a meeting. At Hyde Park Corner, I just said, "Excuse me" as I left the bus. They did all pass me so my slight slip had not spoilt my chances.

When I was in London, I became a member of the London Society of Organists and had many interesting experiences, visiting and playing on many fine London organs. Of these two stand out in my memory. One was the visit we made to Luton Parish Church and to Luton Hoo, the famous mansion, home to the Wernher Family, the owners of the diamond mines in Africa. Both the church and the mansion had fine four-manual organs. The organist of both was Mr. F. Gostelow, Organ Professor at Trinity College, London. He usually played up to and including the anthem at the church; then he was whisked off by car to Luton Hoo where he had a splendid choir consisting of members of staff. At both places we listened to short recitals and choral numbers before being given an opportunity to play on both organs.

This did not give us an opportunity to look round the magnificent grounds of the mansion - just a hurried glance was all we had time for. We all agreed that Mr. Gostelow was a very lucky man to have two large organs at his disposal.

The second visit I remember was to Westminster Roman Catholic Cathedral where there is a very large four-manual instrument on the west-end gallery. The organist had to accompany the Mass on a small organ with the choir seated behind The High Altar; then he had to rush round the external parts of the cathedral, up a long staircase to reach the large organ. This proved difficult, especially in wet weather so a new console was constructed behind the High Altar, containing the stops of both. This was a failure as the distance from console to organ was so great that a gap of nearly a second was evident. Next they enclosed the console and, with silver wire connections made the sound almost simultaneous, but obviously the player could not hear satisfactorily. It would be interesting to know the present condition as the large instrument has recently been rebuilt.

At this time, I became organist of St. James', Camberwell and Director of the Orpington Musical Society which I have mentioned before. My work at The Browning Institute was designed to help the poor to take an interest in music and similar things to keep them off the streets. At St. James' Church the vicar was keen on cricket and sometimes invited me to accompany him to The Oval of which he was a member. We saw several Surrey games as The Oval was only a short distance from the church.

My brother, George, was at Blundell's School, Tiverton, in Westlake House, where S.G.U. Considine encouraged him to become a good fast bowler. In London, we both joined a good cricket club and obviously some arguments arose about who was the better. George bowled some very fast balls at me, unfortunately badly damaging my left thumb which put paid to my piano and organ playing for a few weeks. At the college I was told, "Cricket or music- you cannot have both." This was a very sudden end to my cricket so I took up tennis instead as in that game only a soft ball was used. Thus I became a member of Dulwich Village Tennis Club. However I kept up my interest in cricket by often going to The Oval to see the great J.B. Hobbs bat and I saw him make several centuries there.

After a few months I was offered the post of organist and choirmaster at St. Michael's, Paternoster Royal, London, E.C. so my stay at St. James’ was short. At St. Michael's, there was a professional choir who were paid for all services and practices. The boys too were well-paid; coming from Southwark they were glad of the financial help. St. Michael's was the only church to have been rebuilt after The Great Fire of London. The finances of the others, All Hallows The Great, All Hallows The Less and St. Martin's Vintry, were combined with St. Michael’s, which was an enormous help. We, therefore, had eight churchwardens (two from each church) who took office for a month at a time.

St. Michael's is not a royal church: the word "Royal" is a corruption of "La Riole", a village near Bordeaux, where the local wine merchants obtained their wine. St. Michael's is still the headquarters of the Vintners' Company, the well-known wine merchants, famous for their various wines. St. Michael's was built by Sir Richard Whittington (remembered today as Dick Whittington of pantomime fame) who resided next-door to the church and was Lord Mayor of London on four occasions. The original church was destroyed in the Great Fire of London in 1666. It was rebuilt by the head mason of Sir Christopher Wren who supervised its construction. It was badly damaged again during an air-raid in 1940 and repaired to become the headquarters of the Mission to Seamen.

In my time (1927) it was a very high Anglo-Catholic Church and the rector, Canon Bullock-Webster, was well-known for his extreme views. On my first Sunday there as organist, he took me and Miss Croydon (my fiancee) to the Reserved Sacrament which was kept in the side chapel and said to the Elements, "Help our friend to become a devout Catholic." After Mass I met the choirboys as twelve noon sounded on the bells. The rector joined us and said, "Mr. Curtis will lead us in The Angelus." I had to admit I did not know it. He said, "Dear, dear boys, we must teach him." They then went through it slowly for my benefit.

Once the rector invited all members with cars to bring their cars to be blessed and censed on the octave Sunday of St. Christopher's Day, the Patron Saint of Travel. For this I had to wear a cope and we all proceeded to Whittington Gardens for the ceremony. On the way a choirman whispered to me, "Is the hymn ‘Sunbeams scorching all the Day’?" which happens to be the first line of verse two of "Forty Days and Forty Nights".

One day the rector took the congregation to St. Paul's to interrupt Bishop Barnes' sermon. Bishop Barnes was very low church so the rector did not approve of him. He invited the congregation of St. Paul's to come to a "proper service". This was very embarrassing for me as I was still a Member of the Special Choir at the Cathedral.

It was a joy to have a professional choir so for Mass we were able to perform full settings such as Eyre in E flat or Harwood in A flat. For special occasions we sang a Schubert or Mozart Mass. These meant long choir practices, especially for the boys.

My stay at St. Michael's was fairly short as I applied for a position at Carmarthen. When I got the job Bullock-Webster allowed me to go because he was sure I had been chosen to take the Catholic Religion to Wales. However he insisted I should return to St. Michael's for the Patronal Festival, when we were given a large candle for the procession around the church. I was dressed in a cope and had to hold a lighted candle and hymn book in my left hand and conduct with my right. The grease ran down the book; all got very awkward when the words were obliterated, but my orders were that the candle must have preference. After the service the boys were told to take their candles and always to remember the candles had been used at the Patronal Festival at their church. I said, "Goodnight" to the rector and I boarded a tram at Southwark Bridge. I witnessed the boys walking home across the bridge, using the aforesaid candles as swords and shouting, "Charge" as they thrust them at each other. Some had only the wicks remaining - I am sure Canon Bullock-Webster would have been very upset if he had seen this.

The duties at St. Michael's were light, but I was expected to play and take part on all major saints' days and was not allowed to have any food before Mass which was at 12.30pm,when city people could attend in their lunch hour. The congregation was not allowed to speak, just the rector and organist. Afterwards Canon Bullock-Webster had some tomato soup and rolls, warmed up in his vestry. When I left for Wales I was glad to lose his extreme views, but I did miss the capable choir.

Whilst I was in London I became a server at St. John the Divine in Kennington, becoming very friendly with Rev. Boodle, one of the priests. The church had a large following and there were six priests - the vicar was Howe-Browne in my time; he later became a bishop in South Africa. In this church at High Mass the ladies sat on the left and the men on the right.

A few rows at the back were allocated for both sexes to be together. When serving for early Masses I had to change to slippers and carried the Missal in front of the celebrant when entering the church.

Now that I was leaving for Carmarthen, my feelings were and always have been that Matins is a tame affair compared to the Communion.

Crystal Palace

One of the most interesting experiences whilst a student at the Trinity College of Music was when Mr F. W. Holloway, the resident organist of the Crystal Palace asked me to deputise for him on a day when a Bee Exhibition and Show was to be held there. The Crystal Palace was conveniently placed for me as my home was in Dulwich Village, only two miles away from the Palace. This was possibly the reason for my being given this opportunity.

The organ was in the main central transept where large concerts of all kinds were regularly held, including the Handel Festivals when a large choir performed. I visited the organ once or twice with Mr Holloway as he gave regular recitals and was also the organist and choirmaster of All Saints' Church, Dulwich. I was meant to play for an hour alternately with a military band, which meant that each of my efforts started at 11am, 1pm, 3pm, and 5pm.

The organ was a very large instrument containing 64 speaking stops and 15 couplers. I give the specification below as a matter of interest.

 

Great organ
Double Open Diapason	16 ft.	Flute	4 ft
Open Diapason (Large)	8 ft	Twelfth	2 1/2 ft
Open Diaposon (medium)	8 ft	Fifteenth	2 ft
Open Diapason (small)	8 ft	Mixture	4 ranks
Harmonic flute	8 ft	Double trumpet	16 ft
Wald flute	8 ft	Harmonic trumpet	8 ft
Quint	5 1/2 ft	Posaune	8 ft
Principal	4 ft	Clarion	4 ft

 

Swell organ
Bourdon	16 ft	Flageotet	2 ft
Open Diapason	8 ft	Mixture	4 ranks
Gamba	8 ft	Contra fagotto	16 ft
Voix	8 ft	Oboe	8 ft
Concert Flute	8 ft	Cornopean	8 ft
Octave	4 ft	Clarion	4 ft
Flute	4 ft	Vox Humana	8 ft
Twelfth	2 1/2 ft	Tremulant
Fifteenth	2 ft

 

Choir Organ
Contra Gamba	16 ft	Caribel Flute	4 ft
Lieblich Bourdon	16 ft	Octave Flute	2 ft
Gamba	8 ft	Harmonic Piccolo	2 ft
Salcional	8 ft	Clarinet	8 ft
Vox Angelica	8 ft	Orchestral Oboe	8 ft
Clarinet Flute	8 ft	Tremulant
Harmonic Flute	4 ft

 

Solo Organ
Open Diapason	8 ft	Tromba	8 ft
Harmonic Flute	8 ft	Clarion	8 ft
Harmonic Flute	4 ft	Corno di Bassetto	8 ft
Double Tromba	16 ft

 

Pedal Organ
Double Open Diapason	32 ft	Violoncello	8 ft
Open Diapason (wood)	16 ft	Octave	8 ft
Open Diapason (metal (	16 ft	Flute	8 ft
Bourdon	16 ft	Contra Bombarde	32 ft
Gamba (from choir no. 1)	16 ft	Trombone	16 ft
Quint	10 1/3 ft	Ophicleide	16 ft
Principal	8 ft	Trumpet	8 ft

 

Couplers
Great to Swell	Swell to Choir	Solo sub octave
Swell to Pedal	Solo to Great	Solo unison off
Choir to Pedal	Swell Octave	Great pistons to Pedal
Solo to Pedal	Swell sub octave	Combinations
Swell to Great	Swell unison off	General cancel
	Solo octave

 

Accessories

Five adjustable combination pistons to Great

Five adjustable combination pistons to Swell

Three adjustable combination pistons to Choir

Three adjustable combination pistons to Solo

Five adjustable combination pedals to Pedal Organ

Five combination pedals to Swell Organ duplicating swell pistons

Double acting pedal controlling Great to Pedal coupler

Double acting pedal controlling Swell to Great coupler

Double acting piston controlling Swell tremulant

Double acting piston controlling Choir tremulant

Balanced swell pedals to Swell, Choir, and Solo Organs

Tubular pneumatic action to manuals, pedals, couplers, drawstop action and all combination pistons and pedals

 

It was made possible for me to try the various accessories and combinations of stops the day before, also to play the instrument when the building was closed to the public, but there was much activity in the building as the exhibitors were preparing for the show. They were far too busy to notice my playing and the band also was arranging stands and seating below me but I found the size of the instrument no trouble to manage.

On the following morning the whole Palace was full of bees and the exhibitors were wearing the necessary protective gear when working on their hives. Some were in large plastic tents and the bees were very active generally. There were a large number of people that had come to the show; I did not think there would be so many interested in a show of this kind. All were selling the products of their bees.

After each item that I played it was necessary for me to leave the organ stool to acknowledge the applause which was a new experience for me as this is not a usual experience in church work.

All went well until the afternoon, when not playing I touched a rail around a pond in the Palace and was stung and went to a First Aid post (there were many of these for this kind of show) where my finger was examined. The nurse informed me that it was certainly not a bee sting but a wasp sting and after treatment I was able to continue. I wish I had asked the name of the ointment used, it was a wonderful cure; the swelling soon subsided and I was able to carry on playing with little discomfort. Fancy being stung by a wasp in a bee show!

Several years later the whole of the Crystal Palace was destroyed by fire, including this fine organ and so this instrument that gave me such pleasure is no more.

In Carmarthen

In 1927 the position of Organist and Choirmaster of St. Peter's Church, Carmarthen became vacant and I was advised to submit an application which was well supported by numerous testimonials. Dr Warriner had had a previous pupil who had held this position for many years and who had now moved to Beverley in Yorkshire for domestic reasons. He said that the people and prospects were very good.

I was invited to visit the town and to submit to a trial and take choir practice on a Friday and the services on the following Sunday. After the evening service and a short recital I was offered the position. It should be mentioned that the services on that trial Sunday were taken by the Rev. J. D. Bartlett who was a professor at Lampeter College who later became bishop of St. Asaph. Before he left he kindly said, "I am sure that we shall meet again".  He was a native of Carmarthen and his mother was a regular attender at St. Peter's.

As soon as I had accepted all gave me a good welcome and helped me to obtain ideal accommodation with Mr and Mrs Price on the Esplanade. It was possible for me to have a large room so that I could have my piano and necessary books and music as well as care and full board.

Here I must explain that St Peter's is the Pro-Cathedral of the St David's Diocese as our Bishop resides at Abergwili Palace which is only two miles away from Carmarthen. It is used regularly for Diocesan functions - it is the English Church for the parish; St John's Church is the Welsh church and the clergy must be bi-lingual as the two make the whole parish. The Vicar and his two curates had only just been appointed to the living so we were all new. The Vicar was the Rev Gwilyn Smith (later Canon Smith) and his curates were Rev. Tom Jones and the Rev. Hugh Rees. The former was a priest and nicknamed "Dracula" as he regularly wore a long black cape over his cassock. Hugh Rees was a newly ordained deacon, an outspoken person who eventually became Vicar of Rhyl and Archdeacon of St. Asaph. I shall always remember his sermon when he said that the recent Lambeth Conference had emphasised that the clergy should spend more time on spiritual work and less on financial matters which should be left to the laity. He then said, "Can you imagine St Paul walking the streets of Corinth with a book of raffle tickets in his pocket?  That is what I have here".

I should mention that St Peter's had had many great musicians; probably the most well-known was Mr H. F. Ellingford, later the organist of St George's Hall, Liverpool and a very well known recitalist in his time. He was related to the Rev. Waldo Lewis, the congregational minister and we often met in future years. Dr. Silver of Birmingham had also been at Carmarthen before going to the Midlands. These facts show that I had a reputation to maintain.

It was a very sad day when I left London for Wales as I was leaving my fiancée; we had been together at every opportunity. However she came to stay on the coast at Llanstephan with her mother a number of times. My cycle worked overtime on these occasions as Llanstephan was only six miles from Carmarthen.

Once I had settled in Carmarthen in the excellent accommodation provided by Mr and Mrs Price I was able to give pianoforte lessons in my room. Mr. and Mrs. Price were very helpful in all respects and the house could be called home from home.

Here I must warn people to beware of people trying to teach one Welsh. On my first day there I was taught some Welsh to say to Mrs Price which was not pleasant or polite. I was given a passage in Welsh to say to her which when translated was, "Go to the Devil". However she quite understood that I did not understand the full meaning.

As soon as I arrived in Carmarthen I took on a number of pupils. Almost at once I started a connection in Cardigan on one day a week. However this venture did not last long as Cardigan was 30 miles from Carmarthen which meant two long bus rides on those days and a long day as well.

After a week or so the Diocesan High School for Girls appointed me as their Director of Music. I met Mr Walter Watts, the organist of the Welsh church, who was a very capable performer - we became close friends.

Next I was offered the position of Director of Music at Llandovery College, the Welsh Public School. Llandovery meant a journey of 27 miles by train and as the work often meant staying the night I had a room of my own there in Bank House where the masters of the college resided. This made it necessary for me to give up the Cardigan connection. Later, during the war (in 1940), the room was frequently used as the return trains were often many hours late owing to the air raids in the North.

Here I should mention some of the members of the staff at Llandovery that were to become great friends of mine. One was the Rev. C.B.Naylor, the Latin master, who left to become Senior Proctor at Oxford University and later Chancellor of Liverpool Cathedral and still held that position in 1983. Another was Mr Pye, a relative of the proprietor of Pye's Electrical Firm at Cambridge; also the Rev. Ward-Hill who was later in charge of Maths at Dulwich College. The headmaster was Canon Walker-Thomas, a great friend of the Bishops of St. David's and Brecon. It later came to my notice that the Bishop of St. David's, Dr Prosser, had mentioned me to the college as he had often met me in St. Peter's in Carmarthen.

At Llandovery I had some capable musicians: one was D.H.Evans who was a good organist whom the head wanted to be organist for the Confirmation service. Imagine my feelings when I heard strains of "Who's afraid of the Big Bad Wolf" coming from the organ as the Head and the Bishop came from the vestry. I naturally reported him, but as neither were musical he somehow or another got away with it, but he was not allowed to play for further services.

Whilst at Llandovery College the Directorship of the Diocesan Festival was given to me and this meant journeys around the diocese taking the necessary sectional practices. Thus my journeys took me to such places as Tenby, Aberystwyth, Haverfordwest, Lampeter, Fishguard etc. and enabled me to become known generally. St. David's (where I met Dr. Soar who was the Cathedral organist at that time) was also visited but was too far from the centre to house the festival: we therefore held the festival at Llanelli.

Llandovery was a famous school for rugby football and has provided regular members of the Welsh International teams; many are famous names such as Cliff Jones, T Stephens, etc. The great match of the year was always when they played Brecon College.

The Rugby master during the war period was Mr T.P.Williams. He helped me out in the cold winter months when my car (which I had by this time) would not start; he would collect members of the scrum (forwards) and make them push my car around in circles until it came to life - with me, of course, at the wheel. This was a very useful service and much appreciated.

I remained at Llandovery College until 1947. Walker-Thomas retired as head after I left and was followed by the present Archbishop of Wales (1985?) who also retired when he was made Bishop of Bangor.

By 1930 things were certainly going well for me as at about this time I was giving 60 private lessons in the two colleges as well as the church activities and financially things were looking rosy. It was possible for me to consider getting a mortgage and I had my eye on a house in Myrddin Crescent that was being built. I wanted to buy a house if possible and this was ideal for size and position and so in 1931 marriage could be considered. My mortgage was granted and both of our parents gave us some assistance and we were able to fix the day for 17th August 1931.

Miss Croydon was a soprano in the choir of St. Nicholas Cole Abbey, Queen Victoria Street. After Evensong she used to walk to St. Paul's to meet her father so they could travel home to Dulwich together. Mr. Croydon introduced me to his daughter as we travelled on the same train. Later he left us alone together in the waiting room on London Bridge Station while he went for a drink in the buffet with other members of the choir.

My fiancee's relatives were clever and artistic. Her brother Frank was a lecturer in Ecclesiastical History and Theology at King's College, London and Vicar of Chingford, St Matthew's Westminster and other places and her uncle was in charge of the glass in Canterbury Cathedral. As I have mentioned her father was an alto and a member of both St. Paul's Cathedral Choir and of The Chapel Royal Savoy. He gave me valuable advice about my musical career. My fiancee was a dispenser at Boots The Chemists. She started work at 8.30am and finished at 8pm. She had a half day on Wednesday and was allowed an early night on Thursday when she left at 6pm. At Christmas all the shops stayed open much later and Christmas Eve did not close until after 11pm.

Our wedding was held at St. Nicholas Cole Abbey Church, Queen Victoria Street at 2.30pm on Monday, 17th August 1931. We were married by Rev. F.E.Croydon, my wife's brother, assisted by Canon McChene, Rector of St. Nicholas. The best man was my brother, George, and the bridesmaids were Irene Croydon, my wife's niece, and Pamela Morris. My wife wore a dress of ivory satin and carried a bouquet of pink carnations, rose buds and white heather with asparagus fern. The reception was held at The Rectory, Lambeth Hill.

 

Marriage Address by Canon McCheane - Vicar

Vernon Curtis and Alice Mary Croydon

St. Nicholas Cole Abbey, August 17th. 1931

At last, after all your long waiting, here you are standing together before the Altar of God - in this church, my sister, which you have loved so well - and where you have worshipped God and offered your Service to Him for so many years; here you are standing as man and wife, at the beginning of a new chapter in your life's history, a chapter which you hope and trust is to be filled with such great joy and happiness for many a long year to come.

And you are quite certain, aren't you, that this is all of God's great goodness and love to you both? It is He who has now given you to one another in this wonderful state of Holy Marriage. It is He who has prepared for you this great joy. There has been no "chance" about it, but He has called and fitted and prepared you for this new life, upon which you are starting forth together. You are man and wife - bound within a bond that as you know - is unbreakable save by death itself.

And you will take care to guard and cherish your love for one another as a beautiful thing, with which no one else shall be allowed to interfere, which nothing shall harm or weaken. If sometimes little "estrangements" should begin to show their ugly face - some little misunderstanding - some little passing difference - and of course it won't always be easy - you will have your upsets sometimes - then remember as you look back to your Wedding Day and to your most solemn pledging of your love for one another - and go at once and get your trouble put right; say you are sorry and show your love, and refuse to allow the evil to continue.

Now all that may seem easy enough to you today, when your hearts are so full of happiness. For the moment you cannot imagine anything ever being allowed to come between you. Dear brother and sister, if your married life is to be always beautiful and an unspoilt thing, and a pattern and example to the world around you, then you know quite well this can only be by the Grace of God. And so I would earnestly charge you both to see that God is indeed your constant and abiding Companion and Friend. Take all your joys and all your troubles to Him. Get down on your knees and pray together about them. Be regular and frequent in your use of the Sacraments and specially in your use of the most Blessed Sacrament of the Altar. There, as you know, Jesus Himself comes to dwell and abide in you, to knit you in closest union with Himself and in Him to one another, to give you His Grace to live according To His Will. You, my brother of necessity - because of your Calling, must be regular in your attendance at church, but see, both of you, that you love to have your part in the Church's Worship - that you consecrate your gifts in His service, and that your Religion is a very real thing to you.

Let me end by giving you a Motto for your new life - a verse from the Morning Psalms of this 17th day of the month - which perhaps you might write out and keep for yourselves as a reminder of what I have tried to say to you.

"Teach me Thy Way, O Lord, and I will walk in Thy truth:
            O knit my heart unto thee, that I may fear Thy Name"

            [Psalm LXXX VI:11]

            "Teach me Thy way ,O Lord: O knit our hearts unto Thee, to one another”

May He very greatly bless you both - this day - and through the years of your married life, and bring you through earth's joys and sorrows to His Eternal Happiness in the Life to Come.

 

Here there is a good opportunity to mention some of my interesting pupils that I had about this time.

Lewis Jones was preparing for his final examination at Oxford University when through overwork he tried to shoot himself but only succeeded in blinding himself. It was my task to help him learn harmony as well as practical work on the piano and organ. This unfortunate matter had left his mind clear and on medical advice he became a regular pupil. This made it necessary to learn a certain amount of Braille and he was able to dictate his harmony to me and thus it was possible for me to help him. He eventually became an organist and in a short time he could memorise a whole psalm and chant. After some years as my deputy he was able to sit and pass the A.R.C.O. Diploma. He then went for a time to the Royal School of Music until he was appointed Organist and Choirmaster of Lampeter Parish Church. Whilst with the Royal School of Music he also took up elocution and eventually became an L.R.A.M. With his ability both as an organist and musician, plus elocution he was appointed on the staff of Lampeter Technical College. I found it a very difficult job to coach a blind man for his diploma and at the Royal College Organists' Examination the college had to provide an amanuensis for the paperwork examinations. It was a most interesting experience and I was surprised at the memory he possessed.

Wyn Davies was the son of my doctor Arwyn Davies; we were very friendly and he became a pupil for pianoforte playing. One day I heard him sing and suggested that I should coach him for entrance to a good choir school. After some training he was made reserve for King's College Cambridge but before he was required there, a vacancy occurred at the Chapel Royal, Windsor and he was accepted. He certainly enjoyed life there and when the Royal family were in residence at Windsor the boys were often invited to visit and were entertained by the two girls, Elizabeth and Margaret. He told me of one of these visits when he accidentally broke a delicate chair. The present Queen then said, "You wait until father sees this." Father, of course, was King George VI. It was a wonderful experience for him and many years later he also became our doctor after he had left Windsor and taken up Medicine.

Gerwyn Thomas was a pupil from the beginning and in his young days he was anxious to be out playing. One day he said to his mother, "If I do all the work set for the piano in one night, I need not practise every day for so long." Therefore after his lesson he would go home and work until all had been finished. He was very capable and eventually got to Aberystwyth University and gained his B.Mus Degree. After some experience in teaching he followed me as Organist at St. Peter's Carmarthen when I moved to Tiverton. For some years he had been a valuable deputy at this church and I was fortunate to have had his help.

Olive Morgan was a local teacher of the pianoforte and an L.R.A.M. and she came to me for coaching for the A.R.C.O. and was successful. She was organist of a Welsh chapel.

Annie Thomas from St. Clears, a village some 8 miles from Carmarthen gained a diploma in Composition given by Trinity College. This was known as A.Mus.T.C.L

The above were taught during my early days in Wales, before my work was entirely schoolwork. At that time I was often appointed as adjudicator at Eisteddfordau but could not give my verdict, which had to be given in Welsh. This was usually given by a Welsh musician who worked with me.

When the Second World War was declared in 1939 I had been teaching at the colleges and privately for about 11 years and was well known in the counties of Carmarthen, Cardigan and Pembroke having several pupils from these counties. I had also given recitals at many churches during this period. At the beginning of the war pupils were not greatly reduced but the seniors naturally gave time to war-work of some kind.

In the first place I joined the air-raid wardens, but my services were required for National Service and so I was compelled to join the Observer Corps. I was now 40 years of age and, being a teacher, was not required for National Service; also I had been out of touch with engineering for too long to be of much value on munitions.

My work with the Observer Corps did not greatly interfere with my teaching, as generally I was required to work at nights when enemy aircraft were over this country. This was a great strain on me and both Llandovery College and the Diocesan High School for Girls appointed teachers to relieve me of junior work. At the former Mr Evans of Llandilo was appointed and Mrs Mills-Roberts shared the work with me in the latter school.

In spite of the help the work at the church made life very hard, especially as the Observer Corps work was very complicated. I had to sit at a table with a very large map and wear earphones which kept me in touch with outside posts and report the position of enemy aircraft and their direction. This was marked on a map by me by means of a disc. High above me were Air Commanders who would phone the information to the Air Force and warn places of possible attack and danger. Nothing was said - I plotted the position of the enemy and the officers passed it on to those concerned. This day and night work proved too much for me and eventually I collapsed at Llandovery and was ordered away to the "George Borrow Hotel" for a complete rest. This Military Hospital was at Ponterwyd near Aberystwyth and Plynlimmon, the Welsh mountain. This hotel is mentioned by Borrow in his book "Wild Wales" and is only a few miles from the well known "Devil's Bridge". I had to go there on my own (neither my wife nor children were allowed to accompany me) and after a complete rest was much better; it was merely exhaustion through overwork. After the war had ended we went there for a holiday when the hotel was restored to its normal state as a residential hotel.

When peace was declared my work as a musician continued and I was fortunate enough to meet many great musicians who came to the colleges to examine our entrants; thus I met Herbert Howells, Dr Lovelock, Felix Swinstead to name a few.

This type of work continued until 1947 when I had a visit from Mr Wyn Jones, who was the Director of Education for Carmarthenshire. He wanted me to become a Music Specialist at various grammar schools and to concentrate on Scholarship, Advanced and Ordinary Level Examinations. He said that the teachers generally could not cope with the required University syllabus, such as harmony, counterpoint, fugue, orchestration, aural training, etc. He then said that it was for the full Burnham salary plus a large number of increments for experience and qualifications, and all would be pensionable at the age of 65.

After careful consideration I decided to accept this offer as the part-time work at the two colleges was not pensionable and so I retired from Llandovery and the Diocesan High School for Girls as well as my private connections. However a few of my private pupils were retained if they were preparing for advanced exams, but Mr Emlyn Evans, an old pupil of mine was appointed at Llandovery College and Mrs Mill-Roberts took over all the work at the Diocesan High School, Carmarthen.

It was arranged that I should be on the staff of the Carmarthen and Whitland Grammar Schools (three days at the former and two at the latter each week) and others would be transferred to one or other of these schools if music was to be their principal subject in either University or Training College. The two school choirs were in my charge for concerts or Eisteddfodau. This latter work led to some embarrassing situations for me at times when the two choirs were competing in the same Eisteddfod. This work enabled me to meet many important examiners who were sent by the Associated Board to examine our entrants at these schools, such as Herbert Howells, Dr Lovecock, Felix Swinstead, Dr Morgan Lloyd etc., some of whom I had met at the two colleges and when they examined my private pupils. Training College candidates were given advice on taking classes in general musical subjects and would then have to take a class in order to put the advice into practice.

One of these decided to drop this subject and became a dentist's assistant. When I went to have some teeth removed I asked for, "Gas". As she put the mask on my face she said, "This is one of my happiest days - giving you gas - I wish I had had this at school". This has always amused me and I often think about this episode in my life.

This change of work had many advantages; one was that the shorter day gave me more time to myself and I was able to give more time to my organ playing as well as more time with my family at home. For about 18 years I gave regular organ recitals at St David's Cathedral and elsewhere as required. Thus I was able to tackle some of the difficult music that I had not played before. It was necessary to reach a high standard of performance as there were often some good performers there staying in Dr Harris's private holiday home at St David's and they usually came to musical events in the Cathedral. These musicians did not sit in the nave with others but generally walked around the Choir. I have seen Sir Walford Davies, Dr Rubbra, Dr George Guest and many others at times and usually met them afterwards when we were given refreshments at the Organist's House. Once when Fermando Germani, organist of St. Peter's, Rome, was giving a recital I was asked to turn over for him. In one difficult piece he made a slight slip then turned and whispered to me, "That shows that I am human". He still carried on with that piece. I have often used that remark when I make slips - it is a useful excuse.

My choir of St Peter's, Carmarthen was often asked to sing services for the "Urdd" Eisteddfod and gained many successes in the various classes. When the Carmarthen Choir were give First Prize as the Best in all Wales class I was presented with a baton of silver and ebony which is in my cabinet - a useful reminder of my conducting in past years. On St David's Day (March 1st) both schools held their annual Eisteddfoddau and I had to rush from one to the other to judge their efforts.

When I arrived at Whitland a boy of eleven from Form II came to me and said, "Sir, we have no school song and so last night I composed one to some words written recently by a member of staff". When I saw his work I was amazed at his ability. He then produced a number of compositions that he had composed and I knew that we had a genius in the school. His father was the History Master, Mr W. H. Mathias, and William, his son, was not allowed to take music as a subject as Mr Mathias considered music too precarious for a living. Eventually I was allowed to give him help on some of the elementary problems that one would expect to find in the work of a self-taught lad. This school song has been regularly used ever since and the original copy hangs in the school, duly framed. I helped him through various examinations until he went to Aberyswyth University.

He then went on to the Royal Academy of Music and studied under various composers before being appointed as Professor of Music at Bangor, the University of North Wales.

His compositions are well known and he has written works for the inauguration of the new organ at the Royal College of Organists and for the wedding of the Prince and Princess of Wales at St Paul's Cathedral in London.

Will, as I know him, has often written to me saying that my help in the first place put him on the right road. After helping him to write in the style of Palestrina for his examination, he said, on passing, "Now you know what to do with your Palestrina, I am going to write what I like". His music is very modern but is generally admired by all. I regret that his father W.H.Mathias died before seeing his son's great success, but his mother is still living and is naturally proud of him; she still lives in Whitland, Carmarthenshire. When last in Carmarthen I met them both in the town.

Before I leave my notes on Carmarthen it would be as well for me to give details of the services at St Peter's Church.

Choral Evensong was sung on Wednesdays, usually without a sermon. In Lent however a course of sermons on a chosen subject was given by a visiting preacher. The mid-week service was always suspended during the holiday months of July and August. The choir for these services consisted of boys and a few ladies.

On Monday, Evensong was sung by the junior boys and probationers to give them confidence and self- reliance. The parents of these youngsters often attended these services which was a great help generally. All Monday and Wednesday services were followed by a short practice, the full weekly practice being held on Friday evenings except during the holiday months mentioned above. The Monday and Wednesday work was often taken by deputies who were responsible for funerals and weddings when I was not available. I was very fortunate to have the help of Miss Daisy Jones, who was organist of the Welsh Church and Miss Rachel Jones who was very keen and could manage hymns very well for some minor services. Mr Lewis Jones, who gained his A.R.C.O. before accepting the post at Lampeter Parish Church, gave me valuable assistance for many years. Others from the local churches gave me assistance as required.

The Assize Court is regularly held at Carmarthen three times a year and is always preceded by a service at St Peter's Church attended by the Judge, Councillors and all concerned with the conduct of the court. The Judge was met by the clergy and choir. The trumpeters always announced his arrival. This service was held at 10:05am and the service had to end at 10:50am so that the court could start its work by 11:00am. For this only short hymns were possible and Psalm 15 was regularly sung in my time therefore the spiritual value seemed negligible to me and the service is only held on the first morning of the Assizes. I understand that this procedure has remained since I left Carmarthen. Boys were allowed to attend for this and also a few of the men were able to attend.

The vicar and the two curates said Matins every weekday at 8:00am and Evensong at 5:30pm: this was always very useful to me as I could always contact the clergy when necessary without calling at their homes. On Saints' Days Communion was celebrated instead of Matins.

During my first years in Wales, at the Christmas, Easter and Whitsun Festivals, Choral Eucharist was sung at 8:00am to complete settings such as Eyre in E flat and Harwood in A flat. Eventually the Midnight Celebration was introduced on Christmas Eve and sung to Merbecke and the complete settings for Easter and Whitsun were moved to 11:00am. On the Sunday before Christmas a Service of Nine Lessons and Carols was held where I always read the Third Lesson.

At 11am on Christmas Morning the Mayor and Corporation attended Matins and the sermon was always preached by the Lord Bishop of St David's. This was a regular feature during my 37 years at St Peter's, Carmarthen and had been a regular feature for many years before my arrival on the scene and continued after I left.

The Three Hours' Service was always held on Good Fridays, and at 6pm a Cantata was rendered with the devotional service.

On Easter Eve the full choir sang the First Evensong of Easter which they enjoyed after the penitential season of Lent and Holy Week. This service was well attended and greatly appreciated.

At Evensong on Easter Day the Festival Service concluded with a performance of Handel's Hallelujah Chorus from the Messiah before the final blessing and all stood, as is the usual custom nowadays. Our choir was always very large - it could not be adequately rendered by a small choir as it requires plenty of tone.

Here it would be a good idea to give a list of my Vicars whilst I was in charge of the Music at Carmarthen:

Rev. Canon Gwilym Smith 1928-1937

Rev. Canon J.T.Davies 1937-1942; left to become Dean of Bangor, North Wales

Rev Archdeacon J Richards Pugh 1942-1954; had been Archdeacon of Llandaff, but became Archdeacon of Carmarthen when appointed to St Peter's

Rev. Archdeacon W.U.Jacob 1954-1966; followed Archdeacon Pugh as Archdeacon of Carmarthen, but left us to become Dean of Brecon in 1966

Rev. Chancellor D.Hywel Davies 1967-1981 was appointed after I had left but he always gave me a welcome whenever I visited the church. He was married to the daughter of a well known Bishop of Llandaff - Timothy Rees.

As St Peter's is the Pro-Cathedral of the St David's Diocese I often had to meet the Bishop as well as my Vicar. A list of the Bishops are given:

Bishop Prosser - also Archbishop of Wales for many years

Bishop Havard

Bishop Rees who retired after I had departed and his successor is unknown to me.

With the BBC

Before the Second World War the B.B.C. studios and offices for Wales were in Swansea, but during the war Swansea suffered a very heavy air raid when the centre of the town was destroyed, including the B.B.C. buildings. It was therefore necessary to move to another place in order to carry on with the radio broadcasts (there was little TV in those days).

I had been friendly with Mr Thomas Pickering for quite a time and his Octet had given concerts at Llandovery College. These singers always sang the midweek afternoon service and various members had assisted me in my pupils' concerts from time to time.

Carmarthen was chosen by the B.B.C. and they took over the whole of the basement of the Government Offices in Queen Street. Mr Pickering asked me to assist him in placing the singers so that the balance of tone was perfect - no single part must stand out. This was necessary as some of the Octet were new because some of the old members had been unable to come to Carmarthen. In the end the soprano pair and the bass pair were slightly forward and the altos and tenors were slightly back as these two parts must not stand out.

When possible I attended these services which had to be timed to the second; this necessitated hurrying or retarding the speed of the hymn and following blessing according to the seconds remaining. All through, all eyes were on the clock. The listeners would, of course, not be aware of this which was just as well. I certainly found this side of broadcasting interesting.

I have always found this timing a nuisance when working with the B.B.C. Our Church Choir took part in quite a number of Radio Services for the Home and also the Overseas at St. Peter's. The people in charge would order me to hurry or retard the speed according to the time available - once we had to omit a verse of a hymn for this reason.

On one occasion we were responsible for the Sunday Morning Service for the TV. There were several cameras in use, one in the gallery and others in the congregation. Another was placed behind me but I could see it through my mirror. I was told that when a camera was "on" a little red light was visible. During the prayers the camera behind me was off and so I quickly got off the organ seat to retrieve my concluding voluntary which had fallen to the floor. Imagine my surprise when my daughter, Elizabeth, who was living in London at the time, phoned us when we got home and asked what I was doing during the prayers. It appears that the gallery camera was on the curate who was saying the prayers and I was in direct line behind him. I thought I was safe at the time but it goes to show how careful one must be at times like these.

On another occasion my school choir gave a performance for the Radio after winning the first prize in the Junior National Eisteddfod (known as "Urdd"). The whole school assembled in the hall to listen and were told to applaud each item when the B.B.C. announcer raised his arms and to stop at once when he lowered them. This procedure was rehearsed before the broadcast, therefore the applause was regulated by the time available rather than for the standard of the performance, which I felt to be rather strange.

One further experience with the B.B.C. was when Carmarthen was chosen for "My Town". A week or so before the recording I was asked to play a number of pieces on the organ which would be suitable for background music whilst they went round the church describing points of interest. After an hour or so they made their choice - a Bach item - and I was able to hear my efforts in the recording van immediately afterwards.

When "My Town" was presented on the Radio imagine my surprise when the tour conductor said, "Here is St Peter's Church - Oh, we are lucky - the organist is here playing some Bach". He then proceeded to describe the instrument which was built for the Hampton Court Palace, by a well known builder Pike England in the 18th century, but was found to be too large for the concert hall and was sold to St Peter's, Carmarthen. It has recently been electrified with all the latest improvements.

Examination experiences

Now that my teaching connection was well-established and I was married, I decided it was high-time I had further and better qualifications so I worked steadily towards the Fellowship of the Royal College of Organists. This necessitated several visits to London for advice and help. In those days I could purchase a day ticket for as little as seventeen shillings and sixpence. I had to leave Carmarthen at 7:30am, reaching Paddington at 1:00pm. The return journey was long and dreary, as I left London at 1:00am, reaching Carmarthen at 9:00am the following morning. When in London I obtained advice from professors at the college and Dr. Bullock, then organist of Westminster Abbey, gave me lessons in the late evening. This was convenient for me as my brother-in law was vicar of St. Andrews, Westminster, so I had a meal and a rest before returning to Paddington at about midnight. Obviously these trips could only be undertaken during the vacation, but that was quite sufficient.

Finally I entered for the examination in July 1937. My examiners were Sir Edward Bairstow, Sir Ivor Atkins, Dr. Thaben-Ball, Dr. Harvey Grace, Dr. Kitson and Dr. Bullock. The pieces chosen by me from the allocated selection were:

1) Prelude and Fugue (The Wedge) by Bach

2) Fantasia and Fugue in E minor by C. H. Parry

3) Legend by H. Grace

All went quite well until the third piece when, at the very loud climax, I heard a terrible noise- I thought my playing had let me down. From behind the screen Sir Edward Bairstow shouted, "Stop!" There was a cipher on the pedals which was duly corrected after a long wait. Then Bairstow said, "Please, play the whole piece again". I recognised his voice but he was out of sight, behind a large screen with the other examiners. I was able to keep cool during the various tests that followed: score-reading, sight-reading, transposition, extemporisation and keyboard harmony.

Afterwards I went to Brighton, where my parents were living in retirement. I knew the results would arrive the next morning as the distribution of prizes was to be held the following day and I had been one of the last candidates to sit. At my request the verdict was to be sent to the Post Office, not my home address, in case the result was not good. My parents wondered what I was up to. However I had passed and had to leave at once to receive my certificate at the Royal College of Organists and to buy the necessary hood for the ceremony. This hurried departure from Brighton was the last time I saw my father as he died shortly afterwards. I have always been glad that he knew of my success as he had done so much to help, financially and otherwise, although he was no musician himself.

At the distribution of prizes three very amusing things happened. In the first place, Dr. Harding, the college secretary announced the results of the examination. He said that there were 121 candidates for the Fellowship Examination of whom 10 had passed and 214 for the Associate Examination of whom 24 had passed. He then said, "The examiners always try to pass as many as possible." From the body of the hall came a very loud, "Haw-haw!" from, I presume, an unsuccessful candidate, to general laughter and amusement which lasted for quite a time.

When order had been restored he said that the very high standard required for R.C.O. qualifications must always be maintained.

Then the President, Sir Hugh Allen, Professor of Music at Oxford said, "I am sorry to say I have a attack of lumbago so I am sitting on a pile of your examination papers. If they were as hard as they feel, you have all had a hell of a time."

Later the hall became very warm and close so he halted his address and asked, "Will someone kindly open a window, please?" Sir Stanley Marchant, who was at that time organist of St. Paul's Cathedral, tried to oblige and pulled at the cord but nothing happened. Sir Hugh turned to us, the audience, and said, "Have any of you ever seen anything like that? He is a Doctor of Music but he cannot manage a common chord."

After the President's address and an organ recital of the music required for the next examination, played by Mr. Thalben-Ball, we all went upstairs for refreshments and a "get-together" with the members of the council. Taking a cup of tea, sandwiches and cakes with a diploma under my arm was very difficult. Sir Percy Buck, who was at that time in charge of music at Harrow School, came to my aid and kindly offered to hold my diploma while I fed in comfort. One person came up to Sir Percy and said, "Congratulations, I see that you have passed at last."

Sir Percy was ready with his reply, saying, "As you have not got one, I presume you have failed again."

This was a very happy function; candidates discussed the examination and members of the Council congratulated those who carried diplomas. Finally I had to leave the meeting to make my way to Paddington Station so I could catch the train for Carmarthen. This had been a day to remember, especially as a number of friends had come to the station at Carmarthen, even though it was after midnight when I arrived from London. Miss Watts had offered to take Mary for the night so that my wife could accompany Walter Watts, the very capable organist of the Welsh Church, to the station. Of course I had sent telegrams to my wife and close friends immediately I had received the news in Brighton that morning. Mary, my daughter, was nearly two at this time and Elizabeth, my second daughter, arrived about a month later.

This success made me anxious to carry on with the good work so I went to the Royal School of Church Music, then in Chistlehurst in the suburbs of London, to prepare for the Choir Training Diploma of the Royal College of Organists. This course was held during the Easter Vacation, which did not interfere with my teaching at the college and schools. During my visit I had to take a choir practice, followed by a service which I had to accompany on the organ. No setting of the canticles had been chosen so Dr. Bullock, who was in charge, asked me if I knew Gibbon's in F. When I said I did, he said we would not have that. Next he asked if I knew Purcell in D minor; I did not and was not even allowed to look at a copy beforehand. At the practice I soon discovered that the regular basses were absent so this department consisted of Mr. Gerald Knight, Sir Sydney Nicholson and Dr. Bullock himself. The first two were reasonable but Dr. Bullock made himself a nuisance by singing many incorrect notes, bad tone and other faults too numerous to mention. During the practice I discovered I needed a trio of soloists for a trio. I was invited to choose the soloists. This gave me a good opportunity to have my own back so I chose Dr. Bullock to stop his tricks.

This caused much amusement all round. Later we rehearsed Psalm 51 and when we came to the verse "Then shall they offer young bullocks upon thine altar", I was able to say I knew of one I should like to offer. We all had a good laugh which eased the tension as far as I was concerned as, by now, I was exhausted. All the students there were afraid of him and they dreaded him at practices. However, shortly afterwards I received a letter stating that I had passed so all was well.

Some years later, when at Durham sitting for the second part of the B. Mus., Dr. Bullock introduced me to Sir Edward Bairstow as the person who had chosen him to be the bass soloist in Purcell in D minor. Bairstow then turned to Bullock saying, "You can't sing." My rejoinder was, "It stopped him fooling around with the bass part." Bullock had been a pupil of Bairstow's at York Minster which explained where Dr. Bullock had learnt his tricks.

At the Royal College of Organists one of my examiners for the choir-training examination was Dr. W.H.Harris of Windsor. For this I was required to take a practice with a professional choir and with a choir of a poor standard. The set works were "Let Thy merciful ears" by Weelkes and "The Lord's my Shepherd" by Stanford. After this there was a lengthy viva. At the conclusion of the examination he said he had seen me before but could not remember where. When I told him I was at St. Peter's Church, Carmarthen, he said he had often visited the church when staying with his sister-in-law, the wife of the Town Clerk of Carmarthen. He usually stayed there on his way to St. David's where he had a holiday home. Of course I had seen him there on occasions, as he could be seen from the organ. His in-laws were regular attenders at church. The two ladies were students at the Royal College of Music. It was thought that he would marry the Carmarthen lady, but he married her sister. When Dr. Harris did come to church, I would leave the organ, go into the vestry and warn the choir to be on their mettle.

Soon after this I was invited to attend another presentation ceremony at the College in July, but as it was a month after the examination, the novelty had worn off so I did not go. Instead I directed my thoughts towards the Archbishop's Diploma in Church Music. My reasons for considering it were that the first examination for this had been held in 1938 and two candidates had passed- one was Mr. G. H. Knight who was organist of Canterbury Cathedral for a time until he followed Sir Sydney Nicholson as Director of the Royal School of Church Music. In order to sit this examination one had to be a Fellow of the Royal College of Organists and also hold the Choir Training Diploma- these I now had so it seemed a good idea to enter. The examination entailed a careful study of the Prayer Book and a detailed knowledge of Church Music throughout the ages.

The examiners for this were: Dr. O. Hardiman of King's College, London; Dr. Ivor Atkins representing the Royal College of Organists; Dr. Harris representing The Royal School of Church Music. There were two written examinations from 10am to 1pm and from 2pm to 5pm, followed by a long viva on the following afternoon which lasted an hour. All three men asked questions.

My brother-in-law, Frank Croydon, was at that time a lecturer in Theology and Ecclesiastical History at King's College, London and he shared a study with Dr. Hardiman who told my brother-in-law, "I shall not see you this afternoon as I am examining a candidate for The Archbishop's Diploma." Frank did not answer so Dr. Hardiman never knew I was a relative- not even after I had passed did he mention the matter to Dr. Hardiman- he was always very tactful in matters of that kind.

During the viva I was asked by Sir Ivor, "Do you think a modern pointing should be used instead of the Cathedral Psalter to get an intelligent rendering?"

Before I could answer Dr. Harris said, "Yes." At this Sir Ivor looked annoyed and said, "No." These two then had an argument between themselves. Eventually they turned to me for my opinion. I asked which person I ought to satisfy. However I did manage to please both men with a lengthy explanation. Later I was surprised to find that Sir Ivor had edited a modern version now in regular use in St. Peter's, Tiverton. When I was asked to name a suitable voluntary for a Mission Service, I replied, "Any light piece, but NOT the War March of the Priests" which caused great amusement all round.

This was only the second time this examination had been held; the year before Dr. Knight had been the first candidate to gain this qualification. In 1939 only Mr. P.B. Tomblings and myself had entered. Very few choirmasters have attempted this test. As far as I know only a dozen have obtained this diploma, but the list of holders is not published anymore. Mr. Paul Morgan, the sub-organist of Exeter Cathedral, and myself are the only holders in the West Country. However some very famous musicians have taken the trouble to join the ranks: Sir David Willcocks, Dr. Arthur Wills, Roy Massey and Dr. Lionel Dakers to name just a few.

My efforts again proved successful and I was invited to attend Lambeth Palace to receive the diploma from His Grace. I was to wear full academic dress for the occasion to be held during the afternoon. The taxi-driver did not know where Lambeth Palace was as very few people go there other than by private car.

I am afraid I did not cover myself with glory on this occasion. We were taken through the Palace rooms to a room for robing and en route we passed through a large room with just a small table laid out for His Grace's meal. It looked very strange to see a small table in such a large room. When we had robed, Mr. Tomblings and myself were conducted to the library where the ceremony was to be held. Eventually the robed procession entered, headed by two clergymen, followed by the Archdeacon of Maidstone, finally by His Grace and the usual staff. The only other people present were Sir Sydney Nicholson and a lecturer from The Royal School of Church Music. We all stood as they entered but the sleeve of my gown caught the mortarboard I had placed beside me. It rolled out in front of His Grace so I had to dash into the procession to retrieve it before it was trampled by the passing feet. When all were in position, the two clergymen came to me, each taking an arm, and led me the platform where I had to kneel in front of His Grace who then read the testamur in full. Whilst this was taking place, my kneeler, which unfortunately was of a sloping design, began to slide steadily forward towards His Grace. The Archdeacon came to the rescue by placing his foot against it to stop its progress.

When His Grace referred to me as "Our Beloved in Christ- Frederick Vernon Curtis" I felt embarrassed in that distinguished company. The rest of the proceedings passed off without further trouble.

Afterwards we were invited to have tea and to meet His Grace. On the way Mr. Tomblings said he was glad I had gone first (it was decided alphabetically) as he was prepared for the trouble with the kneeler.

Archbishop Lang was very interesting and told us, among other things, that he was related to Mathieson Lang, the actor and that he had been born in Aberdeen. This was the most enjoyable part of the visit to Lambeth Palace so I was very sorry that my wife and friends had not been invited. He told us some good stories - this is one. A vicar was leaving his parish and his churchwarden gave him a present of a crate of cherry brandy. This gift proved awkward to acknowledge in public, but he managed very well. At his farewell meeting he said, "I thank my churchwarden for his gifts of the fruits of the earth and for the spirit in which it was given."

He went on to say that recently he had given Lambeth Degrees to the brothers, Martin and Geoffrey Shaw for music and also to the Bishop of St. David's for Divinity. To Geoffrey Shaw he said, "I hereby confer upon you the degree of Doctor of Divinity."

Shaw looked up from his kneeler and said, "Music, please, Your Grace."

Later I mentioned this to my bishop who was by this time Archbishop of Wales. His reply was that it would have been a catastrophe if he had been made Doctor of Music as he was no musician.

Some years later the holders of this diploma had a re-union at Lambeth Palace, while another candidate was to receive his diploma from Dr. Fisher who was then the Primate of All England. I met Dr. Dykes-Bower, organist of St. Paul's Cathedral and many others. After the ceremony Dr. Fisher went into the pulpit to give an address. Imagine our surprise when he said, "Do you like the repairs and alterations that have been made?" He then gave a summary of repairs that had been undertaken; the whole palace had suffered severe damage during the war. We next moved to the gardens, which were very extensive. Behind a row of trees I could see St. Thomas's Hospital and part of The Houses of Parliament.

Many years afterwards I decided to complete my external degree of B.Mus. at Durham University. I already had the matriculation and first part of the examination, having taken these in1920 when at Trinity College of Music. When I went to Durham I met Reginald Moore and Lionel Dakers, both were later organists of Exeter Cathedral, and John Joubert. We were there for the second part of the examination. The final task was to compose a string quartet in four movements. This was completed in 1954 when my wife accompanied me to the degree ceremony. At this time Sir Arthur Hutchings was Professor of Music.

I had had a busy time with examinations in the 1930's, having gained the F.R.C.O. in 1937, the choir training diploma in 1938 and the Archbishop's Diploma in1939.

This was the reason the degree was not completed until 1954 when I was fifty five years of age: it was not easy to find the time for study when I held a full-time teaching job during the week and was busy with the church at weekends and many other times.

The following gives the requirements of the various examinations. All Trinity College Examinations are rather vague as they were taken in my early years.

 

L.T.C.L. Pianoforte Teaching

Pieces:

1) Prelude and Fugue in G sharp minor - Book 1 (Bach)

2) Sonata in F sharp Op. 78 (Beethoven)

3) Nocturne in E (Chopin)

Tests:

Scales and arpeggios; aural tests; sight-reading

Viva - Questions on form; teaching such things as rotation, finger, wrist and arm staccato; repertoire of teaching methods

Two papers:

1) Rudiments and harmony

2) Art of teaching

Examiners:

Alec Rowley, Professor of Pianoforte Playing and Teaching at Trinity College

Wilfred Sanderson, Organist of Doncaster Parish Church and composer of many well-known ballad songs, such as "Until"

 

The Royal College of Organists - Associate Examination

Pieces:

1) Prelude in G (S.S. Wesley)

2) Fugue in E flat (J.S. Bach)

Tests.

Score Reading

Sight Reading

Transposition

Paper 1:

1) Sight reading and harmonisation of a choral melody in the style of Bach to be written in open score

2) To add three parts to a first violin part, in the style of the Mozart-Haydn period

Paper 2:

1) To write a vocal motet in the style of Palestrina or The English School.

2) To write a pianoforte accompaniment to a given violin or vocal melody.

3) Three questions on the history of church music.

Examiners:

Names of examiners have been lost with the certificates

 

The Royal College of Organists - Fellowship Examination

Pieces:

1) Prelude and Fugue in E minor - The Wedge (Bach)

2) Fantasia and Fugue in C (C.H. Parry)

3) Legend (H.H. Grace)

Tests:

Sight reading

Score reading (using C clefs for alto and tenor)

Transposition of a passage of organ music

To extemporise on one of three themes chosen by the examiners

To harmonise a given melody at sight

Paper 1:

1) To write a fugal exposition in three parts on a given subject- a redundant entry may be required.

2) Continue the given opening in the style of Palestrina.

3) To score for full orchestra a passage of pianoforte music.

Paper 2:

1) To write a two-part 16th. century vocal piece, the lower part will be given.

2) To add an accompaniment for piano for a given vocal or instrumental part. The given opening to be continued and must be similar throughout.

3) To write a passage for string quartet; the first violin part being given.

4) To answer questions on the form etc. of Beethoven's Quartet in F Op.59 No. 1.

Examiners:

Sir Edward Bairstow

Dr. Thalben-Ball

Sir Ivor Atkins

Harvey Grace

Dr. E. Bullock

Dr. C.H. Kitson

 

The Royal College of Organists - Choir-Training Examination

Practical

To take a choir practice with two choirs: one a cathedral choir and the other an amateur group. The works required were:

1) Let Thy Merciful Ears (Weelkes)

2) The Lord is my Shepherd (S.S.Wesley)

Hymns, psalms etc. were also required.

Paper Work:

1) What are the chief faults in pointing the Psalms to Anglican Chants and how would you remedy them?

2) Comment briefly on the singing of hymns and responses with special reference to a) expression b) pace and rhythm c) diction.

3) Give your views on congregational singing and your method of managing a congregational practice.

4) Give a detailed account of two church compositions by each of the following composers: Orlando Gibbons; John Blow; Maurice Green; S.S. Wesley.

5) How would you build up an entirely new choir of men and boys? What considerations would govern your selection of voices?

6) "He fusses over details while missing vital points." Comment on this criticism of a choirmaster's methods.

After the practical tests there was a lengthy viva on the work of the choirs and similar matters connected with the examination.

Examiners:

Sir William Harris

 

Archbishop's Diploma of Church Music

Paper 1 - The Book of Common Prayer, including The Psalter:

1) What were the objects of the compilers of the Book of Common Prayer in their revision of the medieval service book?

2) What place in public worship are the Daily Offices of Morning and Evening Prayer intended to fill? Illustrate your answer from the Preface to the Book of Common Prayer and from the structure of The Offices.

3) From what source is the Prayer Book Version of the Psalter derived? Discuss and illustrate its merits.

4) Explain what is meant by the parallelism of Hebrew Poetry and its use of strophes and refrains, as illustrated by the Psalter.

5) Describe the structure of the "Te Deum" and give an account of its history and use in public worship.

6) In what various ways have Litanies been used in public worship and how far are these reflected in the Book of Common Prayer.

7) "This our sacrifice of prayer and thanksgiving." In what ways does the structure of the Order of Holy Communion illustrate this aspect of the service?

8) Explain the terms: Offertory; Proper Preface; Anthem; Collect and show what place they occupy in the worship of the church.

9) How far, by its directions, does the Book of Common Prayer encourage the people to take an active part in public worship?

Only 7 questions were to be attempted.

Paper 2 - Reformation and Restoration Composers:

1) Write an organ accompaniment based on the figured bass given in the correct style of the Restoration Composers.

2) Discuss critically the works of the Restoration Composers naming:- a) those you think unsuitable for use today; b) those suitable. Give reasons.

3) State what you know of the following works and quote, if possible, a few bars of each.

   Tallis: Creed from the Dorian Service

   Taverner: Mass "Western Wynde"

   Blow: Salvator Mundi

   Byrde, Carol: "An Earthly Tree.

4) Give an account of church music in England during the second half of the 16th. century, discussing examples and comparing the works of the English School with those of Palestrina.

All the above to be attempted.

As I was the only candidate, the paper above was given in the handwriting of Sir Ivor Atkins and it was difficult to read.

Examiners:

Dr. O. Hardiman, representing the Archbishop.

Sir William Harris, representing the Royal College of Organists.

Sir Ivor Atkins, representing The Royal School of Church Music.

Tiverton

There were several reasons for wanting to make a change from Carmarthen. One was that my age was now 65 and therefore I had to retire from my school post, and because of this I had several requests for tuition in pianoforte which I did not wish to consider unless the pupils were very promising. Also the Welsh Nationalist spirit was growing, and lastly we were over 200 miles from London where most of our relatives lived.

I applied for several similar posts from time to time, all of which had some disadvantages. One was at Lyme Regis where the residential parts were all up a steep hill and the church was in the town and very near the shore; also the vicar was a very experienced choirmaster and had been in charge of a college at Oxford. This was not what I wanted as my chief work was as a choirmaster. An offer also came form Watermoor, a suburb of Cirencester. When the Tiverton post appeared in the Church Times I wrote for particulars for I was interested as my brother is an old Blundellian and a member of Westlake House. He was also a pianoforte pupil of Mr R. Bareham who was organist of St Peter's at that time. The rector, the Rev. C.S.Nye wrote to me at once and asked me to visit Tiverton for a weekend. Before accepting I phoned and discovered that the organ had an old action and not a modern electric action; because of this I wrote and withdrew my application. The Rector at once phoned me to say that they were about to spend a large sum in order to modernise the instrument. Because of this I moved to Tiverton and bought a house in Park Hill. The Organ was put in the hands of Messrs Clutton and Dakers - I was not even consulted about the alterations on the instrument. All this was a great disappointment to me especially as I had left a modern instrument in Wales.

Further the choir was not good enough to sing regular anthems and the Rector would not allow me to enrol ladies but said, "I do not like cock and hen choirs". He gave me a list of boys but they would not join as their parents did not want them tied on Sundays.

In spite of these drawbacks I carried on for a few years and then retired altogether being now over 70 years of age. It had always been my wish to be an Organ Emeritus but as Dr Byrt and later Mr Want held that post and Mr Davies was available as a deputy my services were not required. My organ work was reduced to playing on very small instruments in the Exe Valley churches, also at Willand and later for the United Reform church in St Peter Street. When the Rev. Nye resigned the Rev. D Whitaker was appointed and I applied again for the post but Mr Want was preferred until he too resigned. The rector called on me to ask me to return as organist, under Mr Davies, who was to be the choirmaster. This arrangement suited me as I was now over 80 and unable to take on more even if required. Nowadays I do feel that three services on Sunday mornings, without a break, is rather too much of a good thing. (9:30am is the children's service, 9:50am Communion and 11:00am Matins). I could certainly do with some of this being taken by a deputy. Here I must mention that I am always grateful that Mr Davis does play at the end of the Communion Service.

Here it must be said that the congregation have always appreciated my efforts on the organ and are continually good enough to tell me so regularly.

My wife enjoyed the last years of her life in Tiverton and we have made a host of friends here as well as living in a lovely county. Musically it has been a disappointment as very few pupils have come for help; as I have already mentioned at one time in Carmarthen I had 60 pupils a week; this rather shows that Tiverton is not a musical place.

When we settled in Tiverton in 1965 Mr Suddrick gave me some teaching at Blundell's school and some coaching for Ordinary, Advanced and Scholarship examinations and I appreciated that I had a modern instrument for those lessons. When Mr P.H.Matthews arrived there he was given an assistant music master which meant that my services were no longer required.

Then Trinity College of Music appointed me as a regular examiner and I did this work for them in all parts of England, Wales and Scotland. This included Diploma work as well as Grades. This work enabled me to see places that I would not normally have seen and I have made many friends on these tours. I have now resigned this on account of age but often think of my experiences which lasted 17 years.

Recently I was asked to do a little examining for the Certificate Examination for the tests for the Archbishop's Certificate. These are quite short and one has to watch and question candidates about choir training in general.

All this work in Tiverton has kept my interest going but I must admit that I do miss not having a choir of my own. St Peter's are very fortunate to have Mr Davis for their choirmaster but I cannot understand why they advertised for a Choirmaster when I came when Mr Davis had done this work so successfully for years before I came on the scene.

I do not think it will be possible for me to serve the church much longer being over 86 years of age. A younger person is certainly required for the future.

Appendix

I was made Organist Emeritus in 1986 when I was presented with an illuminated tribute by the Rector. The presentation took place after morning service with the congregation present. A video, for the use of the church, was made of my life by two members of the church congregation when I was nearly ninety-three.

While I was organist of the church the 900th anniversary of its foundation was celebrated in the presence of the Queen Mother whom I had met once before when I was in Carmarthen.

Having always composed settings for the services, which were regularly performed, I set the Communion Service to music and this is performed regularly in Choral Eucharist Services. After retiring from my post as examiner I was able to devote more time to composition. I wrote a requiem which I dedicated to my wife; after she died I composed "And so she passed over" in her memory and this is performed on Armistice Sundays.

Other compositions are: a piece for cello and piano dedicated to Catharine; a piece for oboe and piano dedicated to Adrian; an organ piece called "Scherzo" for my daughter, Mary; "Spring-time" for my daughter, Betty; a March for my son-in-law, Norman; several hymn tunes and carols, one of which was published by Novello (and is very popular in the Southern Hemisphere as it does not refer to snow); Elegy for organ; Benedicite in G.; Benedicite in E flat; an anthem "Here in This House"; many chants, introits and settings for psalms and amens.