Journey’s genesis dates back to 1995 when we presented our first concert. From that time, a strong commitment to diverse programming has driven our music choice, with a particular desire to include new works to contrast with the significant number of transcriptions we perform due to a lack of original music for trumpet and organ. We have encouraged composers to write for us at every opportunity and, where possible, commissioned. Many of these works have proven to be significant additions to the repertoire, and are brought together here in one recording performed on four of Western Australia’s most significant pipe organs.
With the exception of the McKimm Sonata, the compositions on this recording were written with us in mind. Brenton Broadstock’s Warriors Through Time was commissioned by us in 2004, whilst Andrew Batterham’s Suite was composed in 1998 as an addition to our concert repertoire. We gave the first performance that year. Upon learning of this project both David Pye and Robert Sims wrote New Norcia Textures and Chillago in 2005. St Thomas the Apostle Catholic Church, Claremont, commissioned Between Worlds from James Ledger, to commemorate the Centenary of the Parish in 2004. Barry McKimm’s Sonata, written in the mid-1970’s, is one of the few original Australian trumpet and organ works of the 1900’s.
Western Australia is home to many significant pipe organs, some locally built and others imported from Europe. The organ at the Basilica of St Patrick is the largest church organ in Australia, with parts dating back to the original instrument installed in 1898, by J.C. Bishop & Son of London. The Guildford Grammar School Chapel contains a seminal example of the work of West Australian organ builder, John Larner, a central figure in organ building in the state. The New Norcia Abbey Church organ, designed and built by Alfred Moser (Munich) in 1922, was installed in 1923 in consultation with Abbey Organist, Dom Moreno. It is the only one of its kind in Australia. The JE Dodd instrument in St Thomas the Apostle Church, Claremont, was originally built for Epworth Methodist (later Uniting) Church, Parkside, South Australia, in 1912. The organ was relocated to St Thomas’ in 2003 and is largely unaltered from the original design.
Several different trumpets are used on this recording. Broadstock, Batterham, Ledger and Simms call for Trumpet in C. Pye composed for performance on three contrasting instruments, beginning with Trumpet in C in the first movement, Flugelhorn in the second and Piccolo Trumpet in the third. McKimm uses Piccolo Trumpet. To create different trumpet effects, mutes are employed in the Broadstock, Batterham and Ledger works.
We extend our thanks to a number of people who have made this recording possible. The composers have all devoted much time with us meticulously discussing our interpretation of their music. Sound engineer, James Hewgill, has endeavoured to capture not only the music, trumpets, organs and acoustics of the buildings. Patrick Elms was responsible for preparing the four organs and assisting throughout the recording sessions. Thanks also to the Fr John Sherman OMI, Dean of the Basilica of St Patrick, Robert Zordan, Headmaster of Guildford Grammar School, Fr Placid Spearritt OSB, Abbot of New Norcia, and Fr Brian O’Loughlin of St Thomas the Apostle for maintaining instruments of such historical importance and allowing us access to record them.
A final credit goes to our guest artist, as heard in the second movement of David Pye’s work. After much discussion on the first evening of recording at New Norcia it was agreed that Anthony should stand outside the church to achieve the “Lontano” effect called for in this movement. With him and our assistant Patrick standing outside the open window next to the organ in pitch black, music and torch at the ready, the work was recorded, along with the dulcet tones of what we are informed is a Willie Wagtail, apparently oblivious to the recording session so clearly sign posted as being “in progress”.
© Dominic Perissinotto and Anthony Pope 2007
Brenton Broadstock: Warriors Through Time
The title comes from an anonymous poem describing Australians and the Australian landscape:
Drawing on infinite reservoirs of untapped abilities we survive and flourish.
Individuals united in common course of spirit, love and human joy.
Warriors through time.
Dominic Perissinotto and Anthony Pope commissioned Warriors Through Time with the generous assistance of the Music Board of the Australia Council.
© Brenton Broadstock 2005
Andrew Batterham: Suite
The Suite is a neo-classical work in which the composer explores several different forms. Written almost entirely in the Phrygian mode, the work opens with a solo trumpet heralding the main melody in the "Intrada." This is followed by a "Passacaglia," which in turn dies away to a fluid "Fantasia" full of fire and ice. Both the trumpet and organ get to shine! The ensuing "Dolorosa" features the trumpet's sweet, warm tone before the fiery "Indefatigable" finale draws proceedings to a close.
© Andrew Batterham 2007
David Pye: New Norcia Textures
New Norcia Textures is a substantial recital work inspired by the monastic town of New Norcia in Western Australia. The Benedictine Community of New Norcia has a strong musical tradition, dating to its foundation in 1846. Bishop Salvado, who founded the community, was a gifted organist, pianist and composer. From the earliest years, the Aboriginal men and boys of the mission formed a brass band. Music making there reached its peak in the first half of the twentieth century when the Community produced a variety of musical ensembles, and Dom Stephen Moreno, an accomplished composer, produced a large body of works that were performed in Catholic churches and schools throughout Australia up until the mid 1960’s. The peaceful environment of New Norcia is highly conducive to creative endeavours and I have found a well of musical inspiration in the various textures of the town: visual, aural, spiritual and historic.
New Norcia Textures is written in three continuous movements using trumpet, flugelhorn and piccolo trumpet, respectively. The first movement, preceded by a brief fanfare, is a set of variations arranged in an arch structure. The centre point of the movement is a march, as may have been played by the New Norcia Brass band. The central movement lays a Benedictine chant (initially used in the first movement, now played “offstage” by the flugelhorn) against a series of falling harmonies. The final movement begins with a series of interlocking patterns (inspired by the rough brickwork of the original buildings), revisits the chant in various guises and registrations, and finally brings the work to a triumphant conclusion with a repetition of the opening fanfare.
The work is written to be performed on the delightfully idiosyncratic organ of the New Norcia Chapel, with its individual tonal colours, however is readily performable on organs elsewhere. It is dedicated to Dominic Perissinotto, collaborator on this and previous works I have written for pipe organ.
© David Pye 2006
James Ledger: Between Worlds
Between Worlds was commissioned for a concert whose theme was ‘journey’. I imagined a journey beginning from earth then breaking through the atmosphere and finally beyond into the blackness of space. The work is made up of two contrasting musical ideas: earthly, (fast and frenetic) and unearthly (still and serene).
The work begins with a fast and chaotically weaving line in the organ accompanied by fanfare-like trumpet blasts on a single pitch. The music then shifts to rapidly alternating chords and figures before returning to the opening material. This time however, the trumpet accompanies with a theme that is heard later in the work. The music drops back a notch with a shift that begins with a single note trill on the organ. The theme on the trumpet is heard again, although in very different surroundings from its first utterance. Over many bars this material builds up to more violent and thunderous music including the fanfare blasts on the trumpet, albeit now on two pitches. The music climaxes then instantly gives way to calm and serene music, as if being catapulted through the atmosphere into space. Here, the theme in the trumpet returns once more against the backdrop of sustained chords and celestial ‘pips and beeps’ in the organ.
Between Worlds was made possible with financial assistance from ArtsWA.
© James Ledger 2005
Barry McKimm: Sonata
Sonata by Barry McKimm was composed in 1971 for performance at the Melbourne Organ and Harpsichord Festival. The first performance was given by the composer on trumpet and David Agg on organ. Prior to 1971, McKimm produced compositions that required improvisational techniques. Throughout the 1960's he worked extensively with improvised forms developed in modern, and in many ways experimental jazz, which led to structurally controlled forms of non-jazz improvisation. From 1971 McKimm focused on exact notation forms of composition. This Sonata for Trumpet and Organ is among the first of such works. The Sonata is essentially a neo-classical work in line with the rich and varied tradition of 17th and 18th century Italian sonatas for trumpet and strings.
© Barry McKimm 2007
Robert Sims: Chillago
Eerie and barren, desolate, the beauty and intrigue of this small town north west of Cairns lies beneath the ground. Huge underground caverns sparkle with marble (the best in the world). An old smelter stands lifeless in ruins, and is a monument to the workers and pioneers who toiled and gave their lives here. This town, Chillago, boasted twelve pubs and was populated by five to ten thousand people in its heyday. Many would drive right past now and not stop to explore its wonders and beauty. These were the things that inspired my work Chillago, as did Anthony Pope and Dominic Perissinotto.
© Robert Sims 2006
Growing up in a family of brass musicians, Anthony Pope showed early aptitude on the trumpet, winning numerous trumpet and cornet championships. As a student he held positions as principal trumpet in Geminiani Orchestra and the Australian Youth Orchestra. During this time he also performed numerous trumpet concertos with various orchestras. He graduated from Victorian College of the Arts in 1990.
Anthony was appointed to Orchestra Victoria in 1991 as Second Trumpet, and rose swiftly to Associate Principal Trumpet in 1992. He combines this full-time orchestral position with extensive travel throughout Australia and Europe. He is director and founding member of the Frontier Brass Ensemble, has appeared as soloist with Orchestra Victoria, and given over 150 recitals with Dominic Perissinotto in Australia and Europe.
Anthony has featured on numerous recordings of ballet, opera and symphonic repertoire with Orchestra Victoria. This is his third disc for solo trumpet and pipe organ.
An enthusiastic teacher of trumpet, Anthony was awarded a VicArts grant in 2003 to conduct workshops resulting in public performances with the students of Daylesford Secondary College, the Daylesford Brass Band and Frontier Brass Ensemble. He currently teaches at the Australian Defence Force School of Music, Monash University and the University of Melbourne.
Dominic Perissinotto is one of Australia’s most active organ recitalists, widely sought after as a soloist and accompanist. His passion for promoting the pipe organ not only as a church instrument, but also as a concert and ensemble instrument, has seen him work with musicians and ensembles throughout Australia and Europe.
A graduate of the University of Melbourne (1989), in 1991 Dominic was awarded a Fellowship by the Winston Churchill Memorial Trust to assist with further studies at the Royal College of Music in London. During his time in London he was also Organ Scholar at Westminster Catholic Cathedral. On his return to Australia he completed a Master of Music degree at the University of Melbourne.
Dominic moved to Perth in April 1998, and is Organist and Director of Music at St Patrick’s Basilica, Fremantle. He also works as a freelance organist and teacher. In 2001 he established the Pipe Organ Plus Concert Series, in which he presents a variety of music from medieval to modern along with guest artists from around Australia. He performs with Anthony Pope in recitals both at home and abroad.
Dominic has received a number of grants from the Australia Council and ArtsWA to commission, perform and record.
THE CHURCHES AND ORGANS
Details of the organs and buildings are included to help paint a picture of “being there” while we were recording. The complete organ specifications can be viewed at the Organ Historical Trust of Australia website.
The Basilica of St Patrick - Fremantle
Organ Builder: South Island Organ Company
St Patrick’s Basilica is a magnificent stone building in 14th century Gothic style, with flying buttresses flanking the west front and a traceried window of eight lights. The building was designed by Michael Francis Cavanagh. The foundation stone was laid on St Patrick’s Day, 17 March, 1898, and the nave opened on 3 June, 1900. Cavanagh’s design envisaged a spacious nave with aisles and clerestory, transepts, a wide and spacious apse, and a colossal tower and spire (supported by flying buttresses), rising from the northern side of the building. Only the nave was initially completed and a new sanctuary of equivalent scale was opened on 24 April 1960. The building was raised to the status of a Minor Basilica in 1994, one of only four buildings in Australia sharing this distinction.
The original two manual organ was by Bishop & Son, of London, supplied in 1895. Electrified in the 1960s by J.E.Dodd & Sons Gunstar Organ Works, the case was divided and some extensions provided. When the organ was dismantled in the 1980’s, it was found that the great chest was inscribed “Kendall of Kensington 1851”. So the Bishop organ, with its diminutive swell compass, may have arrived in the West second-hand. According to the Directory of British Organ Builders, Edward Kendall (born c 1795) was working as an organ builder in Kensington, London, between 1826 and 1855.
The present organ dates from 1988-90 and was built by Bellsham Pipe Organs (Aust.) Pty Ltd and incorporated some of the pipework and chests from the Bishop organ. Apart from the divided Grand Organ in the west gallery, it incorporated an interconnected two-manual organ in the south transept. The organs were given as a thanksgiving in memory of the many priests of the Congregation of Oblates of Mary Immaculate who have served the parish since their arrival from Ireland in 1894.
The instrument was extensively rebuilt and enlarged by the South Island Organ Company Ltd, of Timaru, New Zealand, with Rod Junor as consultant. The rebuilding was funded by a generous gift from the Hughes family, in memory of Alice Hughes. The work was completed for Easter, 1998, and is the largest parish church organ in Australasia. The work carried out was extensive, involving the complete reorganisation and expansion of the internal layout, with several new divisions, additional pipework and complete revoicing, new winding system, new serialdrive MIDI electrical and combination systems, made by Muldersoft of Auckland, and a new low profile transept console.
Chapel of SS Mary and George - Guildford Grammar School - Guildford
Organ Builder: F.J. Larner & Company, Perth
The Chapel was built between 1912–14 to the design of the noted English architect, Sir Walter Tapper (1861–1935). The building contains many splendid fittings, such as the painted reredos (by Jack Bewsey), lectern (by William Bainbridge Reynolds) and stained glass. The building and its fittings were donated by an Englishman, Cecil Henry Oliverson, and built of Donnybrook stone. Externally, the west front is framed by two prominent stone turrets, the side walls of the six–bay nave run sheer to the parapet, and at the east end, the vestries are placed under a low lean–to roof between buttresses of huge projection. Internally, there is a plaster barrel vault intersected by stone ribs, while the finely crafted pews are placed parallel to the side walls of the building. The floor is of marble laid in contrasting slabs, and high in the side walls, a stone passage runs around the building between the windows. The Resurrection window, dating from 1988, was designed by Perth artist Robert Juniper and made and installed by Adelaide–born, stained glass window artist, Cedar Prest. The new stained glass window behind the organ, at the west end, is also the work of Cedar Prest (1995).
The original organ, built by Norman & Beard, of two manuals and seven speaking stops, was divided on either side of the large west window behind cases designed by the architect.
The present organ was built in 1972 by F.J. Larner and Co. and is a seminal early example of the work of the Australian organ reform movement, with the pipework encased within reflecting boxes without pipeshades. In 1995 a new Gothic–style case, more in keeping with the architecture of the building was designed by Lynn Kirkham, constructed and installed by Ridge Furniture. In 1996, Lynn Kirkham designed and built a new mechanical key action. The only tonal alteration from the original is the addition of a Viola da Gamba stop on the Swell and a lowering, by one break, of the pitch of the Swell Scharff.
Abbey Church of The Holy Trinity - New Norcia
Organ Builder: Albert Moser, Munich, Germany
The first parts of this building, constructed of bush stones, mud plaster and rough–hewn tree trunks, date from 1855–60. It originally consisted of a simple cruciform plan of nave, transepts and sanctuary, of classical proportions. The retro choir was added in 1870 behind the high altar and choir screen. Abbot Fulgentius Torres designed the stucco facade with its lofty pediment, and the bell tower, with its clock and turret, which were added in 1907–08.
The organ was designed in consultation with the Abbey Organist, Dom Moreno, and built in 1922 by Albert Moser of Munich. It was displayed at the German Trade Exhibition in Munich in 1922 before it was dismantled, packed in 24 zinc–lined cases and shipped to Australia, arriving at Fremantle on 21 April, 1923. It was installed at New Norcia between April and August 1923, by Dom Stephen Moreno, assisted by his brother Dom Henry Moreno, Dom Boniface Gomez, Dom Vincent Quindos and, an Aboriginal boy, Harry Weston. The premiere concert was given by Dom Stephen Moreno on Sunday 2 September, 1923.
The organ is totally enclosed within massive swell boxes with shutters at the front and on top of the organ. The oak casework, of elaborate neo–classical design, incorporates five flats of non–speaking pipes and fine carvings, especially on the front of the reversed console, and on the pediment, at the top of the case. The instrument is of interest, particularly for the comprehensive series of solo mutations on Manual II, extremely advanced for the time, its generous tonal structure, and wide dynamic range.
A refurbishment of the organ by Bellsham Pipe Organs (WA) was undertaken during 1978. Many of the pipe mouths were found to be blocked by candle grease. The concrete floor on which the organ was placed was sealed and the organ reinstated to its former level, supported on a new steel frame. A new Discus blower, of high capacity, and new wind regulators were installed. The sliderless chests were electrified simply by using electro–magnets to operate the primary pneumatic motors. Many of the timbers in the chests and console case had split so badly, owing to climatic extremes, that they had to be restored by the insertion of new pieces of timber. The complicated original console pneumatics operating the couplers and the accessories were also removed and replaced by a combination of solid state and direct electrical switching – they still exist in a room at the top of the Monastery buildings.
Further work was carried out in 1997, with the replacement of the wind regulators with a very large floating frame reservoir and new wind trunking, designed by Lynn Kirkham, and approximating as closely as possible the original design. These were manufactured and installed by Pipe Organs Builders and Services, Western Australia.
St Thomas the Apostle Catholic Church - Claremont
Organ Builder: J.E. Dodd, Adelaide
The Church consists of a nave built in neo–gothic style in 1936, designed by Edgar Le B. Henderson. Growth in the Parish meant that by the post-war period it was too small for an expanding congregation and a modern sanctuary, designed by parishioner Brian Jackson, was built onto the existing nave in 1963.
The organ was built by J.E. Dodd for Epworth Methodist (later Uniting) Church, Parkside, South Australia, where it was opened by Dr E. Harold Davies on 27 November, 1912. Following some years when the organ was out of use, the building and instrument became redundant. St Thomas' discovered the organ through The Organ Historical Trust of Australia ‘Redundant Organ Listing’.
The organ was re-erected at St Thomas' Church by Patrick Elms and Co. of Albany, in 2003. It is largely unaltered, except for a restoration of the primary pneumatic action, including the provision of new polyethylene tubing replacing the original lead tubing, which was destroyed when the organ was dismantled for storage in Adelaide. All windchest pallets and pulldown motors were releathered throughout and the swell and great slider motors were restored. The console and its mechanics, pipework, windchest valves, and casework, remain untouched.
This is a highly significant example of Dodd's work, built when he was at the height of his career and incorporates outstanding examples of flue and reed voicing. The strings are likely to be the work of the UK artist Carlton C. Michell, with reeds from Alfred Palmer & Sons.
The production of this CD has been supported by the Music Board of the Australia Council, the Federal Government’s arts funding and advisory body, the State Government of Western Australia through the Department of Culture and the Arts, and The Christopher Dearnley Award, provided the Organ Historical Trust of Australia
THE ORGAN HISTORICAL TRUST OF AUSTRALIA
The Organ Historical Trust of Australia was founded in 1977 with the aims of preserving historic pipe organs and organ building records, promoting public interest in pipe organs which are of national or local importance and encouraging scholarly research into the history of the organ, its musical use, and organ music. Directed by a National Council represented in all states, the Trust is actively involved in promoting the cause of organ preservation at a national and state level. It holds annual conferences and other events to stimulate an interest in the organ and its history, while offering tax-deductible status for restoration projects involving notable instruments. Over the years it has encouraged governments to provide grants for restoration work and has also worked in co-operation with bodies such as the New South Wales Heritage Office and the National Trust of Australia (Victoria).
THE CHRISTOPHER DEARNLEY AWARD
The Organ Historical Trust of Australia instituted this award to serve as a fitting memorial to its Patron Dr Christopher Dearnley, LVO, who served in the position from 1990 until his death in December 2000. Dr Dearnley strongly supported the Trust's aims and objectives, was a frequent visitor to its annual conferences with his wife Bridget, and made a number of important recordings during his time of retirement in Australia.
Born in England in 1930, Dr Dearnley studied with Dr Herbert Andrews and Edmund Rubbra while Organ Scholar at Worcester College, Oxford. His professional career commenced at Salisbury Cathedral as Assistant Organist in 1954 and continued as Organist and Master of the Choristers from 1957 to 1968. For the next 22 years he served as Organist at St Paul's Cathedral, London, the position from which he retired to Australia in 1990. His service to church music was recognised in 1987 when the Lambeth degree of Doctor of Music was conferred on him by the Archbishop of Canterbury, Archbishop Robert Runcie, and again in 1990, when he was appointed by the Her Majesty The Queen, a Lieutenant of the Royal Victorian Order. In 1993 he and his wife became Australian citizens.