OHTA News – Volume 49 No 3, September 2024 

by Steven Kaesler

The organbuilding firm of Hill & Son was synonymous with fine quality in every way. The builders could trace their origins back to 1755, they held a Royal Warrant and stood for a level of perfection in organ design and workmanship that brought them to the forefront of their art in the 19th century. This three CD recording production by Hannes Ludwig is an aural perspective of Hill organs from 1832 to 1915, before the firm’s amalgamation with Norman & Beard at the time of the First World War. It is not an organ concert programme as such, but a revealing global compilation of music played on 20 authentic Hill & Son organs across the globe, including instruments in the United Kingdom, Australia, South
Africa and Sweden. The performances are brought together from numerous sources and played by Robert Ampt, Chris Bragg, Frederick Bridge, Ernest Bullock, Francis Bushell, Christiaan Carstens, Marcel Dupré, Alexander Eadon, Andrew Forbes, Bernard Heyes, Martin Kemp, Arthur Meale, John Kitchen, Pastor de Lasala, Hannes Ludwig, Robert Mingay-Smith, Per Ohls, Jonathan Scott, David Stevens and David Tagg. The recording project was proudly sponsored by the Organ Historical Trust of Australia (OHTA) and the British Institute of Organ Studies (BIOS). The programme of music presented well highlights the various qualities of each instrument in approximate chronological order of construction. The first track is played on a small early William Hill organ at Warwick Bridge (1843), with, fittingly, variations on ‘God Save the King’ by Samuel Wesley. The Hill sound is evident from the start, with clear finely graduated choruses and life-like refined breathy flutes, even in his smaller instruments. The larger William Hill (1849) instrument in St Mary-at-Hill, London, with its highly German design influences but English sound, shows the ongoing European influences in the firm’s design style, including a growing confidence in the development of chorus reeds. Thomas Hill entered into the business around 1857 and his son, Arthur Hill, ran the firm after Thomas’s death in 1893. The Hill & Son sound and technical innovation reached a significant climax with ongoing highly successful installations, including its magnum opus, the largest organ in the world, installed in the Sydney Town Hall (1889). It amazes me that an instrument so big can be so cohesive, the genius of Hill & Son being on display at every level—the advanced technology and innovation, the outstanding sound, the case, the artistic impact to all that see, play and hear it. Perhaps part of the success here is that Hill & Son had more of a free hand in the design of the Sydney organ, without as much interference from well-meaning local experts, being so far away in Australia. As one listens to the various instruments from around the world, one can hear that Hill & Son organs were consistent in many ways, including their signature classical design and sound elements—their bold singing diapasons, crystalline mixtures, gripping reeds, dynamic classical choruses—every stop efficiently adding a different discernible sound colour—altogether creating a luscious alchemy of machine and music, excellence and joy. The later Hill & Son organs of the early 20th century developed a royal ‘plum in mouth’ sound, different from the more crystalline sounds of their instruments 20–30 years earlier. We are also reminded that the acoustical setting of buildings that they are placed is an intrinsic part of the organ’s perceived quality.

Many Hill & Son organs have over time been destroyed or lost through fire, bombing or drastic rebuilding, making this anthology all the more important. It increases our understanding and enjoyment of the breadth and depth of Hill & Son organs and serves as a reminder of the need to be vigilant and active in the careful conservation and restoration practices we put in place to protect our heritage in the instruments that we
have left. Having said the above, the Tanunda, South Australia (1877) instrument shines in this regard. Previously in the Adelaide Town Hall, it suffered a disastrous rebuild in 1969, but was carefully and completely restored / reconstructed by OHTA, with the work completed in 2014. Whilst the author may be slightly biased, this organ gives a magnificent account of itself as one of the defining Hill & Son organs. The third CD in the set is made up of historical recordings played by past eminent organists. The Westminster Abbey (1884/1908) organ sounds amazing, despite the recordings being produced in the 1930s. A very early and crackly circa 1890 wax cylinder recording fragment is included, played by Sir Frederick Bridge, which is historically poignant. Altogether we get a very tantalizing and revealing translucent window view into what the original Westminster Abbey Hill & Son organ sounded like. In 1928 Albert Schweitzer stated that “in his view it was the best organ on which he had performed for many years.” The Hill & Son organ was rebuilt extensively for the coronation of King George VI in 1937 by Harrison & Harrison. Likewise, the London Queens Hall (1893) organ, sadly lost in a 1941 air raid, its glorious sound clearly discernible in music played by Marcel Dupré in the 1920s. The last instrument to appear is the Westminster Central Hall, London (1912) organ, played by Arthur Meale in 1931, with its rarely built Hill carillion. Again, all changed by extensive multiple rebuilds. The late John Stiller, OHTA’s research officer from 1978 to 1986, suggested to me that the secret of the grand Hill & Son sound was in the well-crafted voicing, and not always in larger scaled pipework or higher wind pressures. The firm’schoruses had an even step wise blend as stops were added with few ‘baggage’ stops of no effect, creating a satisfying experience for player and listener alike. The interpretation of the organs and music in the CDs is greatly helped by the quality booklet that comes with them. It gives interesting background information on each of the organs with a photograph to whet the appetite. There are many highlights in the recordings, bringing moments of memory and reflection. The Hill & Son legacy is indeed a highly prized crown of jewels and these recordings genuinely capture the opulent vision espoused by the firm. I hope that that you too might discover this likewise for yourself. The recordings come highly recommended to anyone who might appreciate the pipe organ and its music. All funds raised by the CD sales will be donated to restoring the William Hill grave at Highgate Cemetery, London.