Winslow History | The church choir

The church choir

The following appeared in the parish magazine between September 1886 and February 1887. Dr Newham was the editor at the time, and preserved the pages of the magazine in a scrapbook (CBS, D-X/58). Unfortunately he didn’t save the first part of the story, which came from a manuscript of Dr John Cowley.

[Sep 1886]

HISTORY OF THE CHURCH CHOIR (Continued.)

The Instrumental Performers and Singers having now combined their respective talents considerable organisation was required. Regular and numerous practices had to be held, and a most difficult task – considering the numbers of the Choir – to be encountered. Discipline was rigidly enforced. Fines were imposed for non-attendance at practice and the Sunday Afternoon Service.
Time passed on. The brothers Thomas and John Turnham developed fine Tenor voices and took a well-deserved lead in the Choir, while the Basses were not lacking in spirit or improvement. Under the lead of Mr. Oliver Mayne the department of the Choir became very prominent and powerful.
Mr. Mayne was peculiar in his manner of singing. The lips were not opened but the notes were emitted from the corners of the mouth alternately, an effort of which the observation must have been somewhat ludicrous.
Nothing daunted by difficulties, a most miscellaneous programme was often presented to the congregation. No Hymns were sung, but the Psalms of “Tate and Brady” were great favourites. The “Deus Misereatur,” “Magnificat,” and “Nunc Dimittis” were all sung as set pieces. Anthems of the most difficult character were given.
Any musician must be astounded at the list of Anthems on common use by this daring Choir. Here is a list:- “The horse and his rider,” “How beautiful upon the mountains,” “Hallelujah Chorus,” “Vital spark,” “Before Jehovah’s Awful Throne,” When we consider that these Anthems had not only to be sung but accompanied by such a diversity of instruments, we are lost in admiration at the spirit of determination and perseverance of this Choir, who, while giving their service to God, gave of their best.

[Oct 1886]

It will be necessary now to speak of the services rendered to the Church by the various members of the Choir.
Increased number of Instruments and voices, as has been stated, rendered the efficiency of the Choir more decided. It is only due to the members that their names and qualifications should be recorded.
The Singers may be first enumerated according to their respective parts.
Bass Singers.
Oliver Mayne, George Mayne, William Punn, John Daniel, Benjamin Stevens, Thomas Allen, John Gray.
Tenor Singers.
William Turnham, Senr., Charles Maffey, Charles Allen, William Turnham, Junr., Alfred Barton, Robert Allen, William Grace, Richard Coxhill, John Cross, Richard Staniford, Frank Robinson, Thomas Sharp.
Treble Singers.
Thomas Turnham, John Turnham.
Soprano Singers.
Misses Mary Wilmore, Mary Neal, Charlotte Grace.

The Instrumental performers were as follows:-
Flutes.- William Bruce, George Cross, Richard Garrett, Alfred Barton, John Cross.
Clarionets.- James Hazzard, Richard Allen.
Bassoons.- John Daniel, William Punn, Richard Gray.
Violoncello.- William Tattam, Henry Jennings.
Cornet.- John Mayne.
Trombone.- Henry Jennings.
It will be seen that many of the Instrumentalists were also Singers in the different parts. This enabled the Choir to be more evenly balanced, as some of the music performed required more vocal power and other more instrumental volume.
George Cross was a highly influential Tradesman and Churchwarden for many years. John Cross, his son, died Rector of Mursley in 1884. Alfred Barton was well known and respected, and is only recently deceased.
The following members only are still living:- John Mayne, Thomas Allen, John Turnham, James Hazzard, and William Grace.
Mr. Staniford was a good Singer, and with Mr. Cowley, was much respected by the Choir, encouraging the members in perseverance, and superintending all their practices.
The Services in the Church were only held in the morning and afternoon of Sunday, the latter being the more elaborate.
The whole of the Choir assembled every Sunday night for rehearsal at “The Punch-bowl," "The George,” or “The King’s Head,” kept respectively by Mr. Tattam, Mr. Barton, and Mr. Mayne, members of the Choir.
At each house might be seen, at these times, the venerable figure of the Rev. James Preedy clad in the clerical dress of the period, rendered more antique by the invariable Shoes and massive Silver Buckles. Order and decorum reigned supreme. These rehearsals were for hard work to perfect the Choir for the service of God; and it was not considered in any way harmful for the Vicar and his Choir, after all their labours, to smoke the “Pipe of Peace,” and then afterwards to betake themselves soberly and quietly to their own homes.

[Nov 1886]

The members of the Choir were in such earnest that they voluntarily submitted to Fines for non-attendance at one Weekly Practice and one Sunday Service. These Fines were appropriated to the purchase of Music and to a regular Choir Supper at Christmas.
A curious custom also prevailed at this time, the Choirs of various parishes exchanging their Services on Sundays. These interchanges took place on several occasions with the Choirs of North Marston, Great Horwood, and Hogston. The Churches were crowded on these occasions, and the competition keen. As recorded and remembered, of course, the Winslow Choir carried off all the honours.
By the light of subsequent events it would appear that somewhat of pride puffed up the Choir, so that after short-lived triumphs over their neighbours small dissentions crept in, the Demon of Jealousy disturbing the harmony of a hitherto united body of musicians.
The Music had been much improved, the Services fully attended, and there was earnestness in an extraordinary degree. But, the effect at last appeared to be that of an Oratorio performed in a Church without religious feeling or the solemn Service as appointed.
Doubtless, the decay of this middle period of the Choir now commenced, and the result will form the subject of our next Paper.

[Dec 1886]

1832
At the above date it is evident that some members of the Choir were, for various reasons, obliged to retire. Some of the most efficient members in by-gone days were now unable to sing; and it followed that their places must be filled by others. The fact is patent that the new members were somewhat deficient in quality of voice and experience.
To remedy this state of things it was decided to add more Instrumentalists for the support of the singers. Fortunately for the Service of the Church, the performers on various Instruments had considerably increased in the town.
Hitherto the singing had only required the accompaniment of Bassoons and other soft wind Instruments to form a suitable ground-work.
It was determined to make the Service more jubilant and decided in tone. For this purpose, in addition to Flutes, Clarionettes, and Violincellos, the more powerful aid of Brass Instruments, in the shape of Cornets and Trombones was invoked.
In this way the whole Service appears to have been much improved. Another important change was also effected by the introduction of Treble and Soprano voices. This was a great advance in harmony, for now Treble, Alto, Tenor, and Bass parts were sung; and so, with the aid of a powerful Orchestra, the Services became most attractive.
This great change took place during the last four years of the Incumbency of the Rev. James Preedy, who died in 1836, at the age of 84.

[Jan 1887]

Now comes the task to select some other individual as co-partner in point of comparison as regards merit, but reverting to the matter of positive fact of the frequent occurrence of no singing when Mr. Richard Barton was absent, I feel myself at a loss to particularize any individual which has been previously entered in the list of the Basso Singers - let it suffice in the observation that they were all useful members in cooperation with their leader, but as solo Bass Singers they were defective, at least it is not remembered that they ever made the attempt, consequently it follows that no principal piece was proposed in his absence.
You will excuse this brief account of the members of the most essential part of musical execution, which is the Bass or lowest, for my time and opportunity do not permit me to dwell longer upon the merits of that particular department.
We will, therefore, proceed with noticing, and as far as my ability, endeavour to do justice to the next or Tenor members of the Choir.
In the midst of the difficulty to which the Winslow choir was subjected by the loss of members of zeal and talent, fortunately in result Mr. Richard Seaton, brother to Mr. Augustus Seaton before mentioned, settled in Winslow as Wine Merchant, from London, where he had frequent opportunity of hearing and practising Psalmody; consequently he quickly became the intimate friend of his brother performer the afore-mentioned Mr. Richard Barton; and it should be recorded that these two zealous companions in music, whenever they were present during Divine Service, the congregation was sure to have the opportunity of witnessing their endeavours of executing some pieces of portions of Psalmody.
Much to the credit of this individual, I cannot refrain from bearing testimony to his zeal in promoting the primary principle of doing good, and which I consider is effected by the aid of Sacred Music, in adding to the numbers of the hearers of the Ministers of the Gospel in the Parish Church of Winslow; I allude more particularly to the Sunday Evenings’ practice, which he, at this period revived,- and to this practice, I fearlessly give my opinion, may be attributed, in a great measure, the true state of the Choir of the present day.
I must grant he did not promote the practice of solmization by adopting any particular rules or practice for that purpose; he nevertheless, was frequent in his advice to the Sunday Evening members, exhorting them to pay attention to the instructions laid down in a Work which was in possession of several of the members. He was a steady, firm leader, but could not boast of the sweetness of the voice to which his brother Augustus was entitled.
Thus my friends, I have imperfectly chronicled the transactions of the Winslow Choir from the year 1755 to the period when several of you, now present, commenced your career as members of the said Choir, either as Vocalists or Instrumental performers.
How far your long continued endeavours and practice have proved successful and to the advancement of Sacred Music in the Parish Church of Winslow, I shall leave to be recorded to a future opportunity.
                                                            I am Friends and Choristers,
                                                                        Very faithfully,
                                                                                    Your well-wisher,
                                                                                                JNO. COWLEY.
Winslow, Jan 1st, 1849.

Note by the Editor.- It is plain that the history of the Winslow Choir has only been brought up to the year 1832.
Looking at the date of the letter given above, it was probably the intention of Mr. Cowley to continue his labours. It is likely that infirmity of years and other causes prevented this.
The thread of the story will now be taken up by a member of the present Choir (1886). It will be to him a work of love - not only because he succeeded a venerable and venerated man in his medical position, but also - that he was the husband (now, unhappily, the widower) of one of his grandchildren.

[Feb 1887]

Our November (1886) number brought up the history of the Choir to the middle period, when great changes became imminent.
In 1845 it was recognised as a necessity by Mr. Cowley that the Treble or leading part required strengthening, and so he enlisted the services of girls from the Sunday School who, with their good Soprano voices materially assisted the singing. They were all placed at the back of the Gallery.
After a short period of repose under this system came considerable alteration under the auspices of an energetic Curate, an ex-Dragoon Officer [James Thomas, curate 1848-52]. He did not like the Instrumental part of the Services, as hitherto conducted, so hired an Harmonium, then quite a new Instrument, to be placed in the Church.
On its arrival, this Harmonium was deposited at the shop of a well-known Barber in the Market Square, where it was the subject of puzzled opinion. The Keys and Stops were there, but no sound. It was then moved to the Chancel of the Church where it continued to excite a passing wonder, until a lady at Miss Todd’s school happened to see it, and suggested that some wind was required. She forthwith commenced to work the Pedals, which had hitherto escaped notice, and produced delightful music. The Instrument was placed in the Gallery and played upon by Miss O’Rea, the singing being supplied by the pupils of Miss Todd and the girls of the Sunday School.
The old Instrumentalists and Singers retired at once, and so came to an end a Choir which for earnestness and musical talent could not, for a very long period, have been excelled or even equalled. They were compelled to see the signs of times of the times which they had not hitherto discerned. They, however, soon saw that the Services were not so bright as before; for after playing the harmonium for one year, Miss O’Rea left Winslow. No one else could perform upon the instrument and it was removed from the Gallery; the singing soon degenerated, and finally remained under the management of the Infant-School Mistress and one or two Sunday School Teachers. The events described occupied the time up to 1884-5 and 6 [sic – actually 1854-6].
At this time Addington Manor was in course of building, and, as the workmen engaged were musical, it was proposed to bring back the harmonium. It was now played by a son of the National School-Master, and a Choir was formed by the Addington workmen in conjunction with Winslow singers. This continued for two years, when the whole thing collapsed, and the Services were again left to the Infant School Mistress and Sunday School Teachers, the harmonium being again removed from the Gallery.
A new departure was made in 1862. A new harmonium was hired, a mixed Choir of males and females was formed, and the singing once more seemed in a fair way to become worthy of the Church and its Services.
But alas! The vicar [read more about Rev. Alfred Preston] considered that the Service was too ornate! and, on his refusing the Choir the privilege of choosing tunes they could sing, there was another exodus of all its members, including the instrumentalist (Mr. Jennings).
Mr. Henry Young and the School children then occupied the Gallery, the singing being of the most meagre character. Up to 1879 there was no change and no improvement. Mr. Jennings then returned to his post, and formed a Choir of boys. This step met with the approval of all; and several of the men singers of the former Choir re-joined, and assisted again in the Services. Matters went on thus until the death of the Vicar, in October 1882. Pending the appointment of a new Vicar, the charge of the parish was in the hands of Rev. H. C. Allen, and a great accession of strength took place by the increased number of singers.
In 1883, the present Vicar [Rev. H.A. Douglas-Hamilton] was instituted, and the Services became much more hearty. Hymns Ancient and Modern were introduced with the cheerful consent of the Congregation, the Canticles chanted, and the prayers monotoned. The Choir now consisted of men and boys only, and, on the commencement of the restoration of the Church, all migrated to the Boys’ School for Services.
At the completion of the Restoration in December, 1884, the Choir was surpliced and at once commenced choral Services, taking their proper place in the Chancel.
At the time of writing, and concluding the History of the Choir, we may say with pride that the Congregations are very large, the services hearty, and every member of the Choir is doing his best to promote the Glory of God and His Service on earth.
No less heartiness was shewn in the long History of the Choir. Opinions are changed. More life has been introduced into our devotions, and the needs of the times have been recognised. The present Choir do not arrogate to themselves any superiority over their predecessors, either in devotion to, or in earnest work for, their beloved Church.

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