Historical overview – Sowne of Organe

Weem: Weem Parish Church

J W Walker & Sons, 1875 — organ surveyed August 2024

The Building

Somewhat confusingly, there have been three churches in Weem with connections to the Clan Menzies. Firstly, the Old Kirk of Weem (or St Cuthbert’s Church), which operated as a church from c.1510 (pre-reformation) until 1839 when it was handed over to the Menzies clan as a family mausoleum(now more commonly referred to as the Menzies Mausoleum)^[i]. Second, a new ‘Weem Parish Church’, on land granted by Sir Neil Menzies, was sited halfway between the old Toll House and Weem. That church – later known as the ‘Old Weem Kirk’ – was erected in 1834 at a cost of some £696 and in use until July 1921. From 1921 it became the Menzies Clan Society Hall, later falling into disrepair and subsequently demolished^[ii]. Finally, the present Weem Parish Church which still functions as a place of Presbyterian worship in the Church of Scotland. Weem Parish Church, built in Gothic style with a short apse and transept, was constructed between 1868 and 1875 under the instruction of Sir Robert Menzies as a St David’s Episcopal Chapel. Upon the death of his youngest daughter in 1918 (the last of the Perthshire Menzies clan), and subsequent breaking up of the estate, the building was transferred to the Church of Scotland, becoming Weem Parish Church from 11^th August 1921^{[iii]+[iv]+[v]}. Incidentally, the original dedication to ‘St David’ is also likely to come from a link with the Menzies clan. The local historical site, known as St David’s Well, is widely believed to be a holy site founded by St Cuthbert but known as St David’s due to a connection with Sir David Menzies (1377-1449) who used it as a retreat. He later gave up his worldly possessions to become a monk and, later still, became rector of the parish.^[vi]

The Organ

Perhaps unusually, there are no press articles detailing the inauguration of the church or organ. However, there are plenty of accounts of the numerous concerts and services which have taken place since, especially from the first 30 years or so of its existence. For instance, in relation to the interment of the Bishop of Bombay in 1875, we read that “the mellow and plaintive notes of the organ…had a very telling effect”^[vii]. Further articles make clear that, despite the relatively compact size of the instrument, major works from the organ repertoire were performed: Handel Concertos, Bach Fugues, Mendelssohn Sonatas and more contemporary works by French and English composers^[viii]+[ix]. It is also evident that this modestly sized church and organ were able to support a talented choir who regularly put on concerts and sung at large services (including numerous Menzies clan weddings).

There is conflicting evidence of the history of the instrument and, unfortunately, the organ also survives with some undocumented alterations. However, the original intentions for the instrument are clear from the entry in the J. W. Walker & Sons order book. Dated Sept 1874, the order book entry gives a detailed account of the requests made in commissioning the instrument. From the outset stops were prepared for, with some suggestion as to what they might be if (or when) added later. For instance, no 5. on the Swell suggests a Double Diapason at 16ft pitch^[x]. It is worth noting that this bears no indication as to whether it would be over the entire 56 note compass or only 44 notes as per the rest of the Swell. On this point, it is interesting to observe the Swell having a tenor C compass (opposed to the full 56 note compass on the Great), with the bottom 12 notes only sounding through derivation from the upper notes of the Pedal Bourdon to the Swell Stop’d Diapason. Though not uncommon, it is unusual especially as no reason is given; though it may have been due to a severe lack of space inside the organ.

There are detailed instructions given around the visual aspects of the instrument: “In painting the pipes avoid blue, Grey or violet are the colors [sic] preferred” and “No part of the wood to be stained – Sir M[enzies] beggs [sic] Particular care to be taken in selecting the pitch pine & deal to avoid any Pale Colored [sic] planking, as this was done in building the church”. The underlining (original) shows the weight of this instruction and, perhaps, just how much personal oversight Sir Robert was giving to the project. Some later additions in a different ink and in pencil show that details of pipe decoration had been undecided, with this instruction being later scored out and replaced with “N.B. front pipes to be gilt”^[xi]. The shop book entries add the costs of the work to give a more complete picture. The instrument cost some £325 (including the foreman’s visit in August 1874) with additions including a bench, brass candle holders and inscription plate bringing the final cost to £366 9s (excluding carriage or any preparation of the site). Immediately below is an entry dated May 1876 which reads: “to repairing damage done to organ caused by rain water having penetrated into instrument” before further detailing the repairs required at a cost of £15 18s^[xii]. Elsewhere this date has been credited with being when the instrument received additions but here there is no mention of anything other than repair work. Only when looking at the tuning contract does it become clear that additions were made 1896 rather than 1876. Between October and November 1896 the instrument was cleaned and the addition of a Great Gamba and Swell Oboe were made (at a total cost of £91 4s8d)^[xiii]. Minimal evidence survives of work completed in the more recent past. Records from Rushworth and Dreaper confirm that 1960 saw the re-felting and re-fitting of the pedal action and existing pedalboard but with no change of pedalboard or Swell pedal made. Also at this time, the Swell couplers were regulated which, presumably, indicates the already present addition of a Swell to Pedal coupler. In 1994, cleaning took place following work to the fabric of the church – this work was purely remedial after plaster had fallen onto the Great and case front pipes, alongside treatment for woodworm in the building^[xiv]. Contrary to this, a notice posted as part of a display in the church hall states that it was during this work that a balanced Swell pedal was added in s part of £15,000 worth of works to the organ^[xv]. In the absence of further detail, it is perhaps reasonable to surmise that the new pedalboard was 1960 and 1994. What also remains unclear is the addition of the rather oddly sized Swell to Pedal drawstop and whether this was added at the same time as the – rather neater – Swell to Pedal toe lever.

During the episcopal years, the church attracted a number of distinguished organists. The Perthshire Advertiser, on Monday 29 December 1879, gives an account of the special services and concert given in St David’s on Christmas Day. It notes the much admired accompaniments provided by W.H. Stocks^[xvi]. Although no more detailed information is given, this refers to a young William Henry Stocks (1860 to 1944) who went on to become assistant master of music and organist of Dulwich College and who twice served as private organist to Sir Robert Menzies (first in 1879 and again from 1906)^[xvii] ^{+ [xviii]}. Christmas Eve or Christmas Day recitals seemed to be something of a mainstay as can be read in the numerous accounts of successive organists giving concerts at this time. Other private organists to Sir Robert Menzies included a Mr Jesse Timson who, in 1888, went on to become organist of First Church of Dunedin (New Zealand) and a leading light in late 19^th century Dunedin musical circles^[xix]. Perhaps the most distinguished of all postholders was Charles Macpherson, appointed in 1887 (until 1889)^[xx] . Macpherson’s career would take him back to London to become organist of St Paul’s Cathedral (London, 1916-27) and establish close links with the elites of the British musical establishment. For instance, Macpherson was one of the circle of friends who composed a short memorial piece in Hubert Parry’s memory (included in ‘A Little Organ Book’), having himself played the organ for Parry’s funeral.

It is testament to the reputation of this instrument and to the reputation of Sir Robert Menzies that such a compact, rural, church should attract leading musicians of the time, many at the start of great careers. Although no details can be found about what the salary for the position was, Sir Robert did have a rather splendid house – now the ‘Ailean-chraggan’ hotel – constructed at the same time as the church as a residence for the organist…something which surely must have ‘sweetened the deal’ a little.

Without doubt, this charming instrument has brought a great deal of joy and culture to a rural population. An article in the Perthshire Advertiser of 1935 sums this up quite concisely: “An Episcopal Church was built at Weem with a pipe organ, and still another Episcopal Church was erected in Aberfeldy with an organ – and so the charmed village circle of instrumentalists brought into being not only ecclesiastical music, but pianos, and choral unions… along with an educated company of musicians”^[xxi]. In short, this organ has – without massive recognition – faithfully delivered many hundreds of hours of cultural delight, education and brought beauty to worship for over 150 years.

[i] https://www.castlemenzies.org/kirk/ [accessed 06/08/2024]

[ii] https://aberfeldymuseum.org/tay-valley/weem [accessed 06/08/2024]

[iii] https://www.dullandweemparish.org/history-of-the-church [accessed 06/08/2024]

[iv] Oban Times and Argyllshire Advertiser – Saturday 01 June 1918

[v] Dundee Courier – Friday 05 August 1921

[vi] https://canmore.org.uk/site/25672/weem-st-davids-well [accessed 06/08/2024]

[vii] Dundee Courier – Friday 24 December 1875

[viii] The Musical Standard – Sept 29 1883

[ix] Perthshire Advertiser – Monday 29 Dec 1879

[x] J.W. Walker & Sons, Order Book entry no. 98 (Sept 1874)

[xi] Idem

[xii] J.W. Walker & Sons, Shop Book entry no. 492, (June 1875)