It was an auspicious occasion, kindled by anticipation and expectation, as Her Majesty graciously acknowledged the gathering crowds and unveiled a simple plaque bearing the inscription “Danson House built 1766 and reopened by the Queen 26th July 2005,” thus bestowing her Royal prerogative upon this fine building. It marked the culmination of over ten years of painstaking restoration by English Heritage and Bexley Heritage Trust, finally bringing to a close years of negligence, neglect and dereliction.
Danson House, Bexley is an exemplary Palladian Villa built to the designs of the architect Sir Robert Taylor for the City merchant, Sir John Boyd, whose fortune was founded on West Indian sugar. The house is, arguably, one of the most perfect examples of this architectural Georgian style in the south east of England. It was further embellished in the 1770s by William Chambers, “architect of the King’s works”, who designed the fireplaces and many architectural details that survive together with picture frame and mirror designs, which have been meticulously recreated during the restoration from original drawings and historical evidence.
Although the house has much of interest, our visit on 19th November centred on the library with its George England organ, built in 1766 for the house. This is a one-manual instrument housed within a stunning three-tower case, flanked by sumptuous bookcases. Its specification is: 8 8 4 4 22/3 2 1v 8 with mechanical action throughout.
The tonal quality of this organ is exemplary, typifying this early English period, with a purring unforced Open Diapason and a delightfully woody Stopped Diapason, its breathy speech blending as one with the Diapason. The upperwork continues this tonality in the flutes and principal ranks adding colour and richness. The four rank mixture is divided in the middle of the keyboard allowing the Cornet Treble, which is particularly resplendent, to be used independently from the Sesquialtera Bass; the 8ft Trumpet, with its touch of authentic vulgarity, is similarly provided with independent treble and bass drawstops.
The 4-rank mixture is a credit to Mander who supplied and voiced these replacement mixture pipes to recreate and restore the organ’s original specification; the organ’s mixture had been removed and subsequently replaced with a Keraulophon 8ft in 1855 by Fincham. Several members were permitted to try the organ allowing us to enjoy its tonal colours and idiosyncrasies; one being tuned to an unequal temperament of 1/6th Comma Meantone.
After such stimulation and excitement we were fortunate to have a first class tea provided for us at Christ Church Bexleyheath, where the 2-Manual and Pedal Hunter & Sons organ is another fine example of its genre; with its 1891 voicing a dramatic contrast to the George England instrument. Being required to fill a very much larger building, its generous wind pressures and scaling produced a sound of unpretentious grandeur and ease. Audrey Attree, who was organist at Christ Church for many years, before moving to West Malling, introduced us to the church and organ’s history.
This 2-Manual and Pedal organ has an ample specification of: Swell Organ, 8 8 8 8 4 2 11 16 8 8; Great Organ, 16 8 8 8 8 4 2 111 8 and Pedal Organ 16 16 8 8 4 16 with usual couplers. The organ was built using Hunter’s high-pressure charge pneumatic actions, although the rebuild in 1975, by Hill, Norman & Beard, included electrification of the drawstops. It was again cleaned and overhauled in 2003 with the addition of a new multi-channel piston system; the organ has remained in the care of Colin Jilks since 1975.
Audrey then demonstrated for us with Suit du Premier Ton by L. N. Clérambault in three movements, Grand Plein Jeu, Trio and Basse et Dessus de Trompette. Then No. 1 of 3 Liturgical improvisations by George Oldroyd and concluded with J. S. Bach’s Fantasia in G minor. The pieces were well chosen and beautifully played. The Clérambault demonstrating the choruses and solo Great Trumpet; George Oldroyd, the softer flutes and strings; and Bach the full and stunningly clear Great chorus. Although appearing a little strident at the console, the organ’s tonality blends to perfection producing a cathedralesque grandeur in the building; a captivating sound that delighted us all.
On this occasion, many members were able to play and we must thank Audrey Attree who had so painstakingly arranged such a memorable and enjoyable afternoon for us.