Christopher Dearnley

Christopher Hugh Dearnley, organist: born Wolverhampton, Staffordshire 11 February 1930; FRCO 1954; Assistant Organist, Salisbury Cathedral 1954-57, Music Master, Cathedral School 1954-57, Organist and Master of the Choristers 1957-67; Organist and Director of Music, St Paul's Cathedral 1968-90; Chairman, Friends of Cathedral Music 1971-90, Vice-President 1990-2000; LVO 1990; FRSCM 1996; married 1957 Bridget Wateridge (three sons, one daughter); died 15 December 2000.

Christopher Hugh Dearnley, organist: born Wolverhampton, Staffordshire 11 February 1930; FRCO 1954; Assistant Organist, Salisbury Cathedral 1954-57, Music Master, Cathedral School 1954-57, Organist and Master of the Choristers 1957-67; Organist and Director of Music, St Paul's Cathedral 1968-90; Chairman, Friends of Cathedral Music 1971-90, Vice-President 1990-2000; LVO 1990; FRSCM 1996; married 1957 Bridget Wateridge (three sons, one daughter); died 15 December 2000.

The sudden death of Christopher Dearnley, Organist of St Paul's Cathedral 1968-90, came as a great shock to his many friends and admirers in the world of church music.

His earliest musical experiences were as a chorister in the choir of Nork Parish Church, in Surrey, where his father was Vicar. From there he went on to Cranleigh School, later winning an organ scholarship to Worcester College, Oxford, where he was taught by H.K. Andrews and Edmund Rubbra. On leaving Oxford, he became Assistant Organist of Salisbury Cathedral, under Douglas Guest, whom he succeeded in 1957 upon the latter's move to Worcester Cathedral.

During his time at Salisbury, he re-established the Southern Cathedrals Festival, along with his colleagues John Birch (Chichester) and Alwyn Surplice (Winchester) and raised it to a much higher profile and significance. He built on the foundations laid by his immediate predecessors, Guest and David Willcocks, in establishing the Salisbury choir as one of the finest in Britain.

He was invited to succeed John Dykes Bower at St Paul's in 1967 and immediately set about revitalising the choral foundation there. A daily full choir rehearsal was soon established (there had previously been just one full rehearsal a week). Many of his innovations were long-sighted and lasting, and the strength of his vision continues to inform our music-making at St Paul's today. Much new repertoire was introduced, including some challenging contemporary works by such composers as Robert Sherlaw Johnson, John Weeks, Bernard Naylor and Rubbra; polychoral music by Monteverdi and Gabrieli appeared on the music lists, replacing some of the less enviable Victoriana which had become part of the staple diet.

In addition, he introduced the July Orchestral Masses, which continue to this day, and raised the musical profile of a number of annual services, such as the Festival of the Sons of the Clergy, by inviting other cathedral choirs to participate, the National Service for Seafarers and the Advent Carol Service, in which his edition of "Laudes Regiae", the royal acclamations, has been such a distinctive feature. New life was also breathed into the staid atmosphere of Amen Court by the arrival of Dearnley, his wife Bridget and their four young children.

On his arrival at St Paul's, a major cause for concern was the parlous state of the Grand Organ, which was in need of major overhaul and restoration. Between 1972 and 1977 he oversaw the rebuilding of the organ, in consultation with Cecil Clutton and the firm of N.P. Mander. Much discussion took place, some of it controversial, as to what form this restoration should take, and indeed whether the opportunity should be taken to reconstruct the organ on Wren's choir screen.

In the end, the Chancel Organ was slimmed down, restoring the original concept of the 1872 Henry Willis instrument; much of the pipework in the Dome organ was renewed and an entirely new division at the west end of the Cathedral was built, including the battery of royal trumpets for ceremonial use. The finished organ once again spoke with great brilliance and authority in St Paul's, a fitting tribute to the successful collaboration on all sides.

During this time, Dearnley had appointed the gifted choir trainer Barry Rose as his sub-organist. Rose had established a strong reputation through his pioneering work at Guildford Cathedral as one of the most inspirational and talented choir trainers in the country, and it was inevitable that his gifts should be utilised in this way at St Paul's. With the rebuilt organ, Dearnley wished to retreat more to the organ loft and develop the liturgical role of the organ as well as its potential as a recital instrument.

The great players of the day, George Thalben-Ball, Francis Jackson, Noel Rawsthorne, Jean Langlais, Nicholas Danby, were all heard in the opening series of recitals. The St Paul's Choir flourished under Rose's direction (he was appointed Master of the Choir) and a strong musical rapport was forged between Dearnley and Rose. Despite this success, Rose's flamboyant and entrepreneurial style was not universally approved of by the Dean and Chapter of the time and his much-publicised departure caused subsequent tensions at St Paul's.

Dearnley was placed once again at the helm, assuming direction for the training of the choir. That he had been bruised by these events was evident for all to see, and he never quite recovered his confidence in front of the choir. This was a pity, for he was a much better choir trainer than he himself thought. This is borne out by a recording made in 1985 on the Decca label, under his direction ("Lift up your heads") which contains perhaps some of the loveliest singing on record by the St Paul's Choir.

In due course, he was to retreat again to the organ loft, entrusting the bulk of the choir training to Andrew Lucas and myself. He retired from St Paul's in 1990, on his 60th birthday, with the intention "to pursue his professional career in lecturing and teaching in the service of the Church in Australia". On his retirement, he was appointed LCVO; he had been awarded the Lambeth MusD in 1987.

In addition to his work as an organist and choir trainer, he had a particular affection for English music of the 17th and 18th centuries, editing volume three (1965) in the Treasury of English Church Music series, and publishing a number of works in performing editions. He also wrote a book on the subject, English Church Music 1650-1750 (1970). He composed a number of choral and organ pieces, most notably a short but highly effective anthem "Let thy hand be strengthened" for the Queen's Silver Jubilee in 1977.

On a personal level, Christopher Dearnley was admired and respected greatly by all those who worked with him. He was a man of great integrity, dedication and vision. His strong personal faith propelled his music-making, and it is significant that I recall one of the then Minor Canons telling me that Christopher and Bridget were among the small number of communicants at the early celebration of the Eucharist on the day of the Royal Wedding in 1981. For a time, he had considered offering himself for the priesthood.

He was a superb administrator, something for which he had cause to be grateful to his army training. His memoranda to the Vicars Choral at St Paul's were models of succinctness, with not a word superfluous or out of place ("If you can't get it on a single sheet of paper, they won't read it" was his maxim).

As an organist, he worked hard to maintain consistency in his playing. He had a bold and idiosyncratic choice of repertoire, and was not at all swayed by fashions of either style or performance (one of his final voluntaries at St Paul's just before he retired was his own arrangement of "Misty"). He eschewed much of the contemporary French school, although he gave a most persuasive account of Messiaen's rarefied Messe de la Pentecÿte. He played a superb recital in St Paul's in June of this year, and his programming was typically off-beat, ending with a searing performance of Carl Nielsen's monumental Commotio.

Christopher Dearnley was essentially a very private and retiring person. His greatest pleasure was the company of his wife, Bridget, with whom he enjoyed a close and felicitous union. For relaxation, he enjoyed sketching, cycling and walking. During his 10 years in Australia, he held a number of temporary appointments in cathedrals in Sydney, Hobart and Perth and Trinity College, Melbourne, covering leave of absence by the resident organists.

In particular, he gave much wisdom and encouragement to church musicians attending the Royal School of Church Music summer schools held annually, as a teacher and lecturer. His contributions there were highly regarded and eagerly anticipated. Indeed, he was to have been the organist for the forthcoming course in Canberra in January.