Professor George McPhee – A Diamond Jubilee
By Peter Nardone
It was in October of 1963 that the Minister and Kirk Session of Paisley Abbey welcomed the young George McPhee as their new Organist. Previously George had served as Assistant Organist to Herrick Bunney at St. Giles Cathedral in Edinburgh and had proved himself as a brilliant soloist and sensitive accompanist. A product of sympathetic and supportive parents (his father was a dance-band pianist and church organist), George had embarked upon a course of study in Glasgow on the violin but soon changed to the organ, an instrument on which he excelled. He also gained a BMus from Edinburgh University and, importantly, attended a summer school with Fernando Germani in Siena. Through his enthusiasm for all genres of organ music, from North German and French Baroque to contemporary, British and French romantic composers, he was well placed to bring all these stylish influences to bear in his output at Paisley Abbey. As a former student I had the opportunity to see from close quarters that everything about his playing, from his hand position and economy of movement to his obvious comfort at any console, particularly those of more compact historic instruments, gave him the grounding to enjoy a long and distinguished playing career.
In 1963 the choir of Paisley Abbey comprised of men, women and boys, numbering almost 70 – a modest choral society! The Abbey is a Scottish Presbyterian church, which, back in those days, harboured many strong personalities amongst both Choir and Kirk Session (the body of church Elders who, under the minister, govern the workings of the Abbey). George was young, talented, recently married to Margaret and well prepared for the challenges and opportunities of the job. Through his perseverance and tenacity, combining both his work with family life (not to mention his love of golf), he learned the skills of choir training and worked to build a body of singers that, over the years, managed to perform, stylishly and musically, a broad repertoire of choral music from differing countries and in a variety of languages. In the early years at Paisley the majority of tenors and basses were former Abbey boy choristers and this helped to engender within the group a great sense of loyalty and love for both George and his music making. His broadcasts of Choral Evensong on the BBC remain a faithful record of his outstanding work in the 70s and 80s. Recordings and commissions flowed in a sea of creativity and from my time I well remember performances of: Bach’s St. John Passsion with Sir Peter Pears Evangelist; Monteverdi’s Vespers; Haydn and Mozart Masses; works by Britten; and countless TV and radio broadcasts.
Throughout his career he has combined the post at Paisley with senior teaching positions at the Royal Scottish Academy of Music and Drama and latterly St Andrews University, continuing to promote talented students and collaborating with fellow working musicians and composers, notably Sir James MacMillan, Kenneth Leighton and Martin Dalby (Head of Music at BBC Scotland until 1991). George still composes prolifically and has a talent for arranging music of differing styles; he even has many arrangements of traditional Scottish songs for voice and piano published. Often working with BBC orchestras as a player and soloist, he garners respect from professional instrumentalists and is able to attract top orchestral players and ensembles for his musical projects.
However, George would happily admit that one of the main reasons that he has stayed at Paisley is its very fine organ. Built by the French firm Cavaille-Coll in 1872 it was sited in the nave (the only part of the Abbey standing at the time). In 1928 the Abbey was fully restored to its former mediaeval glory and at that time the organ was also enlarged and altered considerably. Shortly after his arrival George embarked upon a project to rebuild the instrument. For the project he collaborated creatively with Ralph Downes (designer and tonal consultant) and Dennis Thurlow, head voicer at J.W. Walker, organ builders. The 1968 result was spectacular, but little did George know that some 40 years later in 2009 he would be presiding over a second major refurbishment of the organ, this time by Harrison & Harrison of Durham. The integrity of the scheme by Downes was maintained but some minor alterations were made to the specification. George is thrilled with the result and has continued to enjoy his work with the choir and successive ministers in the weekly worship at the Abbey.
One of his many talented and more recent assistants Steven McIntyre, writes
“As a teenager I was given a cassette of George playing the organ at Paisley Abbey. The playing and the organ were both electrifying and, a few years later, when invited by George to be his assistant I jumped at the opportunity. I was his assistant from 2010-2013, the latter being George’s 50th year at the Abbey. As well as being inspired by his technical ability, (regularly rattling off the Duruflé Toccata, Reubke Sonata, Tournemire Improvisations, etc), it was his liturgical playing which captured my fullest attention. Anyone who has heard George accompanying a hymn or anthem will testify that it really is a transformative experience. Very modestly, George takes no credit for this and attributes his style to the lessons he received from Herrick Bunney and George Thalben-Ball. I’d go as far as saying that the unique liturgical style of the Abbey, combined with a long history of hymn singing in the Presbyterian church, have allowed George to cultivate his liturgical playing further than anywhere else may have allowed. I remember the regular smiles shared amongst choristers when George would transform a last verse with fresh harmonies or a counter-melody. George’s enthusiasm and genuine love of music making never tires and is truly infectious. How lucky are we that he continues to share this with us after 60 years.” – Steven McIntyre
My own association with the Abbey’s music was for a mere seven years during my teens, but, throughout my career in Cathedral music, when I return to Paisley to hear the master at work, I continue to be inspired and uplifted by the music within the setting of the place. I am fortunate to have been commissioned by the RSCM Scotland Area Team to write an anthem for choir and organ to celebrate George’s Diamond Jubilee in October 2023 and hope that “A Hymn of God’s Love” will be a simple but fitting tribute to a fine musician. While writing I can think of no other person in the music profession who has served, and continues to serve, the church with such talent, flair and enthusiasm over such a long period and I hope that he will continue to flourish and prosper for many years to come. I will leave the final words to Dame Gillian Weir, who places George’s work in the national and international context where it truly belongs.
“George first emerged as a brilliant performer in the 1960s. We met as competitors in the first years of the International Organ Competition in St Albans, and have remained friends ever since. George’s reign at Paisley Abbey as Director of Music for some six decades is legendary, but he is renowned in many other branches of music. As concerto soloist under his baton I can attest to his conducting skills, and he is a composer, choral conductor and a celebrated recitalist known internationally. George is a genial colleague, generous with his time and talents; he has held office in The Incorporated Society of Musicians, the Royal College of Organists and other institutions, where he is greatly admired and has made an invaluable contribution. He is a much-loved teacher, too, as well as providing valuable advice to those planning organ restorations or new installations. With all his friends and admirers I salute him on his multi-faceted and distinguished career, and on celebrating sixty years at the top of his profession. I look forward now to the achievements of his next decade!” – Gillian Weir
This article has been reproduced from Church Music Quarterly with kind permission from the Royal School of Church Music. ©RSCM
A celebration of George’s 60th anniversary will take place at Paisley Abbey on Friday 10 November at 7.30pm, with the BBC Scottish Symphony Orchestra. Details below.
RSM’s John Birch Fund exists to help church musicians who are unable to work because of accident, illness, stress of anxiety. If you or anyone you know needs assistance, please contact us on [email protected] or 020 7629 6137