When did music become part of your life?

Music was always around at home. The radio (pre-BBC Radio 3) was always on and my father, a structural engineer, was a dance band pianist in his spare time. He would play on a battered old upright piano and could energetically turn out Scottish dance repertoire. He also sang in the local church choir and sometimes deputised on the organ – an instrument which he later took up more seriously, and was eventually appointed to a church with a fine Hill organ which I clearly remember. From the age of six I was sent for piano lessons. However, at that time I was also interested in art and attended the Junior classes at the Glasgow School of Art on Saturday mornings.

Can you outline your career path?

On leaving school I had to decide between art and music and, for better or worse, I enrolled for full-time study at the RSAM (Royal Scottish Academy of Music), as it was in those days. I studied piano, violin and singing. During this time I taught myself to play the organ and I took a church post. In my final year at the RSAM I was allowed to take organ lessons with the late Herrick Bunney and was thrilled when he suggested that I should assist him at St Giles’ Cathedral, Edinburgh. Of course I gladly accepted and, at the same time continued my studies at Edinburgh University. It was here that I was lucky enough to have composition lessons with Kenneth Leighton, harpsichord lessons with Peter Williams as well as inspirational lectures by Hans Gál and Hans Redlich, who fired me up in particular on the music of Monteverdi. I started a choral group, the Holyrood Singers, with the underlying purpose of exploring music of the Renaissance. By this time organ playing had become more important and, with a Cross Trust Scholarship, I attended a summer course in Siena with the legendary Fernando Germani. With his formidable, yet seemingly relaxed console management and a thoughtful grasp of the design of large-scale works, he altered previous conceptions and inspired interest in, for example, Reger. Along with many other pupils, I was also persuaded to embark upon a new disciplined approach to pedalling, which I still use.

That’s an incredible list of luminaries! You have been at Paisley Abbey since 1963, a remarkable tenure

Yes, I went straight from Edinburgh to Paisley Abbey in 1963 and have never left. At the same time I was appointed to the so-called Academic Studies department of the now-titled Royal Conservatoire of Scotland (RCS) where I went on to have responsibilities for choirs along with organ teaching. When I arrived in Paisley the choir numbered 72 (32 boys, eight salaried adults and 32 voluntary singers). The repertoire reflected these inflated dimensions in a library of multiple choruses from oratorios; 16th-century motets hardly existed along with works of the 20th century – apart from Vaughan Williams and Holst. Sung Masses and choral evensongs did not happen. Some Decca recordings still exist from these days and, possibly on the back of these in the early Seventies, the BBC asked if we would contribute to the weekly Choral Evensong series. In many ways this helped me reshape the style of singing. A slimmed-down choir was more appropriate to meet the new challenges of repertoire and style.

George McPhee directing the Paisley Abbey Choir

Can you tell us a little more about how it has changed over the years?

Any change of scene over the years has mainly coincided with each new clergy appointment. I have to say that, throughout the years, all six ministers I have worked with have been sympathetic and encouraging with regard to the value of music in worship. At the turn of the century, because of the falling numbers of boys, we decided to introduce a girl’s choir which sang separately for a few years before being absorbed into the main choir. Around the same time we introduced choral scholars and, nowadays, we have eight in addition to nine voluntary singers covering all parts. They come largely from the RCS, Glasgow University and some were originally trebles with us. We have recently struck up a strong relationship with the University of the West of Scotland and the hope is that we will benefit in the future from a scholarship given by them.

Choral Evensong is sung once a month (on the second Sunday) and choral Communion takes place on the last Sunday of the month. On Easter Day and Christmas Day, the services are accompanied by an orchestra. The choir library is now fairly extensive and complete. Most years we are able to perform a major choral work such as Bach’s B Minor Mass. These events are funded by Paisley Abbey Music Society (PAMS) which was introduced in 1990 to reduce the financial burden on the Abbey. One of the glories of Paisley Abbey is the organ, originally built by the great Parisian firm Cavaillé-Coll in 1874. In those days, only the nave existed and the instrument stood on a gallery, in true Presbyterian fashion, at the east end of the church. When the building was completely restored in 1928, the organ was greatly enlarged to fill the increased space with the work carried out by Hill, Norman and Beard. When I arrived, the tubular-pneumatic action was failing and the decision was taken to replace it with an electro-pneumatic mechanism. Ralph Downes accepted the invitation to be advisor and, in my opinion, completely transformed the instrument. In 2009 the organ underwent another major restoration by Harrison & Harrison. The work included the provision of a new wind system and the addition of a pedal Bombarde 32’.

Of course, this instrument provides a never-ending fascination and thrill.

You have been a mentor and teacher to so many over the years. What advice can you give to aspiring young organists and choir trainers?

Yes, through my years, both at the RSAMD (now RCS) and the Abbey it has been heartening to see so many organ pupils and singers make their way into the profession. At the Abbey I have never attempted any didactic intention but I like to think that exposure to the Abbey’s music has had a long-lasting effect on many. It’s good to chart their progress.

To those starting out, the only advice which comes to mind is to apply full commitment to the task in hand. On the negative side, I notice a present-day lack of sight-reading and score reading skills. These are disciplines which were routinely addressed 30 or 40 years ago. Singers and conductors take note! There are also the frustrations when, for instance, key singers fail to turn up for rehearsals.

Of course, it’s important not to ‘take it out’ on those present. I would add that a sense of humour is essential!

I completely concur with you on all that, not least in commitment, which has changed. So how is the church music scene in Scotland and its future in worship?

With so many current closures of religious buildings, the future of church music in Scotland may seem dismal. However, it is my impression that some vital work is flourishing, especially in the central belt. If numbers are falling in church choirs, choral societies seem in good shape.

Although the underlying styles of worship may vary, and I may not agree with much of it, there are pockets of musical initiative around Scotland where help is readily on hand. For many years I was involved with a summer course for organists at St Andrews University which still exists.

Paisley Abbey (Adobe Stock)

Finally, are there any composers you would find difficult to live without and particular compositions?

Definitely J S Bach! Although, at Paisley we are about to perform Duruflé’s Requiem for the umpteenth time and, as a work, that’s not too bad! At the same time, we always enjoy the style and challenges of James MacMillan, who has written Chosen specially for us and, more recently, we have come to admire the very approachable and beautifully written choral music of Cecilia McDowall.

This feature originally appeared in the Summer 2025 issue of Choir & Organ – Subscribe today