Music
Despite its relatively short history, compared to other English cathedrals, Westminster has a distinguished choral tradition, and the choir is considered a fine one. This musical excellence has its origin in the shared vision of Cardinal Vaughan, the cathedral's founder, and Sir Richard Runciman Terry, its inaugural Master of Music. Terry prepared his choristers for a year before their first sung service in public. For the remainder of his tenure (until 1924) he pursued a celebrated revival of great quantities of Latin repertoire from the English Renaissance, most of which had lain unsung ever since the Reformation. Students at the Royal College of Music who would become household names were introduced to their heritage when Charles Villiers Stanford sent them to the cathedral to hear "polyphony for a penny" (the bus fare). This programme also required honing the boys' sight-reading ability to a then-unprecedented standard.
The cathedral's musical traditions have been upheld by successive distinguished Masters of Music. Holders have included George Malcolm, whose trebles innovated a brilliant 'continental' tone, "voices like razors" to quote one auditor; Colin Mawby, Stephen Cleobury, David Hill and James O'Donnell. Since 2000, the post has been occupied by Martin Baker.
The choir has commissioned many works from distinguished composers, many of whom are better known for their contribution to Anglican music, such as Benjamin Britten and Ralph Vaughan Williams. However, the choir is particularly renowned for its performance of Gregorian chant and polyphony of the Renaissance.
All the boys of the Choir are boarders at the nearby Westminster Cathedral Choir School.
Unlike most other English cathedrals, Westminster does not have a separate quire; instead, the choir are hidden from view in the apse behind the high altar. This, with the excellent acoustic of the cathedral building, contributes to its distinctive sound.
Located in the west gallery, the Grand Organ of four manuals and 81 stops occupies a more commanding position than many British cathedral organs enjoy. Built by Henry Willis III from 1922 to 1932, it remains one of the most successful and admired. One of Louis Vierne's best-known organ pieces, "Carillon de Westminster," the final movement from Suite no. 3 (op. 54) of Pièces de Fantaisie, was composed for it and dedicated to the builder. The apse organ of fifteen stops was built in 1910 by Lewis & Co. Although the Grand Organ has its own attached console, a console in the apse can play both instruments.
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