The curious case of the Three Choirs clones

THEY were legends in the annals of the Three Choirs Festival and sat in the organ lofts of their great cathedrals.

And they were alike as two peas in a pod!

The similarity in appearance of George Sinclair, organist at Hereford Cathedral, and Herbert Brewer, his counterpart at Gloucester, was striking.

There was many a mix-up over these master musicians and it caused them both much mirth.

Sinclair was 16 and Brewer 14 when they met as pupils under C H Lloyd in the loft at Gloucester Cathedral.

Brewer recalled in his 1931 autobiography Memories of Choirs and Cloisters: "Our friendship grew as years went by and we were drawn closer in our work when we found ourselves respectively conductors of the Three Choirs Festivals at Hereford and Gloucester.

"As I look back I realise what a splendid training and preparation for these responsible positions we had as boys under the guiding hand of our old friend and master, C H Lloyd.

"I do not know how far it affected our friendship but, in those days, we were so alike that we were often mistaken for each other and the outward resemblance was a symbol of the deep friendship existing between us from our boyhood until Sinclair's death on February 7, 1917."

A short time before Sinclair died, an organist bumped into Brewer in London and, mistaking him for the Hereford supremo, he said: "I hear Brewer is in town; I want to know where he can be found."

And there was the time when the "twins" were examining together for the Royal College of Organists.

Brewer had injured his leg in an accident and a close friend musician, who knew them both well, came across Sinclair.

They chatted for a while and, on departing, the colleague wished him goodbye and expressed the hope that his leg would soon be better!

"Times out of number have I been congratulated on the performances at the Hereford Festivals when Sinclair had been conducting. Few enjoyed the joke more than he did," wrote Brewer in his book.

Brewer greatly admired his lookalike and paid him this tribute: "The interest and enthusiasm Sinclair displayed in connection with the Three Choirs Festivals were unbounded. His playing of an organ concerto at the Gloucester Festivals was an outstanding feature. He was a brilliant executant with few equals."

The autobiography recalled how the festivals ceased during the First World War and how all local lovers of music were anxious for their revival as soon as possible after the long lapse.

Gloucester had held the last one in 1913 and there was much enthusiasm among all choral members that each of the three cities wanted to lead off again in 1920.

Logic and fairness won the day. It was Worcester's turn and the year in which Worcester Festival would have been held had there been no war. Justifiably, it fell to the "faithful city" to launch the revival.

There was added poignancy at the 1920 event. Brewer conducted Beethoven's Three Equali for four trombones in memory of festival stalwarts Hubert Parry, Lloyd and Sinclair, all of whom had died since the previous festival.

The autobiography reveals how it was the beginning of a new era in more ways than one.

"The gap in the conductorship caused by Dr Sinclair's death was filled by the appointment of his assistant, Dr Percy Hull, who had spent the whole of his musical life either as a chorister or assistant in Hereford Cathedral and so had imbibed the traditions of the festivals.

"This was indeed fortunate, not only for Hereford but also for Gloucester and Worcester."

Sir Edward Elgar was occasionally a self-centred depressive but he could also be hugely kind and caring for others.

Brewer recalled how he ran into numerous problems with the composing of his work Emmaus for the 1901 festival.

Elgar got to hear of this and wrote to Brewer: "...... You must not be worried and that if necessary to make things smooth I would orchestrate some for you - that's all - I know it's a cheek to offer but if I can save you a little worry let me do so."

Brewer was deeply moved - "a more generous act could not be imagined" - and would never forget the infinite trouble the great man took over the score.

He would later recall: "What this unselfish act meant to me it is difficult to describe.

"It not only relieved me of an enormous amount of work at an anxious time, but the scoring of my work by the master hand has been an invaluable lesson to me and I feel that what measure of success Emmaus has attained is largely due to the effective orchestration.

"When one considers the number of big works Elgar then had on hand and the physical strain alone of the actual writing, one has some slight conception of the generosity of this most friendly act."

Brewer also recorded his gratitude to Lady Elgar for her untiring energy in preparing the score for her husband to work upon.

Brewer's autobiography provides a fascinating insight into Three Choirs life decades ago.

Typical is his recollection of one festival when a steward gently informed a lady that she was occupying the wrong seat.

With indignation she replied: "I sat in this seat for The Creation' and I intend to remain here for The Last Judgement!"