Church Music

View this month’s musical settings for Sunday worship

Music has long been an important part of the tradition of worship at St Giles. It lifts the spirits, deepens prayer and glorifies our Maker and Redeemer. If worship is central to our life, then music is central to worship. Apart from a quiet early Sunday morning service and said mid-week services, Sunday worship is always sung, led in the morning by up to four professional singers and in the evening by the larger St Giles (voluntary) Choir, both directed from the recently restored organ by our talented director of music, Jonathan Bunney.

The St Giles Quartet at Morning Worship

Four professional singers lead the congregational hymns, psalms and sung canticles and also offer an anthem at morning worship. They are drawn from trained, music graduates greatly experienced in the mainstream Anglican repertory, being equally at home with Renaissance motets as with Victorian harmonies and 20th century settings.

In addition to their regular Sunday commitments, they also sing on Good Friday and other special festival days. They can also appear, on request, to lead wedding celebrations and funerals.  Our current quartet consists of Nina Kanter, Fiona Mackay, Andrew Thomas and William Wallace.

Nina Kanter, Soprano 02Nina Kanter read Music at Cambridge University and was a member of the Glyndebourne Academy 2012, the Lyric Opera Studio Weimar 2015 and ENO’s Opera Works programme 2014-15, supported by The Kathleen Trust and The John Wates Charitable Trust. She is a Britten-Pears Young Artist at the 2016 Aldeburgh Festival. Recent and forthcoming performances include Santuzza Cavalleria Rusticana (Hampstead Garden Opera) Erste Dame Die Zauberflöte (Lyric Opera Studio Weimar and for Landscape with ENO Opera Works); opera galas with Thüringer Symphoniker Saalfeld-Rudolstadt; Donna Elvira Don Giovanni, Countess Le Nozze di Figaro and Alcina Alcina (ENO Opera Works scenes); First Woman/Chorus Boris Gudunov (Philharmonia Voices and Orchestra under Jakub Hrůša at the Royal Festival Hall); Tatiana Eugene Onegin (Cambridge University Opera Society); Giulietta Les Contes d’Hoffmann (Southgate Opera). In concert Nina has appeared at festivals throughout the UK and on BBC Radio 3 broadcasts, and has given recitals for the Song in the City series and the Oxford Lieder Festival . Recent performances include Handel’s Israel in Egypt, Handel’s Messiah, Brahms’ Ein Deutsches Requiem, Dvořák’s Stabat Mater, Mozart’s Requiem and Brahms’ Liebeslieder Walzer. Nina studies with Jacqueline Bremar and coaches with Michael Lloyd and Professor Richard Stokes.

FullSizeRenderFiona Mackay studied music at Gonville and Caius College, Cambridge and is a graduate of Royal Academy Opera, where she studied with Elizabeth Ritchie and Audrey Hyland.  During her studies at the Royal Academy, Fiona was generously supported by the Sickle Foundation, and was also a Bach Cantata Kohn scholar and a member of the Academy’s prestigious Song Circle.

Fiona recently performed the role of La Badessa in Puccini’s Suor Angelica for Opera Holland Park. Other recent highlights include singing the roles of Maman and La Libellule in a concert performance of Ravel’s L’Enfant et les Sortilèges with Stephane Denève and the BBC symphony orchestra, Rosina in Haydn’s La Vera Costanza conducted byTrevor Pinnock and Olga in Tchaikovsky’s Eugene Onegin conducted by Jane Glover. She also performed the alto solos in Bach’s Magnificat at St John Smith Square and in the St John Passion at St Martin-in-the-fields.

Fiona’s solo concert work has included performances at the Spitalfields, Dartington, York and Bath Music Festivals, on BBC Radio 3 broadcasts, and with the City of London Sinfonia, Thames Chamber Orchestra, and the Metropolitan Chamber Orchestra. Her oratorio repertoire includes Elgar Sea Pictures, Verdi Requiem and Handel Messiah.

William WallaceWilliam Wallace is currently in his final year of a Performance Masters at Royal College of Music where his studies are generously supported by an Yvonne Wells award and The Josephine Baker Trust.  After working with Harry Christophers in 2011/12 in Genesis Sixteen, William left his science career to study under the direction of Tim Evans-Jones and Chris Glynn.  His operatic performance roles include Tybalt in Gounod’s Romeo and Juliet, Gastone in Verdi’s La Traviata, Zweiter Preister in The Magic Flute for RCMIOS; and in oratorio, Mendelssohn Elijah, Handel Theodora, Judas Maccabeus and Acis and Galatea, Saint-Saëns Christmas Oratorio, Bach Cantatas, Magnificats and St John Passion as Evangelist and arias.  This summer William will be playing The Mayor in the RCMIOS’s Albert Herring and the Schoolmaster in British Youth Opera’s The Cunning Little Vixen.  William is very excited to be covering Toby Spence at Ryedale Festival in Benjamin Britten’s Serenade for Tenor, Horn and Strings and will be performing in a Zigeunerlieder concert at the same event.

9T2A4471 copy_pp 4Crispin Lewis began his musical life as a violinist. Following postgraduate studies in violin at the Royal College of Music he studied orchestral conducting and singing. He then founded his own early music vocal ensemble, The Musicall Compass, which he has directed many times at Wigmore Hall, on BBC Radio 3, at St John’s Smith Square, the ROH Linbury Studio Theatre, Kings Place Hall One, the Purcell Room, and many other venues.  He is also the director of three choral societies, and regularly conducts symphony orchestras and opera productions. He performs frequently as a solo singer, giving regular singing recitals, appearing as a soloist for many choral and orchestral societies, and performing numerous opera roles.

The St Giles Choir at Evening Worship








This volunteer choir leads worship at the 6.30pm Sunday evening services, meeting beforehand at 5pm to rehearse the settings, hymns and anthem to be sung that evening.

Under the encouraging leadership of our director of music they have gone from strength to strength over recent years and now number some 25 in all. Whilst some members have music training, most have not, but can read music and lend their own voices to that of the ensemble. Jonathan is always pleased to hear from new singers who might like to join and will offer a voice test first.

The St Giles Choir have also sung for evening worship at Portsmouth, Chichester, Winchester, Southwark and Norwich Cathedrals, as well as for local charitable causes.

If you are interested in joining the St Giles Choir, please contact Jonathan Bunney.


The organ which today graces St Giles dates back to the end of the 17th century. It predecessor, which the poet John Milton would have heard in 1647 when his daughter Mary was baptised in 1647, was destroyed shortly after this date during the English Civil War.

In 1678 a replacement organ was built by George Dallam and later, in 1699, was ‘repaired’ Christian Smith, a nephew of the great organ builder ‘Father’ Smith. It was this organ that was then rebuilt into the present church when it opened in 1734. The work was carried out by Gerard Smith the younger, possibly assisted by Johann Knopple. Much pipework from 1699, and perhaps some from 1678, survives today in the handsome new case made in 1734.

St Giles Organ

Minor alterations were subsequently made to the organ. It was rebuilt in 1856, when it was restored and up-dated by the distinguished London organ builders Gray and Davison, then at the height of their fame. Apart from replacing the mechanical key and stop actions with an electro-pneumatic action in 1960, the organ is one of the few historic organs in central London to have escaped twentieth century ‘modernisation’.

At the turn of the 21st century, and after one hundred and fifty years use, this historic organ urgently needed sympathetic restoration. The Parochial Church Council appointed organ historian and consultant Stephen Bicknell to advise on the best way forward. After considering various proposals the Parish appointed the organ builder William Drake of Buckfastleigh. Drake’s restorations include the historic organs in Lulworth Castle Chapel and Buckingham Palace Ballroom. All material from 1699 and earlier was kept, together with the oak case and other material from 1734 and additions made in 1856. New mechanical key and stop actions were made, replacing the poor actions of 1960. A technical specification for the organ can be found at

Now that the organ has been restored, listeners are able to enjoy, for at least another one hundred and fifty years, sounds that have been heard on this site since 1699 or before. The restored organ takes pride of place in the developing programme of recitals and concerts at St. Giles’, as well as in the many services attended by those who live and work in the area. It benefits not only the local community, but also the many visitors and tourists who come to this historic church.

The Organ can be used for concerts and events held in the church; however, all use must be arranged with the church organist.  Please note that the organist is entitled to a fee whenever the organ is used for events or concerts at the church, whether or not the organist themselves play.


There is a historic ring of 8 bells in the tower, with a tenor of 14 cwt.  The earliest two were cast in 1635 by Ellis Knight I, from a long line of founders in Reading (who, coincidentally, eventually relocated to Holborn in 1730).  The two tenors were cast in 1685 by William & Philip Wightman of Clerkenwell, while the rest were cast in 1736 by Richard Phelps, master of what became the Whitechapel Bell Foundry.









The Thursday lunchtime band has been going since 1964, and visitors are most welcome.

But please note that quarter peals are rung on the fourth Thursday of each month, and for Sunday services.

There is also a subsidiary practice at 6:00pm on Tuesdays.

For enquiries about ringing, or learning to ring, contact the Ringing Master:
Thomas Lawrance
07807 604344