The Genesis of the Wayns - an interview with Fiona Smith

An Interview with Fiona Smith

As a choir most of us know a little of our origin story, which was summarised in our Verdi Requiem concert programme- a choir suggested by Deputy Cathedral Organist Clement McWilliam to perform some of the great choral works at Winchester Cathedral, for which the name “Waynflete Singers” was chosen.

Here we are lucky enough to hear a little more about these events from the very people involved in them!

We begin with a beautiful reflection written recently by Baroness Thomas of Winchester….

“It is very good to look back at the genesis of any endeavour which becomes firmly established and successful in the years to come.  I do a lot of looking back, now I am so static.

A good example of this is Winchester's Waynflete Singers. I well remember a brain-storming session, 55 years ago, when Clement McWilliam, the Deputy Cathedral Organist, suggested forming a Choir to sing some of the great choral works in Winchester Cathedral, such as Bach's St. John Passion. Those present included Fiona and Julian [Smith], Mard [Margaret] Sellwood (nee King) and me. We envisaged rehearsals being in the Pilgrims’ Hall, attached to the school.

What would such a choir be called, we wondered?. It was Fiona who came up with the name Waynflete, a Bishop of Winchester in the mid-fourteenth century whose chantry is in the Cathedral's wonderful retrochoir.  I'm sure he would be proud of the Choir's well-deserved reputation today.”

We have also been lucky enough to speak to Fiona Smith herself about these events, and her memories of the choir and music in Winchester since then! Here is what she told us…

Fiona, welcome to Wayns Augmented and thank you so much for joining us! Can you begin by telling us a little about yourself and your musical connections to Winchester and to the Cathedral?

Celia Thomas, Margaret King and I had all been pupils at St. Swithun’s School up on Magdalen (or Morn) Hill, just outside Winchester. The inspiring conductor of our school choir was Gillian Skottowe, who was later appointed Assistant Organist of Winchester Cathedral in 1963 by Alwyn Surplice; the Cathedral was a familiar place to us and the name “Waynflete” as Bishop of Winchester was well known to me. My grandmother, a keen historian, used to show people around the Cathedral Library.

In the period of more than 50 years since the Waynflete Singers came into being, I have been fortunate enough to be part of Winchester College and its musical life, being coach of the cello section of the orchestra for many years,  playing alongside such future stars as Adrian Brendel, Alastair Blayden (now sub-principal cello of the LSO, and Professor at the Royal College of Music) and James Birchall (now No. 3 cello in the Philharmonia). I continue to teach at the Pilgrims’ School where the Cathedral Choristers and the College Quiristers are educated. It has been a delight and privilege for me to have taught many of them - either cello or piano, and many remain friends. 

I married my husband Julian Smith, a professional baritone singer, in 1963. He taught at Winchester College for a long time. Many of his pupils won Choral Scholarships to Cambridge and Oxford, and went on to professional careers. They include tenor James Gilchrist (renowned Evangelist in Bach’s St Matthew and St John Passions), counter-tenor David Hurley (top line of the King’s Singers), baritone Ashley Riches (soloist in the Verdi Requiem on April 4th) and tenor Benjamin Hulett (soloist in the forthcoming Messiah).

Can you tell us what you remember about the “brainstorming session” at which the idea for the choir was first proposed, and at which you suggested the name “Waynflete”?

The new choir was proposed by Clement McWilliam [Assistant Cathedral Organist] . The much-loved Cathedral Organist Alwyn Surplice, a great friend of ours, was away on an ABRSM examining trip in the Far East, during the Choir holidays. I certainly hadn’t thought about the name beforehand - we were simply having a small supper party with musical friends, and the conversation veered towards singing. Clement said he’d been thinking of forming a small choir - what should it be called?

I’d always loved the name ‘Waynflete’ - it flows so beautifully. I knew that he had been Headmaster of the College, and later Bishop of Winchester. I also knew a beautiful building Waynflete House halfway down St Swithun’s Street. 

Fiona Smith, by Bishop Waynflete’s Chantry Chapel in the Cathedral retroquire

Do you remember how your suggestion of “Waynflete” as a name was received?

I think everyone said “Ooh - yes!”

Was any other name than “Waynflete Singers” ( as opposed to, for example, The Waynflete Choir) suggested?

Nothing except “Singers” was suggested. 

Do you have any memories of  some of the choir’s early concerts? 

Clement’s initial idea was for a smallish chamber choir. Margaret King remembers that some early performances she sang in included the St John Passion on the Wednesday in Holy Week in 1969. It was conducted by Alwyn Surplice, with a small chamber orchestra and Clement McWilliam on the organ - Cathedral Lay Clerks were among the soloists. She also remembers a recital in which Britten’s Te Deum was sung: Margaret herself was the soprano soloist. 

Can you tell us what you remember about the conductors that followed Alwyn Surplice?

First came Martin Neary. I think it was he who expanded the size, range and repertoire of the Waynflete Singers. 

In another context he asked my husband Julian’s Win Coll Quiristers to join the Cathedral Choristers for the European premiere of Andrew Lloyd Webber’s Requiem in Westminster Abbey, conducted by Lorin Maazel; this was followed  by another performance in snow-covered Vienna, where it was bitterly cold, but beautiful and very exciting. 

Martin and his wife Penny were friends of ours; we used to share a school run up to St Swithun’s and back for our daughters. Their daughter Alice was one of my cello pupils - a very gifted natural musician from a young age. She is now principal cello of the BBC National Orchestra of Wales. 

Then came David Hill - a fine musician, and a good friend of ours. One Waynflete Singers concert that I do remember particularly was the Verdi Requiem conducted by him- the Dies Irae was explosive, and the bass drum was thunderous! David kindly invited me for a chat on Zoom recently. He was very pleased to hear my memory of the Dies Irae! Of course he has conducted so many concerts in his career, that it is not easy for him to remember details. David and my husband Julian were good friends, and collaborated for several recordings with the College Quiristers joining forces with the Cathedral Choristers. 

Then came Andrew Lumsden! We have known Andy ever since he was a boy at Winchester College. He was always a prodigiously talented organist, being Julian’s Assistant Organist for a couple of years in the College Chapel while he was still a pupil. He used to come back to our house in the College with  friends from the Chapel Choir every Sunday after Matins,  and eat chocolate biscuits and play swingball in the garden with much laughter. 

He then won the Organ Scholarship to St John’s, Cambridge, and the rest is history. 

Finally, you attended our pre-concert rehearsal of the Verdi Requiem, watching not only us but your husband’s former pupils Ashley Riches and Andy Lumsden in action! What was your verdict?!

It was fantastic! I loved it….

A very young Andy Lumsden (second right) singing in Fiona and Julian’s Meadow House garden at Winchester College.The group were called “Cantores Episcopi”, run by Tony Ayres who lived in the other half of Meadow House

Pictured below, Fiona’s husband Julian Smith, former master at Winchester College and teacher of both our Verdi Requiem bass soloist Ashley Riches and our own Andy Lumsden