From Oat Bread to Organ Pipes

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Richard Ellis Hawley – Musical Heritage Talks

I am a musician, organist and family history researcher based in the North East of England who enjoys bringing history to life through storytelling and live music.

Princess Avenue Methodist ChurchRising above the shops and houses was the tower and spire of Princes Avenue Wesleyan Met...
30/07/2026

Princess Avenue Methodist Church

Rising above the shops and houses was the tower and spire of Princes Avenue Wesleyan Methodist Church. The church opened in 1905 and was designed by the prominent Hull architect Sir Alfred Gelder. It was a large Gothic building seating approximately 850 people, and its spire became one of the defining landmarks of the neighbourhood.

The chapel was far more than somewhere people attended for an hour on Sunday. It was a social centre, with Sunday schools, Bible classes, choirs, concerts, lectures, temperance meetings, charitable activities and outings. Young people could meet under respectable circumstances, watched over by parents, chapel officials and the wider congregation.

This was the world in which the family story places the meeting of Ada and Stephen Fawcett. Their relationship would have developed gradually: greetings after worship, conversations outside the chapel, church socials and perhaps walks along Princes Avenue or around Pearson Park. Courtship was generally more formal than it is today, particularly among chapel families. Reputation mattered, and a young couple’s intentions would soon become known to relatives and neighbours.

Methodism also encouraged sobriety, thrift, education and service to others. Although abstinence was never compulsory for every Methodist, the Church strongly supported the temperance movement, warning against the damage caused by excessive drinking and promoting organisations such as the Band of Hope.

At the End of Spring Bank: The Fawcett Family in Edwardian HullAt the beginning of the twentieth century, Hull was expan...
29/07/2026

At the End of Spring Bank: The Fawcett Family in Edwardian Hull

At the beginning of the twentieth century, Hull was expanding rapidly beyond its old, crowded centre. The Avenues represented a newer and more prosperous part of the city: broad, tree-lined streets bordered by substantial red-brick houses, bay windows, decorative stonework and small front gardens. Princes Avenue linked this growing neighbourhood with Spring Bank and, by 1910, had become a thriving shopping street filled with grocers, butchers, fishmongers, bakers, drapers and other everyday trades. Electric trams had begun running along Princes Avenue in 1900, carrying residents towards the centre of Hull.

It was within this changing world that my great-grandparents, Stephen and Ada Fawcett, built their family life.

Patricia at Newland High School for GirlsThis photograph shows Patricia Leslie Engelbrecht during her school years at Ne...
24/07/2026

Patricia at Newland High School for Girls

This photograph shows Patricia Leslie Engelbrecht during her school years at Newland High School for Girls in Hull.

By the time this photograph was taken, Patricia had already completed her earlier schooling at Bricknell Avenue Primary School and had moved on to Newland, one of Hull’s best-known schools for girls.

The neat uniform, white shirt and tie reflect the formal standards expected of pupils at the time. Newland High School had a strong academic reputation, and during Patricia’s years there the school was associated with Miss Maud Mercia Lee, its headmistress.

For Patricia, these were important formative years. She was growing up in post-war Hull, in a family where education and music were both highly valued. Her father, Harold Engelbrecht, was himself deeply involved in education, while Patricia and her younger sister Eileen were developing their own musical interests.

Patricia’s path would eventually lead from Newland High School into secretarial work, first through the Hull legal and commercial world, then to Reckitt & Colman, where she earned around £1 a week, and later to the Government Buildings on Spring Bank.

From Oat Bread to Organ PipesThe story of Richard Ellis, born in BeverleyIn this photograph, I am too young to understan...
16/07/2026

From Oat Bread to Organ Pipes
The story of Richard Ellis, born in Beverley

In this photograph, I am too young to understand what life will ask of me.

I am Richard Ellis, born in Beverley, East Yorkshire. Here, I am simply a little boy with fair hair, rosy cheeks and wide, uncertain eyes, looking towards a world I have not yet begun to understand. There are no musical scores in my hands, no church keys in my pocket and no audience waiting for me. There is only innocence, curiosity and the quiet beginning of a life that would eventually be shaped by music.

My beginnings were modest. Oat bread represents the ordinary things: the simple meals, the family table, the familiar smells of home and the days when life was measured by what was immediately in front of me. Nobody looking at this child could have predicted the places music would eventually take him—or the losses, struggles and unexpected triumphs he would encounter along the way.

Music did not arrive as a grand plan. It became a language when ordinary words were not enough.

As I grew older, the organ pipes began to call to me. Their sound was unlike anything else: powerful enough to fill a cathedral, yet gentle enough to accompany a whispered prayer. Sitting at an organ console, I discovered that my hands could express emotions I struggled to explain. Grief, joy, fear, hope and love could all be placed into a chord.

Those pipes became more than an instrument. They became a refuge.

Life carried me far beyond Beverley—to different towns, churches, communities and even across the world. I played in humble parish churches and magnificent buildings. I experienced the extraordinary privilege of making music in places including cathedrals, the Sydney Opera House and events connected with the Royal Family. Yet every achievement still belonged, in some way, to the little boy in this photograph.

There were difficult chapters too. I lost people I loved deeply. I faced periods of poverty, uncertainty, illness and isolation. At times, I questioned whether I was good enough or whether there was still a place for me in music. Being self-taught, neurodivergent and someone with a low working memory often made the journey harder. I could not always learn or perform in the way others expected.

But I learned that difference does not mean failure.

Music repeatedly brought me back to myself. When life felt broken, I could still sit at a keyboard or organ and create something beautiful. When words became tangled, melodies spoke clearly. When grief threatened to silence me, music gave me permission to feel.

I have played for weddings where two lives were beginning together and funerals where families were saying their final goodbyes. I have entertained people in care homes, churches, theatres, hotels and community halls. I have watched people who had seemed withdrawn suddenly begin singing an old song they remembered from childhood. In moments like those, music was not merely entertainment—it was memory, companionship and healing.

This photograph reminds me that none of us can see the whole journey from its beginning.

The child pictured here did not know that he would one day sit before rows of organ pipes and fill great spaces with sound. He did not know that music would take him around the world, bring comfort to strangers and help him survive his own darkest moments. He did not know how many times he would have to begin again.

But perhaps something was already there: a sensitivity, a watchfulness and a longing to make sense of the world.

From oat bread to organ pipes is not merely a story about becoming a musician. It is the story of an ordinary boy from Beverley discovering that an ordinary beginning does not limit where life can lead. It is about loss without surrender, struggle without shame and music strong enough to carry a person home.

When I look into the eyes of that little boy, I feel tenderness for him. I wish I could tell him that the road will not always be easy—but that he will keep going.

I would tell him:

One day, Richard, your hands will find the keys. The organ pipes will breathe, the room will fill with music, and everything you could never put into words will finally be heard.

Uncle Eddie — One of the Leeds TwinsIn 1924, Leeds was a city of soot, trams, factory whistles and Sunday-best coats bru...
29/05/2026

Uncle Eddie — One of the Leeds Twins

In 1924, Leeds was a city of soot, trams, factory whistles and Sunday-best coats brushed carefully for chapel, church, or visiting family. It was not the bright, glass-fronted Leeds people know today. It was a place of hard pavements, hard work, and hard-earned pride.

Into that world came two boys: Edward and Wilfred Ellis.

Eddie and Wilf.

Twins.

Two small lives arriving together, side by side, as though one had refused to enter the world without the other. In a city that could be noisy, crowded and unforgiving, there must have been something deeply comforting about that. Before they knew names, before they knew streets, before they knew hardship or humour or family stories, they knew each other.

Leeds in 1924 was still carrying the weight of the First World War. Men who had come home from the trenches walked the streets with silence in them. Families counted losses quietly. Work mattered. Respectability mattered. Keeping going mattered most of all.

The streets would have been alive with sound: the clatter of boots, the bell of a tram, the call of traders, the hum of machines, the murmur of neighbours at doors. In many homes, money was watched carefully. Clothes were mended, not thrown away. Meals were stretched. A kettle on the boil was more than a kettle — it was warmth, welcome, and survival.

And somewhere in that Leeds, baby Eddie lay near baby Wilf.

One crying, the other answering.

One stirring, the other following.

Perhaps their mother looked at them and wondered how she would manage two at once. Two mouths, two pairs of socks, two little bodies to wash and dress and keep safe. Perhaps their father looked at them with pride, fear, and responsibility all mixed together. Twins were a blessing, yes — but in 1924, blessings still had to be fed, clothed and carried through winter.

Eddie would not have remembered those early days, but they shaped him. The smell of coal smoke. The feel of cold mornings. The rhythm of a household where everyone had to play their part. The city itself would have seeped into him: Leeds with its clothing factories, workshops, chapels, markets and tramlines, a place where ordinary people built extraordinary endurance without ever calling it that.

To be a child then was to grow up quickly.

There were no endless toys, no easy comforts, no soft modern world wrapped around childhood. Boys made games out of streets, stones, scraps, imagination and daring. They learned who lived where, which adults were kind, which ones shouted, where to run, where not to go, and how far they could push their luck before someone called them in.

But Eddie was never just Eddie in those early years.

He was Eddie-and-Wilf.

The twins.

People would have compared them. “Which one’s that?” “Is that Eddie or Wilf?” “He’s the quiet one.” “He’s the cheeky one.” Perhaps they swapped looks, laughs, blame, and secrets. Perhaps they were different in ways only family truly noticed. One more thoughtful, one more bold. One quicker to smile, the other quicker to act. Yet forever linked by that first fact of their lives: they had arrived together.

There is something beautiful about twins in a family story. They remind us that nobody begins alone. Eddie’s life began with a companion, a mirror, a rival, a brother. Wilf was not just another sibling. He was the one who had shared the beginning.

Then came the wider family.

Alfred, your dad, belonged to that same family world — the brothers growing beneath the long shadow of the older generation, learning what it meant to be Ellis men. Later came Sheila, born in 1927, another life added to the household, another voice in the story.

Families like theirs were not recorded in grand history books. They did not need statues. Their history was in rent paid, bread bought, shoes repaired, work found, grief endured, and laughter kept alive when there was no obvious reason for it. That is the real history of Leeds. Not only civic buildings and factories, but mothers wiping faces, fathers worrying over wages, brothers teasing one another, sisters remembering everything.

Eddie’s childhood would have unfolded as Leeds moved through the troubled 1920s. The country was restless. Work could be uncertain. Two years after Eddie and Wilf were born, Britain would face the General Strike of 1926, when industrial tension spilled across the nation. The boys were too young to understand it, but children feel the mood of adults. They hear lowered voices. They sense worry at the table. They know when money is tight, even if nobody explains it.

And still, they grew.

That is the miracle hidden inside ordinary families.

They grew through scraped knees, cold hands, hand-me-downs, school days, errands, warnings, laughter, and the thousand small moments nobody writes down at the time. Eddie may have walked past mills, shops and tram stops without thinking they would one day become history. To him, it was simply home. The city was not “1924 Leeds.” It was the world.

When we look back now, Uncle Eddie becomes more than a name on a family tree.

He becomes a baby born into a city still recovering from war.

He becomes one half of a twinship with Uncle Wilf.

He becomes your dad Alfred’s brother.

He becomes part of the chain that leads to you.

That matters.

Because families are not just made from famous achievements. They are made from survival. From people who got up in the morning and carried on. From people who loved imperfectly, worked hard, kept secrets, told jokes, made mistakes, and left behind names that later generations try to understand.

Uncle Eddie may not have imagined that, a century later, someone would be thinking about him with tenderness. He may not have imagined his birth year — 1924 — being held up like a lantern to illuminate a vanished Leeds. But that is what family history does. It gives the ordinary its dignity back.

It says: you were here.

It says: your life mattered.

It says: even if we do not know every detail, we know enough to care.

I imagine Eddie and Wilf as little lads in Leeds, close enough in age to be inseparable because they had never known any other way. Two boys in a hard city. Two brothers at the start of everything. Perhaps one looked back for the other before crossing a street. Perhaps one took the blame when both were guilty. Perhaps they fought like only brothers can, then forgot it five minutes later.

And perhaps, somewhere deep down, Eddie always carried the knowledge that he had not entered life alone.

That is the emotional heart of Uncle Eddie’s story.

He was born into smoke, industry, uncertainty and working-class pride. He was born into a Leeds that demanded resilience. But he was also born beside Wilf, into family, into belonging, into a line of people whose stories still echo.

A hundred years later, we can still say his name.

Uncle Eddie.

Edward Ellis.

One of the twins.

One of ours.

**From Oat Bread to Organ Pipes — The Sergeant Who Left a Gap**Some family stories arrive quietly.Others stop you in you...
29/05/2026

**From Oat Bread to Organ Pipes — The Sergeant Who Left a Gap**

Some family stories arrive quietly.

Others stop you in your tracks.

This old newspaper cutting is one of those moments.

**Hull Roll of Honour.
An Old Hymerian Killed in France.**

The name is **Sergeant Cecil Fawcett**.

A young man from Hull. A soldier. A son. A churchman. A member of St Augustine’s Church and the YMCA. A man who had already been wounded twice in France, yet still carried on.

The article says he joined the **Royal Field Artillery** at the outbreak of the war. It tells us that he was killed on **23rd July**, not in some grand sentence from history, but in the terrible reality of war — a premature shell explosion from the gun he was helping to serve.

His commanding officer wrote to his parents with words that still carry pain across the years.

He called Cecil **the best sergeant in the battery**.
He said he was **clever, a hard worker, and a good leader**.
He said Cecil would **leave a gap** that would be very difficult to fill.

That phrase stays with me.

**He would leave a gap.**

Because that is what war does. It leaves gaps at family tables. Gaps in churches. Gaps in schools. Gaps in photographs. Gaps in stories that should have continued.

And yet, over a hundred years later, here I am looking at his face, reading his name, and bringing him back into the family story.

That is why **From Oat Bread to Organ Pipes** matters so deeply to me.

It is not just about old records.
It is not just about dates and names.
It is about remembering people properly.

Cecil Fawcett was not just a soldier in a newspaper column. He was part of a living family story. Part of Hull. Part of faith, service, duty and sacrifice. Part of the long line of people whose lives shaped the road that eventually led to me.

When I sit at the Yamaha Tyros, I often think about how music can say what words cannot. The sound of the organ can carry grief. The brass can carry honour. The strings can carry memory. A hymn tune can carry a whole lifetime in just a few notes.

And for Cecil, I hear something solemn.

A quiet church organ.
A distant bugle.
A family in Hull receiving news no family should ever receive.
A young sergeant remembered not only for how he died, but for how he lived.

From Wismar to Leeds, from Kirkby Stephen to Hull, from oat bread to organ pipes — every story adds another piece to the journey.

Some stories are joyful.
Some are painful.
Some are unfinished.

But all of them matter.

So today I remember **Sergeant Cecil Fawcett**.

An Old Hymerian.
A son of Hull.
A Royal Field Artillery sergeant.
A young man who left a gap.

And through music, memory and family history, I hope that gap is filled, even just a little, with honour.

**Pergo et Perago — I proceed and I accomplish.**

Follow the journey:
https://www.facebook.com/breadtopipes

The Girl Who Smiled Through HullIn the photograph, your mum is smiling.Not a grand, posed smile. Not the sort of smile p...
27/05/2026

The Girl Who Smiled Through Hull

In the photograph, your mum is smiling.

Not a grand, posed smile. Not the sort of smile people give when everything has been easy. It is gentler than that. Braver. The kind of smile that seems to say, I have seen enough of life to know it can be hard, but I am still here.

Hull in the 1940s was not an easy place to grow up. The city carried the sound of sirens, ships, factories, footsteps on pavements, and families trying to make ordinary life continue while the world shook around them. There were ration books on kitchen tables, blackout curtains at windows, neighbours checking on neighbours, and mothers stretching meals further than anyone thought possible.

The adults would have tried to protect the children from the worst of it, but children always know more than people think. They hear the pauses in grown-ups’ voices. They notice when a street looks different the next morning. They remember the sound of doors closing quietly, and the feeling of being told to be brave.

And yet, somehow, there was still music.

There would have been songs in homes, hymns in churches, voices in school halls, and melodies carried through streets that had every reason to fall silent. In a city like Hull, music was not just entertainment. It was comfort. It was memory. It was a way of saying, we are still alive.

Looking at your mum’s face, you can imagine her as one of those children who absorbed everything — the sadness, the humour, the discipline, the hope. Her glasses, her neat hair, her open smile: they all speak of a young person shaped by a generation that did not have the luxury of giving up.

Maybe she walked past buildings that still bore scars. Maybe she heard older people talk about what had been lost. Maybe she watched women carry on with dignity, even when life had asked too much of them. Maybe she learned, without anyone saying it outright, that tenderness is not weakness. It is survival.

And that smile stayed.

It travelled with her through school days, family life, music, memory, and all the ordinary moments that later become precious. It became part of the inheritance she passed down — not just in words, but in feeling.

Because when you look at this photograph now, you are not only looking at your mum as she was. You are looking at Hull, the 1940s, the courage of women, the endurance of families, and the quiet miracle of a child who smiled despite the times she was born into.

Perhaps that is why music matters so much in your family story.

Music remembers what photographs cannot say out loud. It fills in the gaps between dates and names. It gives a voice to the people who carried on, cooked meals, sang hymns, raised children, survived grief, and still found reasons to smile.

Your mum’s smile in this photo is more than a smile.

It is Hull after the smoke.
It is childhood after fear.
It is hope after hardship.
It is the beginning of a story that still lives on every time you play.

**From Oat Bread to Organ Pipes – A Chapter Close to My Heart ❤️**On 8th November 2014, in Liverpool, Rowen and I stood ...
05/05/2026

**From Oat Bread to Organ Pipes – A Chapter Close to My Heart ❤️**

On 8th November 2014, in Liverpool, Rowen and I stood together and said “I do.”

It wasn’t just our wedding day. It was history.

Same-sex marriage had only just become legal in England and Wales earlier that year under the Marriage (Same S*x Couples) Act 2013, and we were among the first couples able to take that step openly, proudly, and legally.

There was something powerful in that moment — not just two people committing to each other, but a sense that the world had shifted, even if only a little.

For me, it connects deeply with everything *From Oat Bread to Organ Pipes* stands for:
➡️ Heritage
➡️ Identity
➡️ Journey
➡️ Finding your voice

From humble beginnings… to music… to faith… to love…
Every part of life weaves into the story.

Liverpool felt like the perfect place — a city full of history, music, resilience, and soul. A place where stories matter.

And this one is ours.

💬 If you’ve ever had a moment in life where everything changed — I’d love to hear it.

The Avenues area of Hull—especially places like Princes Avenue, Marlborough Avenue, Westbourne Avenue, Park Avenue—was o...
22/04/2026

The Avenues area of Hull—especially places like Princes Avenue, Marlborough Avenue, Westbourne Avenue, Park Avenue—was one of the city’s most distinctive middle-class residential districts in the late 19th and early 20th centuries. Your family (Engelbrecht, Fawcett, Thistleton lines) would have experienced a very particular kind of urban life there between c.1900–1940.

🏡 What the Avenues looked like
The Avenues were:

Tree-lined, wide streets – quite grand compared to typical Hull terraces
Built mainly 1880s–1910s during Hull’s economic expansion
Designed for respectable working / lower-middle / middle classes

You’d see:

Red-brick Victorian & Edwardian houses
Bay windows, decorative brickwork, tiled paths
Small front gardens (a sign of status at the time)
Back alleys for coal deliveries and sanitation

This was not slum housing—it was considered aspirational.

👨‍👩‍👧 Social class & daily life

Your family names fit very naturally into this area socially.

Harold Engelbrecht → a head teacher would place the family solidly in the respectable middle class
Ivy Fawcett → likely managing the household, possibly with part-time work or domestic roles earlier in life

Typical households in the Avenues:

Teachers, clerks, shop managers, skilled tradesmen
Families valuing education, music, church, and respectability
Children often went to grammar or secondary schools (like Beverley Road Grammar)

Daily rhythm:

Father: work (office, school, trade)
Mother: household management, social calls
Evenings: piano, reading, church involvement
🛍️ Princes Avenue – the social hub

Princes Avenue was the beating heart:

Lined with independent shops, grocers, butchers, tailors
Early cafés and tea rooms
Trams running through (very important – connected the area to Hull city centre)
A place to “be seen” socially

Your family would likely:

Shop locally rather than in the city centre daily
Walk the avenue regularly
Attend nearby churches and schools
🎹 Culture, music & your family connection

This is where your story becomes very powerful.

Hull (especially this district) had:

Strong church music traditions
Piano in the home was common in middle-class families
Access to venues like Hull City Hall for concerts
Events like Llangollen International Musical Eisteddfod (which your mum’s side was connected to)

Given:

Your great-grandfather Augustus Engelbrecht worked in organ building
Your grandfather was a head teacher
Your mum was musical

👉 The Avenues would have been a perfect environment for music to thrive in the family
👉 This is exactly the kind of area where a “piano in the parlour” → organ tradition develops

⚠️ The impact of World War II (late 1930s–1940s)

Hull was heavily bombed in the Blitz.

The Avenues area was damaged but not completely destroyed
Many families experienced:
Air raid shelters
Evacuations
Disruption to schooling and daily life

This would have affected:

Patricia Engelbrecht (born right at the height of this period)

So your mum’s earliest years were shaped by:

Wartime Hull
A still-standing but stressed middle-class district
🧭 What it felt like to live there

If you reconstruct it emotionally:

Respectable, orderly, community-focused
Children playing in the street but under watchful eyes
The sound of:
Piano practice
Church bells
Tram lines
A strong sense of “doing well in life” through education and culture

65 likes, 29 comments. "Hull at war"

29th September 1920St Matthias, Burley, LeedsThe organ spoke before anyone else dared.A deep, commanding swell filled th...
12/04/2026

29th September 1920
St Matthias, Burley, Leeds

The organ spoke before anyone else dared.

A deep, commanding swell filled the nave as the Norman and Beard came alive beneath the organist’s hands. The first bold phrases of the Bridal Chorus rolled through the stone arches, pressing gently against the pillars and spilling down the long aisle like something almost tangible. It wasn’t just sound—it was presence. It was announcement. It was destiny, arriving on wind and pipes.

William Nathan Ellis stood at the chancel steps, hands clasped tighter than he realised. The weight of the moment sat heavily on him—not unpleasantly, but firmly, like a hand on his shoulder. He had faced harder things already in life, but nothing quite like this. This was different. This was forever.

He glanced briefly at the polished wood of the pews stretching behind him, each one holding faces turned in expectation. Friends. Family. Witnesses. But his eyes kept returning to the open doorway at the far end.

The music grew.

The organist drew out the melody with confidence, letting it bloom into the vaulted ceiling. There was a slight tremble in the air, a richness that only a great instrument could produce—one that had already sung for countless weddings, funerals, and prayers. Today, it sang for him.

Then she appeared.

Jessie Birt stepped into view, framed by the doorway, as if the entire church had been waiting solely for that moment. Light from outside caught the edges of her dress, soft and bright against the darker interior. She paused—just briefly—taking in the space, the sound, the enormity of it all.

And then she began to walk.

Each step was measured, steady, but not without feeling. The aisle seemed longer now, stretched by anticipation, by the echo of the organ, by the quiet breath of everyone watching. The music guided her, carried her forward, wrapped around her like a promise.

William felt his breath catch.

He had known Jessie in ordinary moments—conversations, laughter, the small, quiet exchanges that make up a life. But this… this was something else. This was her transformed by the moment, by the music, by the solemn beauty of the place. And yet, she was still unmistakably Jessie.

Their eyes met halfway down the aisle.

For a brief second, everything else faded—the guests, the stone, even the organ. There was only recognition. A shared understanding that whatever lay ahead, they would step into it together.

The organ softened slightly, then rose again, filling the church with one final, triumphant statement as she reached the front.

Jessie took her place beside him.

William exhaled, not realising he had been holding his breath.

The music came to a close, the final chord lingering in the air like a blessing. Silence followed, but it was not empty—it was full, rich with meaning, as though the church itself acknowledged what had just begun.

Outside, the world waited—uncertain, changing, still recovering from the shadows of war. But inside St Matthias, in that moment, something steady had been set in place.

A beginning.

And the echo of the organ would remember it.

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