We are fortunate that this time of year is regularly proving a very active time for local recitals and it has been a pleasure if not a little fatiguing, to have been to so many with, on one occasion, two venues in the space of two and a half hours. But with such great recitalists, varieties of organs and programmes, it was a valuable way of gaining more knowledge and understanding of technique, style, articulation and tips for when next we play the Bach ‘this’ or the Boëllman ‘that’. Most of all though, it was thoroughly enjoyable. First stop then, St. Matthew’s, Northampton and;
 

  

		This recital was part of the June Flower Festival celebrations which provided a thirteen-item programme of popular pieces all played with Andrew’s usual vigorous virtuosity. Of particular note for me was Kenneth Leighton’s Paean, Georgi Mushel’s Toccata, Grieg’s Sarabande and Gavotte from Holberg Suite and Whitlock’s Chanty and Salix from Plymouth Suite - pieces seldom heard but hopefully ones that will make their mark in recital programmes to come. The Brixworth organ by Porritt (1885), was considerably brightened tonally by Alfred Davies Ltd of Northampton during my time as organist there in 1973. One unusual feature was the re-use of the Swell 16' Bourdon which was removed to make way for a Swell 2 rank Mixture and re-modelled as a Pedal 51/3 Quint. It’s mounted on a separate soundboard high up on the south-west exterior of the organ case. After leaving Brixworth at 6.15pm there was ample time for me and several other members to make it to Castle Ashby for;

		Simon, I thought, exploited the vagaries of the 1872 Nicholson organ viz. heavy action and speaking out into a narrow chancel before reaching the nave. His choice of registration in this prestigious setting was testimony to his awareness that the music in such circumstances, needs to reflect the instrument. The opening item - Bach’s 5 part Fantasia (BWV 572) frequently referred to now as Piece d’Orgue, was carefully presented on light flutes and even ended that way despite its more usual organo pleno treatment. Popular pieces followed, but Three versets on ‘Iste Confessor’ (Redford / Tallis) were particularly delightful, especially as the latter set the tone for Howells’s Master Tallis’s Testament which was also delivered with great expression. The seldom heard Pastorale by Vierne was an equal delight to the ear, sympathetically employing other flute registrations with the melody shining through on the lovely Swell oboe. At the end of the recital and after receiving enthusiastic applause, Simon gave us Scott Joplin’s The Entertainer as his encore which was even more rapturously received. Such is the growing recognition of Simon’s skills, he has already moved from having been DofM at All Saints’, Northampton some six or seven years ago to be Assistant at
St. Alban’s Abbey and in September, will become Organist and Assistant Director of Music at St. Paul’s Cathedral, London. A week later, I was off to Finedon to

		Jonathan’s recital began with the stirring grandeur of the first movement of Sweelinck’s Variations on Belletto del Granduca, after which he explained to the audience the nature of the pieces to come; these were to include three works with a ground-bass; Chaconne de Phaeton by Jean-Baptiste Lully; Ciacona in E minor, Buxtehude and the ever popular Canon in D by Pachelbel. A jaunty piece by Arvo Pärt (b.1935) followed entitled, Annum per annum which is based on the various parts of the Mass viz, Kyrie, Gloria, Sanctus and Agnus Dei but noted by the composer as simply, K,G,S,A. As music to a Mass even if a non-choral one, it was amazingly jazzy in rhythm employing lots of upper registers such as 4 and 2 foot stops - quite interesting. Despite his being most unwell on the day, Jonathan’s
introduction to the remaining items included an amusing account of Thomas Weelkes who, like himself, was a fellow student at New College, Oxford, albeit 400 years earlier and had (unlike Jonathan) a reputation as being a heavy drinker and free with his bad language. Jonathan jokingly assured us that in order to add authenticity to his performance of Weelkes’ Voluntary in A, he too had downed a couple of bottles that morning and would need to shout expletives from the loft at any wrong notes he played! This piece was followed by another Voluntary in A but in A minor this time by Christopher Gibbons and then Voluntary in F by Stanley. Three Bach Chorale Preludes and Buxtehude’s Praeludium in G minor came next ending with Charpentier’s rhythmic Prelude to a Te Deum. It was great to hear again the sounds of this 1717 Schrider organ and with details being included in the programme of the stops used for each piece, it was a welcome addition to an already interesting recital.

 



   
Roger, who for sixteen years has been one of the Assistant Organists at All Saints’ gave his recital on 3rd July - the eve of American Independence Day and just a few weeks before the impending American Tour of All Saints’ Choirs. The recital consisted mainly of music by contemporary American composers and opened with Three Pieces by Andrew Clarke based on English Hymn Tunes.

Being the 50th anniversary of the death of Ralph Vaughan Williams, the next piece was his Romanza which is largely unknown in this country, followed by the world première of Prelude and Fugue on Kingsfold by Richard White, commissioned by Lee Dunleavy and based on RVW’s hymn tune of that name. This was a very effective piece with a quiet but lively fugue. Roger then changed to the Gallery Organ for Saints’ Days by Daniel Pinkham, a work consisting of twelve short pieces inspired by Saints of the Calendar Year. These were effectively reflected in the music and in Roger’s use of the tonal spectrum available on that organ. The recital ended with Souza’s rousing March The Liberty Bell. This was a splendid recital of music which I suspect would have been hitherto unknown by the listeners (including this writer!) - (My thanks to Ron Gates for providing this write-up. RS.)

A few days later, Roger and the Choirs of All Saints’ gave a pre - USA Tour concert to a full house in St. Mary’s, Wellingborough. Directed by Lee Dunleavy with organ accompaniment by Roger Palmer and their Organ Scholar Adam Dickson, the programme consisted of a snapshot of the liturgical year commencing with Palestrina’s Matin Responsory and ending with Parry’s I was Glad. Of particular interest were the four newly commissioned works including Lee Dunleavy’s anthem for Easter Eve - entitled, Round me falls the night - a charming work in modern style The Choirs were in excellent form and will be greatly appreciated by their American audiences I’m sure.

  

Francesca has been Assistant Director of Music at Peterborough Cathedral since 2007 and has rapidly been acknowledged as a first class recitalist both here and abroad. The recital began with Præludium in E by Buxtehude after which came the foot-tapping rhythm of Bach’s Trio Sonata No 3. A commemoration to Ralph Vaughan Williams followed with his Three Preludes on Welsh hymn tunes the second of course being the ubiquitous Rhosymdre but what a delight to hear the other two preludes for once; Bryn Calfaria and Hyfrydol - all ‘carved from rock’ as many Welsh tunes seem to be. The recital ended with two pieces by Vierne; Clair de Lune and Toccata from his Second Suite. It was lovely to hear such controlled virtuosity which added greatly to an interesting programme.

		Our thanks to member Dr. David Morgan for providing the final part of his article on Buxtehude and the organs of Alkmaar following his visit there last year. The previous part of this article described the Alkmaar Organ Festival of June 2007, including the concerts, competition and talks. This second article concentrates on the Academy. As stated before, the St. Laurenskerk in Alkmaar includes the famous Van Hagerbeer - Schnitger organ organ of 1646, 1725, and the small Van Covelens organ of 1511. The Academy used these and several other local organs.   The Academy had 30 participants and ran for 6 days (25-30 June). For entry, there was no limit on age or playing standard, but even so there were many good players of diploma standard or above. Most participants were players, not just listening. Chris Bragg, a Scottish organist settled in Holland, was a wizard administrator. There were 7 UK participants, all active players.   Each morning there was a 3-hour masterclass for all participants in St. Laurens, using the Schnitger and/or van Covelens organs (the latter particularly for Frescobaldi and Sweelinck). For the afternoons the participants were divided into 3 groups of 10 each, with simultaneous 3-hour masterclasses in 3 different churches. Afternoon classes used the Müller organs in the Kapelkerk and in Beverwijk (near Alkmaar), and the modern Pels organ in Heiloo, a suburb of Alkmaar. There was much Buxtehude, Frescobaldi and Sweelink, and some Bach. Classes were taken by 6 tutors - Peter van Dijk (Alkmaar), Frank van Wijk (Alkmaar), Andrea Marcon (Rome), Michel Bouvard (Paris),
Wolfgang Zerer (Hamburg) and Jan Raas (Utrecht). My class had students from 7 countries, with 2 from the UK. Everyone who wanted to play had a good chance, and most people played in St. Laurens once or twice (Schnitger and/or van Covelens) and in the other places on several afternoons.   The Schnitger is a fabulous experience, and I played the Buxtehude D major Praeludium (BuxWV 139) on it. There are lots of important subtleties in performance. It’s recommended to use modern scores: earlier editions have many errors due to the difficulties reading the tablature used in early manuscripts. And there are curiosities about the temperament since Buxtehude is sometimes very chromatic, despite apparently having only mean tone temperament. Chris was very helpful in arranging some practice time so that people could work on points raised in the classes.   On Saturday, there was a recital on the Schnitger and Van Covelens organs, played by 10 selected Academy participants. This is a great idea - it meant that people practiced like mad to get a chance to be in the recital. I played a Buxtehude chorale prelude, a simple piece but played with such style! I was sandwiched between student virtuosi who played the Buxtehude Praeludium in F sharp minor, BuxWV 146, and the Bach Prelude and Fugue in C major, BWV 566. Both played like greased lightening, and note perfect, using the awkward flat and parallel pedals.    Apart from the rain, which came in buckets, this was a really superb time. The next festival is in 2009, so start practising now and I’ll see you there!    For those with internet access, there are more photos at the web site http://photobucket.com , search for david1_49. There is also more information and photos at www.alkmaarorgelstad.nl. David Morgan Specifications (A) Kapelkerk, Alkmaar. Müller 1762, others, Flentrop 2004 HW: 16, 8, 8, 6, 4, 4, 2, II, II-VI, Cornet IV, trumpet 8. BW: 8, 8, 8, 8, 4, 3, 2, duclian 8. Ped.: no stops, only pull-downs to HW. (B) Heiloo, Coulsterkerk. Pels, 2004 HW 8, 16, 8, 8, 8, 4, 2 2/3, 2 II, 8 BW 4, 8, 8, 4, 2 2/3, 2, II, 8 Ped. 16, 8, 4, 16, 8

   



       
As reported in the last Newsletter St. Benedict’s, Northampton has acquired the Kenneth Tickell organ from a redundant church in Wandsworth (one manual and pedal) which, means that their small Holdich is looking for a new home. Contact: Rev. Jonathan Kimber on, jrkimber@yahoo.co.uk
 
   



  
Although no longer an original headline this was the title for Carlo Curley and Sebastian Thomson’s recital late in July at St. Matthew’s, Northampton. Sebastian played the restored Walker and Carlo (who’s website now acclaims him as ‘The Pavarotti of the Organ’) played a powerful Allen digital with several duets on the menu too.

There was a varied programme of music from Dvořák’s New World to Sousa’s The Stars and Stripes. The speed of Carlo’s performance of Bach’s Prelude & Fugue in A minor BWV 1068 was utterly breath-taking but, in truth, I didn’t enjoy it because of that. Variations on Greensleeves (arr. Briggs) was what one might call ‘a disrespectful treatment of a much loved melody’ but in fact Sebastian’s choice of somewhat unexpected registrations gave the melody a refreshingly new twist.

The duet for Elgar’s Pomp & Circumstance No.1 opened with panache but one could see in advance the unthinkable developing (at an organ recital anyway) and eventually, via the beckoning wave of Carlo’s arm yes, you’ve guessed, many in the audience began singing ‘Land of Hope and Glory’. Paul Edwards’ Turvey Tuba Tune sounded well on the Walker but perhaps the most delightful piece of the evening was John Ireland’s Elegiac Romance. Carlo presented this piece with its haunting melody and thematic development with great expression. However, his own arrangement of All Through the Night was distinctly cinema organ in concept and registration.

This was not a recital for the ‘Purist’ but then they would know that. Instead, it was a thoroughly good night’s entertainment and with Carlo’s caged automaton canary and his legendary showmanship everyone enjoyed the spirit of the evening. The encore duet of Widor’s Toccata displayed Sebastian’s virtuosity while the Allen’s pedal division contributed an extra dimension. Providing one didn’t take it too seriously, it was a most enjoyable relaxing occasion.
  
 

As someone who didn’t experience University I find it an enormous privilege when visiting prestigious colleges and churches in the heartland of academia which I associate (forgive me if you went elsewhere), with Cambridge and Oxford. And so it was when, in June, a small group of us descended on the church of St. Mary the Less, just a few hundred yards away from King’s. This ancient Anglo Catholic church housed quite a rarity for this country - a ‘swallow’s nest’ organ suspended and overhanging the choir high up on the south wall. Nerves of steel were required to reach it, sit and then play this beautifully designed instrument by Kenneth Tickell which was a joy to hear. A two manuals and pedal tracker action with gems such as Cornet, Cremona, Posaune and the ubiquitous Sesquialtera, filled the building without overpowering the listener; ideally suited for the Liturgy, choral accompaniment and recital work. After St. Mary’s, it was time to move on to Trinity Hall which, although very much smaller (in fact the smallest in Cambridge), contained a lovely west gallery organ built by Carsten Lund of Denmark. The casework complimented the chapel

ceiling in its colours as well as being cleverly constructed to utilise the limited space available, with pipework reaching the floor on both sides of the console. Also of interest was the Mobile Ventus or ‘flexible wind’ stop which adds an extra timbre not unlike a light tremulant - perhaps a feature of the Danish style of organ. The flutes were beautiful too and with mutations such as a 2 2/3  Quinte; a Tierce on the Swell; a Great III rank Mixture and a 16' pedal Fagotto, it produced a full tonality which was perfectly balanced for such a small chapel. After lunch it was on to Trinity College where a large three manuals and pedal organ built by Metzler of Zürich awaited us. Housed on top of a substantial western choir screen with a Ruckpositiv (chair) organ at the back of the player, this instrument spoke the full length of this large, long, wide and open Chapel uninterrupted by architectural obstacles.

Metzler restored the original cases and surviving pipework by Father Smith (the 1694 Rückpositiv and 1708 Hauptwerk). However, the stop layout took a little getting used to but after a while it became more logical albeit something of a reach for the uninitiated. A straight pedal board caught out those of us who were unaccustomed to them although not President Ken Tickell who is pictured left. However, the springiness of the manuals’ action and the delightful flutes made for some truly satisfying performances of Walther, Stanley and Handel. Then, by adding the continental reeds there was some ‘bite’ to pieces by Buxtehude and Guilmant. Despite the awful weather it was a most fulfilling day complete with a leisurely lunch and fond memories of hearing and playing instruments of such distinction. Many thanks to Ken and Michael Latham for arranging it.

		The annual August Bank Holiday get-together got off to a great start when sixteen members met for lunch in Oundle - which is thought to be named after Undalas, the Saxon tribe of that area. James Parsons welcomed us to Oundle School Chapel which boasts a 1984 Frobenius organ at the west end and a Copeman Hart at the east, with its console to the north of the choir-stalls and +--its speakers to the south. After demonstrating the Frobenius with Bach’s Dorian Toccata and a Jean Alain Postlude, those wishing to play were invited to do so (our picture is of John Comber - no shoes - at the console). It is a substantial instrument and easily filled the chapel with sound although I would guess that a full-house singing boisterously might test its power. A short walk brought us to the Roman Catholic church of the Most Holy Name of Jesus where a 1994 Richard Bower organ awaited us. This is a very small church with the majority of internal space being under a central octagonal lantern tower with the organ on a west gallery. My first impression of the stoplist (just 13) of this two manuals and pedal organ was that its over-abundance of compound stops
(Tierce, Nazard, Cornet and Mixtures) would overpower the handful of foundation stops (no diapason) but this wasn’t so. James explained how the limited space for this instrument meant that it was cantilevered forward to overhang the front of the gallery with the console at the back - the player facing forward from behind the organ. The forward position of the organ projected the sound into the short (almost square) nave and after demonstrating the Cornet by playing a Stanley Cornet Voluntary, James invited us to play, which in turn yielded a variety of pieces well suited to the Cornet and the lovely quasi-Tudor quality of the flutes. Then, finally, it was off to Fotheringhay - birthplace of Richard III in 1452 and place of Mary Queen of Scots’ execution in 1587. This once, large collegiate church, has a fifteen stop organ of two manuals and pedal built in 2000 by Vincent Woodstock and after James demonstrated the individual stops it was time for members to play again. Overall, the day consisted of Buxtehude, Sweelinck, Rheinberger, Handel, Bach, Wesley, several hymn tunes and I’m sure, at one stage, a smattering of some jazzy rhythms all of which provided a broad cross section of sounds and styles. It was a warm, bright, sunny day too - the kind of Bank Holiday weather we seldom get. So to find ourselves relaxing over lunch, taking short walks through the charming streets of Oundle and then visiting the equally delightful if not poignant village of Fotheringhay, seeing, hearing and playing some very interesting instruments among friends, all made for a great occasion. We must thank President Kenneth Tickell for arranging the day.

   


Notice is hereby given of the 84th Annual General Meeting of the Northampton and District Organists’ Association to be held at St. Mary the Virgin, Knox Road, Wellingborough on Saturday November 15th 2008 at 3.00 pm.

AGENDA

1. In Memoriam: Ross Jewell and Barbara Burman.
2. Apologies.
3. Minutes of the 83rd A.G.M. held at All Saints’, Northampton, November 10th 2007.
4. Matters arising.
5. Hon. Secretary’s Report.
6. Hon. Treasurer’s Report.
7. Amendment to the Constitution.
8. Election of President Elect. Term of Office, 2009 - 2010. The nomination of the Committee is Mrs. Mary  
   Woodward.
9. Election of Officers: Hon. Secretary.
                               Hon. Treasurer.
                               Hon. Auditor.
10. Election of Committee Members. Due to retire this year are; Sally Desbois, Julia Pearson and Mary Woodward.
11. Subscription rates for 2008/2009 (currently; £18.00 families, £12.00 individuals and £6.00 students). The
     recommendation of your Committee is that subscriptions should remain unchanged.
12. The Installation of the President for the year 2008/2009.
13. Any other business.

Choral Evensong follows at 4.30 pm led by Canon Hilary Davidson, Choir - Consensus Vocals directed by Dr. Allan Leroy with Kenneth Tickell, Organ.

Roger Smith - Hon. Secretary.
 
  




It’s often to be regretted that some of the finest composers of historic Church Music are seldom known in our Parish Churches. I remember introducing the full version of Croft’s, Ascension anthem, ‘God is gone up’ when one of my choirmen (a real-ale and CAMRA devotee and obviously thinking of a popular sherry of the time) asked, “Can we assume this is Croft’s Original?”.

Born almost thirty years before Croft, John Blow whose three hundredth anniversary falls this year, was born near Newark. He became one of the first choirboys of the Chapel Royal which led to his appointment to Westminster Abbey aged just 19 and to receiving the D.Mus the following year from the Dean of Canterbury. In 1679 he resigned from the Abbey in favour of his pupil Henry Purcell but then resumed the appointment on Purcell’s death (he was only 36), remaining there until his own thirteen years later. Another pupil, William Croft, succeeded him in 1708. John Blow was also Organist and Master of the children at the Chapel Royal, Master of the Choristers at St. Paul’s Cathedral and Royal Instrument Tuner as well as becoming Composer in Ordinary to James II.

As well as anthems for the coronations of James II and William III (William & Mary), he composed eleven services, some 115 anthems, 10 Latin church works, 36 known odes and songs, pieces for strings, organ and harpsichord. He is buried in Westminster Abbey where a marble tablet reads, ‘His own musical compositions... are a far noble monument to his memory, than any other can be rais’d for him’.

I have a deep sense of respect when meeting successors to such great men or watching them in action. But why not? They are all part of a succession that has enriched and still enriches the Church’s worship.
  
  



  
Our member Pamela Rawlinson gave a superb piano recital as one of the summer series of Lunchtime Live Concerts at All Saints’, Northampton.

A large audience heard Pamela open the music with Grieg’s Praeludium from his Holberg Suite with its flowing rhapsodic style and memorable melody. Mozart’s Sonata No.10 in C came next, followed by two Nocturnes by John Field. The transcription by Liszt, of Schubert’s The Trout was particularly well received, as was the tranquillity of Liszt’s Consolation in D flat which preceded the final item, Les Jeux D’Eaux A La Villa D’Este by Liszt - his musical narrative of the Trivoli fountains.

Even though the action and touch is different between pianos and organs, many an organist would envy Pamela’s dexterity and expression. Particularly noticeable on this occasion was how friendly the acoustic was to the Grand Piano and Pamela’s panache in exploitation of it.

A large and very appreciative audience enjoyed the occasion which was to support the Organ Restoration Fund at St. Matthew’s Northampton, for although work was completed two years ago, a considerable amount of money has still to be raised. It also has to be said that Lee Dunleavy (DofM of All Saints’) is particularly generous in hosting events such as this for other churches’ musical needs. All of us on the musical scene applaud such welcome gestures.
  
  



  
A new commission (the first for fifteen years) - Toccata for St. Matthew’s Day by David Briggs will be played by Sebastian Thomson at the 10.15 am service at St. Matthew’s, on Sunday, 21st September.
 
 



  
Simon Bland, currently Organ Scholar at Oundle School has been appointed Organ Scholar at Hereford Cathedral from September. Simon says, ‘This is the first Organ Scholarship to be offered at Hereford which will include opportunities at every level. The Organists at the Cathedral train new organists in the parishes - very effective and perhaps something other dioceses could emulate. I will be assisting with the daily round of services and teaching theory and piano at the Cathedral School. I also hope to take a few Organ Lessons with Jaques Van Oortmessern and start work on the FRCO syllabus. It looks to be a brilliant preparation for the organ scholarship at Trinity College, Cambridge which I hope to take up in October 2009’.

 



 
I recently discovered the ‘Program’ (sic) of Organ Recitals given in 1915 to celebrate the installation of the new Wm. Hill organ in St. Mary’s, Wellingborough. It was priced at ‘One Penny’. There was a handful of unfamiliar composers included and as we approach a new Inaugural Recital on 20th September, I thought I’d look them up. How many do you know?

In January, the first recital by Mr. Edmund Goldsmith, Organist of St. Augustine with St. Faith under St. Paul’s, City of London (what a mouthful), included a Scherzo by César Cui. César Antonovich Cui (1845 – 1918) was a Russian of French and Lithuanian descent. His profession was as an army officer but his life has particular significance in the history of music, in that he was a composer and music critic. In this sideline, he was known as a member of ‘The Five’, a group of Russian composers under the leadership of Mily Balakirev dedicated to producing a specific brand of Russian music.

A week later, Mr, F. Heddon Bond, MA (Cantab), FRCO included pieces by German, Farjeon, Mansfield, Durand and a Toccata composed by himself. Sir Edward German (1862-1936) was an English musician and composer best remembered for his extensive output of incidental music for the stage and as a successor to Arthur Sullivan in the field of English comic opera. Born German Edward Jones in Whitchurch, Shropshire, the second son of a church organist, he began to study piano and organ with his father at the age of five and later sang alto in the church choir. In his mid-teens, his parents attempted to apprentice him to a shipbuilding firm believing he