September / October 2019 Number 74 & District Organists' Association Registered Charity No. 510567 Newsletter DDOA Events 2019

7th September (Saturday) Visit to organs in Lincolnshire. See page 8.

15th October (Tuesday) Organs in Denmark - Audio-visual presentation by Denis Littleton and Laurence Rogers recalling the NDSO 2016 tour of organs in Denmark. See page 7.

11th November (Monday) AGM followed by a talk by Stephen Alliss reflecting on his experiences tuning organs in many prestigious locations. St John’s Methodist Church, Allestree. Concerts & Recitals Wednesday Lunchtime Recitals 12.30 - 1.10pm at St Modwen’s, Burton-upon-Trent 4th September Richard Syner (Burton) The Other King’s College Chapel 11th September Cathy Lamb (Lichfield) 18th September Tony Westerman (Burton) 25th September Stanley Monkhouse (Burton)

Saturday 21st September, 7.30 pm St Mary’s Parish Church, Bulwell NG6 9AD Alfreton Male Voice Choir with Michael Anthony (organ) Free admission.

Friday 27th September, 7.30 pm St Michael & All Angels Church, Hathersage S32 1AJ Organ Recital by Ian Tracey (Liverpool)

Binns Organ Recitals at the Albert Hall, Nottingham Sundays 2.45pm Admission £6 & £10. 15th September Peter King (Bath) Retracing Britain’s Organ Reform Origins 6th October Christopher Herrick

A small but enthusiastic group of demonstration of the 1952 Walker Lichfield Cathedral Recitals eight of us visited both the in the main church, encouraging us Fridays at 7.30 pm Admission £10 Brompton Oratory, London and St to stand in the north transept to 20th September Catherine Ennis (London) Alban’s Cathedral on 27 June. admire the clarity of voicing and 4th October Martyn Rawles (Lichfield) Sadly both illness and family effectiveness of the organ in the 11th October James Lancelot (Durham) commitments depleted our cavernous building. He then numbers. For those of us who remained on hand to advise on Organists needed made the journey by car to St registration for our own playing St Francis Church, Mackworth, is in Albans and parking at the station, efforts. The organ was designed need of volunteers to help fill gaps in frequent Thameslink trains took by its first titulaire, Ralph Downes, their Sunday organists’ rota up to the the strain of commuting to London. one of principal pioneers of the end of December. If you are willing neo-classical reform movement of Ben Bloor, a former to help, please contact Barbara Hart the early 1950s. The then brand- at Derby Cathedral and pupil of at [email protected] new instrument instrument was both Peter Gould and Tom Corfield, perhaps a testing ground for was the perfect host at the Photo: ; Gillian Chatto at the Downes’s ‘Baroque Tricks’ that he console facing east. Note the shutters at the Oratory. He gave us an excellent rear of the Choir case. Ben Bloor demonstrates the Oratory organ The Oratory Chapel organ with Ben Tony Westerman employed in the design of his with extra spaces between them to magnum opus at the Royal Festival The Oratory Chapel, London enhance the egress of sound. These Hall, completed a year or so later. Organ by Flentrop, Holland 1975 replaced about 45 dumb pipes in the One might have expected that any Consultant: Ralph Downes original facades. Their gleaming repertoire beyond the Baroque Hoofdwerk appearance matched the brilliant period might have been poorly Prestant 8 sounding choruses within. Perhaps the served, but Ben’s careful guiding Roerfluit 8 most significant innovation was the Octaaf 4 allowed us to play a range of Fluit 4 addition of a fourth manual, to serve a pieces with great effect. Fluit 2 new Nave division to be sited in the triforium. It is extraordinary that, ten What we hadn’t expected was Mixtuur III-IV Kromhoorn 8 years on, this is only ‘prepared for’, the delight of playing the 1975 Tremulant still awaiting faculty approval from Flentrop instrument in the Little Bovenwerk to Hoofdwerk architectural authorities! Oratory Chapel, used by the Brothers. This, as you will see Bovenwerk Our thanks must go to Tony Gedekt 8 from its specification, is a much Roerfluit 8 Westerman for all his hard work in smaller instrument but its clarity Prestant 2 planning and preparing a most and precision of voicing was a Nazard 11/3 rewarding visit to prestigious venues. sheer delight. Not an easy Sesquialter II John Maxwell-Jones instrument to play with its very Tremulant precise touch and straight Pedaal The Ralph Downes Legacy - see page 6 pedalboard, it well repayed the Bourdon 16 Bourdon 8 effort of persevering. Again, Octaaf 4 members demonstrated that the Fagot 16 instrument worked for a range of Hoofdwerk to Pedaal pieces and all enjoyed the Bovenwerk to Pedaal experience. Many thanks to Ben for being open shutters at the rear of such a welcoming host. the central Choir case, one We are also grateful to Andrew was surrounded by sound and Lucas for allowing us to play the there was no doubting its famous Harrison and Harrison immediacy and clarity. This organ in St Albans. This was a very rewarding instrument, designed in 1962 by instrument to play, whatever in association with the repertoire. Ralph Downes, is justly famous for Andrew explained to us the its position in the development and main features of the change in tastes witnessed in the restoration back in 2009; second half of the twentieth these included some century. Having welcomed us into additional stops, but they the organ loft, Andrew then left us were made to match the to our own devices. Sitting at the existing instrument so as to console midway between the north preserve the original tonal case (Swell) and south case character. New speaking (Great), the brilliance of the organ display pipes were made for was stunning. Together with the the north and south cases Gillian Chatto at St Albans 2 Recent Events DDOA Visit to Oxford Laurence Rogers writes: The organs to be found in the chapels of the thirty nine Oxford colleges comprise one of the largest collections of well endowed organs in the country and offer a wide spectrum of genres representing the whole world of organ building. Our most recent visit to the city in July featured mechanical instruments built in the past sixty years. The return to mechanical action during this period reflected a growing interest in the artistic possibilities that they Aubertin stops: note the colours of the stops and Frobenius stops: note the letter ‘B’, ‘G’ and ‘P’ afford and the timbres associated labels to identify the manuals and pedals. to identify the Brustpositive, Great and Pedals. with Baroque traditions. It may be argued that this marks them out Mander console had the conventional rather idiosyncratic and not friendly as principally concert and left Swell and right Great to the user. educational instruments, with configuration, but the third and lowest The Frobenius in The Queen’s service accompaniment a manual had no stops of its own, but College, on the other hand, is a secondary role. Organs visited: was exclusively coupled to the Swell joy. The organ and the acoustic and Great. St John’s: Aubertin (France) 2008 are one. I can well understand Queens: Frobenius (Denmark) 1965 My personal favourite of the day was Robert Quinney’s enthusiasm for it Magdalen: Mander () 1986 the Frobenius, for its welcoming as an instrument where every stop It was clear that the consoles of lightness of touch and beauty of is beautiful in itself but where they each instrument posed unusual voicing. This instrument is regarded blend to make lovely choruses. challenges for the player: flat by many as the most significant post- And it is user-friendly. Whereas pedal boards, short keys, sensitive war organ in Britain. the Aubertin seemed to be trying to touch, doorknob-style stops in catch one out, the Frobenius brings unfamiliar configurations on flat out the best in the player. Tom Corfield writes: jambs, and the complete absence We approached the Mander of 'playing aids'. Interestingly, all The three organs we tried were all of expecting the worst, as the Director three had an enclosed division what one might loosely term a classical of Music and others had suggested with an expression (swell) pedal. disposition, yet they are so different. an instrument falling apart and in The Aubertin had a lovely sound, so The arrangement of stops on the urgent need of replacing. It sweet yet powerful enough when it Aubertin and Frobenius consoles certainly has its eccentricities, needed to be. I found it uncomfortable followed the configuration common starting with a third manual which to play, however, and not only because in French organs with stops for does no more than couple together of the straight pedal board. On two of each division on both sides of the the other two. Also, the action is a the three manuals the keys were very manuals, but without the little bit spongy. But it has a lovely short leaving little room for the hand terracing. 8 and 4 foot flues warm tone and sounds well in the to lie over them. The stops for each tended to be on the left hand side, building A very effective swell box division were on both sides which also and reeds, mutations and mixtures makes for much expressive took a bit of getting used to. It is on the right. (see photos) The potential. undoubtedly a fine instrument, but

St John’s Organ by Aubertin 2008 The Queen’s College Organ by Frobenius 1965 Magdalen College Organ by Mander 1986 3 Richard Brice writes: the Informatores Choristarum and Organists from 1481. It didn’t The Aubertin organ at St John's disappoint. I found it a joy both to College was the first organ on our play and to listen to in the tour and in all respects it was the wonderful surroundings – more so most alien - we all felt the need of than the previous Magdalen an instruction sheet, or perhaps we instrument, which I last played in should have done some homework 1976, as a student. The tone was before the visit. Personally, I found perhaps not as harsh as that of the it the best of the three and a delight ground-breaking organs at St John’s to play. or Queen’s and it blended A three manual and pedals organ beautifully with the warm acoustic built in a very old-fashioned way so of the chapel. that it could almost have been built There was just room for us all in in the seventeenth century; the loft, alongside the board of wonderful huge stops which pull out organ scholars from 1950, which several inches with a very satisfying included such names as Dudley feel to them - none of those Moore (1954-58), Christopher illuminated stop tabs here! The Gower (1958-61) and Jeremy Suter keys were very short and although (1970-73). A steady stream of this might seem a problem, I didn't organ scholars have honed their find it so. The pedal board was craft on the Mander instrument straight with the sharps on a radius before becoming well known when seen from above so that the musicians. Magnus Williamson extreme ends were easier to play (1987-90) has written that his than on a normal straight board. playing was transformed by ‘John The pedals themselves were flat and Chris Darrell at St John’s Mander’s wonderfully disciplined quite wide and the naturals were cut with Tony Westerman looking on. and responsive instrument’. He away at the sharps. It looked quite added: ‘Physically shoe-horned awkward to play but I found it very registration aids. As with the between choir screen and vaulting, comfortable, once I stopped losing Aubertin organ in St John's College, and reluctant to overspill the my foot down the side of the the stops were 'terraced' though screen’s parapet like its pot-bellied sharps. At first, we couldn't get the without the terracing to support predecessor, the 1986 Magdalen Trompette and Buzaine reeds to stop positions; familiarity with the organ shows the virtue of making work until we discovered the secret; layout would undoubtedly make choices.’ (Organists’ Review, June pull out the stop and depress the registration easier. I found the 2018, page 25) appropriate ventil pedal. Two more tone of the organ, which was pedals did the coupling, and to rounded by a gently-flattering However, other organ scholars couple the Choir to the Great you acoustic, to be delightful - every have remarked that the organ is not simply pulled the keyboard in and stop contributed something to the powerful enough to fill the chapel out; if you like registration aids then pleno. Playing selections of on big occasions. And two recent this organ is not for you! baroque repertoire was very organ scholars have told me that rewarding: not too much chiff on the instrument is “on its last legs; I played some Couperin, obviously flues; reeds were characterful the action is unreliable and uneven very suitable, but it also made a without being overbearing, and – it cannot be tightened properly good account of the first part of the mixtures added clarity and and is beyond repair”. The college Third Chorale by Ceasar Franck. brilliance without screaming. This agrees with this, and that the cost Whatever was played on the organ is an instrument that bears much of refurbishing it to a state that it sounded lovely - aided by an exploration. would be sustainable in the long- excellent acoustic. term comes close to the cost of a new instrument. So after just 33 Geoff Howell writes: Tony Westerman writes: years they have decided to pursue L. N.Cottingham’s outstanding that course – it will be fascinating to The Frobenius organ in the chapel Regency Gothick refurbishment of follow their quest for a new organ. of Queens College was installed in the Magdalen chapel around 1830 1965 and so might be regarded as After descending from the loft, we included a finely carved stone one of the earlier instruments strolled through the cloisters for a screen crowned by a unique stone installed in Oxbridge college chapels cup of tea by the river; others made Rückpositiv case. When John that reflected the new interest in their way to the railway station. We Mander built the 1986 organ that classical building styles, rather like are most grateful to the current we have today, he placed the Great the Grant, Degens & Bradbeer Informator, Mark Williams, for pipework (8 stops) in this case and organ in New College (1969). It accommodating us on a what was a added a new oak case designed by was comfortable to play and had a busy day for the chapel, and also to Julian Bicknell for the Swell (9 concave, radiating pedalboard, and the organ scholar, Rupert Jackson, stops) and Pedal (5 stops) although only possessed of twenty who called in and was most helpful divisions. two speaking stops, provided a in talking about the organ. The range of timbre that was Excited to try the Mander, I was Magdalen organ fitted in well with impressive. The touch was aware of this distinguished history the whole visit – three superb relatively light, even when coupled as we climbed the stairs to the pieces of craftsmanship but three through, though there were no organ loft, past the board listing very different organs.

4 Recent Events Crème de la crème at Symphony Hall, Birmingham

Several of our members are regular visitors to the Symphony Hall to hear the superlative lunchtime recitals by Birmingham City Organist, . The organ and location are equally spectacular, but of course the quality of the music is what makes audiences return, and in this respect Thomas Trotter never disappoints. I would like to commend another inspirational musical experience which occurs as an annual event during the first week of July. This is the showcase of young talent in the Tees Valley Youth Choir at Symphony Hall, Birmingham four-day National Festival organised by the Music for Youth charity (MFY). superb singing humming in my Of the secondary choirs, if I were For many of us in our choir-training ears. In total I experienced and to pick out the performance that role, the task of nurturing young enjoyed the performances of 11 moved me most, it would be singers in our church choirs has primary and 19 secondary age Bogoroditse devo by Rachmaninoff been a lifelong preoccupation, and choirs. sung by the Tees Valley Youth Choir. The dynamic range, blend the occasions of high achievement The variety of repertoire made and beauty of tone and sheer are joyous indeed. Knowing how brilliant entertainment for the corporate discipline were absolutely much commitment and hard work audience and emphasised the superb, creating a spine-tingling that goes into cultivating young versatility and range of skill emotional atmosphere in the hall talent and perfecting choir singing, possessed by the voices, both and quite a few moist eyes! Of the one becomes full of admiration for collectively in chorus and primary choirs, it is impossible to all the choirs invited to sing at the individually in solos. There were single out one performance. MFY Festival. some sacred pieces, but in the Enthusiasm, dynamism and pure main we heard a broad range of During the course of the school joie de vivre were on show in secular music; traditional, folk, year, school choirs, ensembles, abundance. bands and orchestras compete in ethnic and lots of contemporary over 50 regional festivals organised compositions and arrangements. For me, this sort of day out by MFY in all parts of the country. Several choirs also presented conjures up so much hope for the Winning groups in each category are extremely accomplished student future of music in the next then chosen to perform at the compositions. With only one generation, but it must be National Festival. Every July this exception, in a performance from recognised that underpinning this results in 10,000 children converging The Armed Man by Karl Jenkins, galaxy of excellence is the skill, on Birmingham to perform in the all choirs sang their music from dedication and charisma of music Symphony Hall, Town Hall, CBSO memory. It was thrilling to see leaders, conductors and teachers up Centre and the Royal Birmingham the engagement of singers and down the country. It has Conservatoire. As in many previous ‘written’ all over their faces, not always been thus, whether in years, I joined audiences on the two only creating a strong stage schools, county music centres or days that featured the choir events, presence, but more importantly, church choirs and one hopes that and as usual, I return home in the communicating the essence of the political and commercial entities and evening with thrilling memories of music to the audience. educational authorities will not neglect to encourage, support and sponsor these key people. The MFY festivals have demonstrated that there is plenty of youthful talent from which the next generation of music leaders can be nurtured, but the provision of a national infrastructure to achieve this is largely in the hands of politicians, administrators and entrepreneurs. Next year’s National Festival will celebrate 50 years of Music for Youth. I fully intend to be there for my annual dose of youthful inspiration. If you are minded to join me, I can assure you that you will be truly inspired. Joyous faces abound: Maybury Primary School Choir from Hull Laurence Rogers 5 The Ralph Downes Legacy - Tony Westerman

Born in Derby, Ralph Downes Richards (Consultant and moving number of English musicians with his (1904-1993) became one of the force behind the giant Atlantic City well-researched, historically accurate most influential figures in post-war Auditorium organ) and Harrison performances and broadcasts of Britain during the renaissance of exchanged their thoughts on pipe baroque music. He was appointed organ building and restoration. The scaling, mixtures, metal composition Professor of Organ at the Royal post-war period provided plenty of and actions, often passing on what College of Music in 1954 and was scope for a new approach as so today would be considered 'trade regarded as one of the leading many organs had been destroyed, secrets'. Indeed, parts, pipes and organists and teachers of his day; damaged or poorly maintained blueprints were exchanged, such amongst his pupils were Dame during the years of conflict, though was the goodwill and respect in , Thomas Trotter and whilst there was scope for change which each held the other, though . there was a considerable shortage one should bear in mind that Willis The post-war period was a busy of materials (particularly metals) and the American builders were not time for Downes, who not only available to organ builders. There in competition - those difficulties carried out his duties at the London were other difficulties that also had came after WWII. Oratory and fulfilled concert and to be faced: the lack of man-power It was into this environment that broadcast engagements, but was and changes to working hours; Downes appeared as something of a invited in 1948 to be the consultant government restrictions on non- visionary, promoting ideas that left for the new organ to be installed in essential work, and of course the many more than a little breathless. the Royal Festival Hall (RFH). He availability of finance when so much He had developed his ideas on organ was to have total control of the work needed to be done rebuilding tone and construction during his project, as indeed he had at the housing and infrastructure. tenure at Princeton, USA, as Chapel Oratory during the design and There had been a reappraisal of Organist. Whilst there he moved installation of the new Walker organ what constituted a 'good' ranks to different parts of the organ (1952-54), one of the first to be built instrument during the last decades to experiment with the effect on on neo-classical lines in this country. of the nineteenth century and the tone, projection and integration with He was offered much advice by first four of the twentieth, with other ranks of different scale - he established builders on both sides of builders such as William Hill and did, apparently, move everything the Atlantic who thought him an Willis III in this country and G back before he left. Downes had a upstart with insufficient experience Donald Harrison, Tonal Director at particular regard for the work and to lead such a prestigious project as Aeolian Skinner in America, moving vision of G Donald Harrison. that at the RFH. Downes paid lip towards lighter choruses topped by Harrison had been trained by Willis service to the advice, much of which bright mixtures. Their move away III and had moved to America to was well-intentioned, though all of from octopodal instruments work with EM Skinner, with Willis's which he ignored. dominated by loud reeds was blessing, and was already moving The RFH organ, built by Harrison & informed by their study of 17th and towards a more classical tonal Harrison (H&H) during the period 18th century European organs, design before his first visit to 1950-54 was strikingly different to particularly in Germany, where Germany in 1936. Harrison's move anything that they had built before, Willis, Harrison and Senator away from the symphonic organ to a though to their credit they entered Emerson Richards visited many concept in which each stop into the project with an open-minded instruments. contributed to the pleno, was a approach, accepting Downes concept that was very close to Willis frequently bemoaned the direction and, rather controversially, Downes' own ideas. fact that whilst he wanted to the introduction of ranks introduce brighter choruses, After his return to England in 1935 manufactured in France. Downes independent pedal departments and Downes took up post as organist of and H&H had to design an organ for even, heaven forbid, pedal the London Oratory in 1936, a post a hall that was not yet constructed, a mixtures; he was constantly he held until 1977, and influenced a terrific problem as the first thwarted by conservative step for an organ builder is to organists who simply wanted assess the characteristics of a more of the same. Harrison building's acoustic to inform experienced much the same in decisions on scale and America, though there seems voicing. to have been a greater The distinctive, somewhat willingness there to open the over-bright sound of the RFH mind to change. His great organ proved to be success with the large organ contentious though in the Mormon Tabernacle in inspirational. Some firms, Salt Lake City won the seal of such as Grant, Degens & approval of many American Bradbeer adopted the tonal organists as the way forward. principles of the RFH and the Perhaps surprisingly, there Oratory in their work, further was a constant exchange of opening the minds of English letters between Willis and organists to the joys of light those of the American organ wind pressures, open-foot world. Willis III, Emerson Ralph Downes (right) with an apprehensive observer. neo-classical voicing, 6 independent pedal departments and pipework with a high Your Association proportion of tin. New members Downes went on to advise on the We are delighted to welcome two rebuilds at St Albans and new members to the Association: Gloucester cathedrals employing the same principles. It would, Stuart Bassett has been known to perhaps, be balanced to observe us for a good while now and has that both the RFH and St Albans recently contributed to the columns of organs have been tamed the Newsletter. Stuart presides over somewhat, with the mixtures toned the Nigel Church organ at St Giles, down in both pitch and volume, Sandiacre, a much-admired instrument and at Gloucester some of Downes in Derbyshire. work was undone during the last Mary Cobbold is Director of Music at rebuild. Holy Trinity, Millhouses, Sheffield. She Downes' designs didn't meet with teachers piano and organ, holds FRCO universal approval - radical and is an RCO accredited teacher. It concepts rarely do and often was a great pleasure meeting Mary on require further development. His our recent visit to Oxford and we look concept for these neo-classical forward to her involvement in future Mary Cobbold at the Queen’s College organ. instruments was, however, the events. catalyst for the renewal of English organ building practices, and, Ken Blockley R.I.P. fortunately for us, brighter and Ken Blockley, a former, well-known and respected Derby organist and more exciting instruments. primary school head teacher died on 9 April aged 97. He studied piano and Tony Westerman organ under Sydney Morecroft and obtained his LRAM in 1951. He served twice as organist and choirmaster of St Peter’s, Littleover, firstly in the The following links give details of 1950s and again in the 1960s. He then went to St Werburgh’s, Derby when organs for which Downes was the his good friend and colleague, Dr Arthur Pope, died. In the 1970s and consultant: 1980s he played at All Saints, Mugginton. In his retirement he filled in at The London Oratory many local churches including Kirk Langley, Mackworth and St Paul’s, Quarndon. He continued playing into his 90s when deteriorating eyesight St Albans Cathedral and arthritic fingers caused him to stop. However, he enjoyed listening to Royal Festival Hall music right to the end of his life. Gloucester Cathedral John Maxwell-Jones

Forthcoming DDOA Meeting

Tuesday 15th October 2019 at 7.30 pm at St John’s Church, Mickleover DE3 9HD

Organs in Denmark - An audio-visual presentation by Denis Littleton and Laurence Rogers

In March 2016 David Butterworth organised a mega-tour of Denmark organs for the Nottingham and District Society of Organists. The week-long tour took in choir concerts, recitals, a visit to the Marcussen organ factory and visits to 39 organs, many of which members were able to play. For all participants, travelling the length and breath of the country, this was a memorable tour for its sounds, images, historic locations and above all for opportunities to meet friendly and welcoming Danish musicians. Our speakers for will attempt to recapture the fascination and amazement of the visits together with the heart-warming community activities encountered in the Danish world of church music. All will be brought back to life with a selection of photographs and video recordings taken on the tour. 7 Forthcoming DDOA Meeting

Saturday 7th September 2019

Visit to a quartet of organs in Lincolnshire

Programme for the day: 10.30 am. Lincoln, All Saints, Monks Road (organ by Fr.Willis) LN2 5JN 12.00 noon. Lincoln, St Hugh’s RC Church (organ by Willis and Groves) LN2 5AQ 1.00 pm. Travel to Stow for lunch at The Cross Keys LN1 2DE 3.00 pm. Stow Minster (organ by Brindley & Forster, 1873) LN1 2DE 4.30 pm. Spridlington, St Hilary (organ by Nicholson of Lincoln, 1878) LN8 2DF

Terry Bennett has arranged visits to four organ gems in Lincoln and environs: All Saints is a most imposing Edwardian gothic building with a vintage Father Willis (2 manuals and pedals, 18 stops) in a high gallery above the quire. St Hugh’s RC is another impressive building with a fine tower and spire. The large organ (3 manuals and pedals, 42 stops), originally by Willis, was installed in 2001 by Henry Groves from a Liverpool hospital chapel. Stow Minster is a beautiful church of Anglo-Saxon foundation situated in the quiet village of Stow, 20 minutes drive from Lincoln. The beautifully preserved organ (2 manuals and pedals, 13 stops) is by Brindley & Forster, 1873. Spridlington Parish Church is a short straight drive from Stow. The organ (2 manuals and pedals, 16 stops) by T H Nicholson Lincoln, 1878, is claimed to be the best surviving example of the builder's work. There is a fine stencilled case.

PARTICIPATION and TRANSPORT Members are asked to travel independently by car. If you need a lift or have spare places to offer other members, please contact Terry Bennett. In any event, please let Terry know that you wish to attend; this will be helpful in securing lunch arrangements and notifying members if it is necessary to make last minute changes. Please ring Terry at 01332 670999 or email [email protected]

Items of news or articles for the November/December edition of the should reach the Editor by Monday 21st October, either via e-mail: [email protected] or by post: Dr Laurence Rogers, 24 St.David’s Crescent, Coalville, Leicestershire LE67 4SS. The Secretary, Andy Storer, may be reached via [email protected] Please visit the DDOA Website www.derbyorganists.co.uk for information about Association activities, past editions of the newsletter, photo gallery and many special features of local interest.

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