March / April 2020 Number 77 & District Organists' Association Registered Charity No. 510567 Newsletter DDOA Events 2020 Saturday 14th March Visit to organs in Repton, Newton Solney and Winshill. (See page 8)

Tuesday 28th April Evening visit to St Edmund’s, Allestree. (See page 8)

Saturday 13th June: Visit to Lincoln and St Peter & St Paul Church, Lincoln.

Tuesday 7th July: Talk by Richard Brice. St Peter’s Belper.

Monday 28th September: Seminar on ‘Organ Practice’ led by Dr Tom Corfield. St Matthew’s, Darley Abbey.

Saturday 17th October: Association Lunch, Horsley Lodge.

Celebrating Louis Vierne (1870 - 1937) Monday 16th November: AGM and Chairman’s Evening.

The 150th anniversary of Louis Workshop Vierne’s birth falls this year and the Our afternoon workshop focused programme devised by Stephen on Op.31, the 24 pieces in ‘free Concerts & Recitals Johns and Tom Corfield celebrated style’. David Cowan has studied and Saturday 28th March, 7.30pm his music in magnificent style at St played extensively in France and St John’s, Bridge St, Derby. John’s Church and Derby Cathedral was clearly a Vierne devotee and a Derwent Singers directed by Richard in February. We had a practical lover of these works in particular. Roddis with Tom Corfield, organ. workshop, led by David Cowan, a The ‘free style’ in the title identified talk shared by Stephen and Tom, - Kodaly, - these pieces as departing from the Walton, - Dove and in the evening, a recital given strictures of composition rules by Alexander Binns and Edward Solo organ pieces. Tickets £12 or £10 in promoted by the Paris Conservatoire advance from www.derwentsingers.org.uk Turner. at the time. They are miniatures, Vierne’s life spanned a golden extremely varied in style, form, Good Friday 10th April, 7.00pm period of French organ music and if mood and difficulty, but, in David’s Derby Cathedral. - Bach time travel were possible, Tom words, always “well crafted”. In Derby Cathedral Choir with Heart of Corfield would elect to visit Paris in David’s opinion they fulfilled the England Orchestra, directed by Alex Binns. 1900 when the memory of Franck dictum that “perfection is achieved, Tickets £10 & £15 from 01332 202231 or was fresh and so many great not when there is nothing more to www.ticketsource.co.uk/derbycathedralmusic composers were flourishing: add, but when there is nothing left Guilmant, Saint Saëns, Debussy, to take away.” The score, set on Ravel, Widor, Dubois, Dupré and so two staves, is annotated for organ or Saturday 18th April on. The stature of Vierne’s organ harmonium, but Vierne frequently National Organ Day Event compositions was every bit as used them as recital pieces with St Modwen’s, Burton-upon-Trent worthy as the great works of the pedals. (Vierne regarded the 10.00am-1.00pm mainstream repertoire of orchestral harmonium as “pitiful caricature of a See the organ, carillon and clock. and instrumental music. Stephen pipe organ”, so this annotation was Opportunities to play and visit inside the and Tom chose several CD extracts probably a publishing ploy to organ. Children and adults welcome. that left us in no doubt about this. broaden the market for sales.) The Refreshments available. The great monuments of Vierne’s number of pieces, 24, is significant output were the Six Symphonies, in that they employ all the major and minor keys. For the workshop, Photo: ‘Vierne in Context’ - Talk by Stephen Vingt-quatre pièces en style libre, Johns and Tom Corfield (Stephen reads the Op.31 and Vingt-quatre pièces de David, offered valuable insights in rules of improvisation by Marcel Dupré.) fantaisie. the performance of four of these pieces. Arabesque (played by Suzanne Blagg) The improvisory character of the melody probably takes its inspiration from the swirling patterns of visual art. Phrasing: One should aim for a seamless legato, allowing the melody to breathe from time to time. There is much use of the whole tone scale which gives it a distinctive different character from major and minor keys. Expression: With such complex rhythms it is not easy to find a ‘motive force’, so one must experiment to see what works; one Andy Storer, Laurence Rogers, David Cowan, Suzanne Blagg and Richard Brice strategy is to slow down in rising phrases, then more momentum on indications of general ‘Vierne in Context’ the way down (like a roller coaster?) colouring. It is helpful to After tea and refreshments provided by understand the difference Rosemary Corfield and Pam Storer, between French and English Stephen and Tom gave a talk which helped traditions in combining stops; us understand the influences on Vierne’s in general stops of similar music. We learnt how at the very pitch are more easily blended conservative Paris Conservatoire Vierne on Cavaillé-Coll organs than attended the group classes of César with English, whereupon Franck. These predominantly concentrated greater care is needed here. on improvisation. Clues about the Chromatic notes: The key accepted approach to improvisation at the signature has five flats, yet in time come from a manual written later by some bars every note has an Marcel Dupré which had at its heart a accidental. Careful planning toolkit of structures and techniques which is needed to achieve good could be applied to any given theme or legato; the left hand my be themes. After a very short period at the needed to assist the right class, Franck died and was succeeded by hand and in general fingering Widor who pursued a contrasting agenda needs to be planned for focusing mainly on repertoire. A student consistency. Also, it is would be called upon to play a piece after important to focus on the which Widor would analyse the release of notes so that rests performance in minute detail. The other do not suffer. great formative influence on Vierne was David Cowan as registration assistant to Andy Carillon access to instruments built by Aristide Cortège (played by Andy Storer) (played by Laurence Rogers) Cavaillé-Coll who towered above most A strongly chordal piece with the Unlike the others, this whole tone scale frequently piece, based on chimes, creating augmented chords. These demands a strict tempo. Like sort of chords have a less familiar Cortège there are rapid feel than major and minor ones, registration changes which so informal exercises are require an assistant if sometimes useful to gain registration aids are absent. confidence with them. Full and vigorous use of the Registration: Expression is mainly swell pedal is called for the achieved with sudden contrasts terse crescendi, diminuendi with reeds crashing on. Cavaillé- and subito markings in the Coll organs with ventils made this middle section. Although the very easy to achieve. If there are score has only two staves, no registration aids, a registration the big chords on the upper assistant is necessary! stave are better divided Articulation: Care needs to be between the hands whilst the Vierne’s console, preserved in Notre Dame, Paris taken over releasing keys. pedals hold the bass ostinato. Staccato requires consistent The minim chords are shortening by a defined amount, another example of defined usually to half length. release, taking a quaver out of each, to achieve a Élégie (played by Richard Brice) consistent marcato. Vierne Registration: Vierne was known makes subtle contrasts to vary registration from one between legato and staccato performance to another, so to achieve solo effects. registration markings on the score may be treated flexibly as Close-up showing Cavaillé-Coll’s ventils and couplers 2 other French organ builders in the 19th Century. His tonal and technical innovations made possible large instruments which could rival an orchestra in expressive ability. This was the sound world which gave birth to the great organ symphonies of Widor and Vierne. Stephen spent some time setting the scene for the Second Symphonie which would feature in the evening recital. Here we learnt about the themes like dramatis personae which interact with each other within and across the five movements. Vierne’s canvas is huge; his fertile imagination seems to know no bounds as he develops and augments themes and creates thrilling climaxes worthy of any romantic German symphony for orchestra. Tom gave background to the Pièces de Ed Turner and Alex Binns at Derby Cathedral fantaisie,composed in four suites of six pieces between 1926 and 1927. The range of styles is (45 minutes) was stunning. His command of registration amazing, from Clair de lune, every bit as gave a rich diet of contrasts and thrilling climaxes. impressionist as Debussy, to Carillon de Westminster (based on the famous chimes) in Symphony No.2 in E minor which each iteration of the theme becomes 1. Allegro risoluto aggressively more chromatic. Perhaps the most 2. Choral bizzare is Fantômes, a surreal conversation 3. Scherzo between a number of spirit characters. What 4. Cantabile range! What colour! What imagination! 5. Final The range of Vierne’s expressive abilities reflect It was then the turn of the Assistant Director of Music, Ed the heights and depths of his inner life shaped by Turner, to beguile us with more Vierne magic: external circumstances. Born blind, an operation restored enough sight for him to get about, From the 24 Pièces de Fantasie recognise people and read large print at very close 1. Fantômes range. During his life he suffered a fractured leg, 2. Clair de lune marriage collapse, glaucoma, the death of a son 3. Carillon de Westminster and brother, a rift with his assistant Dupré, typhoid fever, depression and heart problems. He died The afternoon talk had given us a taste of the fantastic in during a recital at Notre Dame on 2nd June 1937. Fantômes. By no means an easy piece to play, it was certainly challenging to the listener. (Shadows of Messiaen to come?) Vierne’s chromatic and rhythmic imagination Recital was unfettered. Ed must be congratulated on his mastery The venue moved to Derby Cathedral in the of the score. Clair de lune fulfilled that promise of dreamy evening for the final event of the day, a recital impressionism. Carillon de Westminster brought us back to given by Alexander Binns and Edward Turner. Earth for a while, but once again, Vierne’s chromatic As Director of Music, Alex welcomed us to the harmonies intensified as the piece progressed, paving the cathedral and declared that, after Bach, Vierne was way for the triumphant final major chord - a fitting end to his next favourite organ composer, so clearly he a brilliant recital and concluding a marvellously informative was very happy to contribute to our celebration. and interesting day. He then gave us a virtuoso account of the Second Laurence Rogers Symphony. The performance of this massive work

will be on display from 10.00am Members’ News - 1.00pm with opportunities to We had the pleasure of meeting two play the organ, visit the organ newcomers at our Vierne Day event chamber and examine the one in February and are happy now to octave mini organ built by Ed Stow. There will be other CATO- welcome them as members: The Royal College of Organists is related activities available, plus appealing to every building in the Andrew Cummings is Organist at the opportunity to visit the UK which houses an organ to open St Peter’s Church, Fairfield, . carillon and the clock, should its doors on 18th April, allowing anyone be willing to climb the Suzanne Blagg studies organ with people to hear and explore the tower's spiral staircase. Mary Cobbold. wealth of organs, large and small. This is an opportunity for children Congratulations to our Secretary St Modwen’s, Burton-upon-Trent and adults to see the organ, Andy Storer who recently gained his has organised this event: ARCO diploma. We have admired carillon and clock in action. The fine III+P Hill, Norman & Beard Andy’s playing for many years, so we Refreshments available. know this is justly deserved. organ in the church of St Modwen 3 instrument, these filmed portraits DVD Review give us the organ-crawl experience The English Organ par excellence! Here is a taste of the itinerary: Christ Church Spitalfields, The title of this DVD set conveys Clare College Cambridge, St George’s both all and nothing of its contents: Hall Liverpool, St Bartholemew’s It contains all you may wish to Armley, Sydney Town Hall, Coventry know about the history and Cathedral, Auckland Cathedral. There development of English organs, are 26 more! Finally, one must whilst it implies nothing of the commend Daniel’s superb playing of breadth and quantity of such a wide variety of instruments documentary and music within! demanding a vast repertoire. It is a Also, it is an understatement to real bonus to hear pieces on describe its contents as ‘superb in instruments perfectly matched to all respects’; playing, commentary, their genre. recording, filming, repertoire, locations, authority; one can wish for no more. ‘The English Organ’ boxed set from Fugue State Films contains four DVDs, three CDs and a 64- The titles of the three page colour booklet with full documentaries define the structure specifications and pictures of all the for the itinerary and repertoire: 33 organs featured in the audio- 1. The Long beginning visual media. There are three c1550 – 1855 documentaries (each 70 minutes) which trace the history and 2. The Victorian Boom development of the organ and its 1855 – 1904 music in England from 1550 to the 3. Modernity and Nostalgia present. The filmed performances 1908 – 2017 feature repertoire from Byrd to the Daniel Moult at St Paul’s Cathedral, Melbourne present and for each organ there is In each period the context and influence of historical events on the a filmed demonstration and Audience: There is something for development of instruments and its evaluation of all the tonal everyone in this production. Organ music are inescapable; the resources. With only a little lovers everywhere will be thrilled with Reformation, the Commonwealth, duplication, the CDs contain a the performances. The the Bach Awakening, Victorian civic generous amount of additional documentaries and aural portraits are pride, Choral traditions and so on; recordings within the repertoire. extremely informative and it is all had significance. These are difficult not to be drawn in by Daniel Key to the superlative qualities of addressed with great authority Moult’s engaging manner, but much this production is the presenter and through interviews with experts organ terminology is assumed, so player for all the recordings and such as Nicholas Thistlethwaite, practising organists will probably videos, Daniel Moult. His engaging William McVicker, Dominic Gwynn, benefit most. For serious students of commentaries, interviews and to name just a few. Most the organ, this production is an demonstrations are buoyed along impressive are the aural portraits absolute must. I strongly commend it by his trademark enthusiasm. that Daniel conjures for each organ. to members of our Association. If Already famous for both his playing We all know in an organ crawl how you have an imminent birthday, drop and teaching skills, this publication beneficial it is when the resident a hint around your family! cements his unassailable reputation organist shares their intimate as a leading musician in the organ knowledge of the qualities of the Laurence Rogers world. Recent Events at 44 years, C W Perkins 35 and fulsome account of the occasion. It is 800th Recital by Thomas Trotter GD Cunningham a mere 25 years. too good to abbreviate, so it will be at Symphony Hall, Birmingham The latter was succeeded by his published in the next Newsletter edition The fortnightly lunchtime organ pupil, the renowned Dr George as space here is unfortunately limited. Thalben-Ball who held the post for recitals at Birmingham Town Hall Editor and Symphony Hall are an 35 years. It is a cause of great institution for which the city can be celebration that in February th justly proud. A fact to celebrate is Thomas gave his 800 recital. that the post of City Organist was This was to a packed Symphony established as long ago as 1842 Hall replete with royalty, the Duke and the present incumbent, of Kent, the Lord Mayor and other Thomas Trotter is only the fifth local dignitaries. organist to hold the post. As ever, Thomas’s playing was Furthermore, he has held it for 37 immaculate and it was thrilling to years. His longevity in the post be there in the audience. John follows the trend set by his Maxwell-Jones was also there and, predecessors with James Stimpson at my request, has written a 4 Recent Events George Thalben-Ball – organist extraordinaire Some 25 members and guests of the Nottingham Association assembled in David Butterworth’s music room at Halam on Saturday 18th January 2020 to hear Jonathan Rennert, Director of Music at St Michael’s, Cornhill, London, give an illustrated talk on one of his heroes in the organ world, George Thalben-Ball (1896- 1987). Jonathan is well qualified as an expert on GTB (alias “The Doctor”) having written his biography in 1979 at the age of 27 with Thalben-Ball overseeing and approving his efforts.1 Contrary to the accepted belief, GTB was not an Australian although he was born in Sydney. His parents returned to England when he was four years old and he was based for his school years in Muswell Hill, London, where for a time he was a pupil for the famous concert organist G. D. Cunningham. Though today we see Thalben-Ball as an organ virtuoso, he initially concentrated on piano studies, entering the Royal College of Music at the age of 14. Aged 19, and still at the RCM, he played the solo part in Rachmaninoff’s fiendishly difficult third piano concerto under the baton of one of his teachers, Sir vanity in his later years. Rumours persist about his Charles Stanford. However, he was increasingly drawn liberal use of black hair-dye, or when supplies had to a career in organ music (FRCO at the age of 18) run out, of Cherry Blossom boot polish! and started off, professionally as assistant to Sir Henry ��GTB left only a small number of compositions, the Walford Davies at the Temple Church, London and most famous being the “Elegy”.2 He composed succeeded him as Organist and Director of Music in some hymn tunes, now forgotten or seldom played. 1923, a post he held for almost 60 years. His “113 Variations on Hymn Tunes” was published He combined his church playing with several posthumously in 2002 and remains in print. Please additional posts, including conducting the BBC singers see Note 3 about his carol “Lullay Lord Jesus”. for the daily service, as organist to both Birmingham The afternoon concluded with tea and cakes, over Town Hall and to the University and as curator of the which members continued to exchange their thoughts Royal Albert Hall organ. As a player he was an and opinions of this doyen of 20th century organists. unashamed performer in the W T Best, Virgil Fox and Carlo Curley style. As a composer, he was taught both by Stanford and Parry, and it shows. Moreover, he Notes benefited from his association with Walford Davies. As 1. George Thalben-Ball by Jonathan Rennert (1979), Jonathan showed us, Thalben-Ball’s famous “Elegy” published by David & Charles. Amazon has several owes quite a bit to Davies’ “Solemn Melody”, a second-hand copies available for about £7.00, coincidence that the latter composer was not in the including postage. See here. least fussed about. 2. The British Library lists 39 “score entries” Jonathan concluded his talk by answering questions associated with GTB from the audience and encouraged members to reminisce. In answer to some of the enquiries: 3. Coincidentally I attended a service in last December and heard the choir ��George Ball’s middle name was “Thomas”. He perform Thalben-Ball’s carol “Lullay Lord Jesus”, a changed his surname name to “Thalben-Ball” by composition new to me, with strong hints of deed-poll in his twenties. Jonathan was unsure of Stanford’s choral writing It definitely deserves a the motivation and his conversation with GTB on wider hearing. Listen to it performed by Lichfield the issue was unrewarding. “Thalben” was his Cathedral Choir here. mother’s maiden name, according to Dr Google, and he might simply have wished to be known by You can see the first page of the score here. something more memorable than plain “George 4. YouTube has several Thalben-Ball offerings. Some Ball”, or were, he to enter the Church, the name of my favourites: “ Ball” might provoke humour. (1) “Elegy”, played on a first-rate Hauptwerk organ ��He was married twice, in 1926 to Grace Chapman, a painter who bore him a son and a daughter, both (2) “Elegy”, played by the man himself here. now deceased. Neither pursued a career in music. (3) “Ride of the Valkyries” (Wagner) played by GTB After the death of his wife in 1961 he remarried, on the Alexandra Palace organ here. this time to an aspiring concert organist several years his junior. Jonathan chose not to enlarge (4) GTB in 38 minutes of conversation with Barry much on this second marriage and its Rose (1972) here. circumstances out of a commendable sensitivity to the lady concerned. Bearing in mind this sensitivity, I chose not to ask about Thalben-Ball’s personal Alan Dronsfield 5 Reflections upon the St Andrews Organ Week 2019 - Gillian Chatto

The St Andrews Organ Week had The course itself was quite an listen. I think you can learn a lot been highly recommended to me by expensive affair, especially if you from someone else’s lesson, even if fellow members of the DDOA. took along a spouse as well, so I it isn’t concentrating on a piece that Despite an advertised emphasis on decided to register as a participant, you are familiar with. French music for the 2019 week, but to sort out my own My first lesson on the Monday the repertoire list was quite accommodation. Hence my morning involved a bus journey extensive and allowed me to choose husband, Derek, and I stayed on a through the local Haar (fog) to some pieces by JS Bach, as well as nearby campsite for the week, and Dundee to play the 3-manual organ others by F Couperin, Boëly and I was able to cycle in each day. in St Paul’s Cathedral, with Jo Tournemire. We had good weather for the entire McHardy as my tutor. (Jo is week, and Derek was able to I had initial concern over the currently the Director of Music at explore many interesting things in practicalities of practising some of HM Chapel Royal, St James’ Palace). the vicinity by bike while I the French works, since the organ I I decided to play the Bach Piece participated in the organ activities. usually practise on would not have d’Orgue for this. Jo set quite a Derek then joined me in the the specification required for some grand registration for me, and it evening for the various concerts. of the later French pieces, however sounded quite splendid in that I was advised that most of the Arriving in St Andrews at building. It’s quite a strange organs in St Andrews would have lunchtime on the Saturday, we situation, however, having a lesson similar limitations, so I should not erected our tent before cycling into with a complete stranger, and they worry about this. the University in order to register. can pick up on all sorts of things At this point I was introduced to that you were never aware of – in Furthermore, I was also glad of the system of booking practice my case, my posture (left shoulder the advice from past participants slots; there were 30 minute slots raised for no apparent reason!), and that the repertoire list need not be on several organs in the area, remembering to breathe! I felt rigidly adhered to, and that it was however they were in quite short quite nervous in the situation, but quite acceptable to take along other supply! Slots were booked each Jo was a real joy to work with, both pieces not on the list should you evening for the next day’s practice encouraging, as well as giving some want some specific help on these. sessions. good advice on phrasing and Although this would be considered interpretation. I listened to the undesirable by the organisers, the The week’s programme began on other lessons that Jo gave that tutors seemed more than happy to the Saturday evening with an morning before returning to St assist with any works you wished to extremely enjoyable concert in St Leonard’s Church in St Andrews for play for them. Salvator’s Chapel given by a very my 30 minute slot on the 3m organ talented Baroque trio and mezzo- The repertoire list was split into 3 there. This was quite useful, as this soprano. This rather gave us a sections: Couperin’s Organ Masses, was indeed one of the organs on flavour for the high standard of the music of JS Bach, and French or which I would be receiving tuition concerts that we were to expect for French inspired music. We were later in the week. the coming week. asked to choose a piece from each Following my brief practice, I section. Not being a rebellious sort, On the Sunday morning, we made my way over to the drop-in I stuck mainly to the list, and attended the Sunday service in the improvisation session being run by studied these pieces in advance: same chapel, at which we were Christoph Mantoux at All Saints treated to a Bach Cantata sung by Movements from Messe pour les Church. This was very interesting; the participants who had just Paroisses (F Couperin) people with quite a spread of completed the St Andrews Choral improvisational abilities were Fantasia in G (Piece d’Orgue) Course. After lunch, Christoph volunteering to have a go, and the Mantoux, Professor of Organ at the Nun komm, der Heiden Heiland advice was obviously quite varied. BWV659 Conservatoire Regional de Paris, spoke at length about the French Lastly, that afternoon, we listened Caprice (LN Clerambault) organ tradition. After this, I was to a very engaging talk given by Allegro fugato Op.12 (APF Boëly) glad of my bike to get to my Katelyn Emerson on practice allotted practice slot at St techniques, injury prevention and Pièce terminale, and Offertoire Leonard’s Chapel on time. Here I performance confidence. Katelyn (C Tournemire) played a 2-manual instrument talked about how poor posture can Most of my free practice time from installed by J W Walker & Sons in lead to problems, which in her case February onwards was devoted to 1994. This was nice to try, but it had been tendinitis. She also these set works. I was keen to was a pity that I was not scheduled stressed the importance of good prepare them to the best of my to have any of my lessons on it. preparation, including writing in fingering. She emphasised the ability to benefit most when working From Monday to Friday, lessons importance of taking breaks, about with the tutors. After all, it is their were organised with participants in concentrating on one small section, additional insights, advice and groups of four on a different organ but then extending the section, and comments that you go for. I also each morning. We stayed in these returning to it later, and how the enjoyed the structure that this gave groups throughout the week. We human brain retains information. to my practice time – it was like each had a one hour lesson, but, She gave some useful tips for preparing for a concert or an exam. with mutual agreement, other performers who struggle to members of the group were able to overcome nerves; she advised that 6 your thoughts should avoid on to hear about the vast anything negative but concentrate collection of harpsichords, on the fact that everyone in the virginals and spinets, one or two audience is supporting you and of which some of our expert tutors wants you to do well. were allowed to play for us. In the evening, Christoph Mantoux That evening we had a recital by gave a concert of French music on Aude Heurtematte, Professor of the Rieger organ of St Giles Organ at the Conservatoire of Cathedral. Strasbourg, and titular organist of the historic Thierry/Clicquot organ The best tuition session for me at the church of Saint-Gervais et was on the Thursday morning with Saint Protais in Paris. (Members of Henry Fairs on the Holy Trinity the Couperin family presided here organ. Despite Steven’s advice for a period of nearly two from earlier in the week about centuries). This was on the perhaps not needing to play the Hradetzky organ in St Salvator’s piece again, I did indeed play Nun chapel. The programme included Komm, der Heiden Heiland again, the Messe proper pour les and I was glad I did. Henry was Couvents by F Couperin. full of insight and understanding about the piece and was able to My Tuesday tuition took place at explain the significance of various Kingsbarns Parish Church where motifs and “punctuation” within my tutor was Steven McIntyre, the piece – elements that I hadn’t currently Assistant Organist at St appreciated before, as well as Mary’s Episcopal Cathedral in suggesting alternative phrasing Glasgow. Here I played on quite a and ornamentation. small 2m Forster and Andrews organ. I chose the Nun komm, The spectacular Hradetzky organ in St Salvator’s Later we had a talk by Christoph der Heiden Heiland for this lesson, Chapel Mantoux explaining the French but also added a Bach F min system of listing historic organs. prelude which wasn’t on the list, After this, it was over to St He concluded by considering the as well as one of my Tournemire Salvator’s chapel again for a digital future and the preservation pieces. Again, I received masterclass on F Couperin; Aude of organs in this country. comments on phrasing, and also Heurtematte gave a lengthy discourse Our final day had a different feel on needing to show direction and on the artistic influences at the time. to it, as a number of us, including the idea of moving forward in the I would have liked more attention to me, were to take part in the first piece. However I also the playing itself. However, the participants’ concert in the received the unusual comment of masterclass included some of the afternoon. After my normal perhaps not including the Bach pieces that I had prepared, so this morning tuition, I had the pieces in subsequent lessons since was beneficial. opportunity to practise on the I already knew them very well! I That evening we were taken by Hradetzky organ and had quite an took this as a compliment, but coach to Leven for a concert in the entertaining session with Henry was really looking for different Parish Church given by Anna Homenya Fairs prior to the concert. Other interpretations etc from the tutors. (organ) and Andrew Lees (violin) participants were milling around Tuesday afternoon’s speed entitled “Une Soirée au Salon”. This while I was trying to concentrate practice was at Holy Trinity Church started with the Bach’s Piece d’Orgue on playing everything well. I was on the 3m Harrison and Harrison and continued with a nice programme quite surprised when Henry instrument where you climbed of ‘house’ music by Dubois, Fauré, started to rummage around in the down onto the organ bench Guilmant, Pierné, Bonnal, and pencils at the side of me, then situated in a hole! I enjoyed my Lefébure-Wély. The church houses a starting to pull silly faces at me short session, and was looking Gern organ (1904). from the other side of the console! forward to having a lesson here Wednesday’s tuition saw two groups I started laughing but carried on later in the week. For the rest of gather together making eight of us playing. He was demonstrating the afternoon, however, I went with two tutors – Katelyn Emerson his advice that I just needed to over to Jo McHardy’s practical and Andrew Forbes. Here I played my relax! drop-in session at All Saints Couperin piece. The stops available And so it was that I performed Church. This was a “free for all” were not ideal, but we still found a Bach’s Nun Komm before all session where you could discuss very acceptable registration. Tutors participants and tutors at the end any practical issues you had. The offered some very useful detailed of the course, thinking of Henry group was talking about hymn comments on ornamentation. and the funny faces he’d been playing and what can be done pulling and trying to relax and about certain tunes which are For the afternoon and evening enjoy the piece. I was still prone to congregations sessions we travelled over to extremely nervous, but I was “dragging”. The session turned Edinburgh where we visited the Music happy with the performance, and into quite a lively affair with a Museum. Here we were treated to an for me it was a fitting end to a group of us singing “Sing enlightening, and very jovial talk and very enjoyable week in St Hosanna” deliberately lagging demonstration, given by the organist Andrews. behind, whilst Jo demonstrated of St Giles Cathedral, on the chamber some very skilful tricks to jolly us organ situated in the oval recital room Gillian Chatto along. in the museum. From here we went 7 Forthcoming DDOA Meetings

Saturday 14th March 2020 Visit to Organs South of the Trent

We visit three historically interesting organs in three neighbouring villages just south of the River Trent. There is easy road access from the A50/A38 junction adjacent to Willington. In each case the church has a prominent spire in the centre of the village.

11am Repton Meet at St Wystan’s Church, Willington Road, Repton DE65 6FH. St Wystan’s, Repton St Wystan’s has a 2-manual, 23 stop mechanical action organ by Peter Collins, built in 1998. About half of the pipework is by Taylor of Leicester from the old organ.

12.30 Lunch Arrangements for a local venue will be advised by Terry Bennett on the day.

2pm Newton Solney Meet at St Mary’s Church, Newton Solney DE15 0SJ. St Mary’s, Newton Solney St Mary’s organ is a 2-manual, 14 stop mechanical organ by Bevington of Soho, London, recently restored by MJ Thompson, Burton-on-Trent.

3.30pm Winshill Meet at St Mark’s Church, Church Hill Street, Winshill DE15 0HS. St Mark`s has a 3-manual organ by JW Walker (possibly the last large organ he built before he died in 1870). This organ is of historical interest.

St Mark’s, Winshill

Tuesday 28th April 2020, 7.00pm Evening Visit to St Edmund’s, Allestree, Derby DE22 2DZ

There are two small organs to view: the Compton Miniatura, which lives in the church hall and the two manual 24 stop church organ by Wood of Huddersfield installed in 1977. We shall start in the church Hall at 7pm where it is hoped that David Redfern will be on hand to demonstrate the organ. The Miniatura was a small extension organ of two ranks, usually flute and diapason, from which a number of pitches are drawn. At 7.35pm we will transfer to the church to sample the Wood organ. This Neo Baroque instrument is capable of leading a full church and boasts a selection of mutations and mixtures and trumpet rank which extends to 16` on the pedal. There are 365 pipes over four ranks: Pedal Bourdon, Diapason, Stopped Flute and Trumpet. Mike Thompson and Simon Tipping completed work on the organ last year, replacing old keyboards and reworking the stop layout and piston capture system. Two blowers were also moved out of the case for more accessible maintenance. St Edmund’s organ, Allestree

Items of news or articles for the May/June edition of the should reach the Editor by Monday 20th April, 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.

www.derbyorganists.co.uk 8