Rowland Wateridge

St Paul’s is a very special case - and a very special place. I remember John Scott saying (or actually writing) that some visiting organists heeded his advice about playing and registration there, and “some did not”. Ralph Downes said something similar in ‘Baroque Tricks’ about the RFH organ - even mentioning one very distinguished player as an example!

Ian Tracey has very kindly provided these further details: “The Aria in Eb is the same piece as the Aria (in F) (Pub. Mayhew) but latterly, Noel reflected that it was better and far richer in Eb (if a little more tricky) and always played it in that key. He made a version (unpublished) ... about 5 years before he passed; and it is that version which I played at his funeral service, and will play at the Anniversary.” “The 'Wachet Auf' Phantaisie’ is something Noel wrote me to play at the 79th Anniversary Recital, way back in 2005. It was my 25th Anniversary as Organist and the 50th since his own appointment. I don't think it was ever published, but I do know that Gordon Stewart was given a copy and recorded it at Huddersfield, so there is a second copy in existence.” “In terms of my 'Aria for NR' - it is in a publication called "Liverpool Lollipops" (Pub. Church Organ World) all by organists of the cathedral and in which we all dedicated pieces to one another... mine was to my "Mentor and Friend Noel Rawsthorne" but has now become an "In Memoriam" and will be so on the reprint, when it comes.” The Anniversary recital and Evensong preceding it, during which Noel Rawsthorne’s cremated remains are to be interred, will be a very special occasion. Liverpool Cathedral, Saturday 19th October at 3.00 pm.

I’m sorry I haven’t followed up your enquiry, and will now do so. As mentioned earlier (post 20th March), Ian Tracey played the “Wachet Auf” Phantasie at St George’s Hall on 19th March.

Perhaps I should not have mentioned (grumbled?) about my church commitment! The very best hi-fi sound reproduction can never be a substitute for being physically present in the Royal Albert Hall - a venue (and organ) like no other. I posted the programme details thinking that Olivier Latry’s choice of repertoire would be of interest, and might lead to some discussion about transcriptions and arrangements - I have no problem with either - both terms seem to be interchanged rather loosely.

I am one of the people who can’t go to Olivier Latry’s Proms performance at 11 am on Sunday 4th due to church duties, but this is his programme: Aram Khachaturian: Gayane – Sabre Dance (transcr. Kiviniemi) Manuel de Falla: El amor brujo – Ritual fire dance (transcr. Latry) Ludwig Van Beethoven: Adagio in F major (for mechanical clock) J S Bach: Toccata and Fugue in D minor, BWV 565 Eugène Gigout: Air célèbre de la Pentecôte Franz Liszt: Prelude and Fugue on the name BACH (arr. Guillou) Charles-Marie Widor: Bach's Memento – No. 4: Marche du veilleur de nuit Camille Saint-Saëns: Danse macabre (arr. Lemare)

Philippe Lefebvre from Notre Dame is also in England two days later, on Tuesday 6th August at Selby Abbey, 12.30 pm, playing this programme: César Franck: Choral No 3 in A minor Louis Vierne: ‘Clair de Lune’; ‘Cathédrales’ Claude Debussy (arranged Philippe Lefebvre): ‘La Cathédrale engloutie’ Marcel Dupré: ‘Résurrection’ Maurice Duruflé: Prelude and fugue on the name ‘Alain’ Philippe Lefebvre: Improvisation on a theme presented by John Scott Whiteley The titles of three of those pieces seem very appropriate to the present situation at Notre Dame.

This news is very heartening, and prompts a strong desire to hear the organ again in its new home! I attended very many recitals over the years with friends at the Turner Sims Concert Hall. Peter Collins was always there, as was Professor Evans usually. Sadly, the organ was somewhat unloved in its last years. There was visible damage to pipework which went unrepaired for a long time, the organ was less used and then, of course, disappeared completely. This was partly due to the flooding of the hall, but the reasons for not keeping the organ after the hall was restored did not seem entirely convincing. Some players skilfully performed Romantic music with some measure of success, but as AJJ says, the organ shone in the classical and earlier repertoire. Out of many performances that was highlighted in a recital by John Scott Whiteley including the “Sei gegrüsset” variations - perfection! The hall had a difficult acoustic, and opinions varied about the best position to hear the organ. In common with the RFH organ the acoustic didn’t allow any inaccurate playing. In fact, the standards were invariably very high and there were many memorable performances while the organ was at Southampton. We must be thankful that it has found such a good new home.

Thank you for enlightening us, S_L! I will amend my ‘if’ to ‘as this turns out to be a French Government responsibility’ etc. I’m afraid that leads to the distinct possibility that tenders for the work will have to be invited throughout the EU unless, of course, the French Government can somehow circumvent the EU rules! My primary point was that the wealthy donors were possibly being misrepresented in the press reporting. Surely they knew that it was the State, rather than the Church, which would be responsible for the rebuilding. I understand that most of the contents were saved due to the gallant efforts of the Paris fire service, but there will be some restoration costs, so maybe some of the pledged donations will be used for that..

If building contracts in France are anything like UK ones, payments will be made in instalments as the work progresses at agreed stages of completion. First, the work and costs must be subject to contract. Wealthy billionaires are likely to think in such terms automatically. They will expect to see invoices and certificates of completion. That’s the kind of world they inhabit. We know that emergency works have been carried out already, and the Cathedral must have incurred substantial expense. So far, it seems, the billionaire donors have paid €20 million, equivalent to just under 7% of their publicly-announced pledges. The suggestion that they might try to avoid honouring their pledges by vetoing plans may be no more than sensationalist journalism. I think Paul Hodges was safer saying “No comment”. PS I have only seen S_L’s comment after writing the above. I think what he says reinforces my scepticism about the press reporting. PPS If this turns out to be a Government rather than Church responsibility (as S_L’s post would suggest) EU procurement rules might apply, and tenders for the work would have to be advertised in all EU countries.

I recall that in the 1950s/ 1960s the BBC Daily Service was usually sung unaccompanied by the BBC Singers (doubtless directed by GT-B) but on one day each week he played the organ and at the end of the service there was invariably a short improvisation on the closing hymn. My uncle, without any organ affiliations, used to look forward to these and thought they were wonderful. We know that GT-B improvised ‘Elegy’ under not dissimilar circumstances, although I believe that was at the Temple Church. Others may know whether he also improvised elsewhere. I only heard him play ‘live’ once, in a recital at Westminster Abbey. P.S. My memory is playing tricks. I also heard him in the 5.55 series at the RFH; it may have been the Reubke Sonata. Those recitals were outstanding, and, among others, I also remember Francis Jackson (twice), Noel Rawsthorne, Ralph Downes (of course) and Helmut Walcha (also twice).

As I recall that was possible at Notre Dame, Paris twenty (?) years ago and being by done Olivier Latry, possibly using land-line. Wasn’t the facility lost when the organ ‘computer’ packed-up? Colin Pykett wrote about this quite recently.

Father Willis had the same idea in lieu of a swell pedal. I forget where - was it the Royal Albert Hall?

Well, of course, blind organists play from memory, and I count it one of the great privileges of my life to have heard Helmut Walcha play (twice) at the RFH. Of living performers I have heard, there are David Liddle, also blind, and three Americans: Daniel Hathaway, Paul Jacobs and Nathan Laube who all played from memory. Of British performers, most recently, and several times, Darius Battiwalla. I’m sure there are others. Carlo Curley played extensively from memory, but I’m not sure whether he might have used a score sometimes. I believe that playing from memory is more common, even more usual, in the US. In a completely different league, of course, didn’t Marcel Dupré play the complete works of Bach from memory?

I don’t know whether any of this was consciously (or unconsciously) inspired by the organs of G Donald Harrison in the US. He built instruments without Great reeds, sometimes large ones like the Tabernacle organ at Salt Lake City, relying on coupling the Bombarde to the Great. That was reversed at Salt Lake City in the subsequent rebuild by Schoenstein, but I’m sure there are other GDH organs still in their original format.

Absolutely no apology necessary! You, in fact, supplied the programme for Thomas Ospital’s recital at St Olave’s York only three days earlier, and it was my good fortune to be at both. Thomas Ospital also improvised brilliantly on three different themes - plainchant, metrical psalm and one other very secular! Several hundred in the audience for David Briggs is my best estimate and, yes, greatly enjoyed by all.

The programme (as previously notified!) plus the encore: Pierre Cochereau (1924-1984) trans. David Briggs: Two improvisations on ‘La Marseillaise’ Pierre Cochereau trans. Jeanne Joulain: From Neuf Pièces improvisés en form de ‘Suite Française’: Kyrie (sur le Grand Plein Jeu) - Offertoire sur le Grand Jeu - Cromorne en taille Basse et Dessus de Trompette - Grand Plein Jeu Antoine Calvière (1685-1755): Pièce en trio Louis Vierne: Pièces de Fantaisie: ‘Etoile du Soir’ - Impromptu - Toccata in Bb minor Léonce de S Martin (1886-1954): Méditation sur le Salve Regina Pierre Cochereau trans. David Briggs: Variations on “Alouette, gentille Alouette”: Theme - Fileuse (Spinning Wheel) - Lent - Agité (Fonds 16’ 8’ 4’) Tierce en Taille - Trio - Scherzo - Flutes - Intermezzo - Final Encore: David Briggs: Improvisation in free style (or in the spirit of that evening) en style libre! As might be expected, the Liverpool organ coped effortlessly with all of this. One realised what a remarkable instrument this is. I don’t know Notre Dame well enough to suggest how closely they compare. There was an audience of several hundred - I can’t guess how many - it’s difficult to judge in that huge building. There were spare seats. All of the Cochereau improvisations, and David Briggs’ performances were tours de force. In the ‘Suite Française’ he employed ‘authentic’ French Classical registrations in a 20th century idiom, i.e., louder and fuller but recognisably faithful to the originals. Solo flutes came across with total clarity in the Calvière trio. The Vierne was, of course, familiar fare. S Martin’s Meditation on the Salve Regina was a simply beguiling work. In “Alouette, gentille Alouette” we heard the theme, very staccato, on the Trompette Militaire - I suppose in lieu of a chamade at Notre Dame - speaking antiphonally from behind most of the audience (in my case, also a first experience of that stop), a very dramatic effect! The balance was excellent, and the trompette was certainly not as devastating as one has sometimes been led to expect! A simply thrilling sound! Well, of course, the playing was all superlative and, as previously mentioned, he received a standing ovation. PS It’s worth adding, as an indication of his prodigious efforts in transcribing “Alouette, gentille Alouette”, David Briggs’ programme notes say: “I transcribed this fantastic piece from LP, taking about 6 months, bar by bar. It is scarcely possible to comprehend how such brilliant, effervescent and memorable music could be conceived on the spur of the moment. Transcribing it was truly ‘a labour of love’ taking an average of four hours to reconstruct one minute’s music”.

I’m sure there has been more than one new console at Notre Dame since Vierne’s was displaced. Surely no one would contemplate inserting thumb-pistons - quite apart from all the other logistical problems of up-dating without compromising its original integrity. I thought my ‘plug’ for the David Briggs recital counted as ‘Notre Dame’ rather than on the ‘Recitals’ thread - which seems to be only spasmodically used, and the fact that Notre Dame and St Eustache organists were playing in England at the same time was news-worthy. So far, no reactions to DB’s programme. Was anyone else there?

Noel Rawsthorne’s ashes are to be interred in the North Choir aisle at Liverpool Cathedral, alongside those of his predecessor Harry Goss-Custard, during Evensong on Saturday 19th October at 3.00 pm. The service will be followed immediately by Ian Tracey giving the 93rd Anniversary organ recital, which includes two works by Noel Rawsthorne as well as his own tribute to him: Felix Mendelssohn (arr. Goss-Custard): Overture ‘The Hebrides’ Noel Rawsthorne (1929-2019): Aria in E flat Phantasie “Wachet auf” Ian Tracey: Aria ‘In Memoriam Noel Rawsthorne’ Felix Mendelssohn (arr. Goss-Custard): Scherzo from ‘A Midsummer Night’s Dream’ Flor Peeters: ‘Lied Symphony’ (Op. 66)

Well, in fact another in the same week as the one for Thomas Ospital: last night David Briggs at Liverpool Cathedral after his recital in aid of Notre Dame.

Well, as it happens, Thomas Ospital gave a brilliant recital at St Olave’s, York three days ago almost entirely hand-registered. A very varied programme: Mozart Fantasia in F minor; JSB Trio Sonata No 5 in C; Liszt BACH; Duruflé Prelude and Fugue on the name Alain; his own transcription of Bartok Six Romanian Dances and an improvisation on three submitted themes - entirely without a sequencer! It was, by any standards, a breath-taking performance and he received a standing ovation! I can’t recall that happening before at an organ recital. Especially for our northern friends, these were the three submitted themes: (1) Plainchant: “Tu es Petrus” (Communion for the Feast of SS Peter and Paul 29th June); (2) York Tune (Scottish Psalter 1615) “Pray that Jerusalem may have peace and felicity”; (3) “Gentleman Jack” (Yorkshire folk tune). These were woven into a masterly improvisation concluding in true French style with the theme in the pedals. All of which proves that a top player (I don’t think he had seen the organ before that morning!) could still manage without a sequencer. By an extraordinary coincidence, Olivier Latry was playing at exactly the same time at the Temple Church in London. Back to Notre Dame! A reminder that David Briggs is giving a ‘benefit’ recital in aid of Notre Dame in Liverpool Cathedral tonight, 7.30 pm.

I can’t answer your question as my contacts at St Mary’s have moved on elsewhere. But by a strange quirk of fate, this has surfaced on the same day as John Robinson’s and David Drinkell’s discussion of HW III’s fuel-gauge swell indicators. St Mary’s has two of them.

Without knowing what the “satirical magazine” is suggesting, it’s not immediately obvious how expansion of facilities would inversely reduce singing and rehearsal times. Is this some ‘tongue-in-cheek’ sort of joke? Barry Williams, I am sure, would know the answer to your serious question. But such legislation as exists is aimed at (1) protecting children’s education and (2) their not participating in undesirable or hazardous ‘work’. I would not have thought that these are problems for cathedral choristers.

At a slight tangent, but still in York, by a remarkable coincidence at precisely the same time, 7.30 pm on Wednesday 26th June, Thomas Ospital from Saint-Eustache, Paris will be giving a recital at St Olave's, York, while Olivier Latry from Notre Dame, Paris will be playing at the Temple Church in London. I don't know any details of Thomas Ospital's programme. For Olivier Latry's recital, see organrecitals.com.

This has been mentioned already: David Briggs' recital in aid of Notre Dame, 7.30 pm Saturday 29th June in Liverpool Cathedral. This is the programme: Pierre Cochereau (1924-1984) trans. David Briggs: Two improvisations on ‘La Marseillaise’ Pierre Cochereau trans. Jeanne Joulain: Neuf Pièces improvisés en form de ‘Suite Française’: Kyrie (sur le Grand Plein Jeu) - Offertoire sur le Grand Jeu - Cromorne en taille Basse et Dessus de Trompette - Grand Plein Jeu Antoine Calvière (1685-1755): Pièce en trio Louis Vierne: Pièces de Fantaisie: ‘Etoile du Soir’ - Impromptu - Toccata in Bb minor Léonce de S Martin (1886-1954): Méditation sur le Salve Regina Pierre Cochereau trans. David Briggs: Variations on “Alouette, gentille Alouette”: Theme - Fileuse (Spinning Wheel) - Lent - Agité (Fonds 16’ 8’ 4’) Tierce en Taille - Trio - Scherzo - Flutes - Intermezzo - Final

Thanks to everyone for the clarification about Malmo. I did also wonder whether there might be an electronic screen for the music lurking behind the glass or perspex desk. But the Choir organ specification is an astonishing concept in its own right. Have Klais ever done anything like this before?