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It is always an honour to be invited to give a recital on an organ for which I have had some responsibility, whether as a Diocesan Organ Adviser or acting as a professional consultant. Some organs, however, remain a challenge to play, especially when restored without alteration or modernisation. One such is Potterhanworth, in the middle of the Lincolnshire countryside, where today I shared the billing with the splendid John Campbell, Dean’s Verger at Lincoln Cathedral, who spoke both amusingly and profoundly about his experiences over 40 years as a verger. The organ is a one-manual with a nightmare of a pedalboard; however, it sounds lovely and all at Potterhanworth were happy, which is all that matters.

On a beautiful sunny Sunday afternoon a large congregation stood outside the south side of Lincoln Cathedral, facing the house that until recently has been the Precentor’s home. Now transformed into the Song School, the building contains two rehearsal rooms, robing rooms, the music office, choir library and the necessary bits of plumbing. We watched as John Rutter spoke eloquently about the work of the music department then cut the ribbon and declared the Song School open. Evensong was then sung. Part of the funding was anonymously given in memory of our good friend Martin Pickering, several of whose former colleagues such as Christopher Robinson and David Lowe were in attendance. A memorable afternoon all round.

I was chuffed to see that Choir & Organ had published this little tale of mine about a piece of string and a neglected Cavaillé-Coll. Thank you, Graeme!

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Just spent an intoxicating day at the Troxy in Limehouse, listening to the largest Wurlitzer in Europe under the joint hands of Thomas Trotter (a first for him) and Simon Gledhill (bread & butter—or perhaps Tibia & Trem—for him). Plus two engaging talks on associated subjects. What a day! Even the 30-minute train delay, which meant I got home in the wee small hours of Sunday, paled into insignificance.

A strange feeling, having arrived at the end of the year without playing or directing a single carol service! Mind you, being an ‘ex’ cathedral organist also means freedom from the responsibility of producing all that Christmas music, so on balance I’m a happy man.

It was a real trip down memory lane when I addressed the Birmingham Organists’ Association at their Annual Dinner on December 6th. As a youngster I had joined the BOA back in 1966 and much enjoyed five years attending their activities until Oxford beckoned. In my speech I reminisced about the vibrant Birmingham music scene of the late 1960s and early 1970s, a time when Louis Frémaux galvanised the CBSO, Roy Massey did the same at St Philip’s cathedral, and the Birmingham School of Music was reborn and rehoused as the Birmingham Conservatoire (now, indeed, the Royal B.C). Great days in a great city!

A recent welcome surprise was to read within a fulsome Church Times overview of the Regent Records catalogue, a warm appraisal of my Southwell English Cathedral Series solo CD (REGCD 248) by Roderick Dunnett. After retiring from a cathedral post one does not expect to read reviews of previous recordings, especially such enthusiastic ones. Quite made my week!

from Church Times, 1 December 2017
Paul Hale, till recently Organist of Southwell Minster, has long been one of the outstanding figures of British organ music among cathedral organists, alike as performer, teacher, and adviser. His disc (The English Cathedral Series, Volume 14: REGCD 248) is as good as any by which to commend Regent’s most impressive series of organ recitals, not least because of the boldness of Hale’s chosen pieces.
     No traditional bonbons here. Hale has demonstrated his almost unique command of repertoire with a brilliant, unexpected fanfare by John Cook; Liszt’s poem Orpheus sounds not surprisingly like Franck, as well as Liszt himself. Karg-Elert’s Homage to Handel enables the composer to write one of those large-scale passacaglias that Reger favoured.
     But the real contrast here is 38 tracks dedicated to the sensationally beautiful and texturally varied Messe pour les Couvents by François Couperin. If organ music reached its zenith with Buxtehude and J.S. Bach, it struck its near-zenith in the solemn and more elegant interludes interspersed here amid choral contributions.

A great benefit of travelling around the UK advising on organs is the delight of finding oneself somewhere new and beautiful—from November 4-6 it was Grasmere where Anne and I stayed so that I could survey the fine Binns in the parish church. With the beauty of Autumn leaves at its height, a fine church service with a good choir, wonderful playing from Ian Hare, a sturdy Binns organ and a splendid hotel, what more could one possibly wish for?

One delight of having more time in my new-found freedom from cathedral life is the opportunity once more to work up song accompaniments. I have always loved the English song repertoire in particular, so it was a delight to perform with my good friend and fine baritone Stephen Cooper at St. Peter’s Nottingham on 4th November. The well-crafted songs of Eric Thiman, four of which we selected, proved a real joy to learn and perform.

Having just spent a couple of weeks in Tuscany, Anne and I feel more relaxed than for ages. What a beautiful part of the world it is; Arezzo was a special delight—we even managed to find Guido’s house (he who devised the musical stave). I was surprised to see how many churches still had pipe organs, even in the remotest corners of the countryside, though quite a few were clearly out of use. Still, benign neglect is preferable to several other fates…