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Just back from a busy weekend. Played a recital (Couperin—with Nivers chant—and Franck) on the wonderful Dobson at Merton College Oxford on Saturday, then zoomed over to Cambridge on Sunday morning to give an all-Couperin recital on the glorious Metzler at Trinity College before Evensong. I had prepared for Trinity the previous week as the organ is a real challenge to register and all needed to be prepared and marked up in advance. I couldn’t have been made more welcome by directors of music Benjamin Nicholas and Stephen Layton, to whom I owe many thanks for the invitations and their abundant hospitality. Here are photos of both venues.

It’s not every day that one discovers an organ hidden behind a wall for a generation, but that’s what happened to me on 9th May. The former Great Yarmouth Grammar School (now Great Yarmouth Charter Academy) has a fine 1960/1991 Williamson & Hyatt organ bricked up in its hall since the mid 1990s but now revealed and ripe for cleaning. It will come up a treat.

On 1st May Anne and I enjoyed the life-enhancing experience of Simon Rattle conducting (using no score) the LSO in Mahler’s Ninth Symphony, at Symphony Hall in Birmingham—the hall Sir Simon himself brought into being during his glorious years with the CBSO. Notwithstanding the five-star review The Times had given its Barbican performance the previous week, nothing could have prepared us adequately for the impact of this masterwork, played by the greatest of the UK’s orchestras in the finest UK hall, under the most sensitive imaginable direction of the UK’s leading conductor. It doesn’t come any better than that. The photo was taken just before Sir Simon entered.

The renowned organ-builder William Hill was born in Spilsby, East Lincs, in 1789 and built an organ for the spacious parish church in 1840. His firm enlarged it in 1866 and 1879; Cousans fitted an excellent pneumatic key action in 1926 and cleaned it in 1950, adding a long-desired Pedal Bourdon. Recently immaculately overhauled by Chris Hind, I had the great pleasure of giving a demonstration recital this evening. A wonderfully fresh, clean-toned organ with limpid flutes and fast-speaking reeds. A real delight on all fronts. And the church even boasts a memorial stained-glass window dedicated to William Hill; have any other organ-builders such a memorial?

Just back from sunny Barcelona—our first visit there. What a beautiful city—attractive, clean, and seemingly populated with helpful, smiling people. Gaudi’s buildings are truly fascinating, especially the jaw-dropping Sagrada Familia, which now contains an organ (in two cases, one either side of the High Altar). To our delight, the instrument struck up all on its own every hour, setting a serene atmosphere for the visiting 1000s by playing gentle Bach. Perfect!

Just back from a satisfyingly busy weekend—Saturday was spent at Trinity Church in Leek, teaching twelve members of the highly commendable (and really motivated) Leek Churches Organ School. Smashing old 3-manual tracker Jardine, too. Then on to spend the night at an old friend’s in Wilmslow before spending Sunday at St Philip & St James in Alderley Edge, attending their excellent Sung Eucharist (congregational singing superbly led by their choir and organist) and then climbing around the slightly ailing organ to assess what needs doing to it. The perfect Sunday!

I was so moved and thrilled by the Nottingham Bach Choir & Orchestra’s St John Passion on the eve of Palm Sunday. The choir had been on tremendous form all term and to conduct a flowing and emotionally charged performance, with Ruairi Bowen on compelling form as Evangelist was a real treat for me, especially as it’s my last with NBC before retiring after 30 years, in June 2019.

My birthday on 4th March was celebrated in grand style as I gave an organ recital at St Paul’s cathedral. It’s always a thrill and a challenge playing that colossal instrument—and that colossal acoustic—and I was determined to display as many of its colours as I could. Michael Broadway—who keeps the organ miraculously in perfect tune — was kind enough to say how much he enjoyed my registrations, particularly the prominent use of the Willis III Contra Bass in a pedal solo, the massed strings, and the Trompette Militaire. Despite the appalling weather there was a good turn-out, and my former organ scholar Peter Holder, now Sub Organist at Westminster Abbey, was good enough to turn pages for me despite a busy day at the Abbey. All in all, a memorable 66th birthday!

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.