In this fourth film in a series of short films on improvisation, Stéphane Mottoul, Organist at the Church of St Leodegar, Lucerne, Switzerland, improvises six contrasting movements of a Classical French Suite, and discusses the characteristics of the French Baroque language in contrast with the German style of the time.

The 2024 edition of the College’s research publication, The Journal of the Royal College of Organists, can be downloaded here as a complete edition. It explores the world of publishing in Grand siecle France, looks at Bach’s deft handling of thematic material in pedal parts, and marks anniversaries regarding Franz Schmidt, and Charles Villiers Stanford and Walter Parratt. And in one of his last articles before his death in 2024, Francis O’Gorman looks at the meaning that destroyed organs can hold.

2024 is an anniversary year for both Sir Charles Villiers Stanford, and Sir Walter Parratt, a close friend and colleague of Stanford. This article by Andrew McCrea mainly looks at Parratt, a famous organist and teacher, through the Stanford association, and argues that inspecting Stanford’s dedications to Parratt can enrich our understanding of these two national figures.

The RCO Cinema streaming service is a partnership between the RCO and film-maker Fugue State Films, designed to make high quality films about the organ and its music available to the widest possible audience around the world.  

Francis O’Gorman was a master at examining the organ from various cultural perspectives. Earlier articles for the RCO looked at the organ as it is portrayed in nineteenth-century literature, on which Francis was a world-leading expert. In this, one of his last articles, Francis takes us on a personal journey which probes the meanings that destroyed (and revived) organs can hold.

Still playing at 93 years of age, Robert Hoare, a blind organist, had lost his ARCO diploma certificate. In recognition of his remarkable career, the RCO created a replacement.

Maria Jenner marks the 150th anniversary of the birth of Franz Schmidt (1874–1939) as she views this significant Austrian composer through the lens of two of his most important pupils: Susi Jeans (née Hock) and Friedrich Mihatsch.

Francis Knights offers much food for thought about Bach’s deft handling of thematic material in pedal parts. Many examples show us how the simplification of thematic and motivic ideas, in order to make them playable by the feet, was a well-honed and strategic skill. The alteration of musical content in the lowest part frequently raises questions as to what Bach expected of players, and adaptation methods can also help us to assess what may or may not be an actual pedal part.

The College’s bi-annual magazine for members contains features, details of forthcoming events and courses, and general news and views from the RCO.