In Q is for Quiet, Andrew Cantrill-Fenwick discusses the use of silence in music, and how composers from Monteverdi and Bruns to Franck and Messiaen have used space within music to give meaning.

Sir Andrew Parmley, Chief Executive of the RCO, describes how Richard Limpus’ vision in 1860 of a college to raise the professional standing of the organist has been fulfilled today, in ways that he never could have imagined. 

John Scott Whiteley discusses the playing of ornaments in Bach, with a performance of Erbarm dich mein, O Herr Gott, BWV 721, on the organ of the Wenzelskirche, Naumburg.

What are organ pistons for?  Anne Marsden Thomas explains their operation, how to set them up, and how a memory system and stepper can be used on a modern organ.

Frederick Stocken looks at the 18th-century two-part counterpoint requirements of the ARCO written examination paper, in two webinars recorded during the COVID-19 lockdown.

In a film to mark the 250th anniversary of Beethoven’s birth, Richard Brasier looks at his working life and short career as an organist in Bonn. 

RCO Director Andrew Macintosh gives a guided tour of the National Pipe Organ Register (NPOR), an online database of over 36,000 pipe organs in the UK.

Anne Page gives an introduction to Messiaen’s musical language and religious beliefs, illustrated with excerpts from a live performance.

Frederick Stocken looks at the two-part counterpoint requirements of the ARCO written examination paper, in two webinars recorded during the COVID-19 lockdown.