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.

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.

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 appearance of numerous organ books after Nivers’s extensive 1665 Livre d’orgue was an extraordinary phenomenon, and Jon Baxendale scrutinises this by looking closely at the composer-and-engraver relationships, and the methods and business concerns of the engravers. A rich music-industrial terrain is mapped out, not least in terms of legalities. The supporting notes and comprehensive concluding table consolidate this study as an important reference work.

This occasional research paper by Desmond Hunter reconsiders approaches to the performance of Byrd’s keyboard music based on a re-examination of the evidence in the sources, informed by the experience of playing and studying this music over many years. He also draws on research by other scholars and performers of Byrd’s keyboard music.

The College promotes an awareness of today’s music through the examination syllabuses, and some of Cecilia McDowall’s organ works have been set for study at ARCO in 2024-5.  The composer reveals her influences, inspirations and motivations in a fascinating interview with RCO Chief Examiner Stephen Farr, who gave the first performance of her First Flight in 2021.

The 2023 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 organs of Lincoln Cathedral before 1702, how new organs were commissioned in 19th-century France, the surviving sources of Franck’s Trois Chorals, the solo organ works of South African composer Stefans Grové, and Cecilia McDowall in conversation with RCO Chief Examiner Stephen Farr.