In two recorded webinars, Frederick Stocken discusses the continuo realisation question in the Keyboard Skills Tests for FRCO. 

In this practical guide William Dore, Organist at Ampleforth Abbey, explains the characteristics and traditions of plainchant or plainsong.  He discusses notation, and how to create an accompaniment to plainchant, including ideas on rhythm, suitable harmonic progressions, and cadences in keeping with the modality and mood.

The psalms set to Anglican chant are an art form in themselves, and an excellent test of the organist’s skills as accompanist. Jeffrey Makinson, Assistant Director of Music at Lincoln Cathedral, explains how to read pointing, memorise chant, and plan registration schemes.

Richard Brasier explains how Beethoven’s early experiences with the organ as a church musician gradually helped to transform piano technique during the early-Romantic period, in a discussion of his new edition of Beethoven’s works for the organ and for Flötenuhr, published by Verlag Dohn in 2020.

The clear division of Bach’s keyboard works into those for organ and those for clavier is one that is more evident to modern editors than it probably was to performers in eighteenth-century Germany.  Francis Knights discusses a few works that appear to fall into neither camp, and the evidence they provide for the particular instrument they may have been played on.

Tom Bell uses W. T. Best’s editions of Bach to open a window into the world of a Victorian musician, and to explore nineteenth-century performance practice. 

The most substantial of Purcell’s organ works, the Voluntary for Double Organ has been described as ‘an exuberant product of the English Baroque’.  This paper by Desmond Hunter reviews aspects of the notation and considers several issues concerning the work’s performance, set against the background of a more general discussion of the genre.

Andrew Cantrill-Fenwick demonstrates how the organ and organ music developed in post-Revolutionary France, on the organ of Hexham Abbey.

The French Revolution was both destructive and creative, and the story of the organ during the revolutionary decade was one of continuity and of change. Andrew Cantrill-Fenwick discusses a time when organ culture was in thrall to political forces, in this article from the RCO Journal of 2020/2021.