Two new competitions for university and conservatoire organ students (including recent graduates) have been launched this year, and the deadlines for entries for both are rapidly approaching, in February. Read on for details of the CAOS inaugural student organist competition to be held in Sidney Sussex College, Cambridge, and the IAO – RCO competition, with finals in Peterborough Cathedral this summer.

In this video, Richard Brasier investigates how Fernando Germani’s Organ Method offers advice on, and exercises for, acquiring a secure and articulate pedal technique. He discusses four key areas of pedal technique – attack and release, foot positioning, ankle flexibility and foot substitution.

The Essex Organists’ Association invites organists from beginners to advanced, and whether RCO Members or not, to take part in their annual organ competition this Spring. The winner of the Advanced class will be given the opportunity to perform a pre-Sunday Evensong recital in Chelmsford Cathedral.

The 2017 edition of the College’s annual research publication, The Journal of the Royal College of Organists, can be downloaded here as a complete edition.

Peter Woodward came to organ playing late in life. It was unexpected, but the involvement with the instrument and its music has been transforming. Here’s the story in his own words – how on the death of his wife Mary he took up the piano and then the organ, and followed her in attending the RCO’s big Summer Course for the last three years.

Andrew Forbes discusses the nature of virtuosity, and how to overcome the frustrations of mastering a piece which is on the edge of your own current capabilities.

Leicester MusicFest 2018 welcomes amateur organists of all ages and abilities to showcase their talents in two competition classes in their annual pipe organ competition which takes place on the afternoon of Saturday 10th February 2018, on the Peter Collins organ in the St Cecilia Auditorium at English Martyrs Catholic School in Leicester.

Max Reger’s great first compositional period ended with his Second Sonata for Organ, Opus 60, written in 1901 at the time of his move from Weiden to Munich. It is a good introduction to his work, because it is concise, but has a lot of variation of form and technique.

On his move to Munich in 1901, Max Reger’s music, even by his standards, became more involved and difficult, and the signature work from this time is his set of variations on a theme by Bach, one of six great sets of variations he wrote. This work was written for piano, but conductor Ira Levin, using Reger’s own orchestration of his Beethoven Variations as an inspiration, has orchestrated the work.