Festival 2009
The 25th International Organ Festival at St Albans will take place from 9th to 18th July 2009.
Interviews Archive 2006 - 2007
Meet . . .David Briggs
Please tell us a little about your concert programme.
The thread that runs through the whole programme is really that of the art of Improvisation. I'm playing written compositions by Dietrich Buxtehude, Jean Langlais and Jehan Alain, all of whom of course were really great composers for the instrument as well as renowned improvisers. Buxtehude represents a pinnacle of the 'Stylus Phantasticus' style and so feels very improvisatory in spirit. Jean Langlais was my own teacher in Paris from 1984-86 and a great figure in the Parisian Organ Improvisation scene. Sadly we have no recordings of Jehan Alain improvising. I often think that Alain wrote the organ pieces which Maurice Ravel chose not to! In addition I'm planning on improvising three pieces in the styles of Mozart, Mendelssohn and Ravel.
What first attracted you to the organ as an instrument and how old were you when you started playing?
My grandad was quite a well-known organist in Birmingham for over forty years. He was a good friend of G.D.Cunningham (Mr Trotter's predecessor-but-one!) and was apparently particularly renowned for his liturgical improvisations. I used to go and sit with him when I was six - and then my Dad would take me to New St station to see the diesel engines during the sermon. What a bad start! When I was 10 I became one of Roy Massey's choristers at Birmingham Cathedral and I really fell in love with the sound of the instrument. I even made an imitation set of pedal pistons to put underneath our grand piano. I remember there were 10 pistons to Swell and Pedal, and reversibles to 'Contra Trombone 32' and 'Tubas 8’4’ ... is that sad, or what?!
Who (or what) has had the greatest influence on you as a player?
Undoubtedly the answer to this is the great French Organist/Improviser, Pierre Cochereau. I never actually met Cochereau in person, but after spending eleven years transcribing many of his famous recorded improvisations at Notre-Dame, I feel quite close to him in spirit. I studied with Jean Langlais from 1984-86 and this was also an extremely formative time. He was an absolute genius in the art of teaching improvisation techniques - incredibly focussed but very re-assuring and confidence-giving, at the same time. More recently, I must say that I have been very much inspired by the wonderfully lively Bach-playing of Ton Koopman.
What is a typical day in the life of David Briggs like?
Well there's very little that's routine, I have to say! Like most people, I spend a lot of time communicating with others via email, and I really enjoy keeping on top of that. When we're at home in New York I like to spend at least five or six hours a day composing and that always feels very good. Often it can feel like ten minutes! When I'm 'on the road', I enjoy meeting other musicians, bonding with new instruments, and seeing beautiful places. I'm typing this in Salzburg, in between concerts during a 2 1/2 week tour of Germany. It's a privilege to be able to visit places like this, as part of a 'work-schedule'. I'm also lucky that Madge (my beautiful wife since 2004) is also my manager, so we get to see many places together.
What are the highlights of your forthcoming schedule?
Each concert is equally important to me - so it's really hard to single one about above another. My very favourite organ in the world is Notre-Dame (and has been since the age of eleven!). In July we were up in the tribune and Yves Castagnet invited me to improvise the 11.30 Grande Messe. That was a totally unforgettable experience, as you can imagine. This really is the sort of instrument which taps into your subconscious, and that’s a wonderful feeling.
Meet . . . László Fassang
Please tell us a little about your concert programme.
I am very lucky because for most of my concert programmes I am free to choose the pieces I like the most. For this concert I was asked to include Buxtehude. Thus I decided to highlight the relationship between Buxtehude and Bach; one chaconne and one toccata from each. In the middle I have included an improvisation (as I do for almost every concert) which will be inspired by the sound of the organ.
What first attracted you to the organ as an instrument and how old were you when you started playing?
I was 13 when my mother accompanied me to the organ loft after a Sunday service. I was so impressed by the organist’s improvisation that from that day I was sitting next to him every Sunday. Soon I decided to learn the organ.
Who (or what) has had the greatest influence on you as a player?
Ilona Pruyi my piano teacher at Budapest Franz Liszt Academy, Olivier Latry, my organ teacher in Paris, Grigory Sokolov, the Russian pianist whom I listened to several times in concert, Miles Davis and Keith Jarrett.
What is a typical day in the life of László Fassang like?
If I manage not to switch on my computer it will certainly be a good day. Normally I wake up at the right moment without an alarm clock. I start to play Bach on the piano (pieces I never play in concert), then drink a coffee. I listen to some music, then go to take some exercise. After lunch I begin with the organ and practice for 4 – 5 hours. In the evening I meet friends, go to a concert or cinema.
What are the highlights of your forthcoming schedule?
I will play an evening recital in Notre-Dame Cathedral in Paris on 12 December, my 33rd birthday. In February I am going to play in Disney Hall, Los Angeles. A new CD will soon be released including duo improvisations piano-saxophone with my best friend Vincent Le Quang. In February we are going to play a duo recital in the Tchaikovsky Hall, Moscow.
Meet . . . Thomas Trotter
Please tell us a little about your concert programme.
The theme of my programme is Buxtehude and the Chaconne. The chaconne was a very popular form of composition in the Baroque era and was occasionally used by later composers too. As well as playing the Buxtehude Prelude, Fugue and Chaconne, I've included the Introduction & Passacaglia (a kind of Chaconne!) by Walter Alcock. He was one of the great figures of 20th century English Church Music, being Organist at Salisbury Cathedral for over 30 years. He was also renowned as an organist and teacher - he wrote a highly respected organ tutor which I learnt from when I was a beginner. I will also be playing Hungarian Rock by the Hungarian composer Georg Ligeti who died in June this year. It's based on a four-bar left hand chord sequence (hence the chaconne connection) repeated throughout while the right hand plays a kind of wild improvisation in a style that mingles jazz with gypsy violin. It's very whacky, original and quite challenging for the player.
What first attracted you to the organ as an instrument and how old were you when you started playing?
I always wanted to play the piano and I started having lessons when I was 5. When I was at prep school my piano teacher there was also the chapel organist, and he introduced me to the organ when I was 11. From then on the organ becamse the focus of my attention, although I kept on with piano studies until I left University.
Who (or what) has had the greatest influence on you as a player?
Different people have influenced me at different times. My teachers - Ralph Downes, Dame Gillian Weir, Marie-Claire Alain, and Peter Hurford have been my main influences. Latterly I have much enjoyed the recordings of Piet Kee,Ton Koopman and the historic recordings of Anton Heiller.
What is a typical day in the life of Thomas Trotter like?
No two days are the same! I often play concerts in Europe or the USA, so I spend a lot of time away from home. Or I might be in Birmingham where I play a regular series of concerts. I rarely get a day off which is OK because music is my hobby as well as my work, but I do try to set aside one day a week where I don't actually play. Quite often that doesn't happen, but I'm lucky that I enjoy what I do.
What are the highlights of your forthcoming schedule?
The next big thing is playing Bach's 6 Trio Sonatas in one concert at the QEH in March. I know them very well although I've never played more than one at a time, so it will be a challenge. I will be repeating this concert as a fund-raiser in St Albans in May, but everyone has to come to both concerts! In July In the summer I'm playing for an American Guild of Organists convention on a fine new Casavant organ in New York and for the Lahti Organ Festival on a new concert-hall instrument. October sees the reopening of Birmingham Town Hall (at long last) and later on that month I'll be playing a solo recital at the Royal Albert Hall.
Meet . . . Margaret Phillips
Please tell us a little about your concert programme.
My programme begins and ends with music based on the Te Deum, by two composers whose anniversaries we celebrate this year. First is Buxtehude, a wonderfully inventive composer who was such an influence on J.S. Bach, and who died 300 years ago this year. The second Te Deum setting is by the French composer Jean Langlais the centenary of whose birth falls this year. In between these pieces comes a set of variations on the chorale melody Vom Himmel hoch by J.S. Bach which explore all aspects of canon - this sounds very academic, but in fact it is a delightful piece. Next is a great symphonic work by the French composer César Franck, and the penultimate piece is Langlais's Ave Maria, Ave Maris Stella, from the same set of pieces as the Te Deum, the Trois Paraphrases Grégoriennes. I hope this will make an interesting and varied programme, that should explore all aspects of the Abbey organ.
What first attracted you to the organ as an instrument and how old were you when you started playing?
I started when I was quite young - about ten - having played the piano first. I sang in a church choir so the organ was a familiar instrument.
Who (or what) has had the greatest influence on you as a player?
Probably my two main teachers, Ralph Downes and Marie-Claire Alain, though lots of different people have influenced me since I had lessons with them. ee,Ton Koopman and the historic recordings of Anton Heiller.
What is a typical day in the life of Margaret Phillips like?
There is not really a typical day - if I am at home I would be practising and perhaps giving an organ lesson, or it might be a day when I am in London teaching at the Royal College of Music, or I might be away giving a concert or recording.
What are the highlights of your forthcoming schedule?
Probably the most exciting place I will play this year is the newly restored Frauenkirche in Dresden I give a concerts most months at the English Organ School and Museum and other venues include Brentwood Cathedral and Farnborough Abbey.
More information can be found on my website: www.margaretphillips.org.uk
Meet . . . Gerben Mourik
Please tell us a little about your concert programme.
My programme has two starting points: first, the organ is the point from which I made choices for my programme. So I have included some pieces (Tournemire, Dragt), which are written for a French-Classical Organ, in “modern times”! Secondly, to play some pieces which not are written for this type of organ, but sound good and are interesting for the audience to hear.
What first attracted you to the organ as an instrument and how old were you when you started playing?
My first attraction to the organ was in the church, where I and my parents go every Sunday. I began playing when I was 9.
Who (or what) has had the greatest influence on you as a player?
At the moment of the recital, the organ and the public. Otherwise, my teachers Ben van Oosten and Naji Hakim.
What is an ideal day in the life of Gerben Mourik like?
A day when I go with some friends to play a few organs, which I did not know before! And a good dinner after that…
What are the highlights of your forthcoming schedule?
Concerts in Gloucester (21/6) and Salisbury (18/7) Cathedral. Further to make a recording on the van den Heuvel organ at Stockholm with music from the Netherlands and Flor Peeters.
On 1 June a new CD is published which I have recorded with the pianist Caecilia Boschman, with transcriptions of works from Franck (Variations Symphoniques), Saint-Saens (the Wedding Cake) and Poulenc (Sonate).
Meet . . . Simon Johnson
Please tell us a little about your concert programme.
The programme is all based around ostinato, taking the Buxtehude Passacaglia as a starting point for exploring other works with a) a ground (Bach, Franck & Alain) and b) that take the idea of repeating figures as the basis for a whole work (the Bach chorales, Eben & Harvey). It's all great music and since we have the best Cathedral organ in the country (that statement should generate the IOF a few web/email hits!) it all sounds wonderful here. People will remember the Harvey from the 3 choirs concert at the last IOF - many people have asked if I would play it again and this is it's first outing since then: I'm currently trying to remember how on earth I played it...
What first attracted you to the organ as an instrument and how old were you when you started playing?
I was 15 when I started, which is suppose is quite late, but I'd already decided that it was what I wanted to do for a career so I was practicing with intent from the very first moment.
Who (or what) has had the greatest influence on you as a player?
Too many people/places to mention here and I'm sure there will be many more in the future. Not a day goes by when I don't learn something new about music, and the more I discover, the more I realise how much more there is to learn.
What is an typical day in the life of Simon Johnson like?
No two days are ever the same but I lead a very varied and interesting life that broadly consists of practice, accompanying, directing, composing, improvising, listening & studying on the musical side, and dealing with the girls' choir and their parents, service planning, tour planning and other routine matters on the admin side. I've started having conducting lessons and have just ordered a practice organ for my spare room so I'm doing all I can to make sure that, for the immediate future, at least, music stays on top of the admin!
