www.leedsminster.org
The Friends of the Music of Leeds Minster ~ Registered Charity 1055944
present
David Houlder and Friends
Lee Ward
Tim Harper
Thomas Moore
Jonathan Lilley
David Carlston Williams
Fridays in July 2016
All are warmly welcome at Friday Midday Prayers from 12.00 in the Lady Chapel
SOUVENIR PROGRAMME
You are asked to give generously to the Retiring Collection at each Recital –
please complete a Gift Aid Envelope if you are a UK Tax Payer; it helps greatly.
All proceeds are devoted to the tuning and maintenance of the
Minster’s magnificent organ – a task funded on an annual basis by grants from
the Friends of the Music of Leeds Minster.
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ACKNOWLEDGEMENTS & THANKS
The Friends of the Music express special thanks to all who generously assist in the presentation of
lunchtime organ music in general and this month’s series in particular:
The Recitalists for very generously giving their services
David Hawkin for much help with publicity
The Friday “Team” in the Wardens’ Vestry each week offering hospitality and refreshment to our “regulars”
Andrew Carter, A J Carter, Organ Builders ~ Michael Vary & Mark Walker, Allfab Engineering
The Organ of Leeds Minster
The first Organ at Leeds Minster was installed in 1714. Major work on the instrument was undertaken by
Greenwood Brothers of Leeds in 1815 – and again in 1841, when the organ was moved to the present
building in time for the consecration on 2nd September. Additions were provided by Holt, Hill and
Schulze in 1859 and the instrument rebuilt by Abbott & Smith of Leeds in 1883 and 1899, by which time it
had five manuals and pedals. The major re-construction of the organ by Harrison & Harrison of Durham
in 1913 gave us the organ as we now know it. Further work by Harrison took place in 1927 and,
importantly, in 1949. Somewhat unusually for a Harrison, the Leeds organ - though speaking
unmistakably with a Harrison voice - incorporates recognisable earlier pipework by other famous hands:
Hill, Schulze, Abbott & Smith and, after 1965, by Wood, Wordsworth and Stinkens. The Leeds firm of
Wood, Wordsworth & Co undertook a major scheme in 1965 when the pipework of the famous Altar
Organ was incorporated into the main body of the instrument. Several new stops were added and the
console re-furbished. The character of the original pipework was, in general, carefully maintained up to,
and during the programme of restoration recently completed. The major Restoration Appeal of 1994 here
at the Minster provided funds for a substantial and thorough restoration of the organ, including reconstruction of the Blowing Plant, replacement of the console mechanisms, actions and complete
cleaning and overhaul; this work was carried out by A J Carter Organ Builders of Wakefield, which firm
has had the care of the instrument for many years. The Blowing Plant works were by Allfab Engineering
of Methley. The Consultants to the Vicar and Churchwardens were Dr Noel Rawsthorne of Liverpool
[Main Adviser], the Organist and Master of the Music [Dr Simon Lindley] and the Ripon Diocesan Organ
Adviser [Mr Anthony J Cooke].
A complete history of the organ is in Parish, Past and Present by Dr Donald Webster [£5]
Recordings of the Organ, Choir and Organists are also available from the Visitors’ Centre
Special Upcoming at the Minster and elsewhere
Friday 1 July –Leeds remembers the Somme
Friday – Last Post & Reveille 7.30 am outside the Minster
Readings, Music & Reflection at 7.00 pm led by Canon Sam Corley
Sunday 3 July at St Michael’s Headingley
Choral Evensong by St Michael’s Choir & St Peter’s Singers, 6.30
Music of the Mystic Poets – A special concert by St Peter’s Singers, 8.00
Vaughan Williams – Charles Wood – Matthew Oglesby – Samuel Barber – Kenneth Leighton –
Andrew Jamieson concluding with Gerald Finzi’s 1946 Festival Anthem: Lo, the full, final Sacrifice
Free Admission – Retiring Collection
Thursday 14 July at Fulneck Church
These you have loved – Popular Organ Music played by Dr Simon Lindley,
11.00
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LEEDS MINSTER – FRIDAY LUNCHTIME RECITALS JULY 2016
Lee Ward
Brazil
José Lidon
Sonata del Primi Toni
Buxtehude
Prelude and Fugue in G minor, BuxWV 149
Mendelssohn
Sonata III in A major, Op 65
Con moto maestoso – Andante tranquillo
Elgar
Nimrod [Enigma Variations]
Furio Franceschini Marcha
Nuptial
Alberto Nepomuceno
Aria [Suite Antigua, Op 11]
Ramón Noble
Toccatina
8 JULY
Tim Harper
Philip Wilby
Bach
Philip Marshall
Ronald Perrin
Peter Tranchell
Ripon Cathedral
Recessional on a Wesleyan theme
Chorale: Herr Jesus Christ, dich zu uns wend S655
Three Pieces for Organ
Rondel – Pavan – Reveille
Fileuse & Fugue [1959]
Sonata for Organ [1958]
Preludio – Andante ostinato – Tu es Petrus in fuga
FRIDAY 15 JULY
Thomas Moore
Elgar
Bach
Guilmant
Lemare
Wakefield Cathedral
Imperial March
Prelude and Fugue in E minor, S548
Fantaisie
Scherzo [Symphony in G Minor]
FRIDAY 22 JULY
Jonathan Lilley
Mussorgsky/Wills
Waltham Abbey Church
Pictures at an Exhibition
FRIDAY 29 JULY
David Carlston-Williams
Whitlock/Riley
Delibes
Saint-Saëns
Bach
Lemare
Bach
Parry
St Saviour’s, Stockport
Elegy [Symphony in G minor]
Flower Duet [Lakmé]
Adagio [Symphony III Op 78]
Chorale: O Mensch, bewein dein' Sünde gross, S622
Andantino in D flat
Jig Fugue
Chorale Prelude: St Ann
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PROGRAMME NOTES
Friday 1 July
Mendelssohn [1809-1847] Sonata III in A major Mendelssohn’s tragically early
death was almost certainly brought on by overwork. One of the earliest of the 19th
century’s musical polymaths, he was distinguished equally as keyboard player,
conductor and concert organiser and, pre-eminently, as composer. A friend of
Thomas Attwood, Organist of St Paul’s Cathedral, Mendelssohn used often to play
extempore after cathedral services on his London visits. This practice was
evidently to the delight of the cathedral congregation and to the professional
frustration of the vergers and organ blowers who, understandably, were keen to
return home for their post-Evensong afternoon tea.
The main corpus of Mendelssohn’s output for the king of instruments is contained
within his opus numbers 37 & 65. The Three Preludes and Fugues (Op 37) are
dedicated to Thomas Attwood, while his Op 65 comprises Six Sonatas written in
response to a request from a London music publisher. Lovers of the organ
repertoire will not need reminding that the use of the Sonata title is somewhat
misleading, since none contains a single movement in sonata form and the pieces
may properly be thought of as organ suites - the printer had requested voluntaries.
The third Sonata has no last movement, and concludes with a lovely Song without
Words of the type at which the composer excelled. The first movement combines
elements of the composer’s sister’s Wedding Processional with a mighty Chorale
Fantasia on the Lutheran metrical version of Psalm 130 – Out of the deep have I called
unto Thee, O Lord.
Friday 8 July
Bach [1685-1750] Chorale Trio: Herr Jesu Christ, dich zu uns wend, S655. The
melody of Herr Jesu Christ, dich zu uns wend is familiar to every Lutheran, as this is
the hymn sung traditionally prior to the sermon in the Sunday liturgy. Only the
metrical Gloria - Allein Gott in der Höh’ sei Ehr - would be more familiar. Bach left
several treatments, of which today’s dance-like happy Trio is the most substantial.
All parts are imitative at the outset, but ultimately the hymn tune is heard on long
notes in the pedal part. This work comes from the collection of Eighteen Chorales.
The trio presents the organist with his most formidable technical challenge – each
manual part being disposed on a different keyboard, with a third musical textures
shared between the two feet. The constant interplay between the musical lines in
this remarkably inventive prelude is a continual delight to the listener and an
ongoing challenge for the player.
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Friday 15 July
Devised specifically for the celebrations accompanying Queen Victoria’s Diamond
Jubilee in 1897, the Imperial March of Sir Edward Elgar [1857-1934] – together
with the Triumphal March from Caractacus composed in the following year –
demonstrates clearly the quality of its composer’s musical rhetoric. Catchy
rhythms and swirling harmonies vie for the listener’s attention and the central
melody of the trio soars aloft. Ultimately, the infectious rejoicing of the bustling
opening figuration returns triumphant in the final coda. There is a superb
arrangement for organ by Sir George Martin [1844-1916], Stainer’s successor as
Organist of St Paul’s Cathedral and composer of one of the finest Victorian hymn
tunes (St Helen for Lord, enthroned in heavenly splendour). Both the Imperial March
and the Triumphal March look forward clearly to the glories of Elgar’s set of Pomp
and Circumstance marches.
The stupendous Prelude and Fugue in E minor S548 of Johann Sebastian Bach is
a work on a very substantial scale. Indeed, the great scholar Phillip Spitta went so
far as to declare that
it should be called an organ symphony in two movements
asserting by this that the appellation Prelude and Fugue was inadequate for so fine a
piece. The Prelude is taut and noble in utterance with the Fugue altogether freer and
more brilliant in fine contrast. The episodes abound in melodic and harmonic
twists of astonishing ingenuity and rhythmic flexibility. It may be that the rocking
to and fro pattern of the fugal subject shows the influence of Bruhns. The Wedge,
like the St Anne, is one of the last of Bach’s greatest organ works and thus dates
from his final years as Leipzig Cantor. Hermann Keller asserts that, in the Wedge
fugue:
Fugue, Concerto and Toccata are combined here in a manner comparable only to that
employed in the Finale of the Ninth Symphony [Beethoven’s that is to say] a
hundred years later.
Friday 22 July
Modest Mussorgsky [1839-1881] Pictures at an Exhibition transcribed for organ
by Arthur William Wills [born 1926].
Promenade
The Gnome
Promenade
The Old Castle
Promenade
Tuileries
Bydlo
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Promenade
Ballet of Unhatched Chickens
Samuel Goldenberg and Schmulye
Promenade
The Market Place at Limoges
Catacombs – Cum Mortuis in lingua mortua
Hut of the Baba-Yaga
The Great Gate of Kiev
The conception is straightforward, yet highly original. The listener is paraded
around the portraits by means of a recurrent and totally characteristic Promenade,
used almost rondo-like as an Intermezzo on four occasions after its initial preludial
appearance. Mussorgsky gives very precise performing directions for his
Promenade:
Allegro giusto (that is in strict time)
nel modo Russico (though in a Russian style)
senza Allegrezza (with a feeling of Allegretto)
ma poco sostenuto (but rather sustained)
This motto material is treated to ear-tickling variants on each occasion. Listen for
the fauxbourdon in hushed tones before The Old Castel and the fragmentary
utternace preceding Tuileries as well as its final, impressive and rather more
sonorous statement which heralds in the last four portraits.
The Gnome evokes a slightly sinister and mysterious character of uneven gait, with
bold use of chromatics in its march-like episodic treatment.
The composer lingers long at The Old Castle with its dolorous minstrel at the gate –
the pathos of whose melody seems drawn from the innermost recesses of its
creator’s complex character.
Hartmann portrays children ‘quarrelling at play’ in the famous Parisian gardens.
Mussorgsky’s Tuileries is deliciously capricious with the cries of the youngsters
intermingled with expression of great warmth. The Bydlo of the next piecture is a
rustic Polish farm cart or dray, traditionally drawn by cattle of substantial
proportions strong enough to propel the vehicle’s massive wheels. The music is
pervaded by a processional main theme in the haunting tonality of the Aeolian
mode. The extraordinary Ballet of Unhatched Chicks was inspired by one of
Hartmann’s theatrical designs, brilliantly captured by the composer’s charming
Scherzino with its own miniature trio and coda.
Mussorgsky achieves possibly his greatest characterisation when responding to the
eternal theme of riches alongside poverty inherent in the portrait of the two old
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men of the title. Goldenberg and Scmuyle were depicted by the artist as archetypal
figures – the one well-to-do and laid back in demeanour, the other rather nervous –
doubtless hungry and poor too. Just as Schmuyle’s ceaseless chatter is so well
caught in his portrayal, so does Mussorgsky wonderfully illustrate the cackling
women of The Market Place at Limoges – a vivacious perpetuum mobile toccata, whose
capricious cadenza leads without break into the grave sonority of Catacombs, the
main portion of which is headed Cum mortuis in lingua mortua (with the dead in a
dead language). The composer says that
Hartmann’s creative spirit leads me to the place of skulls, and calls to them –
the skulls begin to glow faintly from within…..
The infamous witch Baba-Yaga is featured in the work’s penultimate portion. This
is real Witches’ Sabbath stuff, broomsticks and all – only in the steadier tones of the
trio of this monstrous scherzo does the creator depict the mythical character
immortalised by Pushkin. This section is brilliantly conceived, highly original
writing.
Comment on the musical finale to these portraits is almost superfluous.
Hartmann’s design for the city gate at Kiev must indeed have been great, to judge
from the composer’s response to the visual image before him. The two main motifs
are strongly contrasted – the first is ceremonial and the second more intimate. This
piece is almost certainly inspired by the wondrous corpus of unaccompanied
choral music that is so vital and evocative a part of the Orthodox liturgy. It may
not be fanciful to suggest that in this latter material, with its haunting harmonies,
Mussorgsky may well have been – whether consciously or unconsciously –
providing an elegy for his departed friend whose artistry proved so fertile a
catalyst for these truly outstanding musical portraits.
Friday 29 July
From the age of twenty-one Organist of the Parish Church (now the Cathedral) and
the Albert Hall in the City of Sheffield, Edwin Henry Lemare [1865-1934] left
Yorkshire early in his career to seek fame and fortune in London, holding posts as
Organist at Holy Trinity Sloane Street and St Margaret, Westminster. From 1912
until his death in 1934, Lemare resided in America where his playing attracted vast
audiences. He held a number of civic posts including those at Pittsburgh’s
Carnegie Institute, the San Francisco Civic Auditorium and the Sailors’ Memorial
Auditorium in Chattanooga, Tennessee. As a performer and recitalist, Lemare has
left many clues to the thinking behind his exceptional virtuoso playing and
imaginative programming. Writing in 1917 he asserts
The appeal of the organ is fundamentally spiritual, or emotional. The normal listener
to music doesn’t listen to an organ recital as he listens to an orchestra. The latter
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challenges his attention, the former woos it. There is that in the organ which passeth
understanding. It is persuasive, spiritual and golden. It is never merely pretty….
The Andantino in D flat of 1892 is its composer’s most famous work and was
afterwards used as the melody of the popular ballad Moonlight and Roses.
DAVID’S GUESTS
Lee Ward hails from Liverpool and was a pupil of both David Houlder and Ian
Tracey before becoming Assistant Organist at Chester Cathedral at the age of 18. A
Foundation Scholar at the Royal College of Music, Lee also held organ scholarships
at St Paul´s Cathedral, Temple Church and St Alban´s Abbey. For sixteen years he
was Director of Music at the London Oratory School, where he ran the renowned
boys choir known as the Schola, making numerous recordings, broadcasts and
international tours with that choir. He combined this with the post of Director of
Music at Hampstead Parish Church in London. Since 2012, Lee has lived in São
Paulo in Brazil and is Director of Music at St Paul´s School in the city and also
Organist at the magnificent Basilica of São Bento. There he accompanies the forty
or so monks in the liturgy and also plays regular concerts as organist and
conductor. Lee has given concerts in many parts of Brazil and is currently working
on recordings of Latin American and British organ repertoire.
Tim Harper moved to Ripon Cathedral as Assistant Director of Music in
September 2014. He trained as organ scholar successively at St Barnabas Church,
Dulwich, Clare College, Cambridge, Canterbury Cathedral and St Paul's
Cathedral. During this period he toured the USA and Austria, assisted at the
services for the 2008 Lambeth Conference, accompanied several CDs, performed
live on BBC TV and appeared with the City of London Sinfonia. Then also a pupil
of David Sanger, he gained the major prizes at ARCO and FRCO, including the
RCO Coventry Cathedral award; he was subsequently awarded the Silver Medal of
the Worshipful Company of Musicians.
In 2010 he was appointed Assistant Director of Music at Birmingham Cathedral,
playing the first of several broadcasts in his first term there. He also appeared with
the Royal Ballet Sinfonia, Ex Cathedra and the Birmingham Bach Choir. During
this time he studied organ with Andrew Fletcher and singing with Matthew
Venner. A frequent recitalist, particularly in London and the new Diocese of West
Yorkshire and the Dales, he also enjoys continuo work, and is accompanist to the
early music course NORVIS. An interest in jazz keeps his improvisational muscles
flexed, while also finding employment in settings as diverse as boat, restaurant,
funeral, Spain, Harrogate, organ recitals, and jazz Eucharists at St Paul’s
Cathedral. On 26 July at Ripon Cathedral he will give the first performance of his
transcription of A Colour Symphony by Arthur Bliss.
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Thomas Moore was born in Leicester, and was a treble in Leicester Cathedral
Choir. He studied music at the University of Huddersfield, graduating as a
Bachelor of Music in 1997, and during his time at University was successively
organ scholar at Huddersfield Parish Church and Bradford Cathedral. After
undergraduate studies, Tom was appointed Assistant Organist of St. James the
Greater Church in Leicester, and concurrent with this appointment completed
further studies for a Master of the Arts qualification. In autumn 1998 Tom assumed
the appointment of Assistant Organist of Peterborough Cathedral, a position he
held until summer 2002. In September 2002, Tom returned to West Yorkshire to
take up the post of Assistant Director of Music at Wakefield Cathedral. A
particular duty of this appointment was to direct the girl choristers of the
Cathedral Choir which inspired Tom to focus more on choir training and direction.
At the retirement of Jonathan Bielby in 2010, Tom was invited to take up the
position of Acting Director of Music at Wakefield Cathedral, and his appointment
as Director of Music was confirmed in January 2011. He is the first full time
Director of Music at Wakefield Cathedral, and only the fifth cathedral organist at
Wakefield since the former Parish Church of All Saints became the Cathedral
Church of All Saints Wakefield. Notably, Tom is one of only a few Cathedral
musicians to have played at two Royal Maundy services; at Bradford in 1997 and
Wakefield in 2005. Many of his choristers have gone on to be high achievers, and
two more recent Wakefield Cathedral Choristers have respectively been selected as
a finalist in the BBC Chorister of the Year competition, and a singer in the
Diamond Choir for HM The Queen’s celebration service in St. Paul’s Cathedral.
Tom has worked with many notable musicians and groups in his career to date; he
currently accompanies the Yorkshire Philharmonic Choir, teaches at Queen
Elizabeth Grammar School in Wakefield, and is University Organist of The
University of Huddersfield. He has broadcast for BBC radio and television, and his
work as a choral director and organist can be heard on numerous compact disc
recordings. Tom’s work has taken him to many venues within the UK, across
Europe and into America.
Tom is married to Heidi, and they have a baby daughter. In any free time he has,
Tom enjoys motorsports, travelling on the continent and drinking real ale. He also
takes a keen interest in, and owns a number of cars.
Jonathan Lilley is an organist by profession, a general keyboard accompanist by
vocation, and an occasional solo pianist for recreation. A church musician since
chorister days at parish and cathedral in Salisbury, he trained at the Royal
Academy of Music, and whilst still a first-year undergraduate he held the organ
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scholarship at St George’s Chapel, Windsor Castle and gained the Fellowship of
the Royal College of Organists.
His career proper began here at the Minster on his appointment as Sub-Organist in
succession to Carleton Etherington in 1996. He was much involved with Leeds
College of Music, as Director of Chamber Choir, accompanist to the Choral Society,
and repetiteur to a number of operatic productions, and was a general piano
accompanist both at LCM and the University of Leeds. He was also accompanist
to the Overgate Hospice Choir and latterly to Halifax Choral Society. He gave
organ lessons at Leeds Grammar School and under the auspices of St Giles
International Organ School. A long and happy involvement with the staffing of
the Royal School of Church Music’s residential courses began during his time in
Leeds.
In 2002 Jonathan moved to Ely Cathedral as full-time Assistant Organist. Besides
accompanying the choral services and being a key player in the training of the boy
choristers and the running of the music department, he appeared as pianist as well
as organist on the Ely choir’s recordings and broadcasts, and in recital in the
cathedral, while being kept busy as an accompanist by instrumentalists and choirs
at King’s School Ely and by Ely Choral Society and Ely Consort. At Ely he achieved
his first concerti – Poulenc’s organ concerto with the City of London Sinfonia
under Stephen Layton, broadcast as an episode of BBC Radio 3 Live In Concert, and
Mozart’s A major piano concerto as part of a concert by Ely Choral Society. He also
made his first forays into silent film accompaniment, presenting The Hunchback of
Notre Dame and The General in the cathedral, to wide acclaim.
Since September 2013 Jonathan has been Director of Music at Waltham Abbey
Church in Essex, where he leads the Abbey’s mixed adult choir and a children’s
choir known as the Choristers. He is once again developing his freelance career,
especially as a pianist; he is accompanist to the English Baroque Choir under the
direction of former King’s Singer Jeremy Jackman, and a duo partner with baritone
Laurence Williams. A special project for this year has been a revival of the
unpublished Piano Quintet by Percy Whitlock, which was successfully performed
in Waltham Abbey with string players from the Royal College of Music.
Jonathan attributes his musicianship to many serendipitous, inspirational musical
experiences and influences throughout his career, much more than to formal study
at its outset or discipleship of particular teachers. As an excellent sight-reader he
has been in demand as an accompanist since school days, thus becoming infused
and enthused with chamber music and the staples of the violin and flute student’s
repertoire, with the orchestral accompaniments of oratorio and opera, and with
occasional forays into musical theatre and Dixieland jazz. Spontaneous rather than
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scholarly, he is most ‘at home’ in the post-Romantic music of Britain and France,
but above all relishes the eclecticism which goes with the territory of the church
musician and the accompanist.
David Carlston Williams. David’s love of music began with his fascination with
the church organ, at the age of three years lying on the floor of the church every
Sunday, being mesmerised by the organist playing the foot pedals! He continually
asked his mum and dad to let him have piano lessons. Finally his mum asked a
Piano Teacher for his opinion, (knowing that he didn’t teach children until the age
of seven). The teacher spotted David’s potential, even though he was only five at
the time, he started lessons the next week!
He attended Oldham Hulme Grammar School and then went to Oldham Sixth
Form College to take A Levels. He went on to Study at The Royal Northern College
of Music in Manchester (2000/2004) gaining his BA/GradRNCM. David studied
with Darius Battiwalla, Ronald Frost, Jeffery Makinson and Jeremy Young, and
participated in Master Classes with:- Nicolas Kynaston, Colin Walsh, David
Sanger, David Briggs, Graham Barber, Kevin Bowyer, Naji Hakim, Dame Gillian
Weir, and Jacques van Oortmerssen. His training was continued at the Royal
Northern College of Music as part of the degree programme. The course was so
thorough, that as well as advice and training in the teaching of the Organ, David
had an entire year of specialist training from Judith Burton on the teaching of the
Piano. David has been employed as Director of Music of Holy Innocents Church,
Fallowfield and as School Organist at Bury Church of England High School, and
Assistant Director of Music at St George’s, Stockport. Between the years of 2001 to
2012 , he was Director of Music at St. Paul’s Parish Church, Royton, running a
small choir which sang at Morning Service with Choral Evensong once a month.
David also ran a very successful Music Club, which he took on a visit to the
Bridgewater Hall, all pupils played individually on the stage. The music club have
played in concerts at various venues, three times in presence of the Mayor of
Oldham. When David was at RNCM, he was invited to play as a Guest Organ
Virtuoso in a concert for the Mayor of Rochdale featuring Organ, Brass Band and
Vocal Performances. Other highlights in David’s career include a Dedication
Service at Chester Cathedral, the Requiem by Duruflé with the King Edward Choral
Society in Macclesfield and playing for services at Manchester and Chester
Cathedrals. He is requested to play and teach at many churches in the Oldham
area for weddings and funerals and other major events. David is a regular visitor
to the Caribbean island of St Vincent where his grandmother lives. He has, from a
very early age, given Organ Recitals at St Vincent’s Cathedral and the Methodist
Church and these have been broadcast on the local radio. David holds a teaching
degree from Edge Hill University for a PGCE in Secondary Music teaching. He is
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also an accompanist for Smithy Belles Choir, and recently undertook a recital
engagement at Halifax Minster [July 2016].
FLORA LEODIS
A Flower Festival in honour of the 175th anniversary
of the consecration of this building on 2 September 1841
takes place from Thursday 1 September 2016 over the Dedication Festival period
Full details are on the special leaflets
AUGUST EVENTS
Dr Gordon Stewart – Celebrity Recital
Sunday 7 August at 6.30 pm
Leeds Minster
All other Sundays in August at 6.30 pm 14, 21 and 28
Romantic Organ Masterworks
Simon Lindley organist
Leeds Minster
Bank Holiday Monday 29 August at 4.00 pm
Handel Gala Concert
Nisi Dominus – Anthem on the Peace
Anthem for the Chapel Royal – O praise the Lord with one consent
St Peter’s Singers
Principals of the National Festival Orchestra
at Fulneck Moravian Church
Friday 2 September
Keith Swallow at the piano at 12.30 pm
Simon Lindley at the Minster organ later in the day
Leeds Minster
Saturday 3 September at 4.00 pm
Choral Festal Evensong of the Dedication
The present building was consecrated 175 years ago on
2 September 1841
Preacher: The Right Reverend Graeme Knowles, CVO
Leeds Minster
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