St Mary Magdalene Sherborne Gloucestershire
One mile north of A40 between Northleach and Burford

Saturday 22 July 2006 at 6pm

Recital for Trumpet, Voice and Organ

with Tim Hawes trumpet

Simon Masterton-Smith bass

Malcolm Rudland organ

Principal sponsor Christofferson, Robb & Company
Admission free with a retiring collection for Sherborne Church funds

Tim Hawes has appeared in many international festivals, and been a member of the Philip Jones Ensemble
and the Wallace Collection. He also teaches trumpet at the Royal Academy of Music and runs his own brass
group, Off Stage Brass. As an unusually versatile player, he has been a trumpet soloist with the Manovani
Orchestra and a member of Frans Bruggen’s Orchestra of the 18th century. He is a regular visitor to both the
Philharmonia and BBC Symphony Orchestras, and is currently also principal trumpet in the orchestra for Les
Miserables at the Palace Theatre in London’s West End.

Simon Masterton-Smith has sung at Glyndebourne, and played Frosch in Die Fledermaus with English
National Opera, Shogun’s mother in Pacific Overtures, and Harry Easter in Street Scene. With D’Oyly Carte
Opera, he has played Sergeant Meryll, Pish Tush and Sergeant of Police. West End roles include George in
Aspects of Love and the judge in Sweeney Todd. Recently, 6,000 feet up a Malaysian mountain he played Daddy
Warbucks and Captain Hook (not in the same show). Other tours include a Pickering in Portland, Curlew
River in the Loire and Monteverdi in Tuscany. He also teaches, tends his Bonsai collection and loves cooking.

Malcolm Rudland studied with Dr Herbert Sumsion at Gloucester Cathedral and André Marchal in Paris.
He has since appeared on TV, Radio, and with many orchestras, including at the Proms. He has been an
organ tutor on ships around Africa and the Falkland Islands. Pieces have been written for him by Paul
Patterson and Michael Berkeley, and he gave the first East European performance of Petr Eben’s Job. He has
also conducted tours of Fiddler on the Roof and West Side Story, been Secretary to the Peter Warlock Society for
33 years, and has written for The Musical Times and The Times.

P R O G R A M M E

George Frideric Handel (1685–1759)
The trumpet shall sound from The Messiah [4 mins]

Johann Sebastian Bach (1685–1750)
Fantasia in C minor in five parts (BWV 562) [5 mins]

Charles Marie Widor (1844–1937)
Andante Cantabile de la quatrème Symphonie en fa mineur Op. 13 [5 mins]

Tony Hewitt-Jones (1926–1989)
Trumpet Concerto [20 mins]
Fanfare and Scherzo – Air and variations – Moto perpetuo

COMFORT BREAK

Johann Sebastian Bach (1685–1750)
Mighty Lord and King all glorious from The Christmas Oratorio [6 mins]

Petr Eben (b. 1929)
Moto ostinato for organ solo from Sunday Music (1958) [6 mins]
The Gold Window from Okna [Windows] (for trumpet and organ) [7 mins]
based on a stained-glass window of Chagall

Richard Rodgers (1902–1979)
Soliloquy from Carousel for bass and organ [7 mins]

Prologue – The Carousel Waltz from Carousel (arr. for trumpet and organ by Malcolm Rudland) [5 mins]

[Click for PDF version]

RECITAL

January 8, 2006

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San Francisco recitals 2004

Malcolm Rudland will give four organ recitals in San Francisco in January/February 2004
with air fares sponsored by Christofferson Robb & Company

Sunday 25 January 2004 at 3.30pm
on the 1971, 4 manual 89 rank Ruffatti Organ at
St. Mary¹s RC Cathedral
1111 Gough St (at Geary Blvd) Tel (415) 567 2020. www.stmarycathedralsf.org
Free-will offering at the door
PROGRAMME B (see enclosed pdf file)

Sunday 1 February 2004 at 3pm
on the 1934, 4 manual 102 rank Aeolian-Skinner organ at
Grace Cathedral
1100 California Street, CA 94108 Tel (415) 749 6355. concerts@gracecathedral.org
Free admission
PROGRAMME A (see enclosed pdf file)

Friday 6 February 2004 at 8pm
on the 1989, 2 manual 26 rank Frobenius organ at
St Stephen¹s Episcopal Church
(Bay View and Golden Gate Avenues) Belvedere Tel (415) 435 4501.
$10 admission
PROGRAMME C (see enclosed pdf file), plus Warlock from Programme A)

Sunday 8 February 2004 c.6.10pm after 5.30pm Evensong
on the 1971, 2 manual 21 rank Flentrop organ at
St. Mark¹s Episcopal Church
2300 Bancroft Way, Berkeley Tel (510) 845 0888. www.stmarksberkeley.org
Donations requested at the door.
PROGRAMME C (see enclosed pdf file)

St Michael's Cathedral,

Schwabisch Hall,

Germany

Saturday 26 July 2003 at 10.15am to 11am.

Bach Prelude and Fugue in B minor (BWV 544) 12 mins

Elgar Sonata in G 30 mins

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St. JOHN'S WOOD CHURCH

LONDON NWS 7PA

Adjacent to Lord's Cricket Ground at the north end of Park Road, and with accessfor the disabled
the nearest tube is St John's Wood, buses 13, 82, 113, 274 pass nearby, and parking is unrestricted on Saturdays

----------- SATURDAY 19 OCTOBER 2002 at 4pm -------------

English and Czech music
for trumpet and organ

under the patronage of the Ambassador of the Czech Republic, His Excellency, Dr Pavel Seifter

Tim Hawes trumpet Malcolm Rudland organ

William Boyce (1711-1779)
Trumpet Voluntary [3 mins]
No 1 from Ten Voluntaries for the organ edited TH & MR

Arthur Pritchard (1908-1997)
Procession, Interlude and Sortie [11 mins)

Arthur Pritchard was organist of St John's Wood Churchfrom 1947 to 1980

Ian Parrott (b.1916)
Rhapsody for trumpet and organ [5 mins]
in the presence of the composer

Antonin Dvorák (1841-1904)
Prelude and Fughetta in D major [5 mins]

Vilem Tausky (b.1910)
Variations of an original theme (1930) [10 mins]
first performance in the United Kingdom

Petr Eben (b. 1929)
Okna [Windows] (for trumpet and organ) [27 mins]
based on the Blue, Green, Red and Gold stained-glass windows of Chagall

Afterwards, English Cheese kindly donated by Lightwood Farm, Worcester, Tel 01905 333468
will be served with Czech beer kindly supplied by the Czech Cultural Centre

A minimum donation of £8 is requested
Concessions/ResCard holders £5

Further details: Malcolm Rudland 020 7589 9595
or mrudland@talk2l.com

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St. JOHN'S WOOD CHURCH

LONDON NWS 7PA

Adjacent to Lord's Cricket Ground at the north end of Park Road, and with accessfor the disabled
the nearest tube is St John's Wood, buses 13, 82, 113, 274 pass nearby, and parking is unrestricted on Saturdays

---------- SATURDAY 26 OCTOBER 2002 at 4pm ----------

English and Hungarian music
for violin and organ

under the patronage of Lady Solti
to launch the Peter Warlock Society's appeal for Imre Varga's statue of Bela Bartók in South Kensington

Gyórgy Pauk violin Malcolm Rudland organ
with Skaila Kanga harp János Keszei and friends timpani and percussion
Howard Williams conductor

William Mathias (1934-1992)
Andante flessible from the Violin Concerto (11 mins)
dedicated to and first performed by Górgy Pauk
Mathias's Series 3 Communion Service is sung at St John's every Sunday at the 9.30am service

Edward Elgar (1857-1934)
Sonata for organ Op. 28 (29 mins)
first performance with harp, timpani and percussion from the orchestration by Gordon Jacob

Peter Warlock (1894-1930)
Lullaby and Piggesnie from A Warlock Suite for violin and piano arranged by David Cox

Interval for 'Elgar" Sherry (Pale Cream British Fortified Wine) kindly donated by Tesco
with Elgar Cheese kindly donated by Lightfoot Farm, Worcester, Tel 01 905 333468

Gyórgy Kurtág (b.1926)
Three pieces from Játekok VI (8 mins)
i. Versetto, Dixit Dominus ad Noe: finis iniverse carnis venit... Dobszay Lászlónak
ii. Sirens of the Deluge iii. Apocraphal Hymn

Bela Bartók (1881-1945)
Andante tranquillo from the Second Violin Concerto (1937) (10 mins)

Miklós Rózsa (1907-1995)
Love Song and Organ Finale from El Cid arranged by James Pearson (4 mins)

Afterwards, Hungarian wine kindly donated by the Hungarian Embassy
with Hungarian Salami kindly donated by Terry's Delicatessen, Tel 020 8931 3884

A minimum donation of £8 is requested
Concessions/ResCard holders £5

Donations over £10 to the Bartók appeal Gift Aid forms available
Further details: Malcolm Rudland 020 7589 9595 or mrudland@talk2l.com

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4th February 2001 at 5pm

English Organ Music played by Malcolm Rudland

Malcolm Rudland studied at the Royal Academy of Music in London, with Eric Thiman for B. Mus, Douglas Hawkridge for organ, Maurice Miles for conducting, Geoffrey Pratley for Piano Accompaniment, and Arthur Jacobs for Music Criticism. He also studied organ with Donald Hunt in Leeds, Herbert Sumsion in Gloucester, and André Marchal in Paris. He has now given organ recitals in all six continents, from Dallas, to Port Stanley and Irkutsk, and has been featured on BBC TV, all three Radio Channels, and he has played with many orchestras, including with the BBC Symphony Orchestra at the Proms, and a live relay of the Poulenc Organ Concerto under Norman Del Mar. He has worked with the Belle Vue Circus Band in Manchester, and been organ tutor to a refrigerated cargo vessel on voyages around Africa, and to a troop ship on six voyages to the Falkland Islands. For four years he ran a Yamaha Music School. Paul Patterson and Michael Berkeley have written organ pieces for him, and he gave the first East European performance of Petr Eben's Job. Malcolm has also conducted BBC orchestras, and many musicals, including Fiddler on the Roof and West Side Story, and has also been a guest conductor with the Oxford Orchestra da Camera in a London South Bank concert. He has been Hon. Sec. to the Peter Warlock Society for 25 years, and has contributed journalistic work to The Musical Times and The Times.

P R O G R A M M E

William Boyce (1711-1779)
Vivace from Voluntary No 1 in D (3 mins)

Samuel Wesley (1766-1837)
Ayre and Gavotte (3 mins)

Edward Elgar (1857-1934)
Sonata for Organ Op. 28 Allegro maestoso ­ Allegretto ­ Andante espressivo ­ Presto (comodo) (30 mins)

Alfred Hollins (1865-1942)
A Song of Sunshine (4 mins)

George Thalben-Ball (1896-1987)
Elegy (4 mins)

Herbert Sumsion (1899-1995)
Procession (6 mins)

Francis Jackson (b.1917)
Impromptu for Sir Edward Bairstow on his seventieth birthday (8 mins)

Andrew Carter (b.1939)
Trumpet Tune (2 mins)

William Boyce (1711-1779) Vivace from Voluntary No 1 in D.

Boyce's tombstone in the crypt of St. Paul's Cathedral states that he died at the age of sixty-nine, but the exact birthday of this Londoner, described in Grove as "the leading English-born composer of the 18th century" remains unknown. Organist and editor of music as well as composer, Dr William Boyce succeeded his old master, Maurice Greene, as Master of the King's Music in 1735. His compositions, like those of his contemporary, Arne, have been overshadowed by the work of Handel. Boyce was essentially a church composer, although his instrumental music, some of which Constant Lambert successfully resurrected, was very popular in its day. This Voluntary in D comes from a set of ten, published posthumously c.1785 and has two movements, of which this Vivace is the second, written for a trumpet stop with echoes.

Samuel Wesley (1766-1837) Ayre and Gavotte.

Samuel Wesley, son of the hymnodist and nephew of the founder of Methodism, was one of Bach's earliest English apostles, and a power for musical good during his lifetime. Bristol-born, he was a child prodigy while John Stanley was still alive. He died shortly after he had played to the young Mendelssohn in London. Wesley held a number of London organ appointments and left a large quantity of instrumental and vocal music. The Twelve Short Pieces for the Organ with a Full Voluntary added, containing these two tuneful pieces, were published in 1815. Both are in F major, and composed for an organ without pedals.

Edward Elgar (1857-1934) Sonata te espressivo ­ Presto (comodo)

Like his distant precursors, Byrd and Purcell, and like his contemporaries, Parry and Stanford, Elgar was an organist. So was his father. For thirty-five years, W.H.Elgar was organist of the Roman Catholic church of St George in Worcester. As a child, the young Elgar would sit in his father's organ loft. His sister's diary contains the following note for July 14, 1874: "Ted played the organ at church for Mass first time". The fifteen-year-old boy had already started work in a lawyer's office a month earlier, but in 1873 he quit it to devote himself entirely to music. In his teens, Elgar heard the recitals given by cathedral and London organists on the new organ in Worcester Cathedral, and in August 1880, when he was twenty-three, he visited Paris and heard Saint-Saëns playing the organ at the Madeleine. In 1885, Elgar succeeded his father as organist at St. George's, Worcester, until his marriage four years later in 1889. However, Elgar was primarily an orchestral composer, and this feeling prevails in almost every bar of this sonata. It was composed for the visit of some American members of an Organists' Congress to Worcester Cathedral, and first played there by the cathedral organist, Dr Hugh Blair, after a service on 8 July 1895, but it bears a dedication to another English musician of the time, Charles Swinnerton Heap (1847-1900). Elgar owed some of his early success, with such works as King Olaf to the devoted efforts of Heap and the choral societies he conducted in the 'Potteries', the industrial English Midlands.

Alfred Hollins (1865-1942) A Song of Sunshine.

From the earliest days the organ has attracted blind musicians and Hollins is of their number. A remarkable point about him is that he was equally skilled as a pianist and on occasion performed piano concertos with orchestra. A native of Hull, he studied in England and Germany and toured abroad extensively. For over forty years he was organist of Free St. George's Church in Edinburgh. In his gay, deft organ music may be seen how far the traditional instrument of the church has been adapted to a light and frankly secular style of writing.

George Thalben-Ball (1896-1987) Elegy.

George Thalben-Ball was a native of Sydney, New South Wales, but came to London at an early age to study at the Royal College of Music where he himself taught for many years. He succeeded Henry Walford Davies as organist of the Temple Church in 1919. Later he also succeeded Walford Davies as Adviser on Religious Music to the BBC. A past President of the Royal College of Organists, he was from 1930, Curator Organist of the Royal Albert Hall, and, from 1949, Civic and University Organist to the City of Birmingham. He was one of his generation's most travelled recitalists and toured the USA many times.

On one occasion of a Choral Evensong broadcast from the Temple Church, Walford Davies, who was conducting, asked his organist to"play a tune" after the service. Knowing the kind of "tune" he meant, his assistant improvised a piece in the style of Walford Davies's own Solemn Melody. The service was recorded, and, hearing it again, the organist-composer decided to write it down. That is the origin of this Elegy, inscribed "to WD". It unfolds Larghetto in B flat major. The"tune", first heard in the tenor register, is repeated in the treble and broadened to a climax which diminishes to a quiet ending.

Herbert Sumsion (1899-1995) Procession.

"John" Sumsion, as he was usually called, was a West Country man. Gloucester-born in 1899, he died there at the age of 96. Today, many musicians, not only church musicians and choirmasters, remember him with gratitude and affection as an important formative influence on their own musical careers.
His own training began as a chorister in Gloucester Cathedral. As one of Sir Herbert Brewer's most distinguished pupils. Dr Sumsion became one of his assistants in 1915. After a period of war service (1917-19), he studied at the Royal College of Music, before becoming Professor of Harmony and Counterpoint at the Curtis Institute in Philadelphia.
In 1928, after Brewer's sudden death, the cathedral authorities invited Sumsion to return to Gloucester as Organist and Master of the Choristers, a post he occupied for 39 years. His brilliant success with that 1928 Three Choirs' Festival prompted Elgar's famous comment: "What at the beginning of the week was an assumption has now become a certainty".

Sumsion's 1965 recording of Elgar's Organ Sonata has become a model of Elgarian interpretation. Far earlier, a recital in 1931 had already established Sumsion's eminence as a recitalist, notably through his account of Reger's First Sonata.

Yet John Sumsion was an even keener pianist than organist. Playing chamber music delighted this many-sided man as much as his work with choirs; and teaching seemed to delight him as much as composition. His many piano, organ and composition pupils, as well as some original church music, testify to the true stature of a much-loved musician.

Written in 1959, this piece is part of his Air, Berceuse and Procession, and opens with a stately Maestoso in D minor, before its transformation into D major. A more lyrical middle section in A major leads to a repeat of the opening Maestoso.

Francis Jackson (b.1917) Impromptu for Sir Edward Bairstow on his seventieth birthday.

Francis Jackson was organist of York Minster from 1946 to 1982, since when he has continued to give many recital tours, including to the USA, and he still continues to compose. He is a native of Maldon in Yorkshire, and a chorister and organ-pupil of Sir Edward Bairstow¹s at York Minster. He was a Durham Bachelor of Music at nineteen and a Doctor at twenty-nine. Five years of war service with the 9th Lancers found him in August, 1944, in Italy. It was the time of Bairstow's seventieth birthday, and at San Vito, near Bari, Jackson marked the anniversary by composing this Impromptu. It unfolds Andante in D in 5/4 time, becoming more vigorous in a central section which goes from E flat minor to G major and builds to a climax in A major, the composer having in mind the Tuba stop at York Minster, which Bairstow had installed,"en chamade" at his instigation, in 1916. There is a return by way of D minor to a short modified recapitulation of the opening section, to serve as a coda, but it now contains a quotation from Bairstow's Communion Service in D, which is seen to be the basis of the initial bar.

Andrew Carter (b.1939) Trumpet Tune.

Published in 1991, this piece comes in a long line of English "trumpet tunes", and is by a composer steeped in Anglican traditions. His musical background is of bell-ringers, choirs and places where they sing, at York Minster, Leeds University, and appointments at home and abroad. Marked "Crisply", it presents a brisk Allegro in a pungent tonal idiom based on E flat, with a contrasting central "Love Song" in A flat.