St John the Baptist's Church,
Holland Road,
London W14




Malcolm Rudland studied at the Royal Academy of Music he studied for B.Mus with Eric Thiman, organ with Douglas Hawkridge, conducting with Maurice Miles, piano accompaniment with Geoffrey Pratley, and Music Criticism with Arthur Jacobs. He also studied with Donald Hunt at Leeds Parish Church, Herbert Sumsion at Gloucester Cathedral, and André Marchal in Paris. He has now given organ recitals in all six continents, from Dallas, to Port Stanley and Irkutsk, and been featured on BBC TV, all three Radio Channels, and has played with many orchestras, including the BBC Symphony Orchestra at the Proms, and a live relay of the Poulenc Organ Concerto under Norman Del Mar. He has also 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 pieces for him, and he gave the first East European performance of Petr Eben¹s Job. He has recently given recitals in Paris, Budapest and Pécs in Hungary, and Palm Beach, Florida.

Malcolm Rudland has also conducted many theatrical musical shows, including Fiddler on the Roof and West Side Story, and has been Honorary Secretary to the Peter Warlock Society for twenty years, for whom he conducted a Warlock and Bartók concert at the Queen Elizabeth Hall in London in March 1977. He is also an adjudicator for the British Federation of Music Festivals, and has contributed articles to The Musical Times, The Times and Opera Magazine.


Louis-Nicholas Clérambault (1676-1749)
Suite du deuxième ton [18 mins]
i Plein Jeu
ii Duo
iii Trio
iv Basse de Cromorne
v Flûtes
vi Récit de Nazard
vii Caprice sur les grands Jeux

César Franck (1822-1890)

Choral No 3 in A minor [13 mins]

Olivier Messiaen (1908-1992)
L'Ascension ­ Quatre Méditations Symphoniques (1934) [23 mins]
i Majesté du Christ demandant sa gloire à son Père
ii Alléluias sereins d¹une âme qui désire le ciel
iii Transports de joie d¹une âme devant le gloire du Christ qui est la sienne
iv Prière du Christ montant vers son Père

Henri Mulet (1878-1967)
from Esquisses Byzantines x Tu es petra [6 mins]

A minimum contribution of £8 is requested Concessions £5 to cover fees, programme, expenses and the French wine and cheese reception which follows the recital

The promoters are grateful for the generous support from the Kensington and Chelsea Arts Council


Louis-Nicolas Clérambault (1676-1749)

Suite du deuxième ton
i Plein Jeu
ii Duo
iii Trio
iv Basse de Cromorne
v Flûtes
vi Récit de Nazard
vii Caprice sur les grands Jeux

Louis-Nicolas Clérambault was principally famous for his secular cantatas, which gained the favour of Louis XIV whose patronage he enjoyed. He was Director of Music to Madame de Maintenon, and organist of Saint-Sulpice in Paris, the church in which he lies buried. His organ music comprises two suites, making up his Livre d'Orgue published in 1710. Each Suite has seven movements, and each is composed for a different registration, or colouring, implied in the title.
i Plein Jeu contrasts bright combinations on two manuals. The final bars herald the harmonies of Wagner's Tristan.
ii The Duo presents gay imitative dialogue between two voices
iii The graceful Trio with its three voices makes a change in mood and colour.
iv Here, the cromorne, a characteristic reed stop, is displayed in the lower part of its register.
v Flûtes, as the title implies, contrasts the different flute stops.
vi This is a recitative for the Nazard, a flue stop sounding a twelfth (i.e. an octave and a fifth) above the fundamental unison sound to which it is invariably added, producing another characteristic organ timbre..
vii The Grands Jeux of its title implies the use of the chorus reed stops. Clérambault directs the piece to played "gaily"

César Auguste Franck (1822-1890)
Choral No 3 in A minor

Franck, although a native of Liége, lived most of his life in Paris, and has come to be regarded as a French composer. For many years, up to the time of his death, he was organist of the church of Sainte-Clotilde, and much of its finest music is for organ. The Trios Chorals were his last works: he corrected the proofs on his deathbed, and they first appeared in print after his death. They were composed between the beginning of August and September 23rd 1890, in the home of some friends at Nemours, a town not far from Paris. Franck, who had already suffered the fiacre accident which was later proved to be the cause of his death, had gone there to complete a collection of a hundred harmonium pieces commissioned by the publisher Enoch. But Nemours must have inspired him differently, for the fruits of his last holiday were the much weightier Trois Chorals. The third and last Choral is Frank's swan song. Simpler in construction and more direct in its appeal than the first two, it falls roughly into three sections: an allegro, which starts with some impressive flourishes with which the lines of the chorale itself alternate; a slow section in which a long, sinuous melody passes from soprano to tenor and back again, on a trumpet stop, and culminates in a loud climax; a final section in which there is a return to the manner of the opening, but in a tenser mood. This time the chorale does not alternate with the flourishes, but is heard above them. The final page is one of the noblest in the organ repertory.

Olivier Messiaen (1908-1992)
L'Ascension ­ Quatre Méditations Symphoniques (1934)
i Majesté du Christ demandant sa gloire à son Père
ii Alléluias sereins d¹une âme qui désire le ciel
iii Transports de joie d¹une âme devant le gloire du Christ qui est la sienne
iv Prière du Christ montant vers son Père

Olivier Messiaen was a Professor at the Paris Conservertoire, the teacher of Pierre Boulez and the onetime pupil of Paul Dukas and Marcel Dupré. He gradually came to be recognised as the most original voice in French music since the death of Debussy. He was appointed organist of the Sainte-Trinité church in Paris while in his early twenties, and his organ music derives its instrumental inspiration from the organ which he played until his death. His music is permeated with a Catholic mysticism, yet ­ curiously enough ­ few composers have more scientifically defined the materials and processes of their works. A small printed slip outlining his musical ends and means was issued in 1938. By 1944, this had been expanded into a two-volume treatise, technique de mon langage musical, of which an English translation has been issued. L'Ascension, described by its author as "four symphonic meditations", was composed in 1932, and scored for orchestra (with a new third movement substituted) in the following year. Although an early work, lacking the extreme rhythmic refinements and complexities of Messiaen's later music. L'Ascension is characteristic of his general style in several ways: e.g. the unusually slow, sustained movement of the first and last sections with their quasi-hypnotic repetitions, the rhythmic plasticity of the middle movements and the highly chromatic harmony and the correspondingly rich registration throughout.

i is a meditation on a passage from St John's Gospel : Father, the hour is come; glorify Thy son, that Thy Son also may glorify Thee. Solemn and hieratic, it evokes at once an immense ritual.

ii comprises two strains; a free melisma presented three times, once alone and twice with a varied accompaniment, and a tender alternating phrase. The first strain is a kind of dance of blessed spirits descriptive of the liberated state to which the suppliant soul, the second section strain, aspires.

iii is a brilliant toccata for the tutti. It comments on verses from St Paul's Epistles to the Colossians: let us give thanks to God the Father, which hath made us meet to be partakers on the inheritance of the saints in light ... and hath raised us up together, and made us sit together in harmony in heavenly places in Christ Jesus.

iv the final meditation, is again inspired by verses from St John¹s Gospel: I have manifested Thy name unto men ... And now I am no more in the world, but these are in the world, and I come to thee. It consists of a quiet, gliding melody, harmonised mostly in parallel motion, which slowly ascends like a prayer.

Henri Mulet (1878-1967)
from Esquisses Byzantines x Tu es petra et portae inferi non prævalebunt adversus te

Mulet was a lauréat of Alexandre Guilmant¹s organ class at the Paris Conservertoire, organist of Saint-Roch in Paris before the first world-war and of Saint-Philippe-du-Roule after it. Born in Montmartre under the shadow of Sacré-C¦ur, where his father was choirmaster, it seems appropriate that Henri Mulet should later derive inspiration from that basilica in Romano-Byzantine style which dominates Paris from a northern hilltop. Esquisses Byzantines were published in 1920, and are inscribed En mémoire de la Basilique du Sacré-Coeur de Montmartre, 1914-1919. The concluding Toccata is subtitled: Thou art a rock and the gates of Hell shall not prevail against thee. It begins with urgent pulsating chords beneath which there presently stalks a sturdy theme in the pedals. A chromatic motif which jerks downwards is the other element in this showpiece, Lisztian in its chromaticism and bravura, which ends brilliantly in the major.


Image of St. John's Church, Hyde Park Crescent.

On behalf of St John's Church,
Hyde Park Crescent,
London W2 2QD
Tel 020 7262 1732
Fax 020 7706 4475

Nearest tubes: Lancaster Gate, Paddington and Marble Arch.
Buses 6 7 12 15 16 23 36 94 & 98 pass nearby.
On Saturdays, parking is possible after 1.30pm, except on residents bays, which are restricted until 8pm


Sherry from 4.30pm ­ wine from c. 6.15pm

English Music, Wine and Cheese Hungarian Music, Wine and Salami in the presence of the godson of Elgar and President of the Elgar Foundation, E Wulstan Atkins MBE and in the presence of the Ambassador of the Republic of Hungary, His Excellency Mr Gábor Szentiványi GCVO

Madeleine Mitchell

Malcolm Rudland playing the vintage and unadulterated 1865 Hill organ
with János Keszei timpani

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

Andante from the Violin Concerto Op. 61

with 'Elgar' Sherry (Pale Cream British Fortified Wine) kindly donated by Tesco
and 'Elgar' Cheese kindly donated by Lightfoot Farm, Worcester, Tel 01905 333468

Miklos Rózsa (1907-1995)
Music from Ben Hur and El Cid

Lento cantabile from the Violin Concerto Op. 24

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

A minimum contribution of £8 is requested Concessions/ResCard holders £5 Proceeds will go to the current appeal to create a cultural centre and restore this lovely Georgian Church
With encouragement, the Anglo Hungarian reception which follows the recital could be preceded by encores such as Elgar's Salut d'Amour and an Hungarian Dance

Further details from Malcolm Rudland on 020 7589 9595

On 4 March 1968, when Pierre Cochereau was organist of Notre-Dame in Paris, he gave a sellout recital on the vintage Hill organ here. This recital follows in that tradition, from which profits will go to the current appeal to create a cultural centre and restore this lovely Georgian church.

St John's was built in 1829 to serve the new houses around Connaught Square, and it then seated 1,500. The present organ dates from 1865, and is now one of only four complete unadulterated Hill organs remaining in London. In 1874, Hill built the organ in Worcester Cathedral for which Elgar wrote his organ sonata in 1897. Tonight sees the first performance of this with timpani and percussion from the recently rediscovered orchestration by Gordon Jacob. Malcolm Rudland has played Elgar to critical acclaim around the world - last February in Palm Beach, Florida. Madeleine Mitchell also has a great affinity for Elgar, having performed the violin concerto, and broadcast his violin sonata for the BBC and the Australian and South African radio networks.

Madeleine Mitchell has lived in W2 for 20 years, earning an international reputation as one of Britain's finest violinists. She has performed as a concerto soloist with major orchestras through Europe as well as for the BBC (including the Proms) and at the South Bank. As a recitalist Madeleine has played in numerous international festivals in over 40 countries and frequently broadcasts for TV and radio. Many well known composers have written works for her. She is a Professor at the Royal College of Music and gives master classes worldwide. In October, she represents the UK at a major festival in New York with a recital at Lincoln Center. Last year, The Times said 'Madeleine Mitchell is an uncommonly intelligent and accomplished musician.'

Malcolm Rudland came to W2 weekly as a student, for organ lessons with Douglas Hawkridge at St James's, Sussex Gardens when at the Royal Academy of music, where he won the Margaret and Sydney Lovett Prize for organ accompaniment in 1969 playing the slow movement of the Bruch Violin Concerto with Richard Studt. He also studied conducting there, and formed his own Academic Festival Orchestra. He has since conducted for the BBC, and been conductor and music director for touring musicals such as Fiddler on the Roof and West Side Story.

Malcolm also came to W2 in 1987 as interregnum organist at St John's, where he recorded ten tracks for Good Morning Sunday on Radio 2. He has also appeared on all four radio channels including at the Proms, and on BBCTV. Pieces have been written for him by Michael Berkeley and Paul Patterson. He has performed worldwide, and worked in the Belle Vue Circus Band in Manchester. For four years, he ran a Yamaha Music School, and for the Marine Society, he became the organ tutor to the crew of a refrigerated cargo vessel on voyages around Africa, and to the crew of the SS Uganda on six voyages of troop movement to the Falkland Islands.

Malcolm is half-Hungarian, and arranged and recorded the Rózsa Violin Concerto for organ for Magyar Rádió with the Hungarian violinist, János Bodor. Now, he has arranged this programme with the Hungarian timpanist, János Keszei, with whom he conducted Bartók's Music for Strings, Celeste and Percussion in the Queen Elizabeth Hall in 1997.

For further information please contact Malcolm Rudland Tel/Fax 020 7589 9595

or Bryan Sollenberger Tel 020 7262 1732 Fax 020 7706 4475

31 Hammerfield House - Cale Street - London - SW3 3SG
Tel/Fax 020 7589 9595 - Mobile 07761 977155

Webmaster ~ Richard Valentine

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