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Experience the J.W. Walker & Sons organ in St Mary’s Church, Portsea, for one last time before restoration commences

At 7pm on Tuesday October 13, we will introduce you to The Organ Project, take you on a live video tour of the inside of the organ, present our plans for restoration and demonstrate this unique, awe-inspiring instrument.

Hosted by expert consultant, Dr William McVicker, Andrew Caskie of Nicholsons & Co. Ltd, Vicar of St Mary’s Church, Bob White, and project manager, Matt Dixon, we will guide you through our final Restoration Policy and present the current condition of the instrument, via a 12ft screen, console cameras and projector.

Interspersed with performances by Andrew and William, this Open Evening will encourage discussion about the what, why and how of our approach to restoring this fine 1889 instrument.

To book your free ticket, please visit Eventbrite here: https://orgproj.co/Hy8V.

Also on Noticeboard here.


The Organ Project at St Mary’s Portsea: join us for the last opportunity to hear the organ in concert before late 2021!

Join us for the last opportunity to hear the organ in concert before late 2021!

We will be closing our 2020 FREE monthly Organ Recital series with the fantastic John Sharples, ARCO, on the 1st October at 7.30pm, at St Mary’s Church, Portsea. Later in October, the organ will be removed for complete restoration – don’t miss the last chance to hear it before late 2021!

Previously an organist at Lambeth Palace, John Sharples is currently an Assistant Organist at Arundel Cathedral and has prepared a really exciting programme, including Elgar, Fasch and The Cat Suite (Prelude, Cats at play, Catnap and Toc-cat-a) by Denis Bedard.

Please do join us for a safe, socially distanced concert and enjoy the last opportunity to listen to our fantastic J.W. Walker & Sons pipe organ before historic restoration. Our console cameras and large screen will be installed for a close up of the performance.

View the full recital programme and book your free tickets online here: https://orgproj.co/UH44, or call the Project Manager, Matt Dixon on 02393 190998.

Concert page here.

 


Profile: Clive Osgood, organist, pianist, conductor and composer

Who and/or what have been the most important influences on your musical career?

I have had a number of great teachers (instrumental and at university) who have inspired my interest in music. I could not easily name them all!

Are there any composers with whom you feel a particular affinity?

I’ve always had an interest in 18th-century music, so much so that I did a Masters in Musicology specialising in that era. My favourite composer is Mozart, but as an organist Bach has to come a close second. Quite by contrast, I also admire a number of contemporary composers who have explored new ways of expressing tonal music (e.g. Pärt, Richter, Glass etc.). My music is in the classical tradition: it’s injected with elements of jazz harmony and the rhythmic vitality of Latin American music.

What have been the greatest challenges of your musical career so far?

Covid-19 has been a huge challenge to achieving a good work/life balance, as I have had to step in to home-school my two children while my wife (a nurse) goes to a stressful job.

What for you are the particular pleasures and challenges of collaborating with other musicians?

I very much enjoy playing chamber music and working with choirs. I am currently writing music based on Alice in Wonderland, in collaboration with the composer Hugh Benham. This is being recorded in September by Convivium Records and which will be released early in 2021.

How would you describe your musical language?

Tonal: I am interested in the fusion of 18th-century forms with 20th-century rhythms and harmony.

How do you work?

I often head off to my church (where I am the director of music) where I can compose without distractions. I use Sibelius and tend to work through many drafts.

Which works/performances are you most proud of?

I am particularly proud of my Sacred Choral Music album under Robert Lewis, Excelsis Choir and the London Mozart Players which was launched last year.

Which works do you think you perform best?

I am an organist, so possibly Bach.

What are your most memorable concert experiences?

I have had the opportunity of having compositions performed in a complete concert last year in the Grayshott Concerts, as well as a big performance of my music in St Paul’s and on another occasion in front of the Queen at Reed’s School, where I teach.

What advice would you give to those who are considering a career in music?

Be reliable and careful about treading the line between self-promotion and modesty. And only do it if you enjoy it – it’s not generally very rewarding financially.

How would you define success as a musician?

Putting the music first.

How are you keeping yourself usefully occupied and sane under lockdown?

With difficulty – I have been home-schooling!

Where would you like to be in 10 years’ time?

In good health.

What is your idea of perfect happiness?

Achieving something, then sitting back to enjoy it – finishing a composition or watching the view from the top of a hill.

What is your most treasured possession?

My photo albums (I would also be inclined to rescue my Mozart CD box set from a burning building!).

What do you enjoy doing most?

Visiting new places.

What is your present state of mind?

Not too bad considering…

Clive Osgood is a composer, accompanist, organist and music teacher living near Haslemere. He is currently Director of Music and Organist at the Parish Church of St Bartholomew’s in Haslemere, Surrey and teaches ‘A’ Level Music at Reed’s School, Cobham. He is available for tuition in Piano, Jazz Piano, Organ and music theory. Visit https://www.cliveosgood.com to find out more about him and his compositions.


Profile: Andrew Cleary, organist, pianist, teacher and conductor

Who and what have been the main influencers on your decision to pursue a career in music?

Singing was always important in my family – my grandmother was a life-long member of the Hull Choral Union, I attended their concerts regularly from a young age, and my father still sings with the York Music Society – so it was not unusual that I become a chorister at the age of 7 at York Minster. When my family moved to St Albans at the age of 11, I sang in the Abbey choir there, and it was there that I had organ lessons with Stephen Darlington.

I gained an early interest in musical theatre in the Sixth Form at school, working with the National Youth Music Theatre, and going to the Edinburgh Festival to perform in the Band for productions of “Oliver” and “Annie”.

I read music, specialising in performance and conducting, at the University of East Anglia, where I was also organ scholar at Norwich Cathedral. I developed a love of the Baroque repertoire under Robert Wooley, and worked with the Norwich Philharmonic Choir and the Aldeburgh Festival Chorus.

Later I moved to study as a postgrad at the Royal College of Music, specialising in early music and performance. Nick Danby challenged me to play the organ with a glass of beer on my wrist!

I became Assistant Organist at St Martin-in-the-Fields Church, Trafalgar Square, making regular broadcasts for BBC Radio and television and directing the St Martin’s Scholars and the vocal Ensemble Le Nuove Musiche. One memorable experience was playing the organ in the memorial service for Frankie Howard, where Griff Rhys Jones and Rowan Atkinson gave some of the tributes.

After various posts teaching music at schools, I settled in Portsmouth as Director of Music at The Portsmouth Grammar School (PGS), where I worked closely with the Chamber Choir and the London Mozart Players, commissioning works from Sally Beamish, Cecilia MacDowell and Sir Peter Maxwell Davies. I also set up and then directed the Portsmouth Cathedral Girls’ Choir, Cantate.

When working with PMD on a challenging Remembrance Day commission, The Five Acts of Harry Patch, I was struck by Maxwell Davies’ lack of condescension having provided us with quite a challenging work: “do not patronise young musicians, they can always do it, however challenging!”

What have been the greatest challenges of your musical career so far?

The current lockdown has presented plenty of challenges for my musical groups, but we are starting rehearsals on Zoom shortly. We are keeping it simple, not doing whole performances but working on vocal technique, and enjoying the social side. It’s important to continue, to keep the flame alight amongst choral ensembles in preparation for times when it is safe to meet, rehearse and perform together.

What for you are the particular pleasures and challenges of collaborating with other musicians?

Music-making is inherently sociable and creative, and it is great to work with such fantastic musicians, young and old, to achieve such rewarding and special opportunities together…

How would you describe your musical language?

It’s very varied! I enjoy most styles of music, from Renaissance choral works through to jazz and (some) pop! I have been lucky enough to have been exposed to the wonderful repertoire of the English cathedral tradition, but equally I am now involved with the teaching and production of music theatre and jazz.

Which works/performances are you most proud of?

I’ve already mentioned my association with the London Mozart Players. We did a St John Passion together which was highly memorable. Other memorable performances include Mahler’s Symphony No. 8, rehearsed over a weekend in the Royal Festival Hall; a production of Dido and Aeneas at the New Theatre Royal; a superb Christmas concert with the Milton Glee Choir and Royal Marines Association Band last year; and a recording of works for Remembrance with PGS, again with the London Mozart Players.

Are there any composers with whom you feel a particular affinity?

I’ve got wide interests in keyboard and choral music, from Tallis to Gospel, from Bach and Mendelssohn through to Gershwin, Sondheim and Freddie Mercury. Church organists have to improvise during services and this approach appeals to me, leading me to find an interest in jazz piano. During lockdown I have recorded and broadcast a series of well-known jazz ‘muses’ on YouTube and Facebook.

Which works do you think you perform best?

I love performing choral works, such as those by Bach, Handel and Mozart, as well as the wide variety of the English cathedral repertoire, but equally I enjoy performing solo roles such as Bach’s Brandenburg Concerto No. 5 and Gershwin’s Rhapsody in Blue!

What is your most memorable concert experience?

Conducting the PGS Chamber Choir at the Royal Albert Hall in the annual televised Festival of Remembrance on BBC television. I conducted the massed Bands and PGS Chamber Choir, in the work entitled They shall not grow old, with Bryn Terfel and Catherine Jenkins.

What advice would you give to those who are considering a career in music?

Keep an open mind on the kinds of music you will most like to perform, don’t put yourself in a box too early. Work and practice hard. Muck in, if only to gain credibility and experience. And listen to others’ advice!

How would you define success as a musician/composer?

Having an ability to inspire others, through listening and participation, to appreciate and experience the power and thrill of all kinds of music, and enabling inclusive music-making to all ages and abilities.

Andrew Cleary is a freelance teacher, accompanist, organist, choral director, conductor and examiner. He works at the University of Chichester as an Associate Lecturer, vocal coach and répétiteur, especially with students of musical theatre, and also at Portsmouth High School as a singing teacher. He conducts the Fareham Philharmonic Choir and the Milton Glee Choir, is the Assistant MD of the Lee Choral Society and is Music Director and Organist at St Peter’s Church, Bishop’s Waltham.

He always welcomes new members to join his choirs and even during his virtual rehearsals singers are encouraged to sign up and join.

The Fareham Philharmonic Choir has re-scheduled its performance of Bach’s St John Passion, postponed due to lockdown, to 6 March 2021 in Chichester Cathedral.

Andrew Cleary on MiP: https://musicinportsmouth.co.uk/?s=cleary


Profile: David Price, Organist and Master of the Choristers of Portsmouth Cathedral

I was a chorister at Bath Abbey and right from the start was enthralled by the noise from the organ. So, I started with piano at the age of nine. In those days one needed to be proficient at the piano before starting on the organ; these days, it’s easier: churches are welcoming to new organists, providing a performing space.

I recall the pain of finishing being a treble and having to leave the choir. I really sympathise with the plight of boy trebles whose voices are breaking during the current lockdown: they cannot complete their time as trebles.

But I carried on developing my skills as an organist, playing in a weekly service in the Georgian chapel of St John’s Hospice by the Roman baths. Once admonished by the vicar for starting a hymn too slowly, I now always ensure that hymns go at a good pace! I also played the organ in my village church.

My big break was when I attended the Royal School of Church Music 14-day course at Canterbury Cathedral, when I tried out being a chorister for 14 days, and loved it.

By the age of fifteen, I’d decided to be a church organist. This was met with some scepticism, though also support, by my parents.

Who have been the main influencers on your decision to pursue a career in music?

Marcus Sealy was assistant organist at Bath Abbey for 42 years, and a superb role model: he introduced interesting repertoire, and was a great accompanist.

I studied music at Trinity College, London. This was originally established as a training college for church musicians. It has some fabulous stained-glass windows with images of music in the context of worship.

I attended daily evensongs at Westminster Abbey. Its assistant organist Andrew Lumsden, now director of music at Winchester Cathedral, was also greatly influential, encouraging me to observe him playing its great instrument. Christopher Stokes (Organist of St Margaret’s, Westminster Abbey) showed me how to be a grounded church musician, leading choirs as well as playing the organ extremely well.

After in the course of my studies I did an apprenticeship for two years at Croydon Parish Church, where I assisted with the running of a boys’ and a girls’ choir, followed by a stint as Organ Scholar at Rochester Cathedral. Barry Ferguson and Roger Sayer (now organist at Temple Church in London) showed me how to efficiently manage the interactions with the chapter and congregation. This was my first experience of a boarding choir school, where youngsters rehearsed and performed an evensong every day.

While I was at Rochester, we did some great tours to France, Germany and Switzerland – these were early days for choirs going abroad – which included some recordings. For my sins as the organ scholar I was the tour librarian, with quite a challenge to ensure that all the music needed for two weeks away was available! This was before the days of bespoke booklets.

I can recall how I had to play at a service in Trier Cathedral at short notice. Roger Sayer is a brilliant organist but he does not have a good head for heights. Its glorious and vast cathedral is set against a high Roman wall with the console 120 ft up in the air. In order to access the organ, one had to go onto the roof of the north transept, then descend to the triforium gallery down a ladder to reach the “eagle’s nest”. This proved too much for Roger. I also recall how difficult it was to synchronise with the choir, as they were so far away.

What have been the greatest challenges of your musical career so far?

After five years as Assistant Organist of Ely Cathedral, I became director of music at Portsmouth Cathedral, the youngest cathedral organist at that time. Young choristers need to learn the repertoire in time for the services, and there’s always a lot to do to arrange the experienced and less-experienced singers, as well as to manage the expectations of their parents.

Those early days were challenging, as I had to solve a lot of these challenges on my own, but we’ve developed strategies to improve things a great deal: there’s a whole supporting structure around the choristers, including three “choir matrons”, a librarian and gap year students besides the adult singers. The mixture of ages in the choirs gives them strength. The one remaining major challenge is around finance, especially because of Covid-19, where our income has been reduced by a third.

How would you describe your musical language?

I’ve a lot of interests in sounds, colour and textures, less on melody. I’m interested in the “stuff underneath” rather than a pretty tune, and how the voices interact with the texts.

How do you work?

Laboriously and slowly! I do envy people like David Briggs, who can Hear” music and transcribe a whole piece during one transatlantic plane journey! And cathedral musicians are still expected to write from time to time, for example if a new Bishop is being installed.

Which works/performances are you most proud of?

I am proud of my setting of the St John Passion we do most Good Fridays – much more of a prayer than a concert. Also we put on a Messiah every year, with the use of period instruments which always goes down well: it’s true to the original, with a neat ensemble of period instruments with voices from a wide range of ages.

There is a special relationship between the cathedral and the city of Portsmouth, with unique “threads”. I’ve been involved with many special events associated with the Royal Navy, including the commemoration of the 60th anniversary of D-Day in Normandy in 2004.

On that occasion I led the voices singing a piece entitled D-Day 60: Valete in Pace by Harvey Brough in Caen Abbey, along with Fauré’s Requiem. The Brough piece was commissioned by Portsmouth City Council, and included a libretto by Lee Hall (he of Billy Elliot fame). It was most moving to hear French, German and British performers accompanied by the London Mozart Players. We also sang in the Bayeux Cemetery in the presence of HM The Queen, The Prime Minister and President of France.

Collaborating with Colin White from the Royal Maritime Museum, we recorded a CD with music to commemorate the 200th anniversary of Nelson’s funeral in 2006. We went on tour with it and also had it featured on an episode of BBC Radio 3’s In Tune.

This in turn led to repeat annual tours for the choir– I’ve actually completed 25 of these, culminating earlier this year with a visit to Finland.

The choir has been involved with various events on HMS Victory as well as the commissioning of HMS Queen Elizabeth, the aircraft carrier, in 2018 again in the presence of The Queen. It was a particular delight to sing Byrd’s miniature Tudor masterpiece O Lorde, save thy servant, Elizabeth our Queen on board a Queen Elizabeth The First Class warship and to Queen Elizabeth The Second.

Over the years I have recorded eighteen CDs. I’m most proud of a recording made at Ely in the medieval Lady Chapel of the music of Restoration composer, John Amner which was selected as Editor’s Choice.

In Portsmouth we’ve been able to collaborate with two excellent recording companies; HeraldAV who have a huge international portfolio, and also with Convivium Records, run by one of our Lay Clerks that has been steadily building a most impressive catalogue over the last ten years. From these two I would select a CD of Plainsong: The Echo of Angels from Convivium Records – a selection of Gregorian Chant – music that is at the foundation of all Western Classical music and sung in its original form and context. Hear Missa de Angelis: Kyrie on YouTube.

The second would be a release in 2019 from Herald Av of the music of Advent and Christmas Verbum caro factum est– and for two years how this has featured daily on Classic FM. I’m hugely proud of all the young people, aged from 7 upwards who have taken part in these recordings alongside our professional adults. Hear Gaudete (arr. Fitzgerald) performed in Ypres Cathedral as featured on our CD on YouTube. The CD is available to buy via this link.

Are there any composers with whom you feel a particular affinity?

Given my comments about musical language above, you won’t be surprised that I love composers such as Jackson, Stopford, Gorecki, Pärt and Tavener.

What advice would you give to those who are considering a career in music?

Do it! Don’t be put off by relatively low salaries: it’s vital to find a job that makes you happy.

How would you define success as a musician/composer?

Feeling fulfilled and happy in a role.

There is something very special about being part of a community of musicians such as one finds here at Portsmouth Cathedral. Compared to jobbing musicians, for cathedral musicians here there’s continuity around the building and the rhythm of worship. And that is satisfying.

Continuing to work during lockdown

We are working hard to carry on with this tradition during lockdown via Zoom, which enables us to keep our skills sharp and to brush up on complex repertoire, although we need to get back together soon so as to craft the homogeneity of sounds. I’m part of a group of people working with the RSCM to advise church authorities on how to get music back in a safe manner. It’s hard work but we will get there. Here’s an article about my work with the Bishop of London’s Recovery Group.

If you want to know more about the music programme at Portsmouth Cathedral please take a look here. And if you want to support our work with youngsters whether through our choristerships, our gap year scheme or Cathedral Sing (our schools’ outreach project), take a look here.

David Price is Organist and Master of the Choristers at Portsmouth Cathedral. Before he came to Portsmouth he was Assistant Organist of Ely Cathedral having previously held Organ Scholarships at Rochester Cathedral and Croydon Parish Church.

During his time at Ely he toured Germany, Belgium, Holland, Poland and the Czech Republic with the Cathedral Choir. The choir’s John Amner recording for Hyperion was critically acclaimed and was the Editor’s Choice in ‘The Gramophone’ music magazine. His work with the choir also led to performances with John Rutter, The Britten Sinfonia, concerts at Snape Maltings, John Tavener, The Parley of Instruments and The Royal Academy of Music. Whilst at Ely he pioneered the use of the building for twilight tours using music, drama and poetry.

Since David has been at Portsmouth the profile of the Cathedral’s music has been raised to new heights through twenty international tours across Europe, numerous recordings, many flagship events with the Royal Navy and the City of Portsmouth as well as regular work for the BBC and ITV. The daily round of worship is now led by three cathedral choirs involving boy choristers, a dedicated team of Lay Clerks and Choral Scholars, girl choristers and a choir of mixed adults. The cathedral organ has been extensively refurbished and enhanced under his care culminating in the addition of a set West End en chamade Trumpets in 2017.

In addition to his duties at the Cathedral, David serves on the Council of the Royal School of Church Music. He served two terms on the Association of English Cathedral’s Music & Liturgy Committee and on term on the Church of England’s General Synod.

The University of Portsmouth conferred David Price with an Honorary Doctorate of Music in recognition of the significant contribution he has made to the development of music at the Cathedral and for his contribution to the cultural life of the city. In 2013 he was elected to an Honorary Fellowship of the Guild of Church Musicians and presented with this at a ceremony at Canterbury Cathedral.

Recent recital venues for David include Westminster Abbey, Wells Cathedral, Hereford Cathedral, Chambery Cathedral and Alpe d’Huez in the French Alps and Trinity Church, Copenhagen in Denmark. His St John Passion for Good Friday was published by Encore Publications in a series of the gospel passions alongside John Scott, Philip Moore and Richard Lloyd.

He is married to Kitty and they live in an historic house in Old Portsmouth, though they can often be found with their dog Minstrel, in their small retreat in The French Alps.


The Organ Project at St Mary’s Portsea appoints Nicholson & Co. Ltd to restore Victorian heritage

The Organ Project Committee is pleased to announce the appointment of Nicholson & Co. Ltd to deliver its capital works programme to restore awe-inspiring Victorian heritage.

Following a competitive tender process involving four IBO (Institute of British Organ Building) accredited organ builders, a newly signed contract with Nicholson & Co. Ltd will see the dismantlement of the 1889 J.W. Walker & Sons organ at St Mary’s Portsea in November 2020, for restoration and re-dedication in late 2021 (this schedule may be subject to change).

Read more at the link below.


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