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Tchaikovsky Pathetique final
Grieg Wedding Day at Troldhaugen
Dyorak Largo New World
all on the 1889 Willis Organ at St Mary's Ewell/media:description>
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media:description>Bach on Tuesday at St Mary’s Ewell 11th June 2024 1.05pm
Prelude in E Flat BWV 552
Sonata in G BWV 503
1.Vivace 2. Lento 3. Allegro
Fugue in E Flat ‘St Anne’ BWV 552/media:description>
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media:description>Jonathan Holmes plays this rather neglected work on the reedy ensemble at Ewell/media:description>
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name>Jonathan Holmes/name>
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published>2024-05-14T15:17:36+00:00/published>
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media:description>J. S. Bach: Prelude and Fugue in A Major BWV 536
Liebster Jesu, wir sind hier BWV 731(Dearest Jesu we are here)
Trio super Herr Jesu Christ, dich zu uns wend BWV 655 (Lord Jesu Christ, turn to us), a 2 Clav. e Pedale (chorale trio)
Prelude and Fugue in D major, BWV 532/media:description>
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title>Bach on Willis at St Mary's Ewell 'Dorian 'Toccata and Fugue plus 3 Clavierubung Preludes/title>
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author>
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published>2024-04-09T17:38:16+00:00/published>
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media:title>Bach on Willis at St Mary's Ewell 'Dorian 'Toccata and Fugue plus 3 Clavierubung Preludes/media:title>
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media:description>Bach Tuesday 1.05pm April 9th St Mary’s Ewell
Jonathan Holmes plays J S Bach
The ‘Dorian’ Toccata and Fugue BWV 538
Chorale Preludes from ‘Clavierubung part 3’
Vater unser im Himmelreich a 2 Klavier e pedal a canto fermo in canone BWV 682
Dies sind dei heiligen zehen Gebot (Manualiter) BWV 679
Kyrie, Gott heiliger geist (Pro Organo Pleno) BWV 671)
Programme Notes
The ‘Dorian’ Prelude and Fugue BWV 538
The epithet 'Dorian' appears for the first time in a Peters publication from 1845, probably because the work is notated in D minor (with one flat) with no key signature, like the Dorian mode.
‘Music like three-dimensional chess’
One probably should listen to this toccata and fugue a few times, as it is extremely complex music that is difficult to take in all at once. Yet the key here is frugality, as Bach manages to spin out a few simple motifs over two breathtaking constructions. And although the movements of this ‘power couple’ were probably not written at the same time, they fit together perfectly.
The toccata is a model of rhetoric, wrapped up in a perpetuum mobile of semiquavers. The opening motif is presented, commented on, confirmed, rearranged and reconfirmed, etc. Each musical gesture is derived from that single motif, which in itself is a wonderful achievement. Bach adds extra contrast through a lively dialogue between the great organ and the choir organ. And finally, to optimise the balance, short passages with ‘tense’ chords are consistently followed by stretches of brighter music.
The fugue, too, puts layer upon layer. The theme begins simply, although the second bar already sees a shift in rhythm and the start of the upward leaps, which lead later on to some very exciting combinations. There are two counter-themes (one of which resembles the toccata motif briefly), both of which are unbroken and overlap the theme perfectly, so that the piece never unwinds. After the first use of the pedal, the fugue feels its way forwards as Bach introduces his melodies in canon, first between the bass and the soprano, and then in three middle voices, until the threads can barely be disentangled. The end of the fugue breaks through the intoxicating interplay of lines and refers back pointedly to the toccata with sharp question-and-answer chords.
Vater unser im Himmelreich a 2 Klavier e pedal a canto fermo in canone BWV 682
Bach applied the latest novelties from abroad in illustrating Luther’s serious message.
This chorale arrangement requires a large organ with two manuals (keyboards) and pedal. The two melodic voices and bass part create the form of a trio sonata. The original song melody is embellished to such an extent that it is practically unrecognisable. But these decorations borrowed from French Baroque music do not provide cheerfulness. Against a ground of persistent bass notes, two additional voices grip one another in a canonic stranglehold, suggesting the seriousness of the prayer’s message.
Luther’s text, consisting of nine six-line couplets prayer holds forth on the concepts of suffering, guilt, patience and obedience. The succession of laboriously hiccupping figures and chromatic motifs ensured that eighteenth-century congregations did not lose sight of this underlying meaning. However, the fact that Bach also made an incredibly difficult composition of it, using all the latest novelties from abroad, would have given music-lovers satisfaction at the same time.
Dies sind dei heiligen zehen Gebot (Manualiter) BWV 679
“I will delight in your decrees”, go the words of Psalm 119 verse 16. These decrees are, of course, the Ten Commandments, and the catechism states that it is an obligation to follow them joyfully. So it comes as no surprise that Bach wrote an extremely lively prelude in order to emphasise the happiness behind the actually very serious theme.
Kyrie, Gott heiliger geist (Pro Organo Pleno) BWV 671)
BWV 671 is the third part of the Kyrie representing God the Holy Spirit.
Luther wrote his Kyrie between 1525 and 1537. The melody is an adaptation of a much older Gregorian melody. It is in the Phrygian mode (an ecclesiastical mode beginning on E), the most heart-rending of all the ecclesiastical keys – which befits the words of the piece: Kyrie eleison (Lord, have mercy). From the seventeenth century onward, organists started to arrange this melody, as they did with other Lutheran hymns as well. As in the rest of the Clavier-Übung, Bach follows this tradition here, too.
The mediaeval melody of the hymn can be heard in long note values in the pedal. Above that, both hands of the organist weave a four-part fugue. This fugue is clear and lively in general – a strong contrast to the dark melody of the original. It is only towards the ending, as the final cadence approaches, that the music becomes darker. Maybe Bach wanted to express the eleison (have mercy on us) musically through this heart-rending chromaticism. Bach brings together centuries of music in this monumental work/media:description>
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title>Bach Concert Trio Sonata 5 and Prelude and Fugue in C minor at Ewell Father Willis/title>
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author>
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media:title>Bach Concert Trio Sonata 5 and Prelude and Fugue in C minor at Ewell Father Willis/media:title>
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media:description>Bach Concert Tuesday 5 March 2024 St Mary’s Ewell
Jonathan Holmes
Bach Trio Sonata 5 in C major BWV 529. Allegro Largo Allegro
Bach Prelude and Fugue in C minor BWV 546
With his son Wilhelm Friedemann in mind – or maybe for a prestigious publication – Bach put together six magnificent sonatas for organ in the late 1720’s.
The dynamic Allegro with an ABA structure and two themes filled with quick runs would work well as a galant trio for two flutes and a bass. The slow movement, which according to various early copies was often slipped between the very short Prelude and fugue, BWV 545, shifts the emphasis from rhythm to harmony. A sighing motif and a sort of implicit crescendo on repeated notes form the first theme while tension is provided by the chromatic counter-theme. Bach may have taken inspiration for the theme of the last movement from Corelli, whose music had an immense impact. Even more so than in the first movement, the atmosphere here is determined by fugal tricks.
Around 1727-1730, Bach introduced a new organ genre: the trio sonata. This type of sonata –with two melodic instruments and bass, or a soloist and keyboard – had long been a fixture in Baroque chamber music, but the three parts had never been heard before on one instrument. Through clever registration, it is possible to attain a wealth of sounds on the organ, but this is merely the beginning, as the six sonatas are regarded as extremely difficult. Schweitzer, for instance, says that “those who have practiced these sonatas thoroughly will not actually encounter any more problems in either the old or the modern organ literature. [...] He has achieved absolute precision in his playing – the ultimate condition of the true art of organ-playing. In this complicated trio piece, even the smallest irregularity can be heard with terrifying clarity”.
Biographer Forkel remarked that Bach wrote the collection (or transcribed it from earlier material) for the studies of Wilhelm Friedemann, whom he “thus trained to be the great organist he later became”. Maybe this context is also the reason he adds galant touches to the Italian concerto style here and there, inspired by the operas in Dresden of which Friedemann was apparently a great fan. The sonatas remained influential for a long time, also on the young Mendelssohn, for example. Notwithstanding its chamber music origins, this is out-and-out keyboard music, with a unique interaction between both hands. The almost endless variation of form makes the collection a world of its own.
Bach Prelude and Fugue in C minor BWV 546
The most important manuscript of this Prelude and fugue in C minor is in the hand of Kellner.
However, this also leads to questions, as is often the case with music we do not have in Bach’s own hand. Everyone agrees that the monumental prelude is 100% Bach. It forms a stylistic and thematic entity. But opinions are somewhat divided about the fugue. That central section where the theme disappears (and where all the counterpoint even evaporates briefly) – is it really by Bach? Could Kellner have tinkered with the fugue? Or could the fugue be his composition entirely? In any case, we know he did have Bachian improvisation skills. Once, Kellner was sitting at the organ when Bach happened to enter the church and he improvised a fugue on the spot, on the German note names B A C H (B-flat, A, C, B).
The Prelude is late and dates from his time in Leipzig (1723–1750), and the fugue earlier, back to Weimar (1708–1717).
The work was played as a postlude for the funeral of Diana, Princess of Wales, the funeral of Prince Philip, Duke of Edinburgh, and the Committal of Queen Elizabeth.
The Prelude showcases a massive, intricate ritornello (returning section) construction. Much of the opening theme for this work was subtly arranged and transposed in G minor for the lighter opening chorus of the cantata Wer sich selbst erhöhet, der soll erniedriget werden, BWV 47, which was performed on 13 October 1726 in Leipzig. After the stately initial dialogue, the piece is soon flanked with a flurry of running triplets, intertwined with a looming second theme, with the original one reoccurring only in fragments until its final statement.
The Fugue has many different elements gradually expanding to a complex 5 voice texture before reverting to lighter textured episodes with little thematic connection to the fugue subject. However, after an extended sequential homophonic (chordal) episode the stately counterpoint of the opening returns for a final massive peroration./media:description>
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media:description>Young performers Concert St Mary’s Ewell
2.30pm Saturday 17th February 2024
Admission at the door £10 suggested Donation
Vincent Wang Organ and Piano
Praeludium in F pro organo pleno - Krebs
Prelude 12 bk 1 Minstrels - Debussy
Katarina Khan Soprano
O waly waly - Britten
Deh vieni - Mozart
Lachen Und weinen - Schubert
Lily Gartside Organ
Prelude in F BWV 556 - Bach
Hattie Stephens Organ
Herzlich tut mich verlangen – Bach
Adoration – Florence Price
Daniel Woodliffe Organ and Cello
Elegy - Thalben Ball
Intermezzo from Goyescas – Granados
Interval with refreshments in the Parish Room
Elinor Thomas Organ
Prelude and Fugue in G BWV 557 - Bach
Noah Maddox Organ
Toccata in D minor Bach
Ansh Kumar Piano
Sonata no 17 (tempest) movement 1 - Beethoven
Vansh Kumar Piano
Theme and variations in F – Tchaikovsky
Elinor Thomas Clarinet
Lorito Caprice - Gomez
Vincent is currently studying at Homefield prep School in Sutton. He is a pupil of Jonathan’s having been awarded a ‘Strover’ organ scholarship by the Bromley and Croydon Organists’ Association.
Katarina sings in our Parish Choir. She recently completed a post graduate course at The Welsh College of Music.
Lily and Hattie are both pupils of Jonathan at Epsom College where he is organist.
Daniel has a diploma in cello and is about to take his piano diploma. He studies organ with Jonathan and studies at Freemen’s School, Ashstead.
Ansh was awarded a Strover Scholarship and studied organ with Jonathan. Both he and Vansh are now music scholars at Eton with diplomas on various instruments.
Elinor is an organ pupil of Jonathan’s. Currently at Nonsuch School she has been awarded a music scholarship to Trinity Croydon for the sixth form.
Music at St Mary’s in March
Tuesday 5th March 1.05pm. Organ and Piano Recital. Jonathan Holmes plays Bach: Prelude and Fugue in C minor, Chorale Preludes for Lent plus a sixth form pianist from Ewell Castle School. Join us for afternoon tea. Admission Free. Donations to the upkeep of the organ welcome.
Saturday 16th March 7.30pm we are delighted to welcome the superb local Ripieno Choir to St Mary’s. The concert’s theme is eternal light, with music of vivid brightness. Croydon Minster organist George Inscoe joins us for classics by Bach, Bainton and Fauré, there are modern pieces by Bob Chilcott and Eric Whitacre, and even a brand-new arrangement of a Pentatonix song. Come, listen, and be enlightened!
Tickets
£16 in advance, £18 on the day (including at the door), £5 for under 18s
Group discounts are available – please contact the box office for more information.
Box office Telephone 020 8399 2714 or buy online at www.ripienochoir.org.uk
Saturday 23 March 7.30pm A Musical Tour of Renaissance Europe with the Maeldune Consort of voices and viols. Led by our very own choir soprano Susana de Oliveira. Admission suggested Donation £10 at the door. Free to students and children./media:description>
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++++ UPdate DAvidKanal SET tsc=1720022207 WHERE Cid="16383"
03.07.2024 17:56
01.01.1970 01:00
01.01.1970 01:00
Jonathan Holmes
1:: Commotio Nielsen
17.06.2024 18:11:10 01.01.1970 01:00:00 01.01.1970 01:00:00
2:: Sibelius Karelia Suite Intermezzo and Alla Marcia
17.06.2024 17:03:52 01.01.1970 01:00:00 01.01.1970 01:00:00
3:: 'Northern Lights' 1
17.06.2024 09:06:58 01.01.1970 01:00:00 01.01.1970 01:00:00 Lindberg Sonata last movement
Tchaikovsky Pathetique final
Grieg Wedding Day at Troldhaugen
Dyorak Largo New World
all on the 1889 Willis Organ at St Mary's Ewell
4:: Lindberg, Tchaikovsky grieg and Dvorak
17.06.2024 00:03:24 01.01.1970 01:00:00 01.01.1970 01:00:00
5:: Nielsen Commotio
16.06.2024 23:59:54 01.01.1970 01:00:00 01.01.1970 01:00:00
6:: Sibelius Karelia Suite Intermezzo and Alla Marcia
16.06.2024 23:28:49 01.01.1970 01:00:00 01.01.1970 01:00:00
7:: Bach on Tuesday at St Mary’s Ewell 11th June 2024 1 05pm Prelude in E Flat BWV 552 Sonata in G
11.06.2024 21:41:43 01.01.1970 01:00:00 01.01.1970 01:00:00 Bach on Tuesday at St Mary’s Ewell 11th June 2024 1.05pm
Prelude in E Flat BWV 552
Sonata in G BWV 503
1.Vivace 2. Lento 3. Allegro
Fugue in E Flat ‘St Anne’ BWV 552
8:: Florence Price 'Peter go ring dem bells' variations
22.05.2024 22:58:09 01.01.1970 01:00:00 01.01.1970 01:00:00 showing some of the bizarre sounds on the Willis organ at Ewell
9:: Dupre Second Symphony
22.05.2024 22:39:31 01.01.1970 01:00:00 01.01.1970 01:00:00 On the organ of Ewell with Jonathan Holmes
10:: Widor Symphony 7 Willis Organ at St Michael's Croydon
22.05.2024 22:28:27 01.01.1970 01:00:00 01.01.1970 01:00:00 Jonathan Holmes at today's recital at St Michael's Croydon on the 1882 Willis organ restored in 1955 by Noel Mander
11:: Widor Symphonie 7 on 1889 Willis Organ of St Mary's Ewell
22.05.2024 20:08:56 01.01.1970 01:00:00 01.01.1970 01:00:00 Jonathan Holmes plays this rather neglected work on the reedy ensemble at Ewell
12:: Bach Tuesday 14th May at St Mary's Willis Organ Ewell with Jonathan Holmes
14.05.2024 15:17:36 01.01.1970 01:00:00 01.01.1970 01:00:00 J. S. Bach: Prelude and Fugue in A Major BWV 536
Liebster Jesu, wir sind hier BWV 731(Dearest Jesu we are here)
Trio super Herr Jesu Christ, dich zu uns wend BWV 655 (Lord Jesu Christ, turn to us), a 2 Clav. e Pedale (chorale trio)
Prelude and Fugue in D major, BWV 532
13:: Bach on Willis at St Mary's Ewell 'Dorian 'Toccata and Fugue plus 3 Clavierubung Preludes
09.04.2024 17:38:16 01.01.1970 01:00:00 01.01.1970 01:00:00 Bach Tuesday 1.05pm April 9th St Mary’s Ewell
Jonathan Holmes plays J S Bach
The ‘Dorian’ Toccata and Fugue BWV 538
Chorale Preludes from ‘Clavierubung part 3’
Vater unser im Himmelreich a 2 Klavier e pedal a canto fermo in canone BWV 682
Dies sind dei heiligen zehen Gebot (Manualiter) BWV 679
Kyrie, Gott heiliger geist (Pro Organo Pleno) BWV 671)
Programme Notes
The ‘Dorian’ Prelude and Fugue BWV 538
The epithet 'Dorian' appears for the first time in a Peters publication from 1845, probably because the work is notated in D minor (with one flat) with no key signature, like the Dorian mode.
‘Music like three-dimensional chess’
One probably should listen to this toccata and fugue a few times, as it is extremely complex music that is difficult to take in all at once. Yet the key here is frugality, as Bach manages to spin out a few simple motifs over two breathtaking constructions. And although the movements of this ‘power couple’ were probably not written at the same time, they fit together perfectly.
The toccata is a model of rhetoric, wrapped up in a perpetuum mobile of semiquavers. The opening motif is presented, commented on, confirmed, rearranged and reconfirmed, etc. Each musical gesture is derived from that single motif, which in itself is a wonderful achievement. Bach adds extra contrast through a lively dialogue between the great organ and the choir organ. And finally, to optimise the balance, short passages with ‘tense’ chords are consistently followed by stretches of brighter music.
The fugue, too, puts layer upon layer. The theme begins simply, although the second bar already sees a shift in rhythm and the start of the upward leaps, which lead later on to some very exciting combinations. There are two counter-themes (one of which resembles the toccata motif briefly), both of which are unbroken and overlap the theme perfectly, so that the piece never unwinds. After the first use of the pedal, the fugue feels its way forwards as Bach introduces his melodies in canon, first between the bass and the soprano, and then in three middle voices, until the threads can barely be disentangled. The end of the fugue breaks through the intoxicating interplay of lines and refers back pointedly to the toccata with sharp question-and-answer chords.
Vater unser im Himmelreich a 2 Klavier e pedal a canto fermo in canone BWV 682
Bach applied the latest novelties from abroad in illustrating Luther’s serious message.
This chorale arrangement requires a large organ with two manuals (keyboards) and pedal. The two melodic voices and bass part create the form of a trio sonata. The original song melody is embellished to such an extent that it is practically unrecognisable. But these decorations borrowed from French Baroque music do not provide cheerfulness. Against a ground of persistent bass notes, two additional voices grip one another in a canonic stranglehold, suggesting the seriousness of the prayer’s message.
Luther’s text, consisting of nine six-line couplets prayer holds forth on the concepts of suffering, guilt, patience and obedience. The succession of laboriously hiccupping figures and chromatic motifs ensured that eighteenth-century congregations did not lose sight of this underlying meaning. However, the fact that Bach also made an incredibly difficult composition of it, using all the latest novelties from abroad, would have given music-lovers satisfaction at the same time.
Dies sind dei heiligen zehen Gebot (Manualiter) BWV 679
“I will delight in your decrees”, go the words of Psalm 119 verse 16. These decrees are, of course, the Ten Commandments, and the catechism states that it is an obligation to follow them joyfully. So it comes as no surprise that Bach wrote an extremely lively prelude in order to emphasise the happiness behind the actually very serious theme.
Kyrie, Gott heiliger geist (Pro Organo Pleno) BWV 671)
BWV 671 is the third part of the Kyrie representing God the Holy Spirit.
Luther wrote his Kyrie between 1525 and 1537. The melody is an adaptation of a much older Gregorian melody. It is in the Phrygian mode (an ecclesiastical mode beginning on E), the most heart-rending of all the ecclesiastical keys – which befits the words of the piece: Kyrie eleison (Lord, have mercy). From the seventeenth century onward, organists started to arrange this melody, as they did with other Lutheran hymns as well. As in the rest of the Clavier-Übung, Bach follows this tradition here, too.
The mediaeval melody of the hymn can be heard in long note values in the pedal. Above that, both hands of the organist weave a four-part fugue. This fugue is clear and lively in general – a strong contrast to the dark melody of the original. It is only towards the ending, as the final cadence approaches, that the music becomes darker. Maybe Bach wanted to express the eleison (have mercy on us) musically through this heart-rending chromaticism. Bach brings together centuries of music in this monumental work
14:: Bach Concert Trio Sonata 5 and Prelude and Fugue in C minor at Ewell Father Willis
05.03.2024 17:13:51 01.01.1970 01:00:00 01.01.1970 01:00:00 Bach Concert Tuesday 5 March 2024 St Mary’s Ewell
Jonathan Holmes
Bach Trio Sonata 5 in C major BWV 529. Allegro Largo Allegro
Bach Prelude and Fugue in C minor BWV 546
With his son Wilhelm Friedemann in mind – or maybe for a prestigious publication – Bach put together six magnificent sonatas for organ in the late 1720’s.
The dynamic Allegro with an ABA structure and two themes filled with quick runs would work well as a galant trio for two flutes and a bass. The slow movement, which according to various early copies was often slipped between the very short Prelude and fugue, BWV 545, shifts the emphasis from rhythm to harmony. A sighing motif and a sort of implicit crescendo on repeated notes form the first theme while tension is provided by the chromatic counter-theme. Bach may have taken inspiration for the theme of the last movement from Corelli, whose music had an immense impact. Even more so than in the first movement, the atmosphere here is determined by fugal tricks.
Around 1727-1730, Bach introduced a new organ genre: the trio sonata. This type of sonata –with two melodic instruments and bass, or a soloist and keyboard – had long been a fixture in Baroque chamber music, but the three parts had never been heard before on one instrument. Through clever registration, it is possible to attain a wealth of sounds on the organ, but this is merely the beginning, as the six sonatas are regarded as extremely difficult. Schweitzer, for instance, says that “those who have practiced these sonatas thoroughly will not actually encounter any more problems in either the old or the modern organ literature. [...] He has achieved absolute precision in his playing – the ultimate condition of the true art of organ-playing. In this complicated trio piece, even the smallest irregularity can be heard with terrifying clarity”.
Biographer Forkel remarked that Bach wrote the collection (or transcribed it from earlier material) for the studies of Wilhelm Friedemann, whom he “thus trained to be the great organist he later became”. Maybe this context is also the reason he adds galant touches to the Italian concerto style here and there, inspired by the operas in Dresden of which Friedemann was apparently a great fan. The sonatas remained influential for a long time, also on the young Mendelssohn, for example. Notwithstanding its chamber music origins, this is out-and-out keyboard music, with a unique interaction between both hands. The almost endless variation of form makes the collection a world of its own.
Bach Prelude and Fugue in C minor BWV 546
The most important manuscript of this Prelude and fugue in C minor is in the hand of Kellner.
However, this also leads to questions, as is often the case with music we do not have in Bach’s own hand. Everyone agrees that the monumental prelude is 100% Bach. It forms a stylistic and thematic entity. But opinions are somewhat divided about the fugue. That central section where the theme disappears (and where all the counterpoint even evaporates briefly) – is it really by Bach? Could Kellner have tinkered with the fugue? Or could the fugue be his composition entirely? In any case, we know he did have Bachian improvisation skills. Once, Kellner was sitting at the organ when Bach happened to enter the church and he improvised a fugue on the spot, on the German note names B A C H (B-flat, A, C, B).
The Prelude is late and dates from his time in Leipzig (1723–1750), and the fugue earlier, back to Weimar (1708–1717).
The work was played as a postlude for the funeral of Diana, Princess of Wales, the funeral of Prince Philip, Duke of Edinburgh, and the Committal of Queen Elizabeth.
The Prelude showcases a massive, intricate ritornello (returning section) construction. Much of the opening theme for this work was subtly arranged and transposed in G minor for the lighter opening chorus of the cantata Wer sich selbst erhöhet, der soll erniedriget werden, BWV 47, which was performed on 13 October 1726 in Leipzig. After the stately initial dialogue, the piece is soon flanked with a flurry of running triplets, intertwined with a looming second theme, with the original one reoccurring only in fragments until its final statement.
The Fugue has many different elements gradually expanding to a complex 5 voice texture before reverting to lighter textured episodes with little thematic connection to the fugue subject. However, after an extended sequential homophonic (chordal) episode the stately counterpoint of the opening returns for a final massive peroration.
15:: Young performers at St Mary's Ewell
18.02.2024 12:16:18 01.01.1970 01:00:00 01.01.1970 01:00:00 Young performers Concert St Mary’s Ewell
2.30pm Saturday 17th February 2024
Admission at the door £10 suggested Donation
Vincent Wang Organ and Piano
Praeludium in F pro organo pleno - Krebs
Prelude 12 bk 1 Minstrels - Debussy
Katarina Khan Soprano
O waly waly - Britten
Deh vieni - Mozart
Lachen Und weinen - Schubert
Lily Gartside Organ
Prelude in F BWV 556 - Bach
Hattie Stephens Organ
Herzlich tut mich verlangen – Bach
Adoration – Florence Price
Daniel Woodliffe Organ and Cello
Elegy - Thalben Ball
Intermezzo from Goyescas – Granados
Interval with refreshments in the Parish Room
Elinor Thomas Organ
Prelude and Fugue in G BWV 557 - Bach
Noah Maddox Organ
Toccata in D minor Bach
Ansh Kumar Piano
Sonata no 17 (tempest) movement 1 - Beethoven
Vansh Kumar Piano
Theme and variations in F – Tchaikovsky
Elinor Thomas Clarinet
Lorito Caprice - Gomez
Vincent is currently studying at Homefield prep School in Sutton. He is a pupil of Jonathan’s having been awarded a ‘Strover’ organ scholarship by the Bromley and Croydon Organists’ Association.
Katarina sings in our Parish Choir. She recently completed a post graduate course at The Welsh College of Music.
Lily and Hattie are both pupils of Jonathan at Epsom College where he is organist.
Daniel has a diploma in cello and is about to take his piano diploma. He studies organ with Jonathan and studies at Freemen’s School, Ashstead.
Ansh was awarded a Strover Scholarship and studied organ with Jonathan. Both he and Vansh are now music scholars at Eton with diplomas on various instruments.
Elinor is an organ pupil of Jonathan’s. Currently at Nonsuch School she has been awarded a music scholarship to Trinity Croydon for the sixth form.
Music at St Mary’s in March
Tuesday 5th March 1.05pm. Organ and Piano Recital. Jonathan Holmes plays Bach: Prelude and Fugue in C minor, Chorale Preludes for Lent plus a sixth form pianist from Ewell Castle School. Join us for afternoon tea. Admission Free. Donations to the upkeep of the organ welcome.
Saturday 16th March 7.30pm we are delighted to welcome the superb local Ripieno Choir to St Mary’s. The concert’s theme is eternal light, with music of vivid brightness. Croydon Minster organist George Inscoe joins us for classics by Bach, Bainton and Fauré, there are modern pieces by Bob Chilcott and Eric Whitacre, and even a brand-new arrangement of a Pentatonix song. Come, listen, and be enlightened!
Tickets
£16 in advance, £18 on the day (including at the door), £5 for under 18s
Group discounts are available – please contact the box office for more information.
Box office Telephone 020 8399 2714 or buy online at www.ripienochoir.org.uk
Saturday 23 March 7.30pm A Musical Tour of Renaissance Europe with the Maeldune Consort of voices and viols. Led by our very own choir soprano Susana de Oliveira. Admission suggested Donation £10 at the door. Free to students and children.
16:: Bach Tuesday at Ewell 6:2:24
06.02.2024 20:00:34 01.01.1970 01:00:00 01.01.1970 01:00:00 Trio Sonata 2 in C minor
Prelude and Fugue in E minor 'The Wedge'
1889 Willis organ
17:: Lunchtime Bach Recital 9/1/24 St Mary’s Church, Ewell, Jonathan Holmes
09.01.2024 16:25:11 01.01.1970 01:00:00 01.01.1970 01:00:00 The organ reeds are a bit out of tune as the church was freezing cold!
Lunchtime Bach Recital Tuesday 9th January 2024 13:05 – 13:35
St Mary’s Church, Ewell, Jonathan Holmes
Pièce D'orgue, BWV 572 (Fantasy in G Major) Très vitement, Gravement and LentementT
rio Sonata in E minor BWV 528 Lento-Vivace, Andante, Poco allegro
Prelude and Fugue in A minor, BWV 543Bach 9:1:24 at St Mary's Ewell
Next Bach Feb 6th 1.05pm
