A organ recital by Cathedral Organist Rod Thomson as part of A Light RePast.
Flutist Belinda Ratnik responds musically to the artworks of A Light RePast.
Belinda is also playing at a Recital at 7pm with Pianist, Jo-Anne Kemp.
The Cathedral Choir will bring their weekly rehearsal into the Chancel, so come along to see and hear our dedicated musicians and choristers in action—you can even join in, preparing for the Evensong.
For A Light RePast a feast of the keyboard from Cathedral Organist Peter Warren with music across the centuries and styles.
1. “Carillon” by Herbert Murrill (1909-1952)
2. “Toccata & Fugue in D minor by J S Bach (1685-1750)
3. “Don’t Get Around Much Anymore” by Duke Ellington (1899-1974) arranged by Earl Hines (1903-1983)
4. “One Mint Julep” by R Toombs (1914-1962)
5. “For All We Know” by Sam Lewis (1885-1959) & J Fred Coots (1897-1985) arrange by Bill Evans (1929-1980)
6. “Hymn D’Actions De Graces” (Te Deum pour grand orgue) by Jean Langlais (1907-1991)
7. “Canzonetta” by William Mathias (1934-1992)
8. “Frulingsrauschen” Op 32 No 3 “Rustles Of Spring” by Christian Sinding (1856-1941)
9. “Nocturne” Op 27 No 1 by Frederic Chopin (1810-1849)
10. “Bohemian Rhapsody” by Freddie Mercury (1946-1991)
11. “Over The Rainbow” by E Y Harburg & H Arlen (1939) arranged by George Shearing (1919-2011)
Born in Bristol, England, Andrews initially studied organ with Garth Benson of St. Mary Redcliffe Church. At sixteen, he entered London’s Royal Academy of Music. He later moved to Geneva, Switzerland where he was a student of Lionel Rogg. Following his return to Britain he studied privately for two years with Dame Gillian Weir.
Colin Andrews has been the recipient of many awards; most notably, he was a prizewinner at both the 1980 and 1982 Dublin International Organ Competitions in Ireland. Mr. Andrews has toured worldwide as a solo recitalist. He has appeared at a number of the world’s most prestigious venues including the Royal Festival Hall, London; King’s College, Cambridge; Suntory Hall, Tokyo; Hong Kong Cultural Center; The Moscow Conservatoire; the Cathedral of Notre Dame, Paris; the National Conventions of the NZAO and the American Guild of Organists; Yale, Duke and Stanford Universities, plus leading halls and cathedrals in Taiwan, South America, Iceland, Finland, Australia, Thailand, Singapore, South Korea, South Africa and
most of Eastern and Western Europe.
In the autumn of 2005, he joined the East Carolina (USA) faculty, teaching in the areas of Applied Organ and Organ Literature. During the 2008-2009 academic year, Andrews was Interim Director of Organ and Sacred Music Studies at East Carolina University. Since the autumn of 2009, Colin Andrews has been Adjunct Professor of Music at Indiana University; he is also Director of Music at First Presbyterian Church, Columbus, Indiana.
Recently, Mr. Andrews was named “Membre d’Honneur” of the “Association Grand Orgue Trinité Messiaen” based at L’Eglise de la Sainte Trinité in Paris, where Messiaen was organist for 61 years. This honour is in recognition of Mr. Andrews’ work with Messiaen’s organ works. Colin Andrews is one of only four organists in the world to have recorded the complete organ works of Messiaen.
Lynnwood Farnam (1885-1930)
Toccata on “O Filii et Filiae” (pub. 1932)
J.S. Bach (1685-1750)
Passacaglia & Fuga in C minor BWV 582
Chorale-Prelude: O Mensch, bewein dein Sünde gross BWV 622
Herbert Howells (1892-1983)
Psalm-Prelude Set 1, No. 1 (1914) Op. 32
César Franck (1822-1890)
Pièce heroïque from Trois Pièces (1878)
Joseph Bonnet (1884-1944)
Variations de concert Op. 1 (1906)
Leo Sowerby (1895-1968)
Comes Autumn Time (1916)
Olivier Messiaen (1908-1992)
Prière avant la communion from Livre du Saint Sacrement (1984)
Dieu parmi nous from La Nativité du Seigneur (1935)
ADMISSION $25 at the door
12th-century Magister Pérotin’s polyphony vs. the metal strings of The Omnific
Pérotin Beata viscera
The Omnific Kismet
The Omnific Objets de Vertu
Léonin Viderunt omnes
The Omnific That’s all she wrote
Pérotin Viderunt omnes
Matthew Fackrell | Toby Peterson-Stewart | Susannah Lawergren | Ethan Taylor | Koen van Stade | Mark Donnelly | Antony Pitts
A collaboration across genres with a uniting interest in the deep resonances of vocal cords, struck strings, and powerful harmonies. A cluster of rising stars from Melbourne, The Omnific has already made a name for their unique rhythmic interplay and wordless metallic fantasias. The Omnific’s two five-string bass guitarists’ classic duo Kismet and other works are interleaved with multi-voice chanting and improvisation from the male voices of The Song Company in music from Magister Pérotin’s masterpiece Viderunt omnes and its late 12th-century inspirations, echoed by a high soprano in his most haunting of songs, Beata viscera.