T THE ESSEX ORGANIST The Newsletter of the Essex Organists’ Association

THE ESSEX ORGANIST
The Newsletter of the Essex Organists’ Association
Nov - Dec 2013
www.essexorganists.org.uk
EDITORIAL
T
he EOA Committee has in recent months been busy persuading as many of you as
possible to go electronic and access your Newsletters through the medium of email
attachments. The response has been good and continues to be so, enabling us to reduce
our printing-and-mailing cost, which is the main expense in our publishing of the
Newsletter. I had quite expected there to be more rumbles of discontent than has proved to be the
case and I am not going to complain about that. But there is still a substantial minority of you who
will not, or simply cannot, accept this invitation
to go electronic. And here we encounter an
increasingly common dilemma in our digital age.
Featured in this issue:
The reduced costs do enable us to continue to
 p.2 Anniversaries
produce a quality product, but the lack of a
- John Dean
tactile paper magazine that you can carry around
with you or share with friends will be felt as a sad
 p.3 The Art of Performing Hymns
loss to those of you who, for example, can only
- Christopher Kingsley
read this publication off a screen. Even those
with the technology may not yet have good
 p.6 William Russell (1777 – 1813) : almost a
enough quality printers to enable the printing of
Romantic! Anniversary presentation by Dr
a satisfactory item; colour photographs are a
Gillian Ward Russell at All Saints’ Church, Malparticular problem in this respect. So we may
don, 12th October 2013
ask ourselves is this progress or is it a
- Fay Hepworth
diminishing of the quality of life? At the very
 p.8 Interview with a future organist
least it is a trade-off between advantages and
- Alwyn Jones
disadvantages - the most serious disadvantage
being the possible extinction of The Essex
 p.9 Geoffrey Martin
Organist! I would love to have your views on
 p.10 Letters to the Editor
this debate. Are you content to accept that things
are changing in the direction they are? Are you
 P.10 A plea from the Treasurer
sad about it? Would you prefer to have a
subscription system in order to cover the costs of
 P.11 Forthcoming Events
paper printing and the mailing of copies to
 P.11 Quiz and supper evening
subscribers? (You could be nastily surprised by
how much such a subscription would now have to
be!) You can see that there are many factors to be
considered in this debate. Your responses (by email or letter mail) could make an interesting
challenge for your editor to handle as material for the next issue, or the lack of them could lead us
to conclude that the way we are going is the right way. Over to you, dear readers.
Alwyn Jones, Editor
1
ANNIVERSARIES
2013 marks the tenth anniversary of the installation of the splendid organ in St. Mary's
Parish Church, Shenfield, built by Principal Pipe Organs of York. To celebrate this event our
EOA President, Dr Gillian Ward Russell, gave a brilliant recital on 28th September. Gillian's
recitals always exhibit at least four characteristics:




the programme consists of a very interesting variety of pieces, some of which are
rarely heard, and which are all linked by a specific theme
the performance is of high quality, with a strong rhythmic sense and a
convincing sensitivity to the intrinsic nature of each work
the pieces are preceded by spoken introductions which have been as carefully
prepared and delivered as the performances themselves
an essentially serious event is often lightened by a few welcome touches of
humour
This time, very appropriately, Gillian chose the theme of "anniversaries", and she managed to
put together a wonderful chronological
programme covering four hundred and fifty
years. This programme achieved two aims at the
same time: it both revealed the amazing
development of organ music over the centuries
and also gradually, during the course of the
afternoon, showed off the splendid virtuosity of
the Shenfield instrument.
Gillian at the console of the Shenfield
Organ
Photo © Fay Hepworth
Gillian began with a piece for manuals only:
Samuel Scheidt's Variations on a Galliard by
John Dowland (1563-1626), celebrating the
450th anniversary of Dowland's birth. This was
followed by a Trio in A Minor, commemorating
the 300th anniversary of the birth of its
composer, Johann Ludwig Krebs (1713-80), who
had been a pupil of J. S. Bach.
The third piece was of considerable interest for more than one reason. For a start it was a
work composed by William Russell (1777-1813), who was an ancestor of Gillian's late first
husband. Russell was a child prodigy, first performing at the age of 11, who then went on to
be organist at the Foundling Hospital, which, having been recently founded by George
Frederick Handel, among others, was at the time an institution of great importance. Russell
was in fact a very significant figure in the history of the development of the organ voluntary,
and the piece which Gillian played, Voluntary No. 10 in G, showing brilliant dramatic
contrasts, was clearly of very high quality.
There followed a sweet, seductive, gently melodic Andante Con Moto by Henry Smart (18131879), which contrasted with the following stately Pilgrim's Chorus from Tannhäuser, Franz
Liszt's transcription, which Gillian played to celebrate the 200th anniversary of Wagner's
birth. Then the Cantique de Noël of Adolphe Adam (1841-1913), familiar to us all as the carol
O Holy Night, and a very orchestral-sounding Intermezzo from Cavalleria Rusticana by
Mascagni (1863-1943).
By great and impressive contrast Gillian then played the only organ piece written by
Benjamin Britten, the centenary of whose death we commemorate this year: Prelude and
Fugue on a Theme by Vittoria. This was a powerful and effective work: why didn't Britten
write more organ music, one wonders? To conclude, Gillian played a piece specially written
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for her by her teacher Harrison Oxley (1933-2009) ("a wonderful teacher and a wonderful
man"): the well-known Jupiter theme from Gustav Holst's suite The Planets, also familiar to
us as the tune Thaxted, written for the hymn I Vow to Thee my Country.
At the end of this brilliant recital it was not too difficult to persuade Gillian to play an encore.
"Nobody else plays this piece like I play it", she said, introducing Humoresque by Pietro Yon.
"It has a barrel-organ type of sound, and I play it is if somebody suddenly stops turning the
handle." The result was predictable and very amusing. A delightful end to a memorable
recital.
Gillian's claim at the outset that we were going to hear "so
many different colours and facets of organ music, and that
you will hear me playing four different instruments" was
fully justified.
As she pointed out, it was a correct
decision taken over ten years ago to install a completely
new organ in this church. If I might offer one criticism, it
would be to suggest that this wonderful instrument (yes;
one should say this wonderful collection of instruments)
deserves a much more generous acoustic.
This is
particularly noticeable when the musical score calls for the
use of staccato, immediately after which, in this building,
a sudden and deafening silence follows, as if the music
had come to a sudden stop. After spending so much
money on the organ, could not some attention now be
given to improving its acoustical context?
Gillian being presented with
flowers after the recital
Photo © Fay Hepworth
This recital was deservedly well-attended, not least by
members of the congregation at St. Mary's. It was a
memorable and most enjoyable occasion. EOA members
who were not able to attend missed a real treat.
John Dean
The Art of Performing Hymns
During my year of office as Mayor of Chelmsford I was invited to attend many services of
worship in a wide variety of churches. Sadly, the experience of the hymn accompaniment
was generally not good. In more than one case the congregation was leading the organist and
on another we'd have been better off without the organist. I know that the Association has
held workshops in service accompaniment but, of course, not all organists are members of
the association and are able to benefit from this teaching. Whilst good levels of technical
ability or, dare I say, to be 'highly talented' are of great benefit, they are not necessarily
essential for the good accompaniment of hymns.
THE DEADLINE FOR SUBMISSION OF MATERIAL FOR THE JAN - FEB ISSUE OF
‘THE ESSEX ORGANIST’ IS 30th NOVEMBER 2013
Late submission of urgent matter may be acceptable in certain circumstances.
3
Registration.
Congregations, of whatever size, need more than mere accompaniment. They need a good
lead and support and the latter may need to be robust, especially if there is no choir. All too
often the volume is too low. One particular service that I attended was in a fairly normalsized village church with a large centre aisle and a smaller side aisle. The organ was situated
at the front of the side aisle and I was in the opposite corner. There must have been in excess
of 200 people in the congregation. During the hymn singing the organ was inaudible – and it
wasn't the fault of the organ. After the service, when I had to pass the console on the way to
the reception, I felt the need to say to the organist that I couldn't hear the organ. The
organist seemed surprised.
Timbre of registration is as important as volume. Open pipes on open soundboards are best.
Organs vary and generalisations are risky but for most occasions a suitable foundation, with
well-blended 4' and, most likely, 2' ranks is a good starting point. The 4' and 2' tone,
sounding above the pitch of the singers is better than lots of 8' sound. Reeds needs to be
used with care and 16' tone is not much help. Well-blended mutations can add colour but
might be best 'saved' for climaxes and/or final verses. Those fortunate enough to have large,
resourceful instruments need to take care that the volume is not so great that it overpowers
everything. We did experience this in a large, well-known place of worship in the area!
Rhythm, Pulse and Pace
These are fundamental. The rhythm needs to be impeccable and the pulse constant
throughout from the first note of the play-over until a few notes from the end of the last
verse. If there is a rallentando at the end of a verse at what speed are the singers expected to
start the next verse? The speed before it got slower or the speed at the end of the verse? Yes,
some longer tunes in a romantic idiom such as Down Ampney (Come down, O love divine)
and Love unknown (My song is love unknown) may need to be a little flexible, and in some
places such as half way through Woodlands ( Tell out my soul) it may be desirable to let the
pace 'give' a little to allow the singers to breathe but these speed changes should be almost
imperceptible and sense of momentum must not be lost. It is in managing moments such as
these that the skill of the good organist becomes apparent.
Ideally, the relationship of strong to weak beats needs to begin with the play-over and
continue between verses until the very end of the last verse. Organists, especially nonsingers, need to appreciate that if we are to give full length to the last note of a verse, we do
need to breathe before the start of the next.
It is not easy to give guidelines for setting the pace of a hymn because there are so many
factors which come in to play. These include the size of the building, the size of the
congregation, the type of service, the place in the service and, not least, the style of the tune
and the sentiments expressed in the words. I can only suggest that the organist sings,
mentally of course, a line of two of the hymn before beginning the play-over.
The Play-over.
The play-over is crucial; It sets the pitch, the pace, and the style. The pace must be the same
as the rest of the hymn that is to follow and and without any hint of a rallentando. Slowing at
the end of the play-over is one of the most common faults and is not conducive to a good
start. Ideally the registration should be the same , or very nearly the same, as that of the first
verse and should reflect the mood and style of the words of the hymn. Playing Praise my
soul (Praise, my soul, the King of heaven) on a timidly feeble Swell combination completely
misses the point.
The play-over also serves to state the tune and should always start at the beginning of the
tune. Playing over the last line isn't much help. In one of the prefaces to the hymnal
4
'Common Praise' it states, “While there is a growing tendency to play the final bars of a tune
as an introduction, we identify a tune by its start, and not its end. The play-over is intended
to remind us of the tune being used and therefore the opening is better.” I suspect that these
words are due to one of the editors, Lionel Dakers, as I heard him say this on more than one
occasion!
How much do we play-over? A suitable answer might be, 'As little as you can but as much as
you need to'. This could be the subject of a paper in itself but some examples might give food
for thought:
Doncaster: (Put thou thy trust in God) The fifth chord is the same as the first so just the first
five chords make an effective play-over. It's a lively tune and the short play-over lends itself
to a crisp start and wakes up those lazy ones who don't - or won't - stand up at the beginning
of the play-over!
Love unknown: (My song is love unknown) Here, just the first six chords work well but
ending with a perfect cadence rather than an interrupted cadence with a suspension. It's also
good in that, with the perfect cadence, the last three chords of the play-over will be the same
as the last three notes of the whole tune.
Very few tunes will need to be played over in their entirety unless the tune is not well known
or if the hymn is rather short for, say, the Offertory. (In which case you could argue that the
hymn is not suitable.) There is one tune for which there is really no alternative:
Bristol: (Hark the glad sound!) The first two bars end with the soprano a fifth below the
start and a low bass part. Halfway it modulates, unusually for a hymn tune, to the supertonic
major so there is not much option but to play over the whole tune. Fortunately it is short.
Articulation.
This is another aspect of hymn-playing that is not to be ignored. Playing a hymn on the
organ with an identical articulation as might be used on the piano produces a very 'brittle',
unpleasant sound especially if there are many repeated notes, as in the opening of Aurelia
(The Church's one foundation). It is better to tie repeated notes in the inner parts (but never
in the bass or soprano.) The effect is rather like a pair of Horns playing sustained chords to
support Mozartian strings! This will produce a more sustained sound but without losing the
feeling of movement that is necessary, especially with a long tune coming up. A little more
subtle might be to sustain the inner parts, play the pedal staccato and the soprano mezzostaccato but this is not quite so easy to achieve. As a general rule tying the inner parts can be
used all the time except, of course, between the end of one line and the start of the next
unless the words 'carry over'. A congregation that is dragging can be irritating and a staccato
touch in all parts might get them to 'toe the line' but it is rather vulgar and needs to be used
very sparingly. Good registration and rhythmical playing ought to be sufficient.
Accompanying hymns at services of worship is a privilege and a very important part of an
organist's musical activity and can be very satisfying, especially when there is a large body of
singers. It is worth approaching the task with the same thought, care and preparation as
playing other sections of the organ repertoire. Perhaps we should talk of 'performing' hymns
rather than merely 'playing' them! As always, listening to a recording of your own
performance can be very revealing!
I'm now off to put on my flak-jacket and tin helmet, jump into the trench and listen to the
bullets flying overhead!
Christopher Kingsley
October 2013
5
WILLIAM RUSSELL (1777 – 1813) : ALMOST A
ROMANTIC !
ANNIVERSARY PRESENTATION BY DR GILLIAN WARD RUSSELL
AT ALL SAINTS’ CHURCH, MALDON - 12TH OCTOBER 2013
On a blustery autumnal afternoon, twenty-five
organ enthusiasts spent an enjoyable time
listening to Gillian telling us about her distant
ancestor, the fine English composer and
organist, William Russell; not only did Gillian
enlighten us with interesting details of the
composer’s life and snippets from his
correspondence, but she also played several
excerpts from his compositions. In the 80s,
whilst researching William Russell as part of a
higher degree, Gillian discovered their shared
surname (in ‘who do you think you are?’
manner) which resulted in discovery of a
common ancestor several generations ago. So,
whilst her husband was tracing their family
tree, Gillian was researching William’s fine
musical pedigree.
Gillian playing William Russell at All
Saints’ Maldon
William’s father, Hugh, was an organ builder
and he built and played the organ at St Mary
Aldermary, London. William’s musical talent
Photo © Fay Hepworth
quickly emerged with instruction from three
different teachers and, aged 11, he was
appointed deputy organist at his father’s church.
In 1793 he became organist and
choirmaster at Great Queen Street Chapel, Lincoln’s Inn Fields, and in 1798, he was elected
organist at St. Anne’s Limehouse, where there was a three-manual organ and an annual
salary greater than many City churches. During his stay there, William was a recitalist, a
composer, a private music teacher, as well as a keyboard accompanist in the theatre. His
theatrical compositions were performed at Sadler’s Wells, Covent Garden and the Royal
Circus.
However, William had greater ambitions and ‘auditioned’ for the post of organist at the
Foundling Hospital’s Chapel, a charity-run organisation, still in existence today (the Coram
Foundation). He was unsuccessful in this process and the post was given to one, John
Immyns; but two years later, Immyns resigned the post having been reprimanded by the
Hospital Governors for bad timekeeping and improper dress! William was offered the job,
which meant he now had two fine organs at his disposal;
but his vision was for an
instrument which could be used orchestrally and in a romantic style. He wrote to the
Governors requesting financial assistance for improvements to the Foundling Hospital
organ, also renovation of the pedals (which were not widely used by English organists at the
end of the 18th century). By 1805 major alterations (carried out by his organ builder father!)
included the addition of hautboy, clarion and 2 cornet stops - essential for William’s
compositions. Thomas Attwood, then organist at St. Paul’s Cathedral, declared that ‘the
Foundling Hospital organ was superior to most instruments in London’. Thus, it was that
William was able to develop his compositions by constantly pushing the boundaries, eg.
6
regular use of pedals and, even, double pedalling; encouraging the player to change stops in
the middle of a movement (another new phenomenon); specifying the registration to add
colour and texture to the music, thereby gradually moving towards his ambition for a more
romantic, orchestral organ.
In 1804 William published his first book of 12 Organ Voluntaries, which was financed by 227
subscribers, whereas his second publication, in 1812, of a further 12 Voluntaries was self financing. Apart from theatrical work, William’s more serious compositions included two
oratorios, four odes and a volume of psalms, hymns and anthems compiled for the Foundling
Hospital. His main contribution to the development of the organ voluntary was an increase
in length and number of movements (up to five) and his leaning towards romanticism.
Unusually, too, he changed from major to minor keys (as illustrated by Gillian in Voluntary
XII, volume 1; three movements in C minor followed by two in C major - see below).
Furthermore, the use of Masonic ciphers was commonplace in the 18 th century and William
was quick to use musical motifs which would have been recognisable by fellow freemasons.
During the first decade of the 1800s William resumed his musical studies under Samuel
Arnold (organist at Westminster Abbey) and in 1808 he graduated as Bachelor of Music at
Oxford University, a significant achievement for this English composer. He became a family
man, moved to Clerkenwell - a well-to-do area of north London (like Islington today!); his
daughter, Mary Ann, named after her mother, trained as a pianist and became a music
teacher, whereas his son, William Mozart, worked as a taxman. William passed away at his
home in November 1813 (200 years ago).
Gillian reminded us of the adage ‘a picture is worth a thousand words’ - this can also apply to
music. Thus, she illustrated her enlightening delivery with a small selection of passages from
some of William’s work. These included:
Voluntary II in F maj, Vol 1 - the adagio was pessimistic and shadowy, whereas the
andante was optimistic and frivolous;
Double Chant in E - William wrote many Anglican chants, still played today;
Voluntary VII in A maj, 1st mvt, Vol 2 - a rustic mood to this piece;
Voluntary V in F maj, 2nd mvt, Vol 2 - colourful registration finishing with swell
hautboy, cremona choir and great stopped diapason, coupled with pedals; with a coda
this necessitated the player changing stops mid-movement (so radical for this
period);
Voluntary XI in E min, 3rd mvt, Vol 1 - this major movement was superseded by 2 large
and loud movements in E minor. It sounded very intimate, almost romantic - Gillian
likened it to Mendelssohn’s 3rd Sonata (written 30 years later) where A minor
movement is followed by short and simple Andante in A major;
Voluntary IV in A min, Vol 2 - intensely expressive first movement, followed by a cornet
movement where there were attractive tonal contrasts;
Voluntary XII in C min, Vol 1 - this is William’s largest voluntary, 5 movements,
containing aforementioned masonic references. He used scalic thematic patterns to
link the movements; first, a sombre introduction conveying tragedy, followed by
second trumpet movement in minor key (and the echo too); this was followed by a
march containing chromaticism and dotted rhythms; fourth movement largo turns to
C major with a more festive feel; and, finally, a breathtaking fugue, based on a whole
tone scale, with a challenging, rapid note, pedal part - sometimes providing the secure
bass line.
Alwyn Jones, Gillian’s husband (and page turner!) also amused us by reading an
entertaining poem entitled ‘The Organ Laid Open, or The True Stop Discovered’ which was
7
supposed to be a tongue-in-cheek
dedication to one Jonah Bates who was the influential Governor of
the Foundling Hospital, responsible
for engineering the election of
William’s predecessor (the wayward
John Immyns). The moral of the
poem illustrated the importance of
‘it’s not what you know, but who
you know’!
A vote of thanks was given by Stuart
Pegler, organist at All Saints’
Church (and thanks must go to
Stuart from organising the venue).
The afternoon ended with delicious
refreshments kindly provided by
volunteers from the church.
Gillian is thanked by Stuart Pegler
Fay Hepworth
October 2013
Photo © Fay Hepworth
N.B. Gillian’s published collection of William Russell’s Complete Voluntaries is available from
her personally at £20 per copy.
Interview with a future organist
Alice attends St John-the-Baptist Church, Danbury, regularly with her Mum and is a member
of the Junior Choir though she sometimes takes part in senior choir concerts with the help
and encouragement of Director of Music, Christopher Kingsley. She has a keen musical ear
and has always shown an interest in the organists’ playing at St Johns’ from an early age. She
is learning the piano and is presently studying Grade IV. Our President has helped her with
her music studies on an occasional basis and has shown her the basics of the pipe organ on
Gillian’s home instrument. Alice attended Gillian’s recital at Shenfield on 26 th September
(see page 2) and this was the second time she had shown such enthusiasm, persuading her
Mum to bring her along. I thought I would get her to answer a few questions and share her
answers with our Newsletter readers. (These are her own genuine words without any help
from her Mum or myself.)
Alice, what is it you like about the pipe organ?
It can make all kinds of different sounds, such as the flute or clarinet. It is also fun to learn
and you can explore all the different stops.
Do you hope to learn to play it yourself one day?
8
When I reach a certain stage in
my piano (and when I grow a
bit!), I would definitely like to
learn how to play this
wonderful instrument.
Did you enjoy the programme
Gillian played today?
Yes, I did, because it was all
about
the
different
anniversaries of composers,
and this year the organ is
celebrating its 10th anniversary
What piece did you like best?
I liked the Pilgrim’s Chorus from
Tannhause r by Wagne r,
Alice at the Shenfield console
because it really painted a
Photo ©
picture in your mind of what the
pilgrims were doing. I also
liked Jupiter because we sang I Vow to thee my country last Saturday at Danbury’s Not the
Last Night of the Proms concert in St John’s Church.
What did you enjoy most in watching Gillian’s playing?
She always puts some enthusiasm and sparkle into her playing so it looks like she really
means what she is playing
Can you remember what Gillian said about why she thinks this is a good instrument here at
Shenfield?
She said it can show lots of tones and moods and can play lots of different pieces of music,
not just hymns on a Sunday morning but orchestral pieces too.
As you say it is the organ’s tenth birthday this year. How old are you?
I am nearly 10 and my birthday is in December
Thank you, Alice. I’m sure our readers will be thrilled to know you have such an appreciation
of the amazing instrument which we call a pipe organ . We wish you well with your future
musical studies.
Interviewer: Alwyn Jones, EOA Newsletter
GEOFFREY MARTIN
We regret to announce the sad passing away in October of long-standing
and recently active member Geoffrey Martin. An appreciation and
members' memories of Geoffrey will appear in Jan-Feb issue. If you wish
to contribute to the memories, please notify the editor a soon as possible.
9
Letters to the Editor
Thank you for my copy of the Sept-Oct issue which I didn’t receive by mail until 2 nd Oct,
over a month late. Michael Little did apologise for this late arrival but I’m sure you don’t
need me to urge your production/distribution team to publish on time.
As always there was a lot of interesting reading. I cannot now get to many meetings but I
like to show my enthusiasm by writing short reminiscences.
John Utting’s piece about metronomes was a useful reminder for me of what I had already
been taught. To go back to basics, I can point out that music composed by Croft and
others of his time used to indicate the tempo by marking the score in inches! For example
‘10 inches’ would be the length of the pendulum swung to give the right beat for the piece.
The weight of the pendulum is immaterial, only the length affects the period of swing. So it
is easy to set up such a pendulum for yourself. It is both simple and quiet to operate!
Marcus Knight
Referring to the ‘Where is it?’ photograph in the previous issue, I believe it shows the front
pipes of the Miller three manual organ at St. John the Baptist, Finchingfield. It is very
unusual to have the notes of the pipes painted on as part of the decoration, I have not seen
this elsewhere. If you look carefully at the angel to the left of the pipes you will notice that
he does not have the trumpet in his mouth but tucked under his nose. Some years ago, the
trumpet was found to be loose and the person trying to re-fix it could not get it to stay in
the angel’s mouth so left it where you see it now. I wonder how many people have noticed
this?!
Well spotted, and what an interesting story—Ed.
Peter Wood
A Plea from the Treasurer
As you will know we have made considerable progress in the number of members
who receive newsletters and other communications via Email. However, we still have
about thirty that we post. Please give this your attention and let us have your Email address
soon.
If you pay your Subs by cheque please be prompt, the response so far has been very poor.
The rates are as follows:
Single Members £17
Joint/ Family
£24
Students
£8
I look forward to hearing from you.
Michael Little
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FORTHCOMING EVENTS
Wednesday 13th November 2013, St John’s Church, Moulsham 7.30pm
Quiz and Supper Evening. A return of this ever-popular event under the direction of
our excellent quizmaster Daphne Hilliar. See notice below and note the rather early
deadline date.
There are no EOA events in either December 2013 or January 2014.
Saturday 8th February 2014 St Andrews Church Hall, Boreham
An illustrated afternoon talk on Organ Cases by Roger Pulham. More details in the
next Newsletter.
Friday 7th March 2014 at New Hall School, Boreham 6.30pm
Annual EOA Organ Competition. Note the different day of the week and time of day for
this year’s event. The practice day will be on Saturday 1st March . Full details and entry
instructions will appear in our Jan - Feb issue but meanwhile you can contact Daphne
Hilliar (01245 264444) if you want to know more about the competition before then.
Advance notice of 2014 AGM
The 2014 AGM will be on Tuesday 24th June 2014 and the venue will once again be the
meeting room at St John’s in Danbury.
Quiz and Supper Evening
7.30pm Saturday 13th November 2013, St John’s Church, Moulsham
Hurry! Now is the time to reserve your place for this enjoyable event. You need to send
your menu choice (1, 2 or 3, as below) by Friday 8th November to quizmaster
Daphne Hilliar (address below), together with a cheque payable to ‘D. V. Hilliar’ for
£5.00 per person. Do bring friends along too if you want the extra brain-power! Teams
will be formed on the night, so you don’t need to worry about that ahead of time.
The choice of supper, which is guaranteed to be of excellent quality and comes
individually packed with knife, fork and serviette, is to be made from:
Menu 1: Cod and chips
Menu 2: Chicken and chips
Menu 3: Vegetarian burger and chips
Those of us who have been to previous quizzes organised and devised by Daphne can
assure you that you will enjoy a convivial evening.
Daphne Hilliar, ‘Parkways’ 42A, Moulsham Drive, Chelmsford, CM2 9PX, Tel: 01245
264444
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The Essex Organists’ Association
Affiliated to the Incorporated Association of Organists
President: Dr Gillian Ward Russell BA (Hons) MPhil PhD FRCO ARCM LRAM LTCL
 15 The Heights Danbury Essex CM3 4AG 01245 226551
Editor: Alwyn Jones
 15 The Heights Danbury Essex CM3 4AG  01245 226551 [email protected]
(please note that ‘O2’ in this email address is not ‘zero 2’)
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Layout and presentation: Stuart Pegler
1 Kestrel Mews Maldon CM9 5LJ  01621 850530  [email protected]
Distribution: Michael Little
 11 Long Brandocks Writtle Essex CM1 3LT  01245 421023  [email protected]
Website and publicity: Chris Tutin
 12 Curlew Close Heybridge Maldon CM9 4YB  01621 842676  [email protected]
www.essexorganists.org.uk
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