The meeting on 9 October coincided with Hastings Week and so made a fittingly celebratory occasion both for the members and the church. Tom had chosen a broadly-based programme which aimed to show off the many attributes of what might appear to be a small instrument.

He opened with two voluntaries by Blow and three short pieces by Clerambault. Though quietly focussed hey showed a fine command of tone and delicate texture.

More warmth was evident in Bach’s Chorale Prelude Jesus, meine Zuversicht which was followed by an intimate reading of the Chaconne from Handel’s G minor Organ Concerto. In Stanley’s anniversary year it was good to hear the introspective voluntary No 2 in D minor followed by the popular Trumpet Tune. Across these two Tom was able to highlight the Cornet and the Hautboy.

Now we came to the tricky part. There is no Voix Celeste on this baroque instrument, but by careful placement of the stop mechanism one can produce a creditable tremulo and string sound. Highly impressive!

Brahms’ Chorale Prelude O Gott, du Frommer Gott proved to be a romantic interlude before more challenging but warmly appreciated works. Alain’s Le Jardin Suspendu works remarkably well on this small instrument even if it needed a tactful third hand from Stephen Page to fill in the missing pedal. We then heard two works by the organist himself – a delightfully gentle Fantasia on o Lux Beata Trinitas and the increasingly familiar Fanfare for the Snetlzer. The atonal intensity of the writing of this latter work prepared us for the final two pieces by Messiaen. Force et Agilite des Corps Glorieux has presence and power, while Priere du Christ Montant vers Son Pere could surprisingly have been written for a chamber organ, so well does it sit.

The next meeting of 1066 Choir & Organ will be at the Manor Barn on Tuesday 20 November for an evening dedicated to Bath and William Herschel. Details from lark1066@aol.com  BH