Parallels Alexander Ffinch

• Gustav Holst (1874 - 1934): The Planets, Op. 32, H. 125:
• 1Holst: The Planets, Op. 32, H. 125: IV. Jupiter, the Bringer of Jollity (Arr. for Organ by Thomas Trotter)08:36
• Florence Price (1887 - 1953): Organ Suite No. 1:
• 2Price: Organ Suite No. 1: I. Fantasy04:35
• 3Price: Organ Suite No. 1: II. Fughetta02:33
• 4Price: Organ Suite No. 1: III. Air03:26
• 5Price: Organ Suite No. 1: IV. Toccata03:01
• Chris Martin (b. 1977): Paradise (Arr. for Organ by Alexander Finch)
• 6Martin: Paradise (Arr. for Organ by Alexander Ffinch)03:45
• Edward Elgar (1857 - 1934): Variations on an Original Theme, Op. 36 "Enigma":
• 7Elgar: Variations on an Original Theme, Op. 36 "Enigma": Var. 9, Nimrod (Arr. for Organ by William H. Harris)03:37
• Dan Locklair (b. 1949): Rubrics:
• 8Locklair: Rubrics: I. "The Ancient Praise-Shout 'Hallelujah,' Has Been Restored"02:25
• 9Locklair: Rubrics: II. "Silence May Be Kept"03:33
• 10Locklair: Rubrics: III. "...and Thanksgiving May Follow"02:04
• 11Locklair: Rubrics: IV. "The Peace May Be Exchanged"03:10
• 12Locklair: Rubrics: V. "The People Respond, Amen!"02:15
• Sir Edward Elgar (1857 - 1934): Pomp and Circumstance Military Marches, Op. 39:
• 13Elgar: Pomp and Circumstance Military Marches, Op. 39: No. 1 in D Major (Arr. for Organ by Edwin Henry Lemare)06:40
• Chanson de nuit et chanson de matin, Op. 15:
• 14Elgar: Chanson de nuit et chanson de matin, Op. 15: No. 2, Chanson de matin (Arr. for Organ by Herbert Brewer)03:21
• Léon Boëllmann (1862 - 1897): Suite gothique, Op. 25:
• 15Boëllmann: Suite gothique, Op. 25: I. Introduction - Choral02:24
• 16Boëllmann: Suite gothique, Op. 25: II. Menuet gothique03:14
• 17Boëllmann: Suite gothique, Op. 25: III. Prière à Notre-Dame04:59
• 18Boëllmann: Suite gothique, Op. 25: IV. Toccata04:15
• Total Runtime01:07:53

Info zu Parallels

Parallels is meticulously curated album that explores the organ’s remarkable breadth and sonority. Featuring three monumental organ works and delightful arrangements of English classics, the collection is a testament to the grandeur and versatility of the instrument.

Florence Price’s Suite No. 1, makes its debut commercial recording. This substantial and captivating composition draws inspiration from spirituals, hymns, and pentatonic themes, showcasing a harmonious fusion of jazz influences. The rhythmic drive and themes in the final Toccato pay homage to the engaging Rubrics by Dan Locklair, creating a seamless connection between the featured works.

The album’s title, Parallels, reflects Florence Price’s artistic vision, aiming to convey a heritage through the past while being influenced by contemporary contacts. This intention is beautifully realised in Suite No. 1, where the chromatic harmony reminiscent of Suite Gothique meets the rhythmic vitality of Rubrics. As a nod to the present day, the album includes Alexander’s own arrangement of Coldplay’s hit single Paradise, seamlessly blending modernity with Price’s timeless compositions. Parallels is not just an album; it’s a transformative auditory experience that invites listeners to explore the intersections of tradition and innovation on the Harrison and Harrison organ. The past converges with the present in perfect harmony.

The surprise appearances of music not typically associated with the organ successfully adds an element of excitement and discovery. The album also features splendid organ arrangements of English staples like Elgar’s Chanson de Matin and Pomp and Circumstance, further showcasing the instrument’s versatility. “Parallels” is an invitation to discover the intersections of tradition and innovation, a celebration of timeless compositions, and a showcase of the capabilities of Cheltenham College Chapel’s Harrison and Harrison organ. This album also celebrates the 150th anniversary of Gustav Holst’s birth with the inclusion of Jupiter, the Bringer of Jollity fromThe Planets Op. 32 arranged by Thomas Trotter.

Alexander Ffinch has established himself as a renowned organist with performances spanning the UK, Europe, USA, and Asia. Notable for his role as the College Organist at Cheltenham College since 2004, Alexander oversees daily organ performances in the College Chapel and accompanies choirs while maintaining an active schedule as a recitalist, featuring prominently in events like the Cheltenham International Music Festival and BBC Radio 3 broadcasts. His 2019 album, Transformations (DDA 25193), received critical acclaim.

Alexander Ffinch, organ Cheltenham College Chapel

Alexander Ffinch
studied at the Royal College of Music, and was later organ scholar of Keble College, Oxford where he subsequently became a pupil of Thomas Trotter. He was resident organist at Lancaster Town Hall where he gave over 100 recitals in the 1990’s and also gained recognition in the St Albans Interpretation Competition in 1999. He has performed in UK, Europe, USA and Asia and his schedule for 2019 includes numerous engagements across the globe.

He was appointed College Organist of Cheltenham College in 2004, after a three-year tenure as Director of Music at St Catharine’s College, Cambridge and is responsible for the daily organ playing in the College Chapel as well as accompanying the Choirs.

Throughout his time at Cheltenham, he has continued to give recitals regularly and is resident organist for The Eton Choral Courses and The Rodolfus Choir, appearing with these at both Cheltenham International Music Festival and also live on BBC Radio 3 broadcasts.

At the heart of Cheltenham College Chapel lies the College organ, originally built in 1897 by Norman & Beard. The case was designed by Henry Prothero, architect of the Chapel. The organ was rebuilt and extended by Harrison & Harrison in 1930 and was last restored with minor alterations in 1976. In 2013, a 32-foot ‘Double Ophicleide’ stop was added.

The organ has been excellently maintained by Harrison & Harrison since the last rebuild, but the time was right for the entire instrument to be taken apart in 2017 for major restoration, which was again undertaken by Harrison & Harrison.

The complete console, soundboards, wind system and pipework were all removed from the organ case and moved to Durham for overhaul, reworking and releathering before being reinstalled. Some pipework was removed and cleaned onsite. The organ has retained all of its valuable historical features and, like its larger cousin at King’s College, Cambridge, which has also been newly and successfully restored, it will certainly remain one of the finest examples of British organ building of the period.

Booklet für Parallels