On Wednesday 11th June we welcome freelance organist Tom Winpenny for the fourth organ recital of our Summer 2025 season. In this edition of ‘Notes from an Organist’ we discover more about them, and what to expect from their recital, including playing music at various Cathedrals, playing a recital in the Arctic Circle, and playing on a mobile console.
Could you introduce yourself, how you got into music / become an organist and your musical journey to where you are today?
I was a chorister at York Minster and began learning the organ there with John Scott Whiteley; I continued on a music scholarship to Eton College where I studied with with Alastair Sampson. I read for a music degree at King’s College, Cambridge, where I was organ scholar, playing daily for the famous choir and working under Stephen Cleobury. I subsequently worked at St Paul’s Cathedral for two years and then St Albans Cathedral for sixteen years, and I am now working freelance as an organist, organ teacher and choral director.
What can people expect from your recital at Bradford Cathedral?
A varied and hopefully engaging programme of some familiar and less familiar works.
Why do you enjoy playing the organ?
Because the instrument’s repertoire is vast and covers probably a greater period than any other solo instrument.
Do you have a particular favourite piece out of those you are playing?
Herbert Murrill’s Carillon (which opens my programme) is a very fine piece and actually rather unconventional – it is only two minutes long and is a sort of hybrid toccata and fanfare full of rhythmic energy with hints of William Walton’s music.
This season’s theme is Bradfordian Organ Music – music from composers with a connection to the City and District. How are you reflecting this in your programme?
I have chosen David Willcocks’ Variations on Breslau. Willcocks directed Bradford Festival Choral Society for many years.
What are your hopes or plans musically for the rest of 2025?
I am looking forward to giving a recital in Bodø, Norway (just north of the Arctic Circle) and some concerts in the Faroes Summartonar festival with violinist Rupert Marshall-Luck
You’re previously performed at the American Guild of Organists National Convention. What was that like to be involved in?
It is a huge event attended by around 2,000 organists so playing in front of that audience is somewhat nerve-wracking.
You have recorded many organ pieces – what for you makes a good organ piece to capture?
In general I have focused on recording albums featuring music of only one composer. I like to explore as much of their work as possible, though inevitably it’s important to be judicious in choosing the best music.
You have performed at many places across the world; are there any particular highlights for you?
The Hallgrímskirkja in Reykjavík, Iceland has a very fine three-manual Klais organ in a beautiful acoustic. I have been very fortunate to record and perform there. Performing on the new organ in St Stephen’s Cathedral, Vienna was also very special.
When you were based at St. Paul’s, they introduced a mobile console during their refit – what was that like to use?
It is good to be nearer the liturgical ‘action’ at that console for Eucharists and other services which take place under the dome. Visitors and members of the congregation appreciate being able to see the organist playing and to view the console up close afterwards.
You can join us on Wednesday 11th June at 1pm to hear Tom’s organ recital, with an optional £4 buffet lunch beforehand at 12:30pm. You can find out more about him on his website.
You can discover more about our organ recital season on our dedicated page.