On Wednesday 16th October we welcome Peter Wright from London for the seventh recital of our 2024 autumn season. In this edition of ‘Notes from an Organist’ we discover more about them, and what to expect from their recital including being a Fellow of the Royal School of Church Music; being on an organist podcast; and recording the Mr Bean theme!

Could you introduce yourself, how you got into music / become an organist and your musical journey to where you are today?
I started taking piano lessons aged 7 with a very fine local teacher in Finchley, North London. I sang in a local church choir and then at the age of 12 moved to Highgate School where I started organ lessons with the Director of Music, Edward Chapman, who had also taught my father when he was at Highgate during the Second World War. Whilst there I had the privilege of singing in the School Choir. It was well known for being the boys’ choir which sang on the original recording of Britten’s WAR REQUIEM. Unfortunately that was made before I arrived at the School but I did sing in performances of that remarkable piece two or three times; on one occasion conducted by the composer himself.

By now I was hooked on the organ and choral singing and, on leaving School at 17 I went to the Royal College of Music (where my organ teacher was Richard Popplewell) and simultaneously began as Organist of St Michael’s, Highgate where I inherited a fine choir which included a treble line of 24 boy choristers, some of them not much younger than myself. I also sang on two or three RSCM Cathedral courses (Truro, Wells and Canterbury) and that experience sealed my enthusiasm and ambition, fired in no small way by the superb Willis at Truro, brought to life by Roy Massey’s thrilling playing.

From the RCM I won an organ scholarship to Emmanuel College, Cambridge where I ran the Choir. I also had the enormous privilege of playing regularly for services at St John’s. The Director of Music there, Dr George Guest, was a powerful musical influence on me, as were my other teachers; Dame Gillian Weir for the organ, and John Rutter for academic studies and composition.

What can people expect from your recital at Bradford Cathedral?
I hope to convey my love for the programme I have chosen, which comprises sacred and concert music. I also hope to allow the unique personality of the instrument to shine through while being respectful of the demands and style of the music I am playing.

Why do you enjoy playing the organ?
The organ repertoire is so rich and varied and has attracted the very finest composers to write for it; not least J S Bach – for me probably the finest!

Do you have a particular favourite piece out of those you are playing?
The Lemare piece is rarely played and works well for a Town Hall type recital. The hymn tune is well known and the piece explores many different colours and techniques. Lemare was a superb concert organist and, as well as composing original pieces, like this one, he transcribed a lot of the major orchestral repertoire to bring it to a wider audience.

This season’s theme is ‘The Town Hall Organ (Secular and Concert Repertoire)’. How are you reflecting this in your programme?
I am including pieces which are not specifically liturgical in any way; for example the Lemare and the Vierne.

What are your hopes or plans musically for the rest of 2024 and into 2025?
I am giving other recitals around the country and abroad including Guildford, Southwell Minster, Bristol, Paris and Aachen.
Although I no longer have a permanent church or cathedral post I am continuing to deputise in churches and cathedrals when asked. I shall also be guest conducting some choral concerts.

You have previously been sub-organist at Guildford Cathedral and the organist and director of music at Southwark Cathedral. What is it like leading music in a Cathedral setting, and what did you most enjoy about your times there?
Working in cathedrals involves making music for the daily worship and cycle of prayer, which is a reminder of their monastic roots. As well as that the thrill of the larger Diocesan services and major festivals in a large building with a full congregation never dies.

You have also held positions at the Royal College of Organists and you became a Fellow of the Royal School of Church Music in 2011. How do you feel to have been involved with such groups?
At the RCO I held several varied posts over the years ; not least Trustee, Chief Examiner, Honorary Secretary, Vice-President, and then President from 2005-2008. I remain on the Council as a Vice-President. has greatly expanded its role in the education of organists at all ages and levels of ability and it has been a great privilege to be involved with that – one result being the increasing interest of young musicians to take up the instrument.

The RSCM similarly encourages and educated musicians in the Church.

Is it correct that you were involved in the recording of the Mr Bean TV theme? What was that like to be involved with?
It is indeed correct! I was telephoned by an agent who was looking for a boys’ and men’s choir to sing the theme music for a new comedy starring Rowan Atkinson. We learnt the music over a week or two before travelling over to the studios in West London after Evensong one Sunday afternoon. There we were met by the composer, Howard Goodall and Rowan Atkinson himself which was a great thrill for everybody.

It was tiring after a long working day but enormously rewarding. Initially the text for the final credits was identical to the opening. During the day however it was decided that we couldn’t sing “Ecce homo qui est faba…” (“Hello, Mr Bean”) at the end as well so it was decided to sing “Vale homo qui est faba” (“Goodbye, Mr Bean”) afterwards instead! None of us was sure whether “Vale” (like “Ecce”) was also followed by the nominative case, so we all got on our phones at the end of the session to ring friends who were Latin scholars to check!!! Luckily it is, as “hominem” would not have scanned correctly for the music… It meant a long, tiring evening as we then had to rehearse and record the final music again. Nevertheless it was a rewarding and enjoyable project to have been involved with. I received more correspondence about it than anything else in my career including many messages from people saying that they remembered singing the piece in their school choirs or parish churches as youngsters. This of course was not possible (it had only just been composed) and was most certainly not the case but the contour of the opening phrase is not unlike the opening of Bruckner’s “Locus iste” and so it is possibly that they were confusing the two.

You’ve previously appeared on ‘Pipe Up!’ – the organ podcast. Do you think ideas like this can help bring organ music to new audiences?
Oh, most certainly. yes. Anything which increases the appeal and focus of the organ to the public has to be good. It was a great pleasure recording this particular programme as David Pipe, who hosts it, had been one of our organ scholars at Southwark.

Finally, how would you sum up your upcoming recital at Bradford Cathedral?
Performing on a fine instrument and in a beautiful building such as at Bradford Cathedral it gives me a chance to communicate my love of the music with my audience.

You can join us on Wednesday 16th October at 1pm to hear Peter’s organ recital, with an optional £4 buffet lunch beforehand at 12:30pm.

You can discover more about our organ recital season on our dedicated page.