Bristol Festival of Music, Speech & Drama 2016



Organ Sections


Sat 4th March, 2017

St. Augustine's Chapel, St. Monica Trust, Cote Lane, Westbury-on-Trym, Bristol BS9 3UN

Section Rules:

As per General Rules, plus:

1. Teachers, Parents and performers are advised to carefully check the RULES at the beginning of this syllabus and read the following notes.

2. Age for classes to be reckoned from 1st September of the year prior to the Festival.

3. A copy of music should be available for the adjudicator before performing which must be neatly presented and of good quality. (see Festival Rule No 14). Not necessary for Class O5: Masterclass.

4. Time limits must be strictly adhered to (see Festival Rule No 6).


General Organ Classes >

Either organ may be used in any class, at the player’s discretion. There will be an opportunity for all performers to book practice on the organs at St. Monica’s on the morning of the organ classes.

If this is NOT convenient please contact: Jonathan Price, Tel 0117 972 3312; Email:

The Chapel Organs

St. Augustine’s Chapel, with its warm & generous acoustics, houses two organs. The main three manual instrument is a vintage, late (1895) ‘Father’ Willis, recently restored to its original condition. It has three non-adjustable pistons to each division, no ‘general’ pistons & responsive pneumatic action. The choir division is enclosed. The second instrument is a remarkable two manual electronic organ, faithfully reproducing the sounds of its Dutch original.

It has no aids to registration, a radiating & concave pedal board, upward facing speakers (where pipes would normally be) and a swell pedal controlling the second division. It has simulated tracker action & is especially suitable for Baroque music.


Catherine Ennis

Catherine Ennis is Director of Music at the City of London church of St. Lawrence Jewry next Guildhall. Under Catherine's direction, part of the flourishing Tuesday lunchtime recital series at St. Lawrence Jewry is devoted to providing a platform for young artists at the organ, whether sixth-formers, current British graduands, or international post-graduates.

She is Immediate Past President of the Royal College of Organists, Director of the John Hill memorial recitals, Trustee of the Nicholas Danby Trust for young organists, and Past President of the Incorporated Association of Organists.

The music of Catherine’s father, legendary Uilleann piper and Irish folklorist Seamus Ennis, was the inspiration for her career path, though in a rather different direction. She began playing the organ while at Christ’s Hospital school, was Organ Scholar at St. Hugh’s College, Oxford, and later Assistant Organist of Christ Church Cathedral, Oxford, in an era women were all but unknown in such appointments. Recitals and recordings have taken her to many international venues; as a teacher, she has been involved at three major London Music conservatoires.

She has given master classes throughout the UK and abroad, and is a frequent examiner and adjudicator for colleges and festivals. As fund-raiser, and organ consultant, she has helped create four major new London organs (The Rieger at St. Marylebone, shared with the Royal Academy of Music, the Klais at St. Lawrence Jewry, the William Drake in the new Greenwich home of Trinity College of Music, and the Queen’s Organ, formerly in Mansion House and now in the Lady Chapel of Westminster Abbey, built by Mander).

As apologist and enthusiast for music-making at the organ, she has written extensively for music journals, and in 1994 established the London Organ Concerts Guide, now an indispensable companion to London's organ music scene.

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