Music

This page provides information across a wide range of Colin’s musical experience over many years.

 

MUSICAL EDUCATION

Isleworth Grammar School (1957 – 1964)

Piano lessons with Emile Spira

Organ lessons with Dr Howard Stephenson FRCO

St Catharine’s College, Cambridge – Organ Scholar (1964 – 1967)

First degree: Music with additional study of choral and organ performance with Dr Peter Le Huray FRCO

University of Southampton – Cert Ed. Music and German (1969 – 1970)

 

QUALIFICATIONS GAINED (Music):

Viola: Grade 5 (1962)

Piano: Grade 8 (1962)

A.L.C.M. (1979)

Organ: A.R.C.O. (1966)

F.R.C.O. (1971)

Piano Teaching: A.R.C.M. (1974)

Organ Teaching: L.R.A.M. (1977)

University of Cambridge: BA (1967) MA (1971)

University of Southampton: Cert.Ed. (1970)

 

OTHER QUALIFICATIONS GAINED:

University of Leeds: MEd. (1987)

OCR Examining Board: NVQ Level 5 Management Charter Initiative (1995)

NVQ (D35) External Verifier (1998)

University of Hull: PhD (2015)

 

MUSICAL CAREER

Maidstone Grammar School – Deputy Director of Music (1970-1973)

Endsleigh College of Education / Hull College of Higher Education – Lecturer in Music (1974 – 1980)

University of Hull – Part-time Lecturer in Music (1997 – 2009)

 

OTHER MUSICAL EMPLOYMENT (Part-time)

Kent Music School – Aural training (1972 – 1973)

St Luke’s Church, Anlaby – Organist / Choirmaster (1975 – 1980)

Joint Matriculation Board, OCR Examining Board – Examiner (GCE O- & A-level) 1979 – 2005)

City & Guilds 7306/7307 FE/AE Teachers’ Certificate – Tutor (1993 – 1997)

Royal Society of Arts / OCR Examining Board – NVQ External Verifier (1995 – 2005)

South Holderness School – Teacher (A-level music) (1997 – 1999)

Trinity College London – Examiner UK and Abroad (1997 – 2015)

 

MUSICAL ACTIVITIES

Organ recitals – Various venues (1975 to date)

Composing – Choral works (Unpublished) (1970 to date)

Beverley Minster – Assistant Organist (1996 – 2010)

Organ CDs – Beverley Minster (2000 / 2006)

University of Hull – Chorus Master (1998 – 1999), Degree Ceremony Organist (2005 to date)

Hull Choral Union – Accompanist (1997 – 2002), Conductor (2002)

Melsa Consort – Accompanist (1982 – 2015)

Hull Bach Choir – Continuo player / soloist (1987 to date)

East Riding County Choir – Accompanist (1991 – 2014), Conductor (2014 to date)

 

MUSIC RESEARCH / PUBLICATIONS

University of Hull – PhD (Thesis: Investigating Aural: A case study) (2008 – 2015)

Psychology of Music – Review of Music in our Lives (G. MacPherson et al.) (2014)

Cambridge Scholars Publishing – Aural and the University Music Undergraduate (2016)

 

OTHER EMPLOYMENT

Städtisches Gymnasium, Oerlinghausen, Germany – Teacher of English (1973 -1974)

Humberside County Council – Professional Assistant (1980 -1983)

Humberside / East Riding County Councils – Local Organiser (Adult Education) (1983 – 1997)

 

ORGAN CDs – Further Details (As soloist)

  1. Colin Wright plays …” Recording made in 2000 at Beverley Minster.

The following organ works are performed:

Dupré Chorale Prelude: Placare Christe Servulus

Howells: Psalm Prelude Set 2 No 1 (De Profundis)

Krebs: Toccata and Fugue in A minor  []

Bach: Prelude and Fugue in D major (BWV 650)

Bohm: Chorale prelude: Vater unser in Himmelreich

Rheinberger: Fantasia and Fugue (from Sonata No 17 in B)

Jongen: Chant de Mai; Menuet-Scherzo

Dupré: Résurrection (from Symphonie-Passion) []

 

  1. English Concert Music” Recording made in 2006 at Beverley Minster by Priory Records

The following organ works by musicians associated with the area are performed:

Adams: Overture

Hawden: Sonata No 5 in E flat

Camidge: Concerto No 6 in C minor []

Woland: Voluntary No 5 in G

Walmisley: Prelude and Fugue in E minor

Dyson: Fantasia and Ground Bass

Cook: Allegro Giojoso

Jackson: Georgian Suite []

Beechey: Intermezzo for Organ

Spedding: Toccata-Carillon

 

ORGAN CDs – Further Details (Joint performances)

  1. Bank Holiday Recital Recording made 31 August 1998 in Beverley Minster.

Joint organ recital with Alan Spedding. The following works are performed :

Rutter: Variations on an Easter theme (Duet)

Mulet: Tu es Petra

Vaughan-Williams: Rhosymedre

Dupré: Variations sur un noël []

Mozart: Andantino in C (Duet)

Liszt: Prelude and Fugue on BACH (A. Spedding)

Bridge: Adagio in E (A. Spedding)

Bonnet: Variations de Concert (A. Spedding)

Sousa: The Stars and Stripes forever (Duet)

 

ORGAN CDs – Further Details (Accompanist)

  1. The Beverley Chamber Choir Recording made 30 October 1998 in St. Mary’s Church, Beverley; Musical Director Alan Binnington, Organ Colin Wright. Work with organ:

Stanford: Magnificat and Nunc Dimittis in G []

 

  1. The Advent Procession Recording of service made 30 November 1997 in Beverley Minster. Musical Director Alan Spedding, Organ Colin Wright. Works with organ:

Wise: Prepare ye the Way []

Hymns: Bright the vision that delighted

Come thou long-expected Jesus

Hark a thrilling voice is sounding

On Jordan’s bank the Baptist’s cry

O come, o come Emmanuel

Lo, He comes with clouds descending

Bach: Prelude and Fugue in F minor (BWV 534) (Postlude)

 

  1. A Festival of Nine Lessons and Carols Recording of service made 24 December 1997 in Beverley Minster. Musical Director Alan Spedding, Organ Colin Wright. Works with organ:

Spedding: Lullay, lullay thou little tiny child (A. Spedding)

Rutter: The Sans Day Carol  []

King: Come adore the infant Christ Child

Mathias A Babe is born []

Carols: Once in royal David’s city

It came upon the midnight clear

O little town of Bethlehem

Away in a manger

While shepherds watched their flocks by night

O come, all ye faithful

Hark, the herald angels sing

Dubois: Fiat Lux (Postlude)

 

  1. Come Thou Redeemer” (Music for Advent, Christmas and Epiphany) Recording made 2001 in Beverley Minster. Musical Director Alan Spedding, Organ Alan Spedding and Colin Wright. Works with organ:

Pachelbel: Vom himmel hoch

Bach: Wachet auf (BWV 645)

Balbastre: Noël – Au Jô Deu de pubelle (A. Spedding)

Boëly: Noël – Pour l’amour de Marie (A. Spedding)

Darke: In the bleak midwinter[]

Spedding: Patapan (A. Spedding)

Crotch: Lo, star-led chieftains

Spedding: Postlude: The First Noël (A. Spedding)

 

  1. The Melsa Consort” Recording of concert made in 2007 in St. James’ Church, Sutton. Musical Director David Wigley, Organ Colin Wright. Works with organ:

Bach: Gloria sei Dir gesungen

Gardner: Tomorrow shall be my dancing day

Faulkes: Rhapsodie on Old French carols

 

Additional CD (Featuring composition of Christmas Carol)

Cavendish Primary School Choir Musical Director Janet K. Jowett recorded 12 July 2002 in Hull City Hall

Wright: Rejoice and be Glad []

 

ORGAN RECITAL MUSIC (Further details)

Hull City Hall, 4th September 2018

Dupré: Placare Christe servulus (Op. 38)

Bach: Prelude and Fugue in C major (BWV 545)

Pachelbel: Chorale Prelude Nun lob, mein Seel’

Stanford: Prelude and Fugue in C major (Op. 193, No. 1)

van Oortmerssen: Chorale Prelude Nun ruhen alle Wälder []

Rheinberger: Sonata No 12 in Db major (Op. 154) []

Hollins: Spring Song

Bonnet: Caprice Héroïque (Op. 7, No. 12) []

The Coffee House, Everingham (25th July 2018)

Krebs: Toccata and Fugue in A minor

Bach: Chorale Prelude Wo soll ich fliehen hin

Merkel: Sonata No 9

Walcha: Chorale Prelude Mitten wir im Leben sind

Pierné: Prelude

St James’ Church, Louth (14th July 2018)

Sumsion “Ceremonial March”

Bach: Chorale Prelude O Lamm Gottes, unschuldig (BWV 618)

Peeters: Chorale Prelude O Lamm Gottes, unschuldig

Rheinberger: Sonata No 3

Whitlock: Pazienza (Patience) from Three Quiet Pieces

Parry: Fantasia and Fugue in G (Op 188)

Bach: Chorale Prelude Wer nur den lieben Gott läßt walten (BWV 690)

Peeters: Chorale Prelude Wer nur den lieben Gott läßt walten

Lanquetuit: Toccata in D major

 

UNIVERSITY OF HULL: Lecturer in Music (Part-time) (1997 – 2008)

Work in Keyboard skills, aural training, harmony and counterpoint, performance skills, song-writing, arrangement, 20th century history of music, etc.Research leading to PhD:

 

Thesis: “Investigating Aural: A case study of its relationship to degree success and its understanding by university music students”.

Abstract: The central aim of the research is twofold: first, to examine the relationship between university music students’ aural ability as measured in examination marks and overall success on a music degree programme; and second, to investigate current university music students’ views on aural and its importance in a music degree programme. Previous research indicates that aural skills are vital in developing musical expertise (see Karpinski, 2000a), yet the precise nature of those skills and the emphasis placed upon them in educational contexts merits attention. An extensive review of literature provides an introduction to terminology as well as a framework with which to understand research perspectives on aural, specifically to address aural in practice and aural as process. Two empirical studies are carried out as part of a case study investigation in this thesis: Study 1 compares aural test scores with overall marks obtained in a music degree so as to investigate their potential correlation; Study 2 analyses the views of current undergraduate and postgraduate music students from the same institution via focus groups about aural alongside their response to the data obtained in Study 1. Findings indicate that there are positive correlations between students’ aural test marks and overall degree results, although these are not always significant. The views of current students about aural reflected shifts in understanding from undergraduate to postgraduate level, with the former offering specific ideas about what it entails and highly subjective attitudes towards it, and the latter providing abstract and broad appreciation of aural in music practice. The students provided tentative remarks about the findings of Study 1. Related issues that emerge within the research, including the students’ views on training, singing, and the role of module choice in gaining a music degree, are debated as part of the thesis.

 

CAMBRIDGE SCHOLARS PUBLISHING: “Aural and the University Music Undergraduate” (2016)

 

(ISBN (13) 978-1-4438-9799-0). Based on research for the above PhD but incorporating additional studies not included in the final thesis.

 

Outline of the book: The main purpose of this book, which has developed from research for the above doctoral thesis is to review both the relevance of aural in a university music degree and in the professional career of a classical musician. A number of strands of research have been brought together in which two main areas are investigated: firstly, the analysis of the relationship between university music students’ aural ability as measured in examination marks and overall success on a music degree programme and in conjunction with an investigation of current university music students’ views on aural and its importance in a music degree programme; secondly, the research probes into the views of professional musicians about aural and its relevance to their career, linking back to the first research area in an estimation of the importance of aural for music students as a preparation for such a career.

As previously stated, research undertaken indicates that aural skills are vital in developing musical expertise, yet the precise nature of those skills remains an area for further investigation, the emphasis placed upon them in educational contexts warranting closer attention. Following a review of literature which provides an introduction to terminology a lengthy discussion addresses the issues of aural in practice in contrast to aural as process. Further analysis follows of four empirical studies which pursue the two major topics outlined above: Study 1 compares aural test scores with overall marks obtained in a music degree so as to investigate their potential correlation; Study 2 analyses the views of current undergraduate and postgraduate music students from the same institution via focus groups about aural alongside their response to the data obtained in Study 1. Studies 3 and 4 address the second issue described above in which the views of professional and semi-professional musicians provide details from their experience in their career work about the relevance and significance of aural and the associated skills.
Findings from the first two studies indicate that there are positive correlations between students’ aural test marks and overall degree results, although these are not always significant. The views of current students about aural reflect shifts in understanding from undergraduate to postgraduate level, with the former offering specific ideas about what it entails and highly subjective attitudes towards it, and the latter providing abstract and broad appreciation of aural in music practice. The students also provide tentative remarks about the main statistical outcomes of Study 1.

The findings from Studies 3 and 4 are strongly supportive of those in the first two studies and suggest that professional musicians rely considerably on their aural skills in a variety of ways, for example, in teaching and performing, conducting and rehearsing, analysis and musicology. The importance of aural skills in the study of music as well as in the preparation for a music career therefore are underlined, also leading to the view of the need for the inclusion of their further training within a music degree programme.
The subject is investigated in the light of the current socio-educational background of the past fifty years which has greatly influenced the participation of music and the study and development of musicianship. Many related issues are touched upon in the research that has been undertaken as part of this project and these emerge as relevant topics in the discussion of aural. Apart from students’ and musicians’ views on training and singing, aspects include the role of improvisation, memorisation and notation, examinations, absolute pitch and the affinity with language, all of which have a part to play in the debate about aural.

REVIEW OF THE BOOK:

Psychology of Music – July 2018 by Monica Andrianopoulou https://doi.org/10.1177%2F0305735618763238

Noting a gap in the literature regarding “the manner in which aural skills relate specifically to . . . professional work” (p. 265), Wright succeeds in highlighting the permeating role of aural ability and aural skills in all types of musical activity, and the essentiality of fostering these “as a prerequisite for a fulfilling career as a musician” (p. 309). The question of whether and how such fostering should and could effectively take place within formal music education, and particularly Higher Education, remains the subject of an ongoing dialogue, to which this book makes a valuable contribution.”

2016 (ISBN (13) 978-1-4438-9799-0) 2016 (ISBN (13) 978-1-4438-9799-0)

Further articles on Aural skills are under consideration following a one-day symposium at the Royal Academy of Music, London, 7 April 2017 entitled Aural Skills Pedagogy: What is to be done?
The proposal is that the subject be pursued further in an eventual publication devoted to a survey of aural practice and to posit a path forward for Universities and Conservatoires in the USA and UK. This is still under consideration and contributions sought from other aural skills teachers.

 

EAST RIDING COUNTY CHOIR

Accompanist (1991 – 2014), also performing in concerts as continuo or keyboard player.

Musical Director (2014 to date) following the death of the previous conductor, Alan Spedding, OBE.

Concerts conducted since 2014 (Beverley Minster):

Mendelssohn: Elijah (May 2014)

Haydn; Britten: St Nicholas Mass; St Nicolas Cantata (December 2014)

Rutter; Jenkins: Magnificat; Gloria (May 2015)

Handel: Messiah (December 2015)

Dvořák: Stabat Mater (May 2016)

Poulenc; Sullivan: Gloria; Te Deum (December 2016)

Verdi: Requiem (May 2017)

Handel: Messiah (December 2017)

Vivaldi; Goodall: Gloria; Eternal Light (May 2018)

Charpentier; CPE Bach: Messe de Minuit; Magnificat [December 2018]

 

HULL AND EAST RIDING ORGAN GROUP (HEROG)

President (2015 – [2019])
Recitals: St. Mary’s Church, Barton (11 June 2016) , St. James’ Church, Louth (14 July 2018)

TRINITY COLLEGE, LONDON

Member of Examiners’ Panel (1999 – 2016)

Examining of Practical Music:

United Kingdom (1999 – 2015)

New Zealand (2002 – 2011)

Australia (2005 – 2012)

South Africa (2010)

Europe (2001 – 2004)

Examining of Theory (2008 -2015)

OTHER MUSIC

St Mary’s Church, Beverley (Sep 2017 – Mar 2018): Temporary Organist