The Compleat Organist - Dr Noel Rawsthorne          [from Simon Lindley's birthday tribute]

For a quarter of a century master of the mightiest Mersey sound of all, Noel Rawsthorne notched up his three score years and ten in December. Demeanour, wit, sense of humour and enjoyment of life give the lie to the tally of years totalling seventy. Noel is, emphatically, one of those folk who are busy enjoying their retirement. But how marvellous it is for us that Organists, Choristers, Congregations and Audiences everywhere have considerable cause to be thankful that the manuscript page has been as much the recipient of his most recent energies as his beloved garden and greenhouse.

For the organist, he has rehabilitated some of music's most attractive works by providing eminently practical arrangements which, while challenging the professional, do not remain beyond the scope of those for whom recitals and recordings are not within their regular experience. Rawsthorne's repertoire enhancement includes a number of "musts" – volumes which are in every self-respecting player's music cupboard: Music for the Bride, Music of Remembrance and, particularly, Encore!

On the choral scene, it has been proved that he is thoroughly at home when composing for "all sorts and conditions" of choirs. Interestingly, the considerable number of pieces designed specifically for the Liverpool Cathedral Choir, while fitting that most individual of ambient acoustics like a glove, do not rely for their effect on a resonant acoustic but are happily at home in less generously proportioned surroundings. Of the liturgical items, the fine Responses and the Liverpool Mass claim particular attention. The more modestly conceived Festive Eucharist composed for the opening of the Cathedral in 1978 is very widely sung as are some of his vividly-etched miniatures – God be in my head, Like as the hart and I will lift up mine eyes spring at once to mind.

For listeners the world over, Noel as an interpreter of the keyboard repertoire represents the very best in English organ playing. A vivid and unerring sense of colour, warmly eloquent phrasing and sturdy rhythm pervades all his performances. Having for much of his life played one of the world's finest instruments, he is also particularly well-known for getting the very best out of rather more modest (even quirky) musical resources. Add to such already substantial musical virtues the extraordinary fusion of artist and craftsman which is a source of constant admiration to his colleagues and it is possible to glean something of the master's strength of character and depth of influence.

Pupil of Germani in Italy and Harold Dawber at the Royal Manchester College, Rawsthorne's own list of pupils reads like a Who's Who in musical Merseyside. His successor as cathedral organist, Ian Tracey, is but one of many and this large band of musicians includes the brothers Duffy, Philip & Terence, who were his colleagues at the other end of Hope Street in music-making at the Metropolitan Cathedral of Christ the King. Yet his teaching has been far more a matter of service rather than status. Generations of students have had cause for considerable gratitude on account of his creative teaching and individual coaching – especially in keyboard skills – for classroom rather than cathedral. The award of an honorary doctorate in music from the University of Liverpool was not only richly-deserved but has given much pleasure to admirers and colleagues alike.

Rawsthorne's commitment to the music making of his home city – not least through his long service to St Katherine's College as a music lecturer – has been total. The Cathedral, though for long his main centre of activity, forms only part of the story. On retirement as from the console of the grandest Willis of them all in 1980, his energies were whole-heartedly directed to reviving the fortunes of music making at St George's Hall. There he served as City Organist until 1984 and revitalised that building's recital programme, raising once again its profile as a centre for music in an environment that had loomed dangerously near to becoming a white elephant.

His work with the Royal Liverpool Philharmonic Orchestra included supervision of the refurbishment of the Rushworth organ in the splendid Philharmonic Hall and he has sustained substantial friendships, personal and professional, with successive maestro's of the 'Phil'. A particularly creative partnership with the late and much-loved Sir Charles Groves is, happily, evidenced for us all in a number of very fine recordings. It is well known that his best-selling discography, especially his recordings on the Cathedral organ, is one of the most distinguished in the post-war catalogues and many of his performances are widely acknowledged to be benchmark interpretations against which others are measured.