| Summary: | The portfolio contains three elements in addition to a live recital. The first is a thesis based substantially on the author's experience of collaboration with the British composer Judith Bingham between 2011 and 2013 in the preparation and performance/recording of three commissioned works for solo organ or harpsichord. The study examines Bingham's work in the selected genres from a number of viewpoints. Specific analytical, technical and aesthetic questions are all examined in the course of the text, which draws on a range of new material, including autograph scores of unpublished early works and interviews and correspondence with Bingham herself and with recent interpreters of her work. The study will, it is hoped, assist in establishing a context within which performers of Bingham's works might develop their interpretations. The second element is a set of five recordings (both live and commercial) which feature two of the works commissioned from Bingham, alongside other repertoire. These recordings illustrate particular aspects of the performance issues discussed in the thesis - specifically notions of 'sonic authenticity' in Bingham's work - and also explore notions of the relationship between old and new compositional idioms, a concept which was fundamental to the composition of one of the commissioned works. The third element of the portfolio, comprising two published articles on performance issues in Alain's organ works, considers issues of textual 'authenticity' and its influence on interpretative outcomes in the performance of 20th century organ music.
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