Tony's organ studies began in Wellington with Max Fernie, whose work at St
Mary of the Angels had a profound influence on him. As a student he was organist
at St Peter's, Wellington.
He graduated B. Mus (Hons) from Victoria University, teaching at Rongotai
College before being awarded a Belgian Government scholarship for postgraduate
study in Brussels. He studied both organ and harpsichord, gaining the Premier
Prix, Diplôme Supérieur, and was also awarded the Queen of Belgium's Gold
Medal.
He then studied with Nicholas Danby and Mary Verney at the Guildhall School
of Music and Drama, gaining the Certificate of Postgraduate Studies, and worked
under Peter Hurford at St Albans Abbey, before returning to Wellington and his
former positions at St Peter's and Rongotai College.
In 1974 he succeeded Peter Godfrey as Director of Music at Holy Trinity
Cathedral, a position he held until 1985. He was appointed to the staff at the
School of Music at Auckland University in 1975, relinquishing his senior
lectureship there in 1991 in order to take up a post at Newcastle Conservatorium
in Australia. He was also assistant organist at Newcastle Cathedral.
He moved to Sydney to take up the position of Director of Music at St.
James', King St at the beginning of 1995, a post which his sudden death cut
short after just 6 months.
Tony's sphere of influence was wide, and his expertise, particularly in the
two fields of Early Music and Church Music, was significant. As New Zealand's
foremost harpsichordist he had a profound influence on a large number of
students, and his stylish and dynamic playing was an inspiration for many. He
was to be found on concert platforms throughout the country and, as time went
on, increasingly in Australia, where the much stronger Early Music scene
recognised his talents in a way that NZ's limited market could not.
Tony's work with "The Auckland Concert" and with baroque ensembles
at Cambridge Music Schools encouraged numerous non keyboard instrumentalists to
approach baroque playing in an authentic manner. His infectious enthusiasm and
absolute conviction for the "cause" stimulated generations of players.
During his time at Auckland University the School of Music produced a number of
Masters graduates in organ and harpsichord, who are working as professional
musicians throughout the world.
As an organist he will be remembered for his historical approach to
repertoire from all periods. Although his specialism was the baroque repertoire,
his playing of the French romantics and 20th century composers was at an
extremely high level, displaying a fine sense of structure, a remarkable ability
to bend a phrase, and an eye for detail. His playing had a flair and dynamism
that is rare, and yet he was also able to hold the music in mid-air, sometimes
at extraordinarily slow speeds - the sign of a real virtuoso.
His passion for historical integrity and interest and knowledge of organ
building led inevitably to concern for the organ building scene in NZ; although
he was influential in many enlightened rebuilds, his particular legacy in this
area is the fine 17th century Dutch style instrument at Auckland University's
Maclaurin Chapel.
Tony's contribution to church music in NZ is best represented by his work at
Holy Trinity Cathedral. He was strongly influenced by the work of David
Willcocks at King's College, Cambridge, particularly the "Psalms of
David" recordings, as well as his time with Peter Hurford at St Albans. He
brought a vitality, sense of urgency and energy to cathedral music that
attracted an enthusiastic following; his quick air and keen wit ensured high
standards and lively rehearsals. He was pivotal in establishing a full cathedral
pattern of Sunday services (Choral Eucharist, Matins and Evensong). His vision
saw the establishment of an organ scholarship, male altos were introduced, tours
and recordings undertaken, and at the point that he left the cathedral he had
set about forming the Cathedral Music Foundation, designed to ensure the
maintenance of a secure cathedral tradition in the longer term.
He established the Auckland International Organ Festival, designed to
stimulate high standards of organ playing and promoting the cathedral as a major
venue in the city. As Director of Music he will be remembered for his absolute
commitment to the highest standards of worship, passion for fine repertoire,
particularly the works of Howells, and for his ability to mould a devoted and
committed team.
On leaving the cathedral he set up the group "Harmony and
Counterpoint", which presented performances of baroque repertoire to an
extraordinarily high standard, including a unique presentation of the Mozart
orchestration of "Messiah" in the Town Hall with the Auckland
Philharmonic Orchestra. This was arguably Tony at his best - a charismatic
personality managing large forces in a dynamic and fresh performance of
repertoire that was innately his own.
The sudden and premature death in Sydney of Anthony Jennings caused shock and
sadness throughout the New Zealand musical community, and to the many members of
the Diocese who knew him.
~ Extracts from the Obituarywritten for the
Auckland Organists' Society by James Tibbles.
Used by permission.