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Second Friday of Each Month, 12:10 p.m.

Music at Mid-day

30 minute concert in

The Cathedral Church of St. Paul

Detroit, Michigan

Please note there will be no program in March or April.

Mr. Tarrant will play the programs on

September 13

October 11

February 14

May 8

June 12.

November 15, 7:30 p.m.

The Cathedral Church of St. Paul

Detroit, Michigan

Program will feature Widor's Symphonie Romane, as well as works of Bach, Dupre, and Vierne. Classical guitarist, Jeff Dwarshuis will join for Chris DeBlasio's 'God is our righteousness' for organ and guitar.

February 10, 7:00 p.m.

Lecture Recital: Louis Vierne's Pieces de fantaisie

Presented by the Detroit Chapter American Guild of Organists

The Cathedral Church of St. Paul

Detroit, Michigan

Mr. Tarrant will talk about this cycle of character pieces and play several of them. 


Friday, March 13, 7:30 p.m.

St. Luke's Episcopal Church

Dallas, Texas


Friday, April 24, 7:30 p.m.

The Cathedral Church of St. Paul

Detroit, Michigan

Jeremy David Tarrant recreates Felix Mendelssohn’s famous Bach organ recital of 1840, including the Passacaglia and the famous Toccata and Fugue in D Minor. 



Charles-Marie Widor: Symphonie VII,

Op. 42, No. 3   and

Lied--Gaston Litaize


Impromptu, Clair de lune,

and Toccata--

Louis Vierne

available from


from Gramophone Magazine, June, 2018:

"He {Tarrant} minimises the first movement’s episodic tendencies by treating the big chordal passages as signposts, while sculpting contrapuntal sequences in forward-moving arcs. He also brings more pliability to the second-movement Andantino agitato’s counterpoint, although you strain to hear the pianissimos without turning up the volume beforehand. The Allegretto has a fetching lilt and attractive linear independence; indeed, the pedal staccatos occasionally sound as though they were plucked. Tarrant shapes the fourth movement from an eagle-eyed, big picture perspective, with the long melodies in the foreground and the undulating accompaniment unfolding in fluid paragraphs."

read the full Gramophone review at: