John Furse

Most of this wrote itself. All of my choices are familiar to me from either conducting, or playing them. It was only a slight surprise, on finalising the list, to realise that they were all English. Prelude: Henry Heron (Cornet) Voluntary no. 3 in D minor (ending on the same chord to start the Introit) Introit: Henry Ley Prayer of King Henry VI [Alternatives: a Cornet voluntary in C minor, into Henry Purcell Hear my Prayer] Responses: Rose (Smith, a close second) Psalms: 148, 149, 150 (Stanford) Canticles: Stanford in C (Howells’ St Paul’s Service ran this a very close second) Anthem: Vaughan Williams Let all the world Voluntary: Howells Psalm Prelude Set 2: No 3

BuxWV 188 - Gelobet seist du, Jesu Christ It don’t look as if Buxtehude has many fans, at the mo. I fear I may be straying from the ‘prelude’ stipulation. Nonetheless, and moving boldly forward, this unprepossessing melody, in mainly stepwise steps, inspired Dietrich to compose this superb and lengthy Fantasia. I often find his music more ‘interesting’ than Johann Sebastian’s and there are many pieces of that description in his chorale preludes. This work contains two bars in the Pedal part worthy of, and as tricky as, some of the most difficult Dupré - remembering only ‘historically informed’ toes should be employed. These are from around 7m10s in [https://www.youtube.com/watch?v=cMde0Q9C2F8], where the score is viewable. Considerable bodily torsion is necessary to cover these two octaves in this short passage. I believe this gives a significant pointer towards ‘correct’ (i.e. quite free and loose) articulation in Baroque pedalling. It is also instructive to watch/listen to how ‘period’ ’cellists and bassists perform similar phrases. Another performance is on this fabulous organ in Gdańsk (not that the Schnitger isn’t rather good, too !): https://www.youtube.com/watch?v=8wo8EHVpAyw

David must have been the automatic choice to be the recitalist for the Inaugural Recital of Colchester’s restored Moot Hall organ, in May 2015. To a packed (invited) audience, he brilliantly displayed all the marvellous qualities of this important and historic instrument, which was built for that lovely Town Hall. Local lad made (very) good, he grew up and was educated in the Town (at the Royal Grammar School), before moving away to attend Bristol University. He was one of Colchester’s most distinguished sons yet, to use that cliché, he never forgot his roots. He was a fount of knowledge of all things ‘organ’, particularly those of his native East Anglia; each instrument, however small, contained some item of interest to him. We benefitted greatly from his erudition, always proffered modestly, on this forum.

On this Monday of Holy Week, our prayers are required: for the building, its fittings and windows . . . and organ(s).

There was me thinking, ‘I’ll have to put these dates in my Anna Magdalena notebook’ - then I saw them and realised I would be the other end of the country !

That would be wonderful, thank you, Robert.

What a beautiful signature !

If this happened in 1956, I would find that even more remarkable, Paul. If what you say is true (and I have no reason to doubt you) then, two years after the Royal Festival Hall organ (1954), with all its new-fangled German barockery, out of the blue (?) and in the Fens appears an Italianate confrère. I’m trying to put all this into context. Is there any ‘evidence’ that Drs Wills and Jackson communicated about this, with ‘influence’ going one way or the other ? Have you been able to unearth anything more, Robert (Sharpe), please ?

The Schulze went to Northampton, Rowland: http://www.npor.org.uk/NPORView.html?RI=R01934. Here is another. This is a lovely-sounding instrument and a delight to play, in an attractive and historic church: http://www.npor.org.uk/NPORView.html?RI=N05945 When I referenced the mighty (1851) tome, I seem to recall it was a special edition of the Illustrated London News. I used to read this in the British Museum - which then held the British Library.

Don't be sorry, Aeron: you are correct to correct my mistake. I even looked at the book on a South American river, but am distracted with a current composition. Thank you.

I’m sure you know Nicholas Temperley’s “The Making of the Victorian Organ” (Cambridge U.P., 1999), Ian. The organs displayed at the 1851 Great Exhibition have long been of interest to me. I live near one of the smaller ones and relished my 'exploration' of St Anne, Limehouse in the 1970s (then, no fee required).

Again, many thanks, Robert. From NPOR: Dr Wills’ Fiffaro was in the 1975 H&H rebuild - well into the British neo-classical revival (see trending other thread). From what you have written, this Voce Umana ‘effect’, with a detuned stop, was only possible from the 60s/70s. Might Dr Jackson’s ‘innovation’ have prompted Dr Wills to imitate this sound ? Is there any possibility of your finding out about this ?

Robert: am I to understand, therefore, that the Voce Umana (now renamed) was, in fact, intended as an imitation of the Italian Renaissance/Baroque ‘effect’ ? If so, would that not be unique in our organs of the time ? I don’t suppose this single drawstop will be able to be half-drawn (?). Sorry to labour on: what is the hierarchy (in decibels, as it were) of the loud reeds west of the Screen, please ? And, would the Swell reeds still then be #5, even with the West Shutters open ? Many thanks.

Ah! That is even more satisfying - and a 'cunning plan' long before Baldrick. Thank you, again, Robert, for the detailed elucidation and its historical context. Now, can anyone think of a piece which avails itself of such a splendid concatenation of brassiness ?

I, too, have been fascinated by the depth of imagination and thought processes outlined above. Was ‘Enclosed Solo on Choir’ considered in addition ? I could envision a scenario (although cannot, at the moment, think of a specific piece. Perhaps one could be written.) where a configuration of heavy pressure reeds on the four separate manuals (Solo Tuba Mirabilis, Swell loud reeds, Great loud reeds, Choir/Solo enclosed Tubas) might prove useful. Alternatively, perhaps, ‘Tuba Mirabilis on Choir’. With this iconic stop restored to its original, coruscating splendour, the historic ‘York sound’ will once more resound. I seem to recall hearing an LP with this glorious ‘noise’ being completely transcendent. Would not sub/octave couplers on this stop breach H&S regulations ? I welcome your thoughts, Robert.