John Furse

The Ruffatti has landed: www.buckfast.org.uk/photos/224/arrival-of-the-new-ruffatti-organ-26th-april-2017

A container is, e'en now, on its way Devonwards - according to Ruffati’s FacadeBook. I believe the Abbey Organ’s webpage was 'taken down' and only (very) recently restored - in a revised version: www.buckfast.org.uk/ruffattiorgan. The installation, for example, will now be "completed before 2018." There are other re-wordings and corrections. I can only assume this explains the temporary absence of the page. I emailed the builders, only to be informed that all communications regarding the organ are being handled exclusively by the Abbey. I would imagine that, once the container arrives, there will be a flurry of new and exciting photos.

Slightly embarrassing: I'm unable to locate the specification. The links I've previously used no longer work. Could anyone furnish one that does, or post the spec. here, please ? Many thanks.

Thank you, sjf1967. I’d assumed it was more Cromorne-esque, to complement the mainly French Baroque/Classical specification. Especially since there’s a Voix Humaine on the Positif. And, I’ve just noticed by zooming: is there some kind of swelling device on the right hand side, above the pedal-board ?

sjf1967: I have two questions, which do not ask you to divulge ‘sensitive’ info. What does the Dulcineau sound like ? Do you know if there are any plans to release recordings of this wonderful looker – even if just on YouTube ? This must be one of the largest organs built for private clients in recent years. I am sure members will be able to expand on this.

The same edifice witnessed my accompanying of an annual service for the Girl Guides and Brownies; the building was crammed with very high frequencies. I built up the last verse of one of the hymns (its identity has been, mercifully, erased from my memory) in the middle of the proceedings, to close the last line with the striking Tuba and growling 32’ Contra Trombone. All was well. Then, with my left hand, I reached nonchalantly for the special edition A&M of Brobdingnagian proportions. Horror struck ! I dropped it awkwardly. It slipped down the manuals: starting with the Solo (where the Tuba flashed, as I hadn’t cancelled), on through Full Swell, most things coupled to Great, bounced off the Positive and landed on the Pedals. Rumble, rumble; grumble, grumble. The Verger clambered up and around the stairs to the loft, a look on his face as if he was going to find dead bodies scattered on the floor. Somehow, I regained enough composure to proceed with the remainder of the service without repetition, deviation or hesitation. Rarely has a ‘voluntary’ been so involuntary.

There was the time as a chorister when the two boys (fortunately not me) responsible for laying out the music got it badly wrong. I can’t recall the precise details, but Decani had, say, Tomkins and Cantoris, the Byrd Preces and Responses. The Precentor's intonation was fine, of course, and presaged nothing of what was about to occur. The first choral chord produced looks of astonishment and bewilderment all around. The vocal amalgam sounded like Stravinsky. (I only knew this later.) The so-usually-unflappable Organist was nonplussed and waved his hands in a ‘change over’ movement. Pages were hurriedly turned. ‘The Good Lord was most definitely slow to help us’, once more, as the same happened with slowly unfolding “haste”. The Organist then said, out loud and quite clearly, whichever composer it was supposed to be and we carried on . . . nervously, but much more traditionally.

I have just noticed this, on the Abbey’s website: www.buckfast.org.uk/gallery/213. One thing in particular is striking: the beautifully carved console - elements of which look as if they will be repeated in the pipe shades. I can’t wait to hear it in situ.

I would imagine the 8’ Viola, when drawn with the 8’ Open Flute, could well produce the simulacrum of a diapason sound; as might the 4’ Fugara, with the 4’ Flauto. In addition, the manual is both under expression and provided with a tremulant. These could easily create successful ‘undulations’. In a brief search, I could not find out whether the (two) tremulants were adjustable, as the Chapel’s website does not currently provide details of the organ. This instrument, in Keble’s fabulous Chapel, is on my ‘to hear soon’ list.

My first impressions were that it sounded cleaner, brighter, more focussed - probably, as it should. It’d be interesting to have the DoM’s opinion, after a few weeks’ choral services.

Last Sunday, David Bryson entertained a considerable audience in an ambitious programme - for he was then still not quite a teenager. He told us that his voice ‘broke’ in the last week of his career as a treble at St John’s and had to sit out some of their final concerts. Almost astonishingly, he has just taken his Grade VIII Piano. He began “Von Himmel hoch” BWV 700 (and continued) cleanly - but it was not without a few ‘diversions’. He has obviously been taught articulation to a high degree: some of the ornamentation in Bach’s BWV 659 “Nun komm” was exquisitely controlled, in addition to possessing state-of-the-art ‘authenticity’. Vierne’s “Berceuse” was the vehicle for some ultra-sensitivity in registration, way beyond his years - but, evidently, with the aid of his ears. With judicious use of couplers, the ethereal combination of Swell strings and Great Dulciana took me off to the banks of the Seine. Well done N&B, too. In the “Carillon de Longpont” (I slightly quailed, when I saw this in the programme), he demonstrated just how far he has progressed since 2015. The “Suite Gothique” was played in full. He has a new teacher, who ‘allows’ him to enjoy the last movement. Not bad, at all. As I said last year, we will be hearing more from this (very) talented (very) young man, who is bound for Eton and its seven (?) pipe organs.

This sort of design for a new instrument is close to my heart, for reasons I won't go into here. It would be interesting to know the specification; or, a condensed version. What is on the stop knob ? I feel sure it isn't Roar Flute !

I think living 'up there', almost at the North Pole, must have affected your magnetic compass, David. The instrument was definitely in the South aisle on Easter Sunday. It is possible it has 'migrated', since NPOR claims it to be on a "moveable platform". I would not like to test this out.

To continue the recent theme of late Victorian instruments, this last Easter Sunday, I was prevailed upon to play for Matins at the interesting church of St Andrew and St Mary, Langham Episcopi and a little over ten miles from where I live. It proved a surprisingly versatile instrument for such a modest specification [ http://www.npor.org.uk/NPORView.html?RI=N06149 ] and is also the smallest instrument by far on which I’ve presided at a service. It is certainly unprepossessing, when first seen. Mainly eschewing the pedals (in the hope of avoiding the provision of yet more income for my osteopath), I grew into the remembered pleasure of accompanying a congregation - of around fifty. Yes, c50 ! In rural north Norfolk. The Great diapasons are suitably robust; the Clarabella very nice, if smooth. The Swell Gamba is especially stringy, but the 4’ Flute is the starring stop. It sounds older than the rest, lovely and woody, as if it had been ‘lifted’ from an earlier instrument: late 18th or early 19th century. Unfortunately, access to the innards is not easy. I would appreciate comments on the presumed Agnus Dei, which is situated above the Chancel arch, facing west. It appears to have a naval anchor/cross, in addition to ‘rays’ similar to those I’ve seen before adorning memorials. I’ve posted some photos on Photobucket; this being, I hope, the link [ http://s296.photobucket.com/user/firstrees/media/049psePAINT_zpsqmtjw5dx.jpg.html ] and scroll back. These may well be interspersed with some of the Blakeney organ.

Congrats: in a way, you’re going home to East Anglia, David ! Confusingly, the Cathedral website shows a 3-manual (acoustic guitar superimposed), whereas an interweb search provides good shots of the instrument: http://www.waymarking.com/waymarks/WMP86A_Christ_Church_Cathedral_Organ_Fredericton_NB. I’m sure, once you have your feet firmly under the bench, you’ll provide us here with some kind of organ tour.

It's far too early in the year for a hornet's nest !

The current instrument is much more flexible than its ‘two-manual’ format would presuppose. The stone Chaire case is a complicating factor, architecturally speaking, and I believe the coupling manual was an attempt to solve some of these ‘problems’. The ‘reversal’ of the position of the divisions, with the Great speaking from the case closest to the choir and congregation, was ingenious. What must be said, however, is that, since the 1980s, organ design and technology has ‘moved on’. Daniel Hyde obviously had his views on the situation; it is for his successor to decide, now. There will be an open, competitive tendering process and our hosts could well win this, were a rebuild/new organ to be proposed. Oxbridge colleges have, in the recent past, replaced fine instruments after only a few years and for whatever reason. It may well be that, now we are well into the 2000s, a larger case is ‘approved’. In that instance, all bets are off and a new four-manual could be the result. The old Harrison/HNB was, in any case (!), hardly the most exciting of instruments. We shall see.

As far as I can recall, the times I saw The Players/Fires in concert, Jenny was the ‘cellist. “Political implications” dating back almost two centuries ? Could only happen here – or back in the USSR !

I first met Max after he’d conducted a performance of Schoenberg’s “Pierrot Lunaire”, during my first undergraduate year. This was a new work in live performance for me and I was mesmerised by the Austrian’s visionary score. I expressed this to Max, after the concert, also mentioning that I’d composed a few pieces. Once he’d seen some of these, Max was most generous with his time and persuaded me that I had something to say; in contrast with those who should have had a more direct rôle in my compositional development. I was present at several world premières, including the ‘notorious’ one of his “Eight Songs for a Mad King”. This was so much a work of the revolutionary (in several senses) late 60s and is one of those pieces of music theatre that needs a live, enacted performance, for full understanding. Despite a reputation as a radical iconoclast and a ‘producer’ of cacophony, he was thoroughly grounded in the traditions of Western high art music and had the most extraordinarily keen ear. Anyone who doubts this should listen to his arrangements of Purcell- not a composer one would immediately associate with Max, unless one knew. He was a brilliant teacher (influencing me strongly in his belief in the extraordinary creative abilities of young people), analyst, conductor (and not just of his music) and pianist. He would begin the day by loosening up his fingers (and brain) with, typically, Bach- on clavichord or organ. There was probably no-one more astonished than he, when asked if he would become Master of the Queen’s Music. He proceeded to astonish himself, with his republicanism being won over by Her Majesty. I have scheduled an “O magnum mysterium”, which will be in his memory. Here is the link to the BBC’s fine obituary: http://www.bbc.co.uk/news/entertainment-arts-20683877. Radio 3 has done an admirable job of commemorating him, since the news broke yesterday. His music will live on down the years, with a host of recordings by him and others. He would chuckle at ‘Goodbye, Mavis !’ (this ‘Las Vegas’ work being played, as I post).

I have also conducted this with a large choir (125+), accompanied by a quantity of brass (c20) and percussion. This was in a church with the organ split between the west end and ‘in the middle’ (not quite as big as the Kölner Dom), when one of my schools had its 400th ‘birthday’. Fortunately, all the performers were ‘mine’- unlike the situation with the conductor here. I’m sure most of us can imagine the immensely complicated arrangements needed to put together, then produce, such a lengthy service. By the time it came to pass, conducting would be the last thing we’d want to do: more likely, go to bed for a week. [On a humorous note: for a few seconds from 4:47, there’s what I thought were, when originally glimpsed, some fire service personnel in colourful, ceremonial garb !] I’m not sure “gruesome” would be the word I’d use. There are some lovely, almost homely, moments - quite an accomplishment in these circumstances. The conductor seems to be a bit flappy (those loose, open hand gestures would be eradicated from the first session of Conducting 101), not quite comfortable with some of the music, unused to working with instrumental players (who don’t look or sound at ease with him and would probably say something afterwards like ‘typical choral conductor’) and sometimes ‘loose’ around the beat (players hate this); much better with the vocal forces – what must be an assemblage of multiple choirs. That swimming pool acoustic can’t be easy, either. I seem to recall (I was not there) that the (1902 Coronation) première of the Parry had its problems and didn’t go all that ‘swimmingly’, either. At just after 0:48 the organist can be seen in accompanying mode and, from 2:01:20, ‘filling in’ at the console. There is at least one other console shot. All that wonderful smoke at the beginning takes me back. A fine ceremony, in one of the grandest (and holiest) religious edifices of Christendom. I was glad I saw this.

It must be a nightmare, attempting to balance all sorts of considerations, when devising a programme for such an event. However, what struck me was the absence of any music from the French ‘Golden Age’- or that of Messiaen (!). I have, so far, skimmed the whole programme, listening in to a few items – but will definitely return. Foccroulle’s Buxtehude and Bach were, as usual, stylish and exemplary. Lefebvre gave an interesting Franck and (with a couple of side-drummers), a Khatchatourian with élan. Latry displayed (and played with) his astonishingly casual panache (playing a series of transcriptions, as he does, from memory) and merveilleux Marshall closed the whole with Widor and an impro on the Cancan - beginning with a toccata of which Latry would have been proud. In the process, I'm sure he made most UK organists feel similar. The organ doesn’t really look like one (more like a jewellery department in a glitzy store); sounds good, if slightly recessed (it is), though strangely ‘unfizzy’ for a big Rieger when at ffff - and its console could have been ‘lifted’ from the set of the forthcoming Star Trek movie.

Every cathedral and parish church should have one ! That would certainly enliven Choral Evensong - and could the wine be substituted in the Communion ? Presumably, similar sound combinations are already possible on organs with digital 'features'. Not sure about the lighting, tho': would not work at Matins. (Curtains/blinds on the clerestory ?) And it's expensive. After dark, perhaps the verger could be persuaded to flick them on-and-off, as a completely inadequate alternative. Danger, there, of blowing the fuses. On the stop knob, does it have 'Proof 80%', too - instead of 16', etc. ? Departing from my customary levity: anything that brings the organ to a wider public can only a 'good thing' and, judging by the YouTube clips, there are things of great beauty and excitement here. A sound designer/composer worth their salt could easily arrange suitable Swingle tracks, too. (That's just a first thought.)

I am so sad to learn of this. I spent a revelatory day with him, in the exploration of Sweelinck’s organ music. Subsequent to this, my performances were transformed (I hope !). His recordings of this, and other, early repertoire are very much understated, in comparison with some more flamboyant performances – but none the worse for this. Another musical Titan who has left us far too soon.

“What’s happ’ning ? There’s nothing to say, Coz no-one has news to convey ! At this time of year: Looming carols, reindeer And that lovely piece by Henry Ley.”

I concur with all three above posts – and would happily delete ‘English’, from mine. ‘Music in the service of God’ is what, I believe, Vox humana implies. There was an additional dimension to Willcocks, in that he was responsible for exporting the ‘King’s sound’ worldwide. When I lived in a continent warmer than ours, ‘his’ broadcast of the Nine Lessons and Carols Service was a highlight of my festive season notable for its absence of snow, holly or mistletoe- except on the incongruous Christmas cards.