John Furse

“Sir David was one of the very greatest of twentieth-century English church musicians.” I would modify this, to read ‘Sir David was one of the greatest English church musicians of all time’. The creator of a large part of our musical heritage has departed, but his influence will last down the next few centuries. He was responsible for many of the finest recordings, performances, compositions and arrangements of so much sacred, and other, music. He presided over and shaped one of the best choirs in the world and guided the development of many of our current church (and other) musicians. "O quam cito transit gloria mundi".

In the light of recent sad events and a comment yesterday, it might be pertinent to commence a new thread, on what will be known as the Miller-Scott Organ. This should prove a most apposite and lasting memorial. The official church site gives a synopsis, here: http://www.saintthomaschurch.org/music/neworgan. Dobson will build what will be a 102-stop instrument, with work well under way. This company's web page for Opus 93 is here, with the proposed specification revealed by scrolling down: http://www.dobsonorgan.com/html/instruments/op93_newyork.html.

When, in the 90s, I made tentative enquiries regarding the design and building of the first Spanish-style organ for the UK, these were the builders I first turned to. For various reasons, the scheme did not come to fruition. Their legacy will endure - and I hope the firm continues to thrive. Martin's name will, literally, reverberate through the ages - in fitting and lasting memorial.

It was no imposition, Colin: it just takes me a while to effect some things. I pass this church (less than ten miles from my abode) quite frequently, but am then usually on some errand, with little or no time for other matters. The half-recital I attended was both a pleasure and an education. But, it is a busy period of the year for me- and I am currently engaged in the composition of what I hope will become an important work. I may well not be in a position to organise a visit until November.

I was able to hear the instrument again (after some fifty years), last weekend. A recital was given by a remarkable boy: David Bryson, who is twelve ! I’m sure we will soon encounter his exceptional talent in even more illustrious venues. A brief biog gives him as currently a chorister at St John’s, Cambridge. He has had obvious and expert support from his parents and previous and present teachers and has played several cathedral and similar instruments. He owns (!) a two-manual pipe organ, which occupies the family dining room. With another engagement pressing, I had to leave at half-time. He began with Leighton’s Fanfare, followed by Bach’s ‘Little’ Fugue (BWV 578) and “Wachet auf”. Ireland’s Villanella preceded his move to the piano and Mozart’s (‘Twinkle’) Variations K. 265. I felt these and the Ireland exhibited his skills to their best, with some playing of high-level sensitivity and delicacy. As for the organ itself, a brief synopsis, which I hope to follow up with a personal visit. The Coroboe was big and with a bit of a rasp- but not in an unpleasant way. It easily could have been a Great reed: even more impressive, therefore, with its being enclosed. The Great chorus was smooth, the 15th quite large and bright. Nice flutes. The Swell strings could have been ‘lifted’ from the Solo of a much larger instrument. The Pedal Violone was a tad boomy. The whole spoke out into a quickly ‘dead’ acoustic. I could not discern any audible problems with its upkeep and it has lasted very well: a good, well-built and well-balanced instrument.

Thank you. 'Rhapsody' and 'Tapestry' do not good bed-fellows make ! (In a search engine.)

Could you please provide the link ? I am unable to locate it, after searches using several different wordings.

http://www.bbc.co.uk/programmes/p02xs0xh Even if it’s not played on the organ . . . may not be by the named composer . . . and may not even have been written for the instrument. The good thing is that it’s there and has good backup, in terms of resources. It will also widen knowledge and can, if ‘used’ properly, stimulate discussion re HIP (pka ‘authenticity’). I have a similar gripe to the list of ten for the primary sector: where, apart from the VW, is the music softer than fff ? In the whole ‘20’, there is no piano concerto, despite this genre being visually the most exciting to watch- along with that for percussion. An organ concerto would have been a step too far. Alternatives endlessly could be proffered. I would have liked at least one, more challenging work: Webern, Ligeti, Stockhausen, Berio, Boulez . . . etc. Just as the AB was, when I started its exam process in the 50s, music is assumed to begin with Bach ? ! But we’re here. The intention’s good and its success is to be hoped for.

I recently had the opportunity to speak with someone who is reasonably close to what might be described as ‘the legacy of Ralph Downes’. On mentioning the new Ruffati, I was assured that the pipes from the previous instrument were not particularly noteworthy and that the person was ‘easy’ with the possibility of their being recycled (my verb).

Ah ! Thanks for the correction, sprondel. This, I mis-remembered. However, I would hope not to listen with ‘English’ ears, as they would then be a different nationality from the rest of me ! Wearing my beret, a horizontally-striped sweater and carrying a string of onions, though, I merely reiterate that most large French instruments of the Baroque period possess a 4’ Clairon on the Grand Orgue. I note also that the two G.O. reeds have a Germanic spelling. It’s about time we had ‘a Grenzing’ here.

‘If you’ve got it, flaunt it !’ This is a truly international story: Grenzing is an Austrian building in Spain for a major French radio station. Imagine the national furore (especially on the pages of such as the Daily Male), if a French builder was to win a similar contract for the BBC. There is a generous provision of photos and videos of some distinguished executants on the website. Yet, owing to my interweb incompetence, I couldn’t find out if there was a sound-management system (‘reverb’) in the place where it is (to be ?) installed- presumably a large hall/studio at Radio France HQ. One would have imagined it was in the plans: after all, IRCAM was established nearly forty years ago. pcnd5584 recently attested on here to the qualities of this builder’s Almudena instrument. His design and specifications are usually interesting plus and the sound of those instruments I’ve heard more than approaches the ‘authentic’ ideal of whatever national tradition they are supposed to inhabit. However, such a huge spec. (approaching a ton of stops), and yet no Clairon on the G.O. I think mostly of the French Baroque repertoire. “four 16's on the recit” . . . and sub-octave couplers ! This may well be in the initial planning stages of my itinerary, the next time I visit this lovely city.

This reminds me of my first visit to the incredible Cathedral at Santiago de Compostela in Spain. Fortuitously, I arrived on 15 August (the Feast of the Assumption) and was thus able to witness the 53kg Botafumeiro being swung, dangerously it seemed, by more than a half-dozen burly men. The full organ was being played, in what might be kindly described as 'Reminiscences of Bach's Toccata in D minor' ! The Almudena organ is by Grenzing, large, with two cases behind the player for the split Cadereta.

I hope all of this works (!). Far more cumbersome than I’d hoped; but, thanks, bam. I have a feeling someone will have to tell me what I'm doing wrong. [url=http://s296.photobucket.com/user/firstrees/media/St%20Nicholas%20Blakeney%20console%20from%20side%20sm_zps9ychzi0h.jpg.html]

You didn't discommode me in the slightest, Colin. I was just simultaneously juggling lotsa things. I refuse to use The Cloud. Is there no other way to display the photos I took, therefore ? (On another forum I use, one can attach photos/mp3s/etc., to a post.)

I have been unable to access Blakeney Church, owing to more important matters, until now. I had forgotten how sumptuous was the carving on the side panels (?) of the console, matching that of the screen behind. A series of shots of the console, with one facing east from the Nave, would be attached, were I able to do so ! Unfortunately, the acoustic in the church is nowhere near as attractive as the organ’s appearance.

Thank you, David. As I said, it was a bit of a surprise, since it was my first completed organ work. I’m sorry I have not responded sooner, but have been bound up in preparing for, then participating in, and now reacting to and recovering from, an extraordinary and intensive week of music plus- amongst other things, organising my funeral. Don’t worry, all: I hope it’s not imminent ! It was a pleasure to meet you and hear your enlightening recital on this most marvellous of instruments. I would urge those members who are able, to attend one of the series that has been arranged ( http://moothallorgan.co.uk/calendar/ ). The panoply of ‘outreach’ activities, viewable on the website, is impressive, too. For those who attend, I was wary of being too close: bearing in mind what has been said about the organ’s volume. However, I found sitting further back than halfway towards the rear of the Hall to be adequate. In future, I would probably see how one-third of the way back from the organ ‘did’. It is a lovely instrument, in a striking edifice, which has been restored with great care and expertise. All involved, at every stage, deserve the highest praise.

SL: you are in danger of sounding petulant. I don’t know what may be your connection to Buckfast, but I’m sure I’m correct in describing pcnd5584 as a solid and long-standing member of this forum. I sought his opinion, which he gave . . . and more. His knowledge of so much we discuss on here is invaluably encyclopædic. If the Abbey is in need of being defended, I hope someone with inside knowledge will feel able to divulge some of the thought processes involved in how the stop-list emerged. These (specs.) are, inevitably, compromises; but, as pcnd5584 states, there do seem to be some notable omissions, given the size and apparent comprehensiveness of the instrument. I share his puzzlement at many of the decisions made in the drawing up of the spec., but decided to focus on one. If members are unable to voice their opinions without sarcastic retort, I’m sure they will forbear from posting- or, at least, hesitate from doing so. This would be a great pity. I have done this on other forums (not music-related), despite manifold entreaties to continue. Please be a little more restrained- as befits your august provenance.

Durham is not antiphonal in the true sense, is it mgp (#76) ? At Buckfast, the organist will be able to ‘tennis-ball’ on the two 32’ reeds from one end of the building to the other and the congregation/audience will have complete 32’ reed surround-sound. The same with the fanfare reeds, as at our host’s St Paul’s. Tremendous ! Bring it (them) on. I’m not quite sure how we got here, though ! I would, for one, find it most odd, were one to be denied the possibility of discussing specifications on a forum devoted to pipe organs. My view is that, since this is such a large instrument (King’s has 79 stops; this, 78 ranks/100 stops), it seems almost to be a missed opportunity. There is an ample supply of quiet, stringy and other effects, which members seemed to find desirable, even before the publication of the stop-list and which should sound wonderful in this building. I consider it slightly odd that a 32’ flue was not included, to underpin these in such a reverberant acoustic- apart from any other reason (e.g. Howells, for one). It would be nice to know why it was decided not to include one. Perhaps, as someone else suggested, there are compelling reasons of space. (Would pcnd5584 be able to enlighten us.) As for the Italian rinascimento division: why not ? It’ll be the first in the UK and may open our ears to, and start a new interest in, this rich repertoire. Similarly to SL, I can hardly wait to hear this instrument- and wish it every success, in all its guises. [À propos rien, it’s also about time there was an organ in the UK capable of properly rendering earlier Spanish organ music.]

Yes, I must admit, I found the absence of a 32’ flue more than a little surprising- considering the beast will have 78 stops/100 ranks. But, then, how many organs in the UK have antiphonal 32’ reeds ? I can’t think of any. (I await speedy correction.) That part of Devon will be truly blessed with a range of some marvellous instruments.

There is an ‘electronic’ version here: https://www.youtube.com/watch?v=2xO383l4DN8. His Canticles were performed and broadcast live last year from Clare, in a Choral Evensong on BBC Radio 3. Their Chapel Service Music List Archive doesn’t yet extend into 2014. This was on the occasion of the 100th anniversary of something, probably to do with Gallipoli. I know that Clare hold the manuscript, but am not aware of any plans to have it published. However, you could always enquire. Also, as to whether they might include the Canticles in a future recording, for commercial release. I am in complete agreement regarding his small œuvre of songs: ‘Gratiana’ must be in the Top Ten of all English art songs. Interestingly, his ‘Salathiel’ is included in a recording from John’s, sung by one of the trebles. A composer of the most beautiful music: one of those of all nations who were so tragically lost to humanity, before they achieved their due glory.

I would have thought the opposite, innate. If you look at some of Ruffatti’s other instruments ‘of size’ (http://www.ruffatti.com/installations.htm), they should give you an idea. Large Great, Swell and Pedals, with a multiplicity of reeds and mutations and foundation tones: the count soon mounts up. A Choir/Solo (with a complete ‘String section’), nice ethereal Echo component, floating West End (antiphonal/congregational) 2nd Great and the ‘Battery’. Can’t wait. How long is it to 2017 ?

Brilliant, SL ! But it’s only one small step . . . Vox Humana: please enlighten me as to the ID of this ‘Foghorn’. Six divisions ? One would almost have to be some kind of fanfare/bombarde division, then.

This would be a monster ! There would be no problem about filling the Abbey with sound, judging by some of Ruffatti’s other installations of similar size: e.g. Uppsala (74 stops). 100 stops would be a huge four-manual; will it, therefore, be five ? If this is the case, then wouldn’t this make it the largest instrument in the south of England and outside of London ? Ruffatti, in their larger jobs, have a propensity for arrays of trumpets: the idea of that ‘multi-fizzing’ down the nave is so exciting. If one of the consoles was movable, then it would have to emulate the later models of Dalek to levitate into the Choir and over its step. Has this been solved in other places, with a mechanical solution ?

Yes, I found a couple of passages in Howells where a third leg would have been most handy- if that’s not too much of a confusion of limbs !

Re-reading Peter Williams ("The Organ Music . . ", 2nd ed., 2003), I am reminded that D major was possibly the original key of both Prelude and Fugue (though “transposition is not demonstrable”). This key would, however, not jibe with the received view of this work as a musical representation of the Trinity. There is the faintest of clues in the absence of articulation in the (“traditional German”) double fugue, bar 71 on, and bar 130 on, (“a kind of music never given dots or slurs”). This is in contrast with the French and Italian style sections, which does have articulation marks. Bach, therefore, has iterated musics in three national styles in this piece (the Prelude). Does he, with the 'evidence' of these slight clues in the ‘autograph score’, expect the performer to play these sections in these different national styles ? Since he did not have, in the modern sense, a ‘unified style’, was his performance practice similarly non-unified ? He had certainly heard several distinguished executants from France and ‘Italy’. There is, in addition, more than a touch of the galant (and a looking forward) in the (echo) sections starting bars 33 and 111. Murky waters, indeed !