David Briggs organ recital at Coventry Cathedral 27/11/21

[Keraulophone]

David Briggs launches the £1m appeal to restore the remarkable Harrison and Harrison organ in Coventry Cathedral of 1962.

There is an audio treat at the start of the recital as David’s ‘reimagining’ of Bach’s famous Toccata and Fugue in D minor was recorded in binaural sound. This can be heard on a separate link from the rest of the recital:

https://www.bbc.co.uk/sounds/play/p0b6w24h

Whatever your reaction to the Lisztian conclusion the piece is given, the high quality of the recording when heard on headphones is a treat.

The programme continues with Ravel and Widor, the main work in the second half being the transcription David made during lockdown of RVW’s 5th Symphony. One can tell by the result what a labour of love this was. The transcription has already been recorded by the RVW Society on the organ of Truro Cathedral for future release. The H & H of Coventry is also fully up to the task, displaying its myriad of colours and textures. As always, the ending of the work makes its emotional mark, its distillation of peace being written close to the time bombs were raining down on Coventry.

https://www.bbc.co.uk/sounds/play/m0012129

[Bryn]

"Bach’s famous Toccata and Fugue in D minor"?

I am reminded of the question of attribution regarding a certain symphony mentioned in Spike Milligan's Puckoon.

[Keraulophone]

"Bach’s famous Toccata and Fugue in D minor"?

I am reminded of the question of attribution regarding a certain symphony mentioned in Spike Milligan's Puckoon.

Yes, we can tell it sounds like violin writing and unlikely to be originally from Bach’s pen, and could have been written in a different key, but today it is still ‘his’ famous Toccata and Fugue because it’s the most well-known organ piece attributed to JSB as it has come down to us as BWV 565. David Briggs has further removed it from its obscure origins. There is no surviving manuscript, so we’ll never be certain about its origins.

[ardcarp]

I have very mixed feelings about the recital. David Briggs is of course a fabulously gifted player and musician. There were long spells in the recital where Mrs A (who was listening under sufferance) said, 'This just sounds like organ noise'. I know what she meant. Orchestral transcriptions (once popular and now in fashion again) can rob the music of colour and of rhythm. There was a lot of 'eight-foot stops coupled together' sound, possibly too much of that in one recital. I would have liked more specifically-written-for-the-organ pieces to brighten things up a bit. Yes, we got two movements of a Widor organ symphony, but was that in sufficient contrast to the rest? I am personally convinced that an RVW symphony is NOT good material for organ transcription. Mrs A (yes, her again) said 'It sounds like you making holy noises before a funeral'. It wasn't meant as a compliment.

For me, DB's own improvised piece was the best bit of the programme. I could do without his mucking about with the (possibly by Bach) Toccata and Fugue in D minor. Whatever one thinks of the piece, it does have some shape, and here it just rambled, with a few quasi-HIPP gestures thrown in here and there.

For anyone who doesn't know the Harrison at Coventry, it has no case but is disposed in various positions at the East end, and I guess the architect had much to do with its 'Royal Festival Hall type' appearance.

https://www.harrisonorgans.com/wp-content/uploads/2021/03/Coventry-Cathedral-full-spec-2020.pdf

David Lepine, first organist of the new cathedral was mentioned. At one of the ceremonies celebrating the opening of the building, a dance sequence was done. David L. played for it, and I remember it included quite a lot of Bach. (My Mum choreographed it.) It was thought to be the first time dance had been allowed to take place in a consecrated building. That may or may not be true, but there were some raised eyebrows. One forgets the strictures of past times.

[gradus]

Unfortunately I missed the recital but I remember hearing the organ when visiting the Cathedral and I think it quite possibly the loudest instrument I've ever heard - mightily impressive sound.

[Roger Judd]

I, like Ardcarp, have a problem with organ transcriptions, especially where complete orchestral symphonies are concerned. I can cope with the odd Rossini overture, or chunk of Wagner, but not much else ... my loss I'm sure.
One name that I was sorry not to hear mentioned in connection with the organ was that of Sidney Campbell. Whilst he was organist of Canterbury Cathedral he was called in by the powers-that-be at Coventry to master-mind the design of the Harrison & Harrison instrument. A very 'conservative' scheme existed which the new team at Coventry were unhappy with - it looked back 20 or 30 years in organ design, and Coventry wanted to look forward. Campbell produced a marvellous scheme which has served the cathedral brilliantly for 60 years, and I profoundly hope that no-one is tempted to 'tinker' with it in the up-coming restoration.
RJ

[ardcarp]

One orchestral piece which does work well on the organ (IMHO of course) is Walton's Crown Imperial. It has esprit at either end, and a quasi Elgarian tune in the middle. A good organ can milk both to good effect! (But beware Herber Murrill's arrangement which simplifies the 'da da ta dah' upbeat rhythm. Heaven knows why, but it's easily corrected.)

[Keraulophone]

(But beware Herber Murrill's arrangement which simplifies the 'da da ta dah' upbeat rhythm. Heaven knows why, but it's easily corrected.)

I’ve never understood why he did that. Working at Bletchley Park, he must have been a stickler for detail. Maybe the organ he played at the time had a heavy, unresponsive action? One can only assume that the many players who follow Murrill’s rhythm haven’t listened to the original or looked at Walton’s score. Incidentally, his Magnificat in E sounded thrilling in the St John’s Advent service.
.