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Buckfast Abbey - Ruffatti

Started by Janner, May 14, 2015, 07:55:13 AM

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Janner

The following links lead to details of the new organ(s) proposed for Buckfast Abbey in South Devon. The old organ was taken out of commission about three years ago and an electronic organ has been in use since.

http://www.ruffatti.com/BuckfastAbbey.html

https://www.facebook.com/ruffattiorgans?fref=ts Scrolling down a little on this one shows two views of an artist's impression of the organ in the west gallery, situated to avoid blocking the west windows.

http://www.buckfast.org.uk/music-237-organs.html

J.

Nicolette

#1
Thanks Janner.  This will be one for my must-see list. 
Nicolette
Nicolette Fraser, B. Mus., ARCO

Barrie Davis

The proposed specification is interesting complete with Bagpipes!!!

Nicolette

Wow - so it is!   I could have done with exactly those for a James MacMillan piece I played in a recital last September.  This organ looks fascinating.  Roll on 2017!
Nicolette Fraser, B. Mus., ARCO

pcnd5584

#4
Having read the scheme, I am concerned that it appears to be wasteful, badly thought-out and, in places, gimmicky.

Buckfast Abbey is not a large building; yet there are two 32ft. reeds, two big solo reeds - but no chorus reeds on the Gallery G.O. Perhaps more inexplicable, is the apparent lack of any kind of 32ft. flue stop - which is of great use liturgically. I believe that there would be room for at least a 32ft. Sub Bass, since there was such a stop on the Walker/Downes instrument - although the lowest four notes were resultant. Even so, it was a reasonably good stop and sounded effective in the sensitive acoustics of the abbey. However, with regard to the two 32ft. reeds and the two fanfare-type reeds, I should have thought that, in this building, this was somewhat unnecessary.

There is also a certain amount of duplication in the mutation scheme, yet the Quire Swell Organ has no 8ft. Open Diapason (which is invaluable for choral accompaniment) and only a half-length bass to the 16ft. reed. I note also that this scheme perpetuates one of the few flaws of the previous instrument: there is no proper 16ft. chorus reed anywhere. Surely if the G.O. is not to have a stop at this pitch, then it is imperative that the Swell sub-unison reed is of trumpet scale, voicing and power. A Basson with a half-length bass is unlikely to provide enough sub-unison reed tone. Whilst lack of height in the Triforium may have been a factor, surely having the lowest few pipes mitred, with the resonators suspended from the roof of the box would have been possible. I have seen this expedient carried-out in a number of other places.

A further point about the mutation scheme is that, with the exception of the Positive 1 1/3ft., all of the solo mutations are under expression.

I realise that I am not the organist here, but I do wonder about the inclusion of the Glockenspiel, Nightingale, Drum and Bagpipes; I wonder how much use these fripperies will get during services.

It would be interesting to know which of the Pedal 16ft. flue stops are to be constructed of metal - or are they all to be of wood?

The Gallery Expressif division is somewhat small in comparison to the other divisions, with nothing above 4ft. pitch, no 16ft. register - either flue or reed. In fact, the exact purpose of this division is puzzling. Again there is no unison Open Diapason (so nothing to partner with the Prestant - either above or below). However, there are two undulants, with their attendant unison ranks. Surely at least one pair of these (perhaps the Violoncelli) would be of greater use in the Quire Organ? There are two chorus reeds here - but both under expression. Thus, with the lack of a chorus reed (even if only at unison pitch) on an open soundboard, there is likely to be a huge jump between these reeds and the fanfare-type Pontifical Trumpet. Neither does this division bear any particular resemblance to the schemes of Aristide Cavaillé-Coll. Nor, for that matter, does that of the other two departments, other than the nomenclature of three of the G.O. foundation stops.

The Solo Organ has six unison pitch ranks (including two undulants), but one solitary 4ft. stop. There are also only two quiet solo reeds. The Vox Humana might have been better placed in the Swell Organ and its place taken by something more generally useful; if one did not wish for a Romantic voice, such as an Orchestral Hautboy, surely there are other choices which could have been included. There is no quiet 16ft. reed, for example. (If the Swell Basson is intended to fill this role, then it will be even more unsuitable to form the basis for the Swell reed chorus.)

Again the Pédale Orgue looks to be rather 'woody', with a distinct lack of metal stops at any pitch. (If the Soubasse is to be of metal, why call it that?) For that matter, I note that all the clavier flue doubles are Bourdons - not even a Quintatön. The lack of at least one metal flue double again suggests that the instrument is likely to be lacking in gravitas (until the 32ft. reeds are drawn).

There are also a surprising number of sub and octave couplers. I wonder if these are intended to act as substitutes for some of the perceived deficiencies in this scheme? If so, then this thinking is at best unrealistic.

Clearly the time to judge it will be when it is finished. No doubt the incumbent musicians have thought carefully about the scheme, and this is what they want. Apparently.
Pierre Cochereau rocked, man

Barrie Davis

I am wondering what the fate of the Walker/Downes will  be.

pcnd5584

Quote from: Barrie Davis on June 03, 2015, 03:15:25 PM
I am wondering what the fate of the Walker/Downes will  be.

As has been stated on a related thread, it has been removed entirely. It has been purchased by a local organ builder. It is unlikely that the instrument will ever be reconstructed as a single entity. (In other words, the likelihood is that ht econstituent parts will be used for repairs and the pipe-work used in other instruments, as ranks are found to be suitable; the remainder will probably be discarded.)
Pierre Cochereau rocked, man