Triptyque Symphonique Improvisé (22nd September 2001) - David Briggs at Gloucester Cathedral

Triptyque Symphonique Improvisé (22nd September 2001) - David Briggs at Gloucester Cathedral

Grave - in memoriam Manhattan 9/11/2001
Scherzo
Double Fugue

All of us who experienced 9/11 have our own distinct and profound memories, many of which are still as clear as they were on the day itself. We remember exactly where we were and how these events made us feel. In my own case, I was in Lichfield Cathedral, UK, preparing for a recital that evening. I rehearsed in the early afternoon and returned to my friend Andy Lumsden’s house in the close around 4pm for a cup of tea. I’ll never forget the look on his face. For a while it was unclear if the concert would still take place that evening, but it did and I’ll never forget the complete silence of that huge crowd, in the minutes leading up to the concert: they were so thirsty for the healing power of music in that time of desperate need. As it happens I didn’t change the programme: it already seemed uncannily appropriate (Bach Passacaglia, Franck Prière, Ravel Pavane pour un enfante défuncte, and finally the Dupré Symphonie Passion). The last two movements of the Dupré took on a completely unprecedented emotional intensity and were followed by a prolonged silence, which seemed both natural and deep.

Eleven days later I played a concert at Gloucester (where I had the huge privilege of being Director of Music between 1994-2002) and improvised a Triptyque Symphonique, the first movement of which was a Prélude in memory of all those who had died in New York, and also to all those who remained but were affected so horrifically. The recording appeared on my ‘Improvisations 3’ CD, which is still available. I post it here in homage to all those who died and also to all those who suffered the incomprehensible agony of loosing their deeply cherished ones.

As is well known, after a period of decline the 1971/1999 Gloucester organ failed catastrophically just before Easter 2022 and the decision was made to replace the instrument, whilst keeping the stunning C17th double cases. Amazingly it’s now 22 years since I left and, quite naturally, tastes and priorities in organ building change. However I still treasure the memory of the iconic sound of the 1971/1999 instrument - it will always remain part of my essential DNA. From a historic point of view I think it’s very intriguing to have plentiful recordings of both the Harrison Organ (1920), played by the ever-stylish and abundantly musical Dr Herbert Sumsion (whose magisterial Elgar Sonata remains the authentic benchmark) and also the iconic HNB/John Sanders/Ralph Downes organ (1971/1999), played by many different organists, including yours truly. In the future I think it will be fascinating to compare the sound of the new Nicholson organ to both of its predecessors, in the same acoustic and in the same case, which will certainly prove the fact that, as my 90-year old mum always says, nothing ever stays the same. A field day for organ historians, to be sure.

I certainly wish all the best to all those involved with the new project, even if there are elements about it I don’t yet fully understand. Over the past months there has been a good deal of rather polarised comment on social media around the impending recasting of the Gloucester organ. Out of respect for those who died on 9/11, please completely refrain from leaving any political comments about the organ, as a result of this post. Thank you very much for your sensitivity.