Music was James Lobban’s life. He was enlivened by it. It breathed through every pore of his body. He breathed it in, and communicated through it. He delighted in its structures and forms, and probed beneath the surface of each work to elicit the themes and impulses of its composers.
Of all composers, it was Johann Sebastian Bach that he held in greatest affection – visiting the various cities associated with the composer in East Germany, on what was to be his last holiday.
In trying, therefore, to give shape to this reflection, let me draw on the structure of one of Bach’s achievements – the development of the Prelude and Fugue, an example of which – the C major Prelude and Fugue BWV 545 – led us into our worship.
The Prelude in this form was intended to set the pitch, to make sure that the instrument was finely tuned – and perhaps to give a hint of what might follow – a tuning exercise.
The Prelude - James’ early years were spent in a two-roomed tenement flat in Esslemont Avenue. His father was an engineer in Henderson’s of King Street, at a time when if a worker was one minute late for work, the gates were closed and thus no wages earned that day. Thus the house was organised on the basis of a strict time-keeping schedule. Meals were always at an exact time to facilitate the work schedule – and then at night to ensure that the family was ready for church activities. This attitude to regular time-keeping was to stay with James throughout his life – always punctual, and ill at ease when the regular schedule was not maintained.
James attended Mile End Primary School, where in his final year it was suggested by his teacher that he had perfect pitch. She invited his parents to see her at school – a very unusual occurrence at that time-and encouraged them to help James to develop this. His father then surrendered an insurance policy to buy him a paino. In a tenement building where the sound of a piano could so easily have been a recipe for conflict with neighbours, they were soon turning off their radios so that they could hear James practice, and invited him to assist them with major celebrations at New Year and other festivals.
In this period, James was a pupil at Aberdeen Grammar School. While there he enjoyed sports - especially cricket. His father was the main force behind Henderson’s cricket club where his mother was responsible for teas. Both James and Graham assisted -and scored the game. One of the traditions at the Grammar School at that time was an annual match of cricket between Masters and Boys of the 6th year. James had developed into a very skilful fast bowler. You can imagine the scene: his preparation to deliver the ball; the long run up; the studied concentration; the keen eye – and then at the crease, he lets fly – a chocolate snowball. (I assume that by then his exams had been marked!)
And so the prelude has given us a man with perfect pitch, a musician of distinction, a keen sportsman – all the elements necessary for the Fugue which was to follow.
The Fugue - The fugue picks up this main theme of musicianship, and the counterpoint is developed via the staggered introduction of the main theme itself. After studying music here, James joined the staff of Inverurie Academy soon becoming head of the department there.He remained teaching in Inverurie until1976 when he moved to be head of music at Hazelhead Academy. As a teacher he communicated a love for his subject which inspired many to develop their musical skills. He invested a great deal of energy in trying to open up the delights of the “musician’s mystic art” and to encourage through class, orchestra,choir and musical young people to see music as a contribution to human wellbeing. He took a great interest in his pupils, as was evident from a number of conversations of the past months – where he became particularly animated as he spoke of working with children with disabilities. This concern to assist in the development of music in school was later to result in his participation in the Scottish Examinations Board where from 1987 to 1995 he was the Principal Examiner in Music – seeking to establish standards and the development of curricula.
The entry of the theme as counterpoint – The teaching of music was reinforced by his own continuing education – as a singer with the Sine Nomine Singers, with the Scottish Opera Chorus when he participated in Verdi’s ‘Falstaff’ at His Majesty’s,as pianist playing the solo in Mendelssohn’s Piano Concerto,asan organist at Rutherford Church, then as an organ recitalist and eventually organist in succession to David Murray here in the Cathedral. As singer,pianist,organist, he exhibited that perfect pitch, steady rhythm – as accurate as a metronome – and intense musicality which reinforced his teaching and added a new colour to the main theme.
The third entry of the theme as counterpoint – The teaching of music and participation in singing and solo work emerged through the medium of choral conducting. James joined the Cathedral Choir as a bass in 1968. He was a very welcome addition to its ranks. In 1969 he was to succeed David Murray as conductor of the Bach Choir – a position he held for 35 years.
During those years, he extended the repertoire from music of the Renaissance period to twentieth century works, including some especially commissioned works for the choir. Here his gift of perfect pitch was particularly evident – as he joined in the works and gave leads to sopranos, tenors, basses, whenever an entry was tentative or even plain wrong (of course, altos never got it wrong!) Always ready with an appropriate retort, James was once asked: ‘What key are we in at the moment?’ He replied ‘Do you mean the key you are in, or the key you are supposed to be in?’ ‘The key we are supposed to be in’ came the bold reply. ‘B minor’ He paused momentarily before adding ‘which on reflection you may consider to be not all that remarkable since we are singing the B minor Mass’! Every choir has one! With the choir he exhibited imaginative programming, a striving for excellence, and a meticulous preparation for rehearsal as for performance. With the choir he showed that diffidence about his own role – he was most awkward when acknowledging applause and taking a bow - and very quickly had the attention focussed on choir and performers.
The theme returns – again to reinforce the fugue, to transform it into a wonderful paeon of praise to God. This is above all evident in his work in this Cathedral. For James, ultimately music was directed to the glory of God. It was to assist the community in getting inside – and embracing – the story of salvation. It was a hymn of praise to a God who is adored through the beauty of cadence, the harmony of word and music, the striving for perfection and the sense of awe and wonder engendered both by the reduction to silence and the grandeur of organ and voice.
In all this development of the prelude and fugue, improvisaton has been evident. The music has been physically carried on – perhaps like the dance in the C major prelude and fugue, by physical fitness, a passion for sport (even for the Dons!) and by a restlessness which at times appeared as an inability to relax.
As the final development has moved towards silence, James has been accompanied by the self-giving and self-denying presence of neighbours, of members of the Cathedral Choir and the Bach Choir – accompanying him, strengthening him in his valiant fight against cancer, offering comfort and security.
A tradition which has been developed in Lutheran Germany over many years was that as a person was dying, they were accompanied on their way by Bach’s musical paeon to the self-giving and self-denying of Jesus Christ – in the words of the Passion Chorale – an accompanying and embrace which opens the way to the glory of the Resurrection.
We thank God for James Lobban’s presence with us – for his inspiration, encouragement and delight in music and for his conviction of the love and mercy of God.
Alan D. Falconer
Minister at the Cathedral