Horological Meandering

I credit François-Paul Journe with my interest in ‘modern’ horology. Seven years ago I picked up a watch magazine while transiting Singapore airport and sat on the plane mesmerised by pictures of the Tourbillon Souverain. Daydreaming about that watch certainly helped pass the time on the return flight home, and it has been my grail amongst grail watches ever since.

 

I remained patient and happy to wait until the day I would have my own tourbillon. But I recently decided to put my ‘toe in the water’ with my first Journe.

 

I had thought about a Chronomètre Souverain for some time, and even decided at the HK Boutique last year that the 40mm case best suited my wrist (even though I preferred the 38mm version in photos). However the opportunity arose to obtain an early Octa Rèserve de Marche in platinum with a honey-coloured yellow gold dial and brass movement.

 

I enjoy horological history and the Octa RdM is a watch that held so much promise for Journe as a young company. The Octa RdM was introduced in 2000 and completed the initial offering of three watches from F.P.Journe (along with the Tourbillon Souverain and the Chronomètre a Rèsonance).

 

So why an Octa RdM and not another iconic Journe piece, such as the Resonance or CS? Personally I gravitate towards simple watches. The RdM has the classic Journe aesthetic with that instrument-like, sterling silver subdial secured with a polished steel frame. The screwed-on YG dial, contrasting with the Pt case, is also something that I associate with Journe; an unusual and almost signature colour combination.

 

As is well known, FPJ designed the 30mm x 5.7mm Cal. 1300 movement (so designated because the 13 ligne movement (1 mm=0.443296 L) was introduced in the year 2000) to accommodate additional complications, such as calendar and lunar phase displays and a chronograph, while retaining the elegant and wearable 38.3mm x 10mm proportions of the 2-piece Octa case. While FPJ had always intended to produce movements in gold, up until 2004 the movements were executed in rhodium-plated brass. I do, however, like the contrasting 22K RG rotor with the ‘silver’ bridges of the original movement.

 

The innovation of the Octa was, of course, the extended power reserve with constant torque. FPJ achieved this by using a 1m long x 1mm wide (and quite soft) mainspring developed in conjunction with specialist spring manufacture Generale Ressorts in Biel/Bienne, Switzerland. This provided five days (120h) of autonomy off the wrist and an additional 30+ hours with less rigorous chronometry. At its introduction this was the longest power reserve that had been achieved in an automatic watch. Journe emphasised this long power reserve with the large Rèserve de Marche indicator arcing across the left side of the dial.

 

We have had many discussions in the past about the benefits and need for power reserve indicators on automatic watches, but personally I like to know the state of wind of my automatics. Some have suggested that the watch doesn’t deserve such a prominent PR indicator, but I enjoy the balance it brings to the dial, the acknowledgement of the value of such an indicator on an automatic watch, and being able to observe the ‘charge’ of the mainspring as I go about my daily activities. The changing position of the pointer, not to mention the lovely tapering blued hand, provide additional interest to the face of the watch.

 

The other feature of the Octa (which has been extended in the subsequent Cal. 1300-2 and 1300-3 iterations), is the efficiency of the winding system. This original Cal 1300 has bi-directional winding. [The name “Octa” was coined by Mr Journe to highlight the perpetual (automatic) winding system of his watch. While not strictly derived from Greek or Latin, where “octa” usually denotes the number 8, you can easily grasp the concept of infinite/continuous winding if you use your imagination.]

 

In fact the automatic Octa could be the ultimate WIS watch because of the long autonomy off the wrist. If I want to wear a different watch for a couple of days, or even several watches on the same day, then there is no problem with the Octa; it won’t get in a huff and stop running if I haven’t worn it for a while.

 

Chronometry is important to me and I keep a close eye on the ‘performance’ of my watches. Although not COSC certified, I like the fact that FPJ focuses on chronometry with the large (10.1mm), high-inertia, 4-arm balance poised in 5 positions using inertia blocks (and beating at a leisurely 21,600vph or 3Hz) as well as the stable (850g of) torque already mentioned. This focus is carried through all Journe timepieces. In fact in the first week the RdM was on my wrist, it deviated from the reference time by only 2 seconds and demonstrated no difference in accuracy on or off the wrist or in different resting positions; remarkable in my experience.

 

And I also like the nod to history with the “F.P.Journe Invenit et Fecit” (Latin: invented and made/produced) printed on the dial which harks back to the inscription on pocket watches produced by French horologers when their movements were recognised as original by the Royal Academy of Sciences.

 

The watch is extremely comfortable and balanced to wear with the additional weight of the Pt case, the 20mm wide (but short and thin) lugs, soft, non-tapering strap and simple pin buckle (my preferred method of fastening for a dress watch and also in Pt). In fact this is the first thing I noticed when strapping on a Journe timepiece; more than any other watch it feels like you are wearing a comfy, well worn pair of slippers.

 

The case itself is simple and elegant and I like the offset dial to the right of the main dial. The time can be read with the watch discretely peeking out from under a cuff. The Glashütte Original and A. Lange & Söhne watches (until the automatic Lange 1) never felt quite right in this respect.

 

There is quite a lot of open space on the dial of the Octa RdM, but this adds to the allure of the watch for me. As it stands, the large date (which can be quickly set with the knurled crown) and PR indicator provide all the day-to-day information that I need. The date change is instantaneous and always occurs within 90 seconds either side of midnight.

 

The YG dial contrasting with the Pt case is quirky and interesting and lends versatility to a watch that is, at first glance, more dressy. The Octa RdM works equally well at the office, cocktail party, concert or BBQ (and in that vein is as versatile as my Rolex Submariner, Ref. 5513, although very different of course). And the flame-blued hands, set against the Pt case, are a lovely combination that warms the heart of any horological tragic.

 

And so this original F.P.Journe Octa Rèserve de Marche with its signature Journe colours, expansive dial and brass movement both held and hold a certain promise of things to come, not only for F.P.Journe as a company but also for me personally in my quest for that grail tourbillon.

 

Andrew

 

 

The basic Octa building block

Perfect at work …

… and at rest …

A variety of moods …

Platinum pin buckle

Cal. 1300 automatic movement

And for Pplater …

Now I know what I am - a horological tragic.



Amery

Hi Amery,

Here is an earlier thread where we tried to work out what to call ourselves .

Interestingly, horological tragic wasn't meantioned, but I am happy to take credit for coining a new term, and I give you permission to use it as often as you want!

A

Hi Andrew,

I do prefer it to WIS.

Example:

"Object HT Amerix was sighted walking down the Boulevard de Paix wearing an undefinable object on his left wrist. A crowd soon formed and immediately began throwing flowers in his direction, bowing down, lighting candles, etc. Object HT took a swift turn down a side street to find himself suddenly in the Piazza di Malhour, where he was immediately pelted by hundreds of objects known as "fakes".

His dying word, which we take as an appeal for help, was "Quarz, quartz!"

Help arrived too late, because we were searching for an interpreter of this unknown language.

Case closed.

But it sure was fun!"

Amery
This message has been edited by amerix on 2010-08-20 09:41:23 This message has been edited by amerix on 2010-08-20 09:42:03 This message has been edited by amerix on 2010-08-20 10:00:11

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how long have you owned this watch? sadly, my close to 5 years ownership (of the Octa reserve in YG) experience is sadly unhappy though. i love the asethetics of the watch, and even a watch idiot like me could appreciate the beautiful movement. but, after 1-2 trips back to the factory, the date disc is still rubbish. i guess in some ways, partly my own fault, becoz i wear the watch only once a mnth or so, didnt realize till after the warranty was up. it goes like eg 1st -12th - 23th - 34th, then 02nd, 13th, 24th, 35th!!! that i understand from some collectors is sadly a prevalent problem. also the gold dial is starting to spot, though very very tiny, and almost invisible to the naked eye.

anyway, whilst i am not put off with their offerings, i question their ability to service their watches and the support systems. perhaps like you, i will acquire a early generation Tourbillon Souverain Remontoir, but as much as i want one, i cannot at this stage bring myself to do it.

no offense to other FPJ owners i pray, this is just my very own ownership experience.

So that's the Horor part of Hororgasm?!

The internet chatter on the date wheel issue was that it was due to an excess of lubricant and possibly some over tightening of a component of the date mechanism. The precise details were never made clear from Montres Journe, but the problem was supposed to have been rectified. It is disappointing that your watch had to be returned more than once to repair this issue. My RdM has gone around a full month cycle and all is OK.

The dial oxidation issue I understood occurred with the first batch of dials produced. Some accept this as part of the personality of the watch. Personally it would annoy me. So far so good with my example, but it was something I considered when making the commitment to the watch.

We all recognize that these issues happen, particularly with low-volume, hand-made pieces, but what is most important to me is how well a company stands behind their products and repairs what needs to be done. I have heard the same stories as you, but in reality I have no idea what proportion of Journe watches require repair, under warranty or not.

There is much to love about the designs and functions and so far technical problems have not dented my ownership experience. Crossing my fingers that this will continue, as I would dearly love to commit to a Journe Tourbillon one day.

Andrew

In terms of the functions and dial layout, it is quite similar to Lange 1 Daymatic.

May I have your view on comparison of these 2 watches?

Regards

Ling

Hi Ling,

 

There are of course some similarities between the Lange 1 and the Journe designs, particularly with the offset dials. It’s interesting that while I have found the Journe pieces warm and romantic, the Lange 1 always struck me as a very clinical design. My favourite iteration is the RG moonphase which injects some warmth into the watch.

 

The Lange 1 Daymatic is of course automatic, but lacks the power reserve indicator of the Journe RdM, instead replacing it with a day of the week indicator. I do like the way the now right-sided subdial peeks out from under a sleeve and allows you to tell the time while keeping more of the watch seductively hidden. And the Lange Grand Date display is always delightful. The movement and rotor is beautiful and has the edge over the Journe. The sizes are similar, but the Lange 1 has a more purposeful stance to my eye.

 

Both are great watches, but more than many watches, the choice comes down to what your heart says.

 

Andrew

And while we are thinking about Golden Ratios, King Johann also turned his eye to the Lange 1. Perhaps it explains some of our emotional reactions to these watches.

 

A

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huge congrats... makes me miss my rdm oh so much wear it in the best of health.

cheers, raph

It is great to read what you have written and photographed of this beautiful watch.  I can see this as a great first (and even only) FPJ watch to own.  I admire the "simmplicity" of it, even thoiugh it has the trdemark features of the clasi FPJ watch.  The dial color and layout as well as the crown make this distinctively Journe. I love tha back view with that gorgeous rotor. 

I will be interested to hear again about this watch as you live with it to see how you feel about it as time marches on.  What a nice story thus far from your first enconter with Journe until now finally getting one of your own.

So, pardon my ignorance, but the recording of Das Wohltemperierte Klavier --- I take it you would recommend this one over other recordings?  I love the photo.  Will I love the recording?  ;-)

Best,

respo 

 

The photo of the RdM on the CD cover is fantastic !!!

A visit to the FP Journe site will tell you that KJ is in tune with the principle of resonance.

Unfortunately I do not know the recording. But coming from ECM one can be sure that it will - well - also resonate.

I am more interested in acquiring the recent recording by Maurizio Pollini, whom I have heard live several times. In fact, this one could be "it" for me,

However, if you are clued into Glenn Gould, it may be more appropriate for you to be wearing a MB&F.

Still, as a purist, I would be more inclinded to find a version written for the original cembalo (or harpsichord). The fingerings, wrist actions, and therefore the musical expression, are quite different! With a pedal cembalo you can play either loud or soft, with nothing inbetween; with a cembalo, only soft.

Gould invents a kind of stacatto as an alternative that is supposed to convey objectivity, modernity, and a clean distinction between the individual notes - on a modern piano.

That does not always work - for me. Of course this is the age-old discussion between the limitations of a plucked-wire instrument (the cembalo) and the tonal and dynamic qualities of a modern piano. The danger with a piano is that it can lead to (over)interpretation. The question of questions is which is more authentic - that is, what Bach would have preferred. Would he have composed differently? Sure, but I think no differently than for the various organs he played.

Maybe Don Corson , who is very close to such things, could give us his views!

Gould's last recording of the Goldberg Variations - and perhaps his very last one of all - is, in contrast, slow and heavily romanticised. The man was after all approaching death, with all the prescription drugs he was taking, from the various doctors he was visiting - simultaneously! How to distinguish bathos from pathos?

I am sure that is not the case with Keith Jarrett, who however plays his own compositions/improvisations of an increasingly monumental or monolithic or monomaniacal length.

But he is a watch collector - or at least was, since he has put out many items for auction or sale.

I wonder if a Journe automatic got overwound at one of his concerts ;-)

amerix
This message has been edited by amerix on 2010-08-17 07:55:14 This message has been edited by amerix on 2010-08-17 07:56:24 This message has been edited by amerix on 2010-08-17 08:01:37 This message has been edited by amerix on 2010-08-17 08:11:05 This message has been edited by amerix on 2010-08-17 08:12:01

but Amerix, I've always been curious about Gould's mumbling during the Goldberg recordings. What's the story there?

and how he drove his producers and recording engineers to distraction.

But it was more singing than mumbling for him. Sometimes an unused hand would go floating off to conduct an invisible (and unneeded) orchestra, while he was shaping a phrase. At least the Hand was silent.

Maybe he did this to guard against fakes ))

I think Jarrett was a mumbler as well, but managed to surpress it by head-wagging and agonised expressions often directed toward the TV cameras. This man is suffering for Art!

Of course, if you are a jazz pianist, as Jarrett was for a long time - but much more for a Bud Powell or Thelonious Monk - who were truly great - it all fits in.

Some overtly vocal tennis players - especially the women - really turn me off !!!!



Amery

This message has been edited by amerix on 2010-08-17 08:55:59 This message has been edited by amerix on 2010-08-17 09:09:53

Well-Tempered Clavier and Goldberg Variations, I must confess they are among my most cherished music. I am glad to find that here in this wonderful forum we are not only connected by great watches, but also by great music.

My favorite WTC recordings are Landowska for harpsichord and Tureck for piano, both recorded in 1950s.

I am very much attached to Glenn Gould's 1955 recording of Goldberg Variations, as it was the first Goldberg that I listened to. Over the years I accumulated more than a dozen of Goldberg CDs; it turns out the one that I have spent most time with is Pierre Hantai's 1993 recording (CD available from Opus 111 and later also released by Naive). Like Hantai, Keith Jarrett also recorded Goldberg in harpsichord (ECM 1989). His performance is marvelous and very engaging. I'd highly recommend it to anyone who wants to listen to Goldberg played by harpsichord for the first time. On piano, my favorite is again Rosalyn Tureck. She recorded Goldberg a number of times. All were well done. My heart goes with her later and probably the most famous 1999 DG recording.

Thanks Respo,

 

You grasped exactly what I was trying to convey in my story.

 

I will explain the Journe-Jarrett-Pplater-AndrewD connection in another post, but for a quick comment on Keith Jarrett’s interpretation of J.S.Bach’s Well-Tempered Clavier I would say that it polarises critics, but does provide an alternative window into Bach’s piano masterpiece. It is a very measured presentation and to me really brings out the mathematical side of Bach that I can get lost in. It is almost the opposite of Gould’s version that Amery mentions, which is full of fireworks. It is also the contrast from Jarrett’s usual improvisation that is compelling. Worth a listen.

 

And I will certainly keep you updated on my Journe experiences.

 

Andrew

I liked the link to the photo of the Hofstadter book from your earlier thread.  I read that extraordinary work many, many years ago.  That is also probably worht a re-read.

Best,

respo

I like to dip back in to my favorite parts, particularly with Bach playing in the background.

And you have given me an idea for an M.C. Escher thread on Time Out this weekend!

Andrew

Many of you will know that there is a link between Keith Jarrett and the Journe Resonance.

 

Pplater and I are both Jarrett fans, and have been known to be independently listening to the same piece of music on opposite sides of the continent at the same time. So there are resonances on several levels.

 

Here is a picture of Pplater’s Journe Resonance and my picture was a resonating nod to that. And also a way to thank him for many helpful and fun conversations about Journe and his watches over the years.

 

Andrew

I love his music. Last year I went to his concert where he played with Gary Peacock and Jack DeJohnette. It's so wonderful.

I also admire his great taste as shown in his watch collection. I still have the catalog of a 2006 Antiquorum auction in which more than 70 lots were watches from Keith Jarrett. And the last one of the batch, was one of my dream watches, Lange PLM in YG. Too bad I was not the lucky winning bidder of this watch.

"Aw, shucks..."

Just working through your [sensational!] post now, as a quick lunchtime distraction, and of course the pictorial Jarrett reference leapt off the page. Nice touch, Andrew, and thanks for the gesture - it's 'off to the pool room' with that one!

;-)

 

Cheers,

pplater.

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Thanks Andrew for this post and congratulations on a beautiful Octa RDM. The brown stitching on the strap goes very well with the gold dial. Do keep us updated as your FPJ quest continues!