The Recent Revolution in Organ Building

The

Re c e nt R evo u nion. in O rg an B u i ding

B eing a n A c c ou n t of Moder n D evelop men ts

B y s G E OR G E LAI NG MI LL E R

Fe o o f the Ro o e of O n s s ll w yal C ll ge rg a i t , m Mu a u ne . n En . F s s . B c . O a s g ; ir t , D l ; rg i t of h s hu h e h m no N Y C ri t C rc , P l a Ma r , . ’

e of All An e s Ne w Yo k St . m lat g l , r ; Cle ’ e n s h d e h and s sh t , P ila lp ia , Walla ey Pari h h En nd C urc , gla

S E CON D E D ITI ON

NE W YORK TH E CH ARLES FRAN CIS PRESS 1 91 3

Pri c e On e D olla r ; in Gr ea t B r ita in Fi ve Shilli ngs o ri ht 9 1 91 b C p y g , 1 90 , 3, y E R E L M LLE R G O G . I

’ E n S on s Lon on tered at tati er Hall , d FOREWORD

SOME years ago the elders and deacons of a Scotch church were assembled in solemn conclave to discuss the pro spective installa

n n Th was tio of a pipe orga . e table piled high with plans and speciﬁcations and di scussion ran rife as to whether they should

- - — have a two manual or a three manual instrument a Great and

or and n . At s D n Swell a Great, Swell, Choir orga la t eaco Mac N ab s and s n n , the church trea urer a per o age of importa ce ,

n S got a cha ce to peak . ” ’ n s I n see s a Mr . Chairma , aid he, do t why we hould h ve a

and n . I n one o n is Great, a Swell a Choir orga thi k that rga quite enough .

D n Mac N ab was s and one Now, eaco a ma ter tailor, a good at that ; so the mu sical man who was pushing the thing through appealed to his profession al instin cts in explaining the situation by saying

Mac N ab not sa man was Surely, Mr . , you would y that a properly dressed with only a coat on # You would expect him to ” e on s an d s s 1 And was won hav a coat, wai tcoat trou er the day

- n n for the three ma ual orga .

Of s e e n n o n in s cour e th r had bee orga thi church before , or the worthy deacon might have known more about it . If he had

s n te s o e n n read the eco d chap r of thi bo k , he would hav k ow all

The n s n t n about it . followi g page have bee writ e with the idea of helping those who may be placed in a similar po sition ; who may be called upon to decide the seriou s question of the purchase

new n for n an of a orga their church , tow hall , or auditorium , or the rebuilding of the old one now in use ; who are distracted by the con ﬂictin g plans and contending claims of rival organ “ ” builders ; who are disinclined to rely upon so- called expert

27003 1 (3 F oreword

o n n s n s hin s for s s and pi io , “but wi h to look i to the e t g them elve in telligently purchase an in str ument which i s thoroughly up-to e in i ll n ot n s to dat every particular, which w drive the orga i t the

rofanitv i s n and l not verge of p every t me he play upo it, wil s — prove a snug ource of in come to its builders for repairs.

The n - s n and ss n orga tude t, the amateur, eke the profe io al r n s l s ﬁ n d m i in s and o ga i t, wi l al o uch here that w ll tere t them lead to a better un ders tandi n g of the i nstrument . The revolution in organ -bui lding herein described has for the s n a n e s n n mo t part take pl ce u der the p r o al otice of the author,

in s The n s of n n dur g the last ﬁfty year . orga i ts a you ger ge era tion are to be con gratulated on the facilities now placed at their

s s nly n s and s n s di po al , mai by the ge iu per everi g effort of four men—as n s herei after de cribed . CONTENTS

As It W a s in the B eg i nni ng CHAPTER I I Th e Organ in the Ni neteen th Century CHAPTER III The Dawn of a N ew E ra ; the P neumatic Lever HAPTER I V C .

- — Pneumatic a nd E lectr o p neumatic Acti ons Tubular Pneu — — — mati es Divi si on of Orga ns S oun d R eﬂec tion Octave C ouplers and E xtensi ons CHAPTER V - — S top k eys C on trol of the S top s CHAPTER VI — R adiati ng and Concave Pedal B oards Pedal - stop C ontrol Suitable Ba ss Attachmen ts CHAPTER V I I — — Means of Obtai ni ng E xpressi on Crescendo Pedal S forzan d o — — — Pedal D ouble T ouch Bala nced S well Pedal Control of — — S well by Key s S well B oxes th e S ound Trap Joint Vacuum S well S hutter s CHAPTER V I I I R o o i n — n vs W s— n A n n W S S s . , ev luti i d uppl y pri g eig ht I divid — — ual Pallets Heavy W i nd Pressures Mechanical Bl owers 62 CHAPTE R I X — — — Transference of S top s D ouble Touch Pizzicato Touch the — Un it Org a n S ympathy HAPTE X C R — — Producti on of Org a n T one Acoustic s of Organ Pip es E stes# — — — — Open Ba ss Pi pe s Diapas ons Flutes S tri ngs Re ed s — — V owe—l Cavities U n dulati ng S tops ( Celestes ) Pe rcussi on S tops the Diaph one CHAPTE R X I n n — m m n — N o of n n R s 1 07 Tu i g E qual Te pera e t ew Meth d Tu i g eed . C HAPTER X I I Prog ress of the R evoluti on in Ou r Own C ount ry CHAPTER X I I I — - — — - — Chie f Actors Barker Cavaille Coll W illi s Hope Jones A X I CH PTER V — — H ow W e S ta n d To - day Automatic Players Sp ec iﬁ c a tions of ’ L oo am o O ns : S t . o s o N table rg a Ge rge Hall , iverp l ; N tre D e , ’ n n m ns A e s S t . u s Lo o s bb Pari ; Pa l Cathedral , d ; We t i ter y ; Conten ts—Con ti nu ed

B alru dder y S cotla n d ; W o rces ter Cathedral ; Yale Un iver ’ sit A l s a f o s U . S . . S t . t y , ; Pau Ca hedr l , Buf al ; Pari Theatre , n in N ew o U ni of St . J o n the De ver ; Cathedral h Div e, Y rk ; s of o on o n i l o n Me ver ity T r t , Ca ada ; C ty Ha l , P rtla d , L oo C E n n iverp l athedral , g la d

INDEX TO ILLU STRATIONS

Prehi s toric Double Flutes Th e W n -c s on Th W n - s i d he t ; Fr t View . e i d che t ; S ide View The P neumati c Lever Po rtrai t of Moitassier

The Firs t E lectr ic Org an E ver Built The E lectro- Pneumati c Le ver a nd S a o -J on s E t A on Valve Valve e t , H pe e lec ric cti o P P rtrait of Dr . ésc ha rd ’ on so S t u s r f o C le . Pa l Cathed al , Buf al Con sole on Benn ett S y stem C on so in hu ost on le . Tr ity C rch , B Conso o of of N ew o le, C llege City Y rk Principle of the S ound Tr ap

’ E stey s Open Bass Pipes D iapas on Pipe with Le athered Lip ’ H as kell s Clari net wi thout Reed

D f . iag ram o Reed Pipe . Vowel Cavi ties D iaphone i n W orcester Cathedral

Diaphone i n Aberdeen U nivers ity . ’ D i on i n S t. t s . aph e Pa rick , N Y D i on in A or m O e n G o . J aph e udit iu , c a r ve , N D ’ ' on in S t. ul s h dr B u ﬂza lo iaph e Pa Cat e al , Diaphon e Prod u cing F oun dati on Tone N ew Method of Tun i ng Reeds Portr ai t of Charles Sp a c hman Barker Portrai t of Ar is tide Cavaill e-Co ll Po rtrai t of Hen ry W illi s o a P rtr it of R o be rt H op e Jones . ’

oar ds of O n S t. G o s l Key b rg a , e rge Ha l oa s of O n o m r i s Key b rd rg a , N tre Da e, Pa o s of O n W es m ns e A Key b ard rga , t i t r bbey O n in B alrudder n s on un e S o l n rg a y Ma i , D de , c t a d The Author Playi ng a Hope-Jones Unit Orches tra THE RECENT REVOLU TION IN ORGAN BU ILDING

CHAPTER I

As I T WAS TH E B EG G IN IN NIN .

The O n s i ts - o so mn no s rga breathe deep v iced le te , The o o n an d s n i n o s mns pe ple j i i g , pi u hy ’ And s ms o mon o s a ttu n d p al dev ut ; har i u l y , The Choral voices blend ; the l ong -drawn ai sles ’ At every cl ose the ling ri ng strai ns prol ong And n ow of e s a nd es , vari d tube reedy pip , ’ Th e skilfu l ha n d a soften d stop con troul s ; I n s s mon the u s ns s o weete t har y d lcet trai teal f rth , N ow s n a nd now su ﬂ o welli g high , bdued ; afar they at I n n n s s me n n o n e m rm s le gthe ed whi per lti g i t cade c d u ur , o m n s o m o o s s n s an d s F r i g ft el di u trai , placid air , ’ S e n n o n n so n u to H ea v n pr adi g ge tly all ar u d , the ari g p

D r yden .

TH E n n i s s in th s f n origi of the pipe orga lo t e mi ts o a tiquity . ’ Tradition hath it that there was one in Solomon s Temple at

s the n of n Jeru alem, sou d which could be heard at the Mou t of

O n n s n n n lives. It has the ho or of bei g the ﬁr t wi d i strume t

n n in B n s s me tio ed the ible ( Ge e i iv, where we are told that “ Jubal is the father of all such as handle the harp and the

n Th i s u ab i s s . e s orga Hebrew word here g , which ometime ns in n n n s tra lated the Septuagi t by cithara ( the a cie t lute) , ome “ l r n n Dic s sa m s s o an . time by p , ometime by g Sir Joh Stai er ( ” “ tionar 444 s s : i s s T s . y of Mu ical erm , p ) ay It probable that ’ in its earli est form the ugab was nothing more than a Pan s s s n n im pipe or yri x, but that it gradually developed i to a more ” o Th ss e s n ns n . e s p rta t i trume t pa age, how ver , how that the “ u ab was n n in e s s was n in g k ow the tim of Mo e , who lear ed all n s the lear ing of the Egyptian . 1 0 The R ec ent R evolu ti on in Organ B uilding

The ‘ u n n the n is one the s ﬂ te, a compo e t part of orga , of mo t n n n ﬁn d on the a cie t of musical instrume ts. We it pictured

s f n s and s ns s i n wall o early Egyptia tomb , pecime of it, till n n n n an d c an s n in playable co ditio , have bee u earthed be ee our s n in s. as s s mu eum Some of them were double , how the illu tra

Pre- his tor ie D ou ble lu tes r om Ass r ia n a nd E tia n Tombs F . F y g yp

n ’ tio . Side by side with these ﬂutes we ﬁ nd the shepherd s pipe s n in with a reed or trip of ca e the mouthpiece, which may be

n in T s n Th n s was fou d the yrol at the pre e t day . e ext tep ﬁ probably the bagpipes. Here we nd four of these pipes attached to a bag . The melody or tune i s played on one of the pipes

n s s s fur i hed with hole for the purpo e, while the other three give n ss h . T e n n s i s a dro e ba bag, bei g blow up , form a w nd re ervoir and the amoun t of ton e c an be regulated by the pressure of the arm . Here we have the precursor of the organ bellows. Next s s s s come the Iri h bagpipe , with a bellow worked by the arm

n s n n s and n fur i hi g the wi d to the bag, the re ervoir, produci g a

s n T s n n n . much weeter to e . his i o e li e of adva ce ’ On n - n the other han d we have the syrinx or Pa s pipes. Stai er “ s s s was n h s h n was ay thi u doubtedly t e precur or of t e orga . It As I t Was i n the B eginning 1 1

o s n n n s s t6 ther f rmed of eve , eight or i e hort hollow reed , ﬁxed ge and in n so as us l by wax, cut graduated le gths to produce a m ica . s cale . The lower en ds of the reeds were clo sed and the upper ' n and on so ss fro ope a level , that the mouth could easily pa m on e ” ' n pipe to a other . Thi s is the instrum ent u sedoat the present P n an m n day by the u ch d Judy a . He wears it fastened aroun d his n n his s to s as s throat, tur i g head from ide ide he blow , while his n s with ha d he beats a drum . ’ The next step would be to combine a set of ﬂute s or shepherd s

s n s s n pipe with the wi d re ervoir of the bagpipe , placi g a little slider under the mouthpiece of each pipe which could be opened s a so no s n T n b t . or clo ed will , that they would all peak at o ce he some genius steadied the wind pressure by pumping air into a

s T s as h - re ervoir partly ﬁlled with water . hi w t e so called “ n n has n s ss n hydraulic orga , which ame give ri e to the impre io that the pipes were played by the water p assing through them

ss which is impo ible .

And so n h n The we come dow the ages to t e Christia era . Talmud men tions an organ ( magrepha) having ten pipes played n by a keyboard as being in exi ste ce in the Second Century . “ A A D . 709 n ns an n ldhelm ( who died . ) me tio orga which had n n a in gilt pipes. An orga having leade pipe s w s placed the n o n in Church of S . Cor eille, at C mpieg e, the middle of the ” n ns n an n h s Eighth Ce tury . St . Du ta had orga wit pipe made of ss T n n in W n s bra . he we have the orga i che ter Cathedral , “ n n s W s n of W n s in his E gla d , de cribed by ulf ta i che ter Life of n n T s was n n two Sai t Swithi . hi a double orga , requiri g

n s n n 400 s and had n orga i ts to play it . It co tai ed pipe thirtee

s s was n n to n s pair of bellow . It i te ded be heard all over Wi che ter

in n P t was . ho or of St . e er, to whom the Cathedral dedicated Th A D 95 1 and s is an n to e was now . . year , thi importa t date

as n n its s s . remember, moder harmo y took ri e about thi time

B s as as n n no n efore thi , far we k ow, there had bee harmo y n n ss and s n s ns beyo d a dro e ba , the va t compa ie of musicia de 1 2 The R ec en t R evolu ti on i n Organ B uilding

scribed in Holy Writ an d el sewhere must have played and sung n s an d n s n n n i octave u i o . I quote Stai er agai “‘ The large pipes of every key of the oldest organs sto od in front ; the whole instrument sounded an d shrieked in a harsh n d nn . The n e n a loud ma er keyboard had eleve , twelve , ve n n n was thirtee keys i diatonic succession without semito es. It impossibl e to get anything else than a choral melody for one voice only on such an organ the breadth of a key board containing nine keys extended to three - quarters the length

of s n n n s a yard, that of the i gle key amou ted to three i che even from five to six in che s JThe vfl y és of the keys an d n s n s n the whole mecha i m bei g clum y, playi g with the n was not be u h s to fi ger to tho g t of, but the key were obliged

s n ﬁ st and the n s was n be truck with the cle ched , orga i t ofte ‘ ’ called pu lsator organu ni ( organ Gradually the keys were reduced in size an d the semitones

B 1 s n n or were added . y 499 they had almo t reached the prese t ns I n n n B n . 1 470 s mal proportio pedal were i ve ted by er ard ,

n s s n n e was the Germa , a kilful mu icia of Ve ice , the pip work improved and so we come to the Sixteenth Century * after which th e organ remained almost i n statu qu o for hundreds of years. Since then there have been four gre at landmark s in organ ns n co tructio , viz 1 Th . e inven tion of the swell box by Jordan in 1 71 2 ;

2. The n n n n s e n i ve tio of the horizo tal bellow , by Samu l Gree , in 1 78 9 ;

3 . The invention of the pneumatic lever by B arker in 1 832 ;

and - n n Pésc hard in 1 866 and the electro p eumatic actio , by ; , 4 Th . e marvelous improvements in mechanism an d tone pro

1 - n n an n s. ductio d co trol in 1 886 to 91 3 by Robt . Hope Jo e

* The o n om os ons of s o b n o n s rg a c p iti Fre c baldi , a cele rated Italia rga i t who ﬂ o s 1 591 -1 640 s o the o n m s i n his m n uri hed , h w that rga u t ti e have bee b h n playable y t e ﬁ gers . APT CH ER II .

TH E ORGA TH E N ETEEN TH E TUR N IN IN C N Y .

B EF ORE proceeding further we propose to give a brief description of the construction of the organ at the beginning of the last . n and n n s u s ce tury explai the tech ical term we shall e later .

As n s n s s s e everybody k ow , the to e come from the pipe , om of are s n in n ns n The s which to be ee the fro t of the i trume t . pipe are of various shap es and sizes and are arranged in ranks or

s n th in d- hest a ese n sto row upo e w c . E ch of th ra ks is called a p

r e ister s be n in n s sto or g . It hould bor e mi d that thi word p s the s and not the ste -knobs refer to row of pipe , to p by the ' keyboard which operate the mechanism bringing the row of

n n s n s s on n pipes i to play . Much co fu io of idea prevail this poi t, and cheap builders used to take advantage of it by providing

st0 - n s e s n two p k ob . for ach row of pipe , thereby maki g their i nstruments appear to conta in more pipes than were actually

T s e was one e n in there . hi practic at tim very prevale t the n t s U ited S ate . The early organ-builders to obtain variety of tone divided

es n s in s s ns the pip i to group placed variou po itio , each playable

s and e s s . from a eparate keyboard, this practic prevail to thi day A n n n n - s n average church orga will co tai three or four wi d che ts , each with its quota of pipes and designated as follows 1 Th n ns s n n s and . e Great orga , co i ti g of the fro t pipe other

- S s B s and s a e loud peaking stop . ack of thi u ually elev t d above the level of the Great organ pipes is 2 Th n s n n in . e , Swell orga , all the pipe of which are co tai ed

n n s s in n n n or a wooden box with Ve etia hutter fro t, the Ope i g closing of which modiﬁes the tone ; below the Swell box i s plac ed 3 Th n n n n s s n s s . e Choir orga , co tai i g oft peaki g pipe uitable 1 4 The R ec ent R evolu tion in Organ B uilding for accompanying the human voice ; and back of all or on the sides i s 4 T P . he n n n n s edal orga , co tai i g the large pipe played by the s pedal . Larger instrum ents have still another win d-chest c alled the

n s and are us al Solo orga , the pipe of which are very loud u ly hi th n placed gh above e Great orga . I n s e n s ns n in T wn ome larg E gli h orga , otably that the o Hall of e s s n was f s Le d , a further divi io e fected, the pipe of the Great

- o n n on two w n s s one n . rga bei g placed i d che t , behi d the other

T n n an hey were k own as Fro t Great d B ac k Great . The original reason for di viding a church organ in thi s man ner seems to have been the impossibility of supplying a large n - umber of stops with win d from a single win d chest . It will thus be seen that our average church organ i s really

ns n made up of three or four smaller orga combi ed . The win d- c hest i s an oblong box supplied with air un der pres sure from the bellows and containi ng the valves ( called pallets ) c n n h B n o trolli g the access of the win d to t e pipes . etwee the pallet and the foot of the pipe comes another valve called the slider n l a s the i n to e , which co tro s the cce s of w d the whol row of s s The i pipe or tep . pallet s Operated from the keyboard by k e a c ti on on has s ndi n the y . Every key the keyboard a corre po g

in n - s and s - n es s pallet the wi d che t, every top k ob operat a lider

n s so s s n an d u der the pipe , that both a lider mu t be draw a pallet depressed before any soun d c an be got from the pipes.

The n drawi gs will mak e this plain . i n n Fi n 1 s a . 2 s Fig . a fro t view d g a ide view of the wi d c s - ss s he t . A i s the win d che st into which compre ed atmo pheric air has e n n r s b e i t oduced , either through the ide or bottom , from

- h end n nk B . T e s C C C the of the wi d tru pallet , , are held

ns n n s D D D n n - s to agai t the ope i g , , leadi g from the wi d che t the

es s in n n . mouth of the pip , by pr gs u der eath them

Th s n 2 e s 0 ns n n e pri g S ( Fig . ) k ep the pallet agai t the Ope i g The Organ in the N ineteenth Century 1 5

n - D . lThe r s u ll downs P P P ss i to wi e called p ( , , ) , which pa through small holes in the bottom of the wind - chest and are

in nn n o co ectio with the keyb ard , are attached to a loop of wire

- F i . 1 . T i nd hes t r on t e g he W c . F Vi w

# allet- e e s n e end called the p y , fa te ed to the movabl of the pallet . A piece of wire i s placed on each side of every pallet to steady it an d e in the e n n its s n and s n k ep it p rpe dicular duri g a ce t de ce t, 1 6 The e R ec n t R evolu ti on in Organ B uilding

and i s to s every pallet covered at p with oft leather, to make it s an d . n P i s n 1 ﬁt clo ely work quietly Whe pulled dow ( Fig . )

C s n s and - the pallet de ce d , air from the win d chest A rushes

D in u through to the pipe over it . B t the slider f i s a narrow s so n trip of wood, placed betwee the woodwork g and h that it

- F i . 2. The Wi nd hest S ide ie w g c . V

be k w s an d s and may moved bac ard forward from right to left, i s pierced with holes correspondin g throughout to those just un s der the pipe . If the apertures in the slider are un der the

s n n of ll s if h pipe , the ope i g a pallet wi make a pipe peak ; , ow . s has n so ever , the lider bee moved that the apertures do not

s n n n and corre po d, eve if the pallet be Ope ed the chest full of air nk s n o s n i from the tru , ou d w ll be produced . The Organ in the Ni neteenth Cen tury 1 7

When the apertures in the slider are under those below the “ ” s n n s s n h pipe, the top , the ha dle of which co trol the po itio of t e s is s ou t dra wn . n s not lider, aid to be , or Whe the aperture do

s n s i s s i T s i n . s n no corre po d, the top aid to be hu it that whe s s n no s n is n n top are draw ou d produced , eve although the wi d

s and s n che t be full of air the key played upo . This wind- chest with the slider st0p control is about all that is us the n The s left to of old form of key actio . pallet were

nn s s s s n n co ected to the key by a erie of lever , k ow as the tracker n actio .

T e s six n s n n here wer u ually joi ts or ources of frictio , betwee

an h To s s s n and the key d t e pallet . overcome thi re i ta ce close n s n n s ne the pallet required a stro g pri g . I a much as it would ver do to put all the large pipes ( because of their weight) at one end n - e s i n the of the wi d chest, they wer u ually div ded betwee two en ds and it became necessary to transfer the pull of the keys s s was ne s rollers r oller ideway , which do by a eries of called the

board. T s s n the n and n ss hi , of cour e, i creased frictio ece itated u s r n n T n s the e of a still st o ger spri g . hat with the i crea ed area of the pallet is why the lower notes of the organ were so hard ‘ An d s n s in s to play . to the re ista ce of the pr g must al o be added

s s n n - ess n the re i ta ce of the wi d pr ure, which i creased with every

s n . n n was one n s s top draw Whe the orga a large with ma y top , an d s ns the keyboard were coupled together, it required co ider able exertion to bring out the full power of the instrument ; sometimes the organist had to stan d on the pedal s an d throw All n s the weight of his body on the keys to get a big chord . ki d “ ” s s n the as of cheme were tried to lighte touch , the required

ss on s i s s s ss was pre ure the key called, the mo t ucce ful of which dividing the pallet into two parts which admitted a small quan tity of win d to enter the groove and release the pressure before the pallet was fully opened ; but even on the b est of organs the performan ce of music play ed with ea se upon modern i nstruments was s ss ab olutely impo ible . APT I I I CH ER .

TH E DA N W E —T E P E AT E E W OF A N E RA H N U M I C L V R .

J U S T as we no longer see four men tugging at the steering wheel of an n s m n n on of s s n ocea tea er, the i terve ti the team teeri g gear

n n u se of so s c nn ss so re deri g the much phy i al force u ece ary, it n ow an n - in c of B n n occurred to orga builder the ity ath , E gla d , * n s S ac hman B n s amed Charle p arker , to e li t the force of the organ wind itself to overcome the resi stanc e of the pallets in

n - s T s c n n i s n n as neu ma ti c the wi d che t . hi o triva ce k ow the p lever an d ns sts of s n n n s n , co i a toy bellow about i e i che lo g , ns i d t on The n i erted n the mi dle of the key ac i . exertio of de pressing the key i s now reduced to the small amount of forc e r n an n in s equired to Ope a valve, half i ch width , which admit

n s Th s n n n to . e wi d the bellow bellow , bei g expa ded by the wi d , pulls d own the pallet in the win d - c he st ; the bellow s does all

The n on n s s the hard work . drawi g the ext page , which how the

as n n n s o n - n lever improved by the emi e t E gli h rga builder, He ry W s s s of on . illi , how the cycle Operati When either the ﬁnger or foot i s pressed upon a key conn ected

h en d of c — is o n c with , the outer the ba k fall gg pulled d w , whi h

ns 7 The c om ss in a n s s ope the pallet 1 . pre ed air the ru he through

o bb n o s c c c s s and s the gr ove i to the bell w , whi h ri e lift with it

As to Of s c c all the acti on attached to it by l. the p the bellow

s s s - v d e m ri e , it lift up the throttle val e ( regulat d by the wire ) ) which prevents the ingress of any more c ompressed air by M.

B ut ac n on n the tio of the kev gg, which ope ed the pallet p,

* am The i n venti on of the p neumatic lever h as be en claimed for Mr . H n to on of E n S o n . is o y ilt , di burg h , c tla d It , h wever , ge erall credited “ ” o no B arker a n d k nown a s the Barker p neumatic lever . ( S ee al s te o J os B oo ab ut eph th . page

20 The R ec en t R evolu tion i n Organ B uildi ng

B n n in . was n to take it up arker at le gth drive Fra ce, where,

s n A s Cavaillé- n - s n the per o of ri tide Coll , he fou d a more far eei g man . — After Cavaille Coll had fully demonstrated the practical value ’ B s n n n W s an d s n in its of arker i ve tio , illi other joi ed develop n an d n n s s and me t, they co tempora eou ly overcame all difﬁcultie brought the pneumatic action into general favor .

T s ss s an d s hi proce , of cour e, took time, up to about ﬁfty year ago pneumatic action was foun d only in a few organ s of large calibre .

The n n in n n and in n n rece t revolutio orga buildi g orga to e , of s was n n the n and which thi book treats, fou ded upo p eumatic * - n n electro p eumatic actions inve ted by B arker . It i s safe to say that the art of organ building has advan ced more during the last ﬁfty years than in any previous three n in s n ce turies. We are literally correct ayi g that a veri — table revolution has already been effected and the end i s not yet .

As s in s n n n s s n leader thi revolutio ary moveme t, three ame ta d

s l n n n — n s A s e out with tart i g promi e ce He ry Willi , ri tide Cavaill

01 n - n C 1 a d Robert H Ope Jo es. Others have made contribution s to detail ( notably Hilborne

s is n s n n ns an d L . Roo evelt) , but it due to the ge iu , the i ve tio the work of those three great men that the modern organ stands

e - where it do s to day . We propo se 1 n n s n n ns an d . To e umerate a d de cribe the i ve tio improve

n s so n ns the ns n me t that have . e tirely tra formed I trume t ;

2 T s n in own n . o trace the progre s of the revolutio our cou try ; and ,

3 T s s in . . o de cribe the chief actor the drama

* wa s so sso e Pésc hard who i n 1 864 n Barker al a ciat d with , pate ted - n ee j oi n tly with him the electro p neumatic acti o . ( S page The Dawn of a N ew Era 21

I n the middle of the last century all organs were voiced on * n ss s an n and light wi d pre ure, mo tly from i ch a half to three n s. T W in i che rue, the celebrated builder, illiam Hill , placed his n B n T n n n so as 1 833 orga at irmi gham ow Hall , E gla d, early ,

T on n n s n ss and W s a uba voiced about eleve i che wi d pre ure, illi ,

e- and D s n and s Cavaill Coll , Gray avi o , other , adopted high pressures for an occasional reed stop in their largest organs ;

n n - n n n n yet i ety i e per ce t . of the orga s built throughout the world were voiced on pressures not exceeding three an d one n es half i ch . I n those days most organ s that were met with demanded a ﬁnger force of some twenty oun ces before the keys could be

ss n and was no n mm n n for depre ed , whe coupled , it u co o thi g the organi st to have to exert a pressure of ﬁfty ounces or more o h n n n t e bass keys. ( The prese t standard is between three a d four ounces. We are acquainted with an organ in New York City which requires a pressure of no less than forty ounces to e depr ss the bass keys. ) The manual compass on these organ s seldom extended higher

2 s ‘ ’ n f n n n GG . tha or g , though it ofte we t dow to l

, It was common to omit notes from the lower octave for ’ n s s and n s s s eco omy ake , ma y top were habitually left de titute of

* The pressure of the wi nd supplied by the old horiz ontal bell ow s i s h n o The mo n of s ss i s regulated by t e weights plac ed o t p . a u t thi pre ure mea sured by a wi n d - gauge or anemometer i nvente d by Christian Former

o 1 677. i s b n ss be do U s e n o ab ut It a e t gla tu , uble hap d , i t which a little o n n on en d of so n o one water i s p ured . O placi g e it ﬁtted with a cket i t of the h oles i n the wi n d - chest ( i n place of a pipe ) a nd admitti ng the n om the o s the i s o u the an d the ff n wi d fr bell w water f rced p tube, di ere ce between the level of the s u r fa c e of the water i n the two legs of the tube i n w s of the ss of n s m s in s . s e ea ured i che Thu , alway talk pre ure wi d n m n n s in a n org a n a s bei g so a y i che . The o n in G om S W s n L e oo E n T rg a reat H er treet e leya Chapel , iv rp l , g ma n who n m n s n n o n to . wa s for la d , had a ual exte di g d w CCC It built a

n on om the e s . could not pla y the pedal s a nd thus obtai ed 1 6 ft . t e fr k y

The old o n in n New Yo k so has s om ss . gallery rg a Tri ity Church , r , al thi c pa 22 The R ec ent R evoluti on i n Organ B uilding

n ss n their bottom octaves altogether . Freque tly the le importa t n n * keyboards would n ot descen d farther tha te or C. The compass Of the pedal board ( when there was a pedal board at all) varied anywhere from one octave to about two and s The s s n a quarter octave . pedal key were almo t i variably

straight and the pedal boards ﬂat .

F 4. N omen latur r a e oar ig . c e of O g n K y b d

* Te nor C is the l owe st note of the teno r v oice or the tenor vi olin o ( vi la ) . It i s one octave fr om the b ottom note of a mod ern org an k ey

- o i s e Th e o s no of the o i s . b ard , which call d CC . l we t te pedal b ard CCC C o n n om the o om s on the m n we o u ti g fr b tt upward a ual have , theref re , CC 1 2 o no ) 0 m c c in a nd ( d uble C ) , C ( te r C , ( iddle C ) , ( treble C ) , ( C alt ) 3 c i n ss m h e n n ( C alti i o ) . Thi s i s t e hig h st ote o the key board of 61 key s . Accordi ng to the modern nomenclature of the p ia nofor te key bo ard thi s “ n i o s a nd i s n so s on o s i n o n s ons . te c , freque tl y tated err e u ly rga peciﬁcati

G G i s o no s o the br ea k i n the s a le omi n between C G f ur te bel w CC , c c g a nd F F F no i n m o n n m m s . Te r C s a i p rta t ote to re e ber . Here i wh ere h m n i t e i n . H e c u t h s s o s s o no cheap builder ca e agai t p h rt at te r C , s n h h n tru ti g to t e pe dal pipes to cover t e deﬁcie cy . PROS PER- ANTOINE MOI TE S S I E R

INVE NTOR OF TUB ULAR PN E UMATIC AC TION

I n the e 1 845 os e - An o n Moitess ie r a n o n - of y ar , Pr p r t i e , rg a builder “ ’ ” M on n n he a br e é ne um a ti u e a n tpellier , Fra ce, pate ted what called g p q , org an acti on i n which all back - fall s and rollers were replaced by tub es o b s I n 1 5 s on a n o n of perated y exhau t air . 8 0 he built with thi acti rga 42 s peaki ng stop s for the church of N otre Dame de la D a lba de at Tou m a nd ous . s m s s oo s s o n s 33 . I n 1 866 l e Thi rg a la ted year Fer i , ch l a ter ’ o n s of H ante r i re n o o s m o on Moitess ie r s village rga i t , ear T ul u e , i pr ved acti on by combi n i ng tubes convey in g compressed air with the Barker An o a n s s s m for the s E on o f lever . rg a n w s built o thi y te Pari xhibiti 1 867 m n the no of H n W s b he wa s so , which ca e u der tice e ry illi , y which s he wa s s mu to m n a nd o his on truck that ti lated experi e t devel p acti , which ’ m e n i n n n 1 872 om b . the s o i . cul i ated S t . Paul rga ( Fr article y Dr Gabri l R e in Mu si a l O i n i o n Lon on J dart c p , d , ul y ,

APT CH ER IV .

P A N E LE T o- P EU AT ACT O S N EUM TI C A D C R N M IC I N .

UN DOUB TEDLY the ﬁrst improvements to be n amed . must be the

n m - n ns p eu atic and electro p eumatic actio . Without the u se of these actions mo st of the advance s we are about to chronicle would not have been effected .

As s a Cavaillé- and s as n s before t ted, Coll Willi worked pio eer i h n n n perfecting and in introducing t e p eumatic actio .

The n n se s e- and p eumatic actio u d by Willi , Cavaill Coll a score is of other builders leaves little to be desired . It thoroughly

and e s s n i s reliable , wher the key are located clo e by the orga , n n fairly prompt both in attack and repetitio . Ma y of the n ns m - are s n n in p eumatic actio ade to day, however, di appoi ti g

s s the e particular .

A E A S * TUB UL R PN UM TI C .

’ P s I n the year 1 872 Henry Willi s built an organ for St . aul

n n e in n s one on Cathedral , Lo do , which was divid d two portio , each side of the junction of the Choir with the Dome at an Th s elevation of about thirty feet from the ﬂoor . e keyboard e ns one n the ns n and ns wer placed i ide portio of i trume t, i tead of carrying trackers down and under the ﬂoor and up to the other s as n s in s s s ide, had hitherto bee the cu tom uch ca e , he made the nn n ns s e aS i eS and s co ectio by mea of tube lik g p p , made a pul e of win d travel down and across and up and into the pneumatic

* The s s of . G B éda rt o ss é é Ph siolo ic re earche Dr abriel , Pr fe eur ag r g y g in the Un s of L n n and n s s o an iver ity ille , Fra ce , a lear ed e thu ia tic rg onno ss o to the the s bu n m c i eur , have br ught light fact that ﬁr t tu lar p eu atic s n s u M i es i er i n i n was s ne acti on wa co tr cte d by o t s n Fra ce 1 835 . It de ig d o s up n the exhau t principle . 26 The R ec en t R evolu ti on in Organ B uilding

s n n s an s s n n lever co trolli g the pipe d top . Sir Joh Stai er de “ ” s n cribes it as a triumph of mecha ical skill . He was organist ’ of P n n . s for s a d n T s St aul ma y year ought to k ow . hi was all very well for a cathedral , where

the l ong - draw n ai sles The mel odi ous s trai ns prol on g bu i s n n n n s T B s s t E s . . here what the emi e t gli h orga i t, W e t, aid about tubular pn eumati c action as applied to another organ used “ for con cert purpo ses : It i s a complete failure ; you cannot play

on T an d ns s n a triplet the rumpet, I co ider it the mo t d able ” n n ns n s n n s i ve tion ever placed i ide an orga . Notwith ta di g the e drawback s thi s action became very fashion able after its demon ’ stration P s and was s n in s ns in at St . aul , u ed eve mall orga pref

n B n n ss to ere ce to the arker lever . O e builder co fe ed the writer that he had suffered severe ﬁnancial loss through installing this

n A n n c ns m an d is n actio . fter expe di g o iderable ti e ( time mo ey ) in n o n s n getti g it to work right, the wh le thi g would be up et whe

The i s the sexton Started up the heating apparatus. writer acquain ted with organs in New York City where these same n n co ditio s prevail .

The m n s n so a Writer , however, will ad it havi g ee me tubul r

ns s s one in in actio which were fairly ati factory , particular the

A n on n n n m n factory of lfred Mo k, L do , E gla d , where for de o stra i o n Dr Bédart t on purp ses the tubes were ﬁfty feet lo g . . n s u s P the mo s n of T s i form that uget, fa u orga builder oulou e ,

n s s as s n ss of s n . Fra ce, et ﬁfty feet the limit of u eful e thi actio Henry Willis 85 Sons in their description of the organ in the Lady Chapel of Liverp ool Cathedral state that their action has n s n of m n n bee te ted to a repetitio per i ute , quicker tha

a m o T s i s s n in one any hum n ﬁnger c an ve . hi a quare orga

s n e - e n ca e , but we ot they have adopt d the electric actio for the great cathedral organ where the distan ce of the pipes from the

s s ns keys i s too great for sati factory re po e .

28 The R ec ent R evolu tion i n Organ B uilding

s A s s off s che t , hut the air from the bellow , which immediately

s s n n B s or n clo e , drawi g dow the pallet , which admit air ( wi d) to the pipes . No tubular - pneumatic action i s enti rely satisfactory when the

s T s is n di tance between the keys an d the organ i s great . hi ofte due to a law of n ature rather than to imperfecti on of design or

ns workma hip . — Pn eumatic pulses travel Slowly at a spee d which does not s I n ns n s reach feet per econ d . large orga where ece saril s tu s s and s n i s y ome of the be are hort ome have to be lo g, it impossible to secure Simultan eous Speech from all departments

ns m n and in n to s s n of the i tru e t, additio thi the cri p feeli g of

nn n hi s e s i the a n direct co ectio with pip , wh ch old tracker ctio se n s is s cured for the orga i t, lo t . It i s generally thought amongst the more advanced of the

u s and ni s s d the - n b ilder orga t qualiﬁe to judge , that tubular p eu matic action will sooner or later be entirely abandoned in

- n n i s favor of the electro p eumatic acti on . Certai it that the aid of electricity is now called in in practically every large in s n i s in s n and in an i n sin trume t that built thi cou try, crea g pro portion of those cons tructed abroad .

THE CRYIN G N EED F OR EL ECTRIC ACTI ON .

’ The ns n P s s s i ta ce of St . aul Cathedral cited above how the deman d that exi ste d at that ti me for means whereby the organ could be played with the keyboards S ituated at some di stan ce n n I n s from the main body of the i strume t . the Cathedral the organ was usually placed on a screen di viding the Choir from the T N e s n n . av , completely ob tructi g the view dow the church here was a demand for its removal from this position ( which was ’ ntu P D n n . ul s s a d e eve ally do e at St a , Che ter, urham, oth r s T n in i u s the e Cathedral ) . he the large par sh ch rche quart t i of singers in the we st gallery where the organ was placed had

een s . B o s had en n in the n b aboli hed y choir be i stalled cha cel , Pneu ma ti c and E lec tr o-Pn eu ma ti c Ac ti ons 29

n n an d n s in s leavi g the orga orga i t the we t gallery, to keep time I n as s . s too the n s together be t they could the Cathedral , , orga i t was n o a lo g way ff from the choir . How glorious it would be if he cou ld Sit and play in their midst # Henry Willis Sons

S d in n n Musi c al N ews in 1 890 tate a letter to the Lo do , , that they had been repeatedly asked to make such arrangements but had “ ” s s D N s o in — She refu ed , becau e ame ature to d the way, which

n n s n s The certai ly did if tubular p eumatic had bee u ed . fact was that up to this time all the electric actions invented had

ss n and s an st proved more or le u reliable, Willi , who had arti ic n s s AS an ns n reputatio to lo e, refu ed to employ them . i ta ce of their clumsiness we may mention that the best contact they could get was made by dipping a platin um point in a cell c on taining mercury # Other forms of contact rapidly oxidized and

n s n s we t out of bu i e s .

Dr n 1 852 o n n . Gau tlet, about the year , t ok out a pate t coveri g an electric connection between the keys and the pallets of an * n the n n n - n s orga , but i ve tio of the electro p eumatic lever mu t

B h r h s n r Pésc a d. T e e s s be a cribed to arker a d D . latt r eem to have su ggested the contrivance and the former to have done the practical work .

B r c eson B n e s n n y ros . were the ﬁrst to i troduc thi actio i to n s n T n n s n s in E gli h orga s. hey comme ced work alo g the e li e

* ’ n s was to a ll the o ns s o n i n the Dr . Gau tlett idea play rg a h w Great

E on in Lon on i n 1 85 1 om one n o . H e r o xhibiti d , , fr ce tral key b ard p os to an o-m n ns the n - s n p ed place electr ag et i ide wi d che t u der each pallet , o m n f n The which would have required an enorm us a ou t o electric curre t . was n ou t s n s ems so to o e to idea ever carried . Thi pla e al have ccurr d W m W nson the o n - b of n a s as 1 862 bu t illia ilki , rga uilder Ke dal , far back , ,

som m n s wa s n on . An o n on s on S m after e experi e t , aba d ed rga c tructed i i n a W e of E e n n n s wa s b b K G . lar li e actu lly uilt y arl eigl , cht rdi ge , ear S m n in 1 870 a nd o not s ess he tuttg art , Ger a y , , alth ug h at all a ucc , built another on the same pri nciple which was exhibited at the Vienna E xhi ou i 1 87 O n to the o n n ss to O n the biti n 3 . wi g p werful curre t ece ary pe s the on s s a nd the o n wa s n s o b ﬁ re on pallet , c tact fu ed rga early de tr yed y se n veral occa si o s. 30 The R ec ent R evolution. i n Organ B u ilding

1 868 n B n s rs n e n , u der the arker pate t , their ﬁ t orga b i g built ’ b n s n s s s O s D r n ehi d the ce e at Her Maje ty pera Hou e , ru y La e ,

on n T w s n in s . s n as L do , the kevs bei g the orche tra hi orga u ed s ss for i was and ucce fully over a year, after wh ch it removed s wn as s in n n P yt n ns e re ho a curio ity the Lo do ol ech ic I titut , c n i itals bei g g ven twice daily . h and s n T and s n Sc mole Moll , Co ti , rice other took a leadi g

in on n n n n and s was part the work the Europea co ti e t, Roo evelt

e s its s n in n s p rhap greate t pio eer the U ite d State . Variou s builders in many countries have more recently made scores of improvements or variati ons in form and have ta ken

n s in s f n n n of s out pate t to cover the po t of di fere ce, but o e the e has n s do e auv work of pec ial importan ce . Not one of the earlv elec tric actions proved either quick or * an d os ns and n n . reliable, all were c tly to i tall mai tai

T s n s n n and hi form of mecha i m , therefore , ear ed a bad ame was n d n not n n n n maki g little a va ce , if actually bei g aba do ed , whe s l e n HO e-J n s n a ki led el ctricia , Robert p o e , e tered the ﬁeld about

1 88 n s 6. Kn owing little of organs an d nothi g of previous attempt

t s s t hi s own n s to utilize elec ricity for thi ervice , he made wi h ha d and some unski lled assistan ce furn ished by membe rs of his

n a y the s c onsole ‘ st0 - s volu t r choir, ﬁr t movable j p key , double

s s a s . and an c n e touch , uit ble ba , etc , ele tric actio that creat d a s ns I n i n e ation throughout the organ world . th s actio the

* # S i r Jo n S a n in the 1 889 on of his on of s a h t i er , editi Dicti ary Mu ic l Terms; dismi sse s the electric acti on i n a para g raph of four li nes a s o f

no i W . . m n I n sa m th s . pract cal i porta ce . that e y ear e writer a ked Mr T ’ B s m n to o o and oo the o n i n S t . Jo n s e t c e ver l k at rga h Church , Birke

. was n n ni n to be a d o an d he head which the begi g t lke ab ut, laug hed at the n on H was idea that an y g oo d could come ou t of a electric acti . e a man of wide expe rien ce who g ave recita ls all over the country a nd wa s tho roug hly acq u ai nted with the attempts that had been made up to tha t m e n n ti e . H —did not wan t to see a y mo re electric o rg a s. C onsole the o s s a nd s o i on b the o a n f key b ard . pedal t p act y which rg is m m s om th ns n play ed : so eti e detached fr e i trume t. The F irs t E lectr i c Org a n E ver B u i lt I n the Colle ia te Chur h a t S a lon N ear Marseilles r a n e g c , , F c

Pneu mati c and E lec tr o- Pn eu mati c Ac ti ons 33

“ ” pneumatic blow was for the ﬁrst time attained and an attac k an d repetition secured in advance of a nything thought possible

in nn n n no at that time, co ectio with the orga or the pia forte . Hope - Jones introduced the roun d wire contact which secures “ ” n n s an d s s s the ideally perfect rubbi g poi t , he make the e wire

ss n on - s me s an d n of di imilar corro ive tal ( gold plati um ) . H e replaced previous rule - oi - thumb methods by scientiﬁc cal

n n ns n and culatio , recog ized the value of low voltage , good i ulatio

n of s - n n the s the avoida ce elf i ductio , with re ult that the electro pneumatic action has become ( when properly mad e ) as reliable as n n s the tracker or p eumatic lever mecha i m .

DE S R PT O T E E R C I ION F H LECT I C ACTION .

The electric action consists sub stantially of a small bellows l n ns n ike the p eumatic lever, but i tead of the valve admitti g the wind to operate it being moved by a tracker leading from

i s n an e - n n c on the key, it ope ed by el ctro mag et, e ergized by a t in an d nn w act the keyboard co ected there ith by a wire which ,

of s an s n . We s one cour e, may be of y de ired le gth illu trate form

- * of action invented an d u sed by Hope Jon es.

W n n s end of ithi the orga , the wire from the other the cable are attached to small magnets specially woun d so that n o spark

s n i n T s re ults when the electric co tact at the key s broke . hi mag net s a n s n n in attract thi di c of iro about i ch diameter, ( held up by a high win d pressure from un dern eath ) an d draws it n s n n n dow ward through a space of le s tha of a i ch .

The working is as follows : The box A i s connected with the organ bellows an d so ( immediately the wind is put into the or

an i s n s ss s s g ) ﬁlled with air u der pre sure , which pa e upward t n n the s n s between he poles of the mag et N . Lifti g mall iro di c

n s its ss L n sma J , it ﬁ d way through the pa age i to the ll motor M ,

’ “ * 2 se om s n ook of the O n . 5 et Fr Matthew Ha db rga , p q . 34 The R ec en t R evolu ti on in Organ B uilding

in thus allowing the movable portion of the motor M to remain 1 2 s i n C n s an d C its lower po it o , the pallet bei g clo ed the pallet

n s n ns B s s being open . U der the e co ditio , the large motor collap e

F i - n ma ti L ever 6 . The E le tr o P eu c g . c an d the pull - down P ( which i s connected with the organ pallet) s s ri e . When a weak current of electricity i s caused to circulate round

s - n s J the coil of the electro mag et N, the mall armature disc i s wn 6 - n dra 0 the valve seat H on to the zi c plate K . The compressed air from within the small motor M escapes

ss n n s in by way of the pa age L, through the Ope i g the valve s n s Th ss in th A eat H i to the atmo phere . e compre ed air e box then acts upon the movable portion of the small motor M in such a manner that it i s forced upwards an d caused ( through 1 the medium of the pull - wire E ) to lift the supply pallet C 2 and s the s C s n ss clo e exhau t pallet , thu allowi g compre ed air to rush from the box A in to the motor B and so cause this latter

36 The R ec en t R evolu ti on i n Organ B uilding

The valve - seat H has formed on its lower surface two crescen t s n n A n haped lo g and arrow slits. very slight moveme t of the di sc s fﬁ s n n armature J, therefore, u ce to ope to the full exte t n ss s The n two lo g exhau st pa age . moveme t of this disc is re du c ed s n ss n an n . is to omethi g le tha the part of i ch It ,

e s s the s n c on ther fore, alway very clo e to pole of the mag et, sequently a very fain t impulse of electricity will suffice ( aided

s - s Th n by gravity) to draw the di c off the valve eat H . e zi e

“ plate K being in intimate contact with the iron poles of the

n s s - n n mag et N , protect the latter from ru t by well k ow electrical

s. All s of so no n in law the part are made metal , that cha ge the

f n R i s n weather c an af ect their relative po sitio s. the poi t at

h n i s s n n n which t e large motor B i s hi ged . G a pri g retai i g cap in po sition ; O the wires leading from the keys and conveyi ng

n n s of the curre t to the mag et N ; Q . the removable ide the box A .

7 s n s w K in Fig . repre e t a larger vie of the plate which the — magn et poles N are rigidly ﬁ xed o f a piece of very ﬁ ne chiffon M ( in dicated by a slightly thicker lin e ) which prevents particles of dust passing through so as to interfere with the proper seat — ing of the soft Swedi sh charcoal iron armature disc J of the

s n di ta ce piece L an d of the valve seat H . On the upper surface of thi s valve seat H another piece of ﬁ ne chiffon i s attached to preven t possible passage of dust to the

s . armature valve J, from out ide As all parts of this apparatus are of metal changes in humidity or u i n temperat re do not affect ts regulatio . The u se of this action ren ders it possible for the con sole ( or

s ﬁtirely d the n . be e keyboard , etc ) to . etached from orga , moved to a di stance and connected with the organ by a cable ﬁfty or

n n T s n m n o e hundred feet or as many miles lo g . hi arra ge e t may

s n in of be ee , for example , the College the City of New York nn ns is ( built by the E . M . Ski er where the co ole carried

th the n is n and to e middle of platform whe a recital to be give , DR A B T PES HARD . L ER C

E T - AT T INV N OR OF E LE CTRO PNE UM IC AC ION .

D ALB E PE B . T S CH AR D was o n i n 1 836 a s a n o R b r , qualiﬁed adv cate o en o a nd om 1 85 7 to 1 875 wa s o n s of the Of ( D cteur dr it ) , fr rga i t Church

- S t . E nn n n mm n m n in n . H e o to o tie e, Cae , Fra ce c e ced experi e t electr p eu m s in the 1 860 a nd in 1 861 omm n d hi s s o s atie year , earl y c u icate di c verie

t . m n n Pésc har d o . o Mr Barker Fr that date u til Barker left Fra ce, o m P h d bo d him n no n n o . ésc ar c lla rate with , reapi g pecu iary be eﬁt therefr , o was ono b n b the of of the h wever , h red y bei g pu licly awarded Medal Merit ’ Netherlands ; the Medal of Associati on F r an ga ise p our I Avanc emen t de S n o E on of L ons a nd the G o E x hi la cie ce ; G ld Medal , xhibiti y ; ld Medal ,

t ou Of o . H e n mb 23 1 903 . F om . bi i B rdeaux died at Cae , Dece er , ( r Dr ’ “ Hi nton s S tory of the E lectric

Pneu mati c and Elec tr o-Pneu mati c Ac ti ons 39 removed out of the way when the platform i s wanted for other s purpo es .

As all n s — s - s and the old mecha i m the backfall , roller board

a s —is now s is ss n s tr cker wept away, it po ible by placi g the bellow in the i inside o the or an - s cellar to ut lize the f g for a choir ve try,

n - n s n as was indeed done with the pio eer Hope Jo e orga at St . ’

n s B n . Joh Church , irke head

' D N O A IVI S IO F ORG N S .

B efore the invention of pneumatic and electro - pneumatic

n ns s n ns in s n actio , orga were almo t i variably co tructed a i gle a ﬁ n s. was is ss nd ns s m s It , it true, po ible to i trume t with tracker

n and sa on s actio that were divided placed, y, half either ide of a

n ns n s n and was n cha cel, but i ta ce of the ki d were rare it well igh impossible for even a muscular organi st to perform on such ns n i trume ts . The perfecting of tubular pneumatic and e specially of electro pneumatic action has lent wonderful flexibility to the organ and has allowed of instruments being introduced in buildings where

s n ss an it would otherwi e have bee impo ible to locate organ,

A s n s n of s n lmo t all leadi g builder have do e work thi ki d , but the Aeolian Company has been quickest to seize the advantage of d s n f u n s ivi ion in adapting the pipe orga or se i private residence .

n s n n n and e s Sou d reﬂector have rece tly bee i troduced , it se m likely that these will play an important part in organ c on s n in S O be n tructio the future . far they appear to employed o ly

- n by Hope Jo es and the ﬁrms with which he was associated .

has n s s n s It bee di covered that ou d wave may be collected ,

o ss or in s s c an . f cu ed directed, much the ame way that light wave

I - n s n n J . n s O . the ca e of the Hope Jo e orga at cea Grove, N , the greatest part of the instrument has been placed in a base n ns s n A The n me t co tructed out ide the origi al uditorium . sou d waves are thrown upward an d are directed into the Auditorium by mean s of parabolic reﬂectors constructed Of cement lined 40 The R ec en t R evolu ti on i n Organ B uilding

Th f n s . I n T n with wood . e ef ect i s e tirely sati factory ri ity * n O O e-J n s n T Cathedral , Clevela d , hio , H p o e arra ged for the uba t s n s n n n n Its o ta d in the ba eme t at the dista t e d of the ave . ton e is directed to a cement reflector and from that reflector is set in s n projected through a metal grid the floor, till, triki g

of n is s an d s n n the roof the ave, it pread ﬁll the e tire buildi g ’

n n J . . I n s . with to e St . Luke Church , Mo tclair, N , he adopted a somewhat similar plan in conn ection with the open 32- foot

n e pedal pipes which are laid horizontally in the baseme t . W believe that the ﬁrst time this principle was employed was in the case of the organ rebuilt by Hope - Jones in 1 892 at the resi

n n B alru dder D n n . de ce of Mr . J . Marti White, y, u dee , Scotla d

OCTAVE COUPL ERS .

I n s Of n n s of an n the day mecha ical actio , coupler y ki d proved a source of trouble and added greatly to the weight of the

The n s n n n s n touch . atural re ult was that anythi g further tha u i o

n was s coupli g eldom attempted . I n n some organs hardly any couplers at all were prese t . ’ I n s an d e n in D n s En Schulze great celebrat d orga o ca ter, g

n it was not ss an of n a s la d , po ible to couple y the ma u l to the

s and m on pedal , ( if we reme ber rightly) there were ly two

s in ns n introdu c coupler the whole i trume t . Shortly after the

n n m n an n an s n tio of p eu atic actio , orga with occa io al octave

is ss an c coupler, that a coupler which depre ed a key o tave higher

or n one n s was s s . lower tha the origi ally truck, ometime met with

I n the n n - J n s in B n pio eer orga built by Hope o e irke head , n E glan d ( about a sudden advance was made . That n n n 1 n orga co tai s no less than 9 couplers. Not o ly did he pro

s ub- an d s - s n vide octave uper octave coupler freely, but he eve added a Swell Sub - quint to Great coupler #

Octave couplers are now provided by almost . all builders.

* O n E n s S nn CO. rga built by the r e t M . ki er Pneumati c and E lec tro-Pneumati c Ac ti ons 41

T n n n s e i s no in hough co dem ed by ma y theori ts , ther doubt that practice they greatly add to the resources of the instruments to

n Of s ns which they are attached . We k ow mall orga where the electric action has been introduced for no other reason than

n use t s now that of facilitati g the of oc ave coupler , which are a mere matter of wiring and give no additional weight to the touch . Hope -Jon es appears to have led in adding extra pipes to the

n - s n wi d che t, which were acted upo by the top octave of the

s s n n s s octave coupler , thu givi g the orga i t a complete cale to n s n the full exte t of the keyboard . He made the practice commo in n an d A s n n on his n n Engla d , the u ti Compa y adopted it joi i g

i n The n has s n e ss them n this cou try . pla i c become more or le ’ n T i s s in n s commo . h s i s the device we ee peciﬁed orga builder “ ” s as n n - s and ns catalogue the exte ded wi d che t, explai why the s e h An t ps have 73 pipes to 61 notes on t e keyboard . octave coupler without such extension i s incomplete and is no more

n s s n n T n ho e t than a tep which o ly goe s dow to e or C . ON LOOKIN G at the console of a modern organ the observer will be struck by the fact that the familiar draw-stop knobs have s s s ﬁn d in di appeared, or, if they are till there, he will mo t likely n s n s n additio a row of ivory tablet , like domi oe , arra ged over the

n s e - n s n ﬁnd an upper ma ual . If the t p k ob are all go e , he will

‘ nd T s th s two rows of s s. e exte ed row, perhap the e tablet he e are

i l I n i d K e boar ds i r s-t I ntr odu ed I nto F , 8 . onso e howin the l ne g C , S g c y F c This Country by R obert H op e-Jones

44 The R ec ent R evolu ti on i n Organ B uilding

Our s n 8 s n illu tratio ( Fig . ) give a good idea of the appeara ce Of - n n The s e - s s n a modern Hope Jo es co sole . t p key will be ee arranged in an inclin ed semi - circle overhanging and just above B nn s. 9 s s ns on s st . the keyboard Fig . how a co ole the e ett y em

i 1 t F . 0. Console o r a n i n r i ni hurch B ston Mass . B uil b g f O g T ty C , o , y u t hi n r a n H c gs O g Co.

- s. 1 0 an d 1 1 s n s Fig , hybrid , the tilti g tablet form of stop key n s n bei g u ed for the couplers o ly . There I s much controversy as to whether stop -keys will eventu s ally di place the older fashioned draw knobs. A n s s e n n n n . few orga i t of mi e ce, otably Edwi H Lemare, are

‘ s n s th new n tro gly Oppo ed to e method of co trol, but the S top-Keys 45

s s n n n n s s majority, e pecially the ri i g ge eratio of orga i t , warmly

i s n n s -J n s welcome the change . It s ig iﬁca t that wherea Hope o e was s n s s or of for year the o ly advocate of the y tem , four ﬁve

in s n and n n n - s the builders thi cou try , a doze foreig orga builder , are now supplying step -keys either exclusively or for a consider n n nn n B Of s. A s n able umber their orga u ti , Ski er, Norma eard , n an d s use -J n s n s I gram other the Hope o e patter , but Ha kell

F i 1 1 Conso le o Or an i n Colle e o Ci t o N ew or k . B ui lt b g . . f g g f y f Y y M ki nne o The E . S C . . r 46 The R ec en t R evolu ti on i n Organ B uilding

B nn w an d s ns of o n . i s e ett, Hele other have patter their It a matter of regret that some one p attern has not been agreed on by * all the builders concerned .

CO TRO OF TH E S TOPS N L .

I n s s - s d n and as Older day all top key were move by ha d, a n atural consequence few change s i n registration could be made

n erf rmanc duri g p p e . Pedals for throwing out variou s combinations of steps were introduced into organs about 1 809 it i s gen erally believed that B s n n n J . C . i hop was the inve tor of thi s co triva ce . Willi s introduced into hi s organs pneumatic thumb - pistons

1 1 T s s n s th k about the year 85 . he e pi to were p laced below e ey s f board who e stop s they af ected .

T e f n n n s - s . . s O C L wi , E gla d , later i troduced hort key touche n f D arra ged above the rear end o the keys of the manual . e pression of the se key -touches brought different combin ations Of s tops into u se on the keyboard above which they were placed . Somewhat similar key- touches were used by the Hope - Jones

O A s n n an b n O . rga Co . d y the u ti rga Co Metal buttons or piston s located on the toe piece of the pedal n board were i troduced by the ingenious Casavan t of Can ada . They are n ow ﬁtted by various bui lders and appear likely to be

n T s toe- s ns r an n and ge erally adopted . he e pi to fo m additio al

s n n n ns for n n ste s nt and mo t co ve ie t mea bri gi g, the p i o out of n actio . At ﬁrst these various contrivan ces operated only such com bin ations as n n now were arra ged by the builder beforeha d, but it is the custom to provide means by which the organi st c an so alter and arrange matters that any combination piston or com

‘ O n s s ﬁ nd s n m s o m row of s o -k s rg a i t , after u i g the a h rt ti e, that a t p ey n n s s t over the manual s i s w o derfull y ea sy to c o trol . It i p os ible o slide the n on and on e s e n on or s Off the o ﬁ ger al g , with we p either bri g hut wh le o an rg . S top-Keys 47 bination kev shall bring out an d take i n any selecti on of stops

Hilborn s of N ew w s . e as that he may de ire Roo evelt, York, the

s n s s a o ﬁr t to i troduce the e adju t ble c mbi nation movements. The i ntroduction of the above means of rapidly shifting the ste s in an n has n n- n an d has p orga revolutio ized orga playi g, rendered possible the performance of the orche stral transc rip n tio s that we now so Often hear at organ recital s.

I n n m in s n n order to eco o ize co t of ma ufacture, certai of the

n- s in A an d in n orga builder , chieﬂy merica Germa y, have adopted

n s e of n n n s is the per iciou practic maki g the combi atio pedal , p tons Or keys bri ng the various ranks of pipes into or ou t of

n s e - n s action without movi g the t p k ob . This unfortun ate plan either requires the organist to remem ber which combination of steps he last brought into operation on or s n ss s n n s each keyboard , el e ece itate the i troductio of ome n i dicator displaying a record of the pi ston s that he last touched . I n the organ in the Memorial Church of the l st E mperor

in B n n s s of William erli , the builder i troduced a erie electric

T s c an s n in u se i n s lights for this purpo se. hi device be ee thi n cou try . When this plan i s adopted the player i s compelled to preserve a mental image of the combinations set on every piston or pedal in the organ an d identify them instantly by the numbers shown — on the in dicator an impossibility in the case of adjustable

n n n n — ein an s combi atio s ofte cha ged impracticabl y ca e . Almost all the greatest organists agree in condemn ing the s s non- n s - n s and we s an d y tem of movi g top k ob , tru t believe that n n n it will soon be ﬁ ally aba do ed . AP CH TER VI .

A AT N A P A A R DI IN G AN D Co C vn ED L B O RDS .

PEDAL B OARDS had always been made ﬂat with straight keys n n s Dr s s a d n . . . s u til Willi the great orga i t, S S We ley , devi ed the radiating an d concave board whereby all the pedal keys were ’ n s n s T s was brought withi equal di ta ce of the player feet . hi ’ n in n in e s in 1 85 5 i troduced the orga St . G orge Hall , Liverpool , , and Willi s has refu sed to supply any other type of board with hi s ns s n . s n n a s s orga ever i ce Curiou ly e ough , the adva t ge of thi board were not appreciated by many players who preferred the old type of board and at a conferen ce called by the Royal College Of Organ i sts in 1 890 it was decided to Ofﬁcially recommend a w n Th as s. e board which co cave, but had parallel key fol

has x eri lowing letter to the author shows that th e R . C . 0. e p enc ed a change of heart in thi s matter :

L LLE E F R A TH E R OYA CO G O O G NI S T S .

L h Ma 1 909 . W . 27t S . ONDON , , y , Dear S i r : I n a nswer to your i nquiry the R esoluti ons a nd R e c omn mendations to which y ou refer were withdrawn by my Coun cil some mm n n i m n w s o o s m b o . i years a go. N o Ofﬁcial rec e dati ade y the It stated i n ou r Calen dar that the Coun cil wi sh it understood that the arrangement s an d measuremen ts of the C ollege orga n a re n ot i nten ded m to be e a s o or n s s ons . a acc pted auth ritative ﬁ al ugge ti I , o s Y ur faithfull y , H AS S HI E T OM NDL R , r R eg is t a r .

The radiating an d concave board has been adopted by the American Guild of Organ i sts an d has long been considered the stan dard for the best organs built in the Un ited States an d ' n s s - n s i s ns to Ca ada . It i elf evide t that thi board more expe ive

ns n T i s not ﬁ nd in co truct tha the other . hat why we do it low n priced orga s . 49 R adiating and Conc ave Pedal B oar ds

n s ss I n mo st American organs built twe ty year ago , the compa s and n es Of the pedal boar d was only two octave two ot , from

s two s n was ex CCC to D . Sometime octave o ly , Later it

n 30 n s i s ss n n in te ded to F , ote , which the compa ge erally fou d ’ n n - J n s the s s Engla d . Followi g Hope o e lead, all be t builder

s 32 n s s n n have n ow exten ded their board to g, ote , thi ra ge bei g ’ f called for by some of B ach s organ music and certain pieces O the French school where a melody i s played by the right foot

The s n i s is and the bass by the left . chief rea o that g the top n of s n ss an d i s for in s transc ri ote the tri g ba , called orche tral p

ns n s ns s n tio . He ry Willi So have al o exte ded the pedal ’ s n in compass to g in rebuilding the St . George Hall orga 1 898 .

PEDAL S TOP CON TROL .

F or a lo ng time no mean s whatever of controlling the Pedal s s an d s was i n s of be top coupler provided , but cour e time it c ame the fashion to cau se the combin ation pedals or pistons on the Great organ ( and sub sequently on the other departments al so ) to move the Pedal stop s an d couplers so as to provide a bass suited to the parti c ular combin ation of steps in u se on the

n T s was n n an d n ma ual . hi a crude arra geme t Ofte proved more

n n n of th n e . n of a hi dra ce tha a help to player U fortu ately,

n ss s s n s n s n u progre ive builder are till adheri g to thi i arti tic pla . I t frequently lead s to a player upsetti ng hi s Pedal combin ation

h s so s ss u s when he as n o de ire to do . It become impo ibl e to e the combination pedals without disturbing the stop s and coup P n lers Of the edal departme t .

n n s T B s in n s Th s W . s Of e . great E gli h orga i t, e t, peaki g thi , ’ “ ” ns nc - n n n Rinc k s n i ta ed a well k ow orga piece, Flute Co certo , which called for quick change s from the Swell to the Great or

an and vi c e versa an d s n n o ns n in g , aid that he k ew of i trume t s n on o An exi te ce which it c uld be properly played . attempt had been made on the Continent to overcome thi s difﬁculty by 5 0 The R ec en t R evolu tion i n Organ B uildi ng

u se two - s an n the of pedal board , placed at a gle to each other , but it did not meet with succe ss. The HOpe- Jones plan ( patented 1 889 ) of providing the com bination pedal s or pi stons with a double touch was a distinct step in advance for it en abled the organi st by means of a light touch to move only the manual regi sters and by means of a very much heavi er touch on the combination pedal or piston to operate

s hi P n s s n now al o s edal stops a d coupler . Mo t large orga s built are furnished with a pedal for reversing the position of the P T n n s n Great to edal coupler . hough to a certai exte t u eful whe n n d s i o ans o i s s s . better me of co tr l provide , thi but a make hift

T s ss n D n W s n an s homa Ca o , of e bigh , ale , i troduced arti tic,

s s n n . though omewhat cumber ome, arra geme t He duplicated the draw- kn obs controlling the Pedal steps and c ouplers and

one set s n s s n set located of the e with the Great orga top , a other

n s s an with the Swell orga top d a third with the Choir . He “ placed in the key slip below each manual what he called a Pedal

. n n on n Help Whe playi g the Great orga , he would , by touch “ ” in P s n n Of P g the edal Help , witch i to actio the group edal ste s and n s in n s p coupler k ob located the Great departme t, witch in n g out Of action all the other group s Of Pedal stop s a d couplers. “ ” n n P n n s Upo touchi g the , edal Help u der the Swell orga key , the Great organ group of Pedal stop s and couplers would be ren dered in operative an d the Swell group would be brought into

on B n was as in n s acti . y thi s mea s it e y to prepare adva ce group of Pedal stops and coupler s su ited to the combination of steps s n n n n an d n P ou di g upo each ma ual by touchi g a edal Help , to call the right group of Ped al stop s into action at any moment . The combination pedals affecting the Great ste p - k nob s moved

- The al so the Pedal step kn ob s belonging to the proper group .

Swell an d Choir group s were similarly treate d . B ut the simplest and best means of helping the organist to “ ” control his Pedal departmen t i s the automatic Suitable B ass

- arrangement patented by Hope Jon es in 1 891 an d sub sequently .

5 2 The R ec ent R evolu tion i n Organ B uildi ng

s ns s i ss s an d an s e toe pi to all u table ba tablet are released, y el c ti on of Pedal stops an d couplers that the organi st may have h e arran ged on the toe piston Operated is brought into use . T - n s n Hope J o e plan seems to leave little room for improveme t . “ It has been Spoken of as the greatest assistance to the organ ist sin ce the in vention of combin ation

n in n n ss and rt s Compto , of Nott gham, E gla d? ( a progre ive a i tic builder) already ﬁ ts a suitable bass attachmen t to hi s organ s and it would seem lik ely that before long this system mu st be n s t come u iver ally adop ed .

* o E n n An s Asso of the R y o g of O gan s s , g , Mark drew , ciate al C lle e r i t— la d Pres ide n t of the National As sociati on of Org an i sts and S u b W ar den of th Am n e erican Guild Of Orga i sts . Mr - h A s n . R . E o o n z a nd s n of t e T P . lli tt , rga i er late Vice Pre ide t u ti

Co . s i on hi s s u n om E n n o m on was th e , a d la t ret r fr g la d that C pt at that o - H e d i ng the most artis tic w ork of a ny org an bu ilder i n that coun try . is o ki n to ea x n on the in s o n b o -Jon s an d w r g a g r t e te t l e laid d w y H pe e , has the beneﬁt of the advice an d a ss is tan ce Of that well -kn own patron of

the . n n o n i ed J . n W Hi s s has . ss art , Mr Marti hite bu i e latel y bee re rg a z

n m n . Wh is the Of Jo n om on Ltd . in o u der title h C pt , , which c pa y Mr ite s o a larg e hareh lder . APT CH ER VII .

EA TA N M N S OF OB ININ G E X PRESS I O .

A CRE S CE N DO PED L .

To M OS T n in s n to n in n an d orga s thi cou try, ma y Germa y, to a

in n s i s n s e few other cou trie , there attached a bala ced ho pedal by movemen t of which the variou s stops an d couplers in the

n n n B s ns orga are brought i to action i n due seque ce . y thi mea an organi st i s enabled to build up the ton e of his organ from ' the softest to the lou dest without havi ng to touch a single stop

n o n T n as n s n . he s k ob, coupler or c mbi atio pi to cre ce do pedal , it is i s s in n n . i s s n called , little u ed E gla d It the fa hio there to regard it merely as a device to help an incompetent organist .

i s n n s n i s s n s as It co te ded that a cre ce do pedal mo t i arti tic , it is n n on n s s in certai to be throwi g or taki g off top the middle , ns I n i tead of at the beginning or end of a mu sical phrase . spite

s n d n the s e in s of thi ack owle ged defect, ma y of be t play rs thi

n as n cou try regard it a legitimate a d helpful device . We believe the ﬁrst balanced crescen do pedal in thi s country was in the s P s n n put Fir t re byteria Church orga at Syracuse , Y N . . ns n , by Steere, the builder of the i trume t . — SFOR#AN DO PEDAL DOUB LE TOU CH .

n the n S n n s U der ame of forza do Coupler, the mecha i m of ’ i s s and s in n s D t n which de cribed illu trated Stai er ic io ary, a de vice was formerly found in some organ s by which the keys Of

s n s The the Swell were cau ed to act upo the key of the Great .

u n on an d off d s n f s co pler bei g brought by a pe al , forza do ef ect

s in s s n could be produced , or the ﬁr t beat each mea ure tro gly accented in the style of the orchestration of the great masters. 54 The R ec ent R evolu tion in Organ B uilding

’ -J n s in hi n hn B n s n . o s Hope o e pio eer orga at St J Church , irke

n n T on head, E gla d, provided a pedal which brought the uba the

n Th wa n n n Great orga . e pedal s throw back by a spri g on bei g

a ss ﬁ ne rele sed from the pre ure of the foot . Some effects could

s Of s was af be produced by thi , but cour e the whole keyboard fec te an s d d only chords could be played . Variou complicated devices to bring out a melody have been in vented from time to

o s s n s s time by vari u builder , but all have bee uper eded by the “ ” n n D n i ve tion of the ouble Touch . O a keyboard provided with

s ss n s s s s s thi device, extra pre ure of the ﬁ ger cau e the key truck to an n n S n n fall additio al eighth i ch ( through a pri g givi g way) , n n wn n n n n bri gi g the stops dra o a other ma ual i to play . If play in on n s s s n as n g the Swell orga , the Choir top will ou d well whe the keys are struck with extra ﬁrmn ess ; if playi ng on the Choir the Swell stop s soun d ; an d if playing on the Great the Double

T n i s s os ouch usually bri gs on the Tuba or Trumpet . It thu p

‘ sible to play a hymn tune in four parts on the Swell and bring out the melody on the Choir Clarinet ; to play on the Choir and bring out the melody on the Swell Vox Human a or Cornopean or to play a fugue with the full power Of the Great organ ( ex cept the Trumpet) and brin g out the subject of the fugue every i n s in s n the o n t me it e ter , whether the opra o voice , alt , te or, or s ba s. I n the latest Hope - Jones organs arrangemen ts are made for

w n n of n ste s on s n n dra i g ma y the i dividual p the eco d touch , i de n n s pe de tly of the coupler .

B ALAN CED S W E LL PE DAL

At the commen c emen t Of the period of which we are treating ( some ﬁfty year s ago) the Swell shutters of almost all organs s of own ns Of were made to fall hut their weight , or by mea a s n The n s hi s - s pri g . orga i t might leave Swell box hut or, by

ns on n . mea of a catch the pedal , hitch it full ope n n e the s s in an intermediate Whe , however, he wa t d hutter y Means of Obtaining E xpr essi on 5 5

s n his on in po itio , he had to keep foot the pedal order to pre

n i s n ve t ts clo i g .

The n n of n Walc k er 1 863 i troductio the bala ced Swell pedal ( , ) n i s has greatly increased the ton al resources of the orga . It

s s n s in s n s n n u ed almo t u iver ally thi cou try, but tra gely e ough

n i n - was n n n n the cou try which the Swell box I ve ted ( E gla d ,

1 71 2 n and n - s ) lags behi d , eve to day largely adhere to the old n forms of Spri g pedal . A further and great step in advance appears in recent organs

- n The s n built by the Hope Jones Organ Compa y . po itio of the ’ swell shutters is brought un der the control of the organi sts

n n s is ro ﬁ gers as well as hi s feet . Each bala ced well pedal p vided with an indicator key ﬁxed on the un der side of the ledge

s s i s s ns s of the mu ic de k, where it mo t co picuou to the eye of ’ As s i s n n s s the performer . the well pedal Ope ed by the orga i t

n s in n n foot, the i dicator key travel a dow ward directio to the

As n s s s extent Of perhaps one inch an d a quarter . the orga i t clo e his n n s n its n pedal , the i dicator key agai move upward i to ormal

s i n B ns s s n n s po it o . y mea of thi vi ible i dicator key the orga i t T i s always aware of the position of the swell shutters. hrough electric mechanism the in dicator key is so connected with the swell pedal that the slightest urging of the key either up ward or downward by the ﬁ nger - will shift the swell pedal and cause it to clo se or open as may be desired an d to the desired

n n an n ss ss s s s and exte t . Whe orga po e e four or ﬁve well boxe , ’ when these swell boxes ( as in the ca se of Hope -Jones organs) n n n nt s modify the to e by ma y hu dred per ce , it become highly important that the organist shall at all times have complete and instant control of the swell shutters and shall be consciou s of their position without having to look below the keyboards . Hope

s n s To s Jones al so provides what he call a ge eral well pedal . thi general swell pedal ( an d its correspon ding in dicator key) any or all of the other Swell pedals may be coupled at will . Hope - Jones has also recently invented a means of controlling ‘ 5 6 The R ec ent R evolu ti on i n Organ B uilding the swell shutters from the man ual keys to a sufficient exten t n s n f to produce certai forza do e fects . When this contrivan ce i s brought into u se upon any manual and n n o s n n n s whe key upo that ma ual are bei g played , the well shutters assu me a position slightly m ore open than n ormal in

n s n D an relatio to the po itio of the swell pedal . irectly y key

n n in s on i s ss s s s upo the ma ual que ti depre ed , the well hutter

s again re ume their normal po sition in relation to the swell pedal . Thi s results in a certain empha sis or attack at the commence ment of each phrase or note that i s akin to the effect Obtained

n of ns m n s from ma y the i tru e ts of the orche tra . These contrivances are applicable only to such organs as have

n s the bala ced well pedal .

X S W E LL B O ES .

The in vention of the Swell i s generally attributed to Abraham ’ n n n s n s Jorda . He exhibited what was k ow a the ag head Swell ’ i n n n s n n n in 1 731 . St . Mag u Church , Lo do , E gla d , the year “ ” The n s w its s n s ag head Swell , ith great lidi g hutter , rapidly ” to n n s s s s n gave place the Ve etia Swell hade , u ed almo t u iver s to At nn n of n c on ally thi s day . the begi i g the period u der sideration Swell boxe s were almost invariably made of thin boards and their effect upon the strength of the tone was small . Willis was one of the ﬁrst to realize the artistic p ossibilities of the Swell organ an d in almo st all hi s organs we ﬁ n d thick

n s an d s s an d n an nn woode boxe carefully ﬁtted hutter , Ofte i er s box n nin s s as H u well co tai g the delicate reed , uch the Vox

n an ma a d Oboe . Many Of the leading organ builders now employ thi s thicker

ns n an d it i s n o n o n n to ﬁ n d s co tructio , u c mmo thi g Swell boxe “ measuring three inches i n thi c kn ess an d deadened with saw du st Or shavings between the layers of wood of which they are m for ed . A few organ s of Hutchin gs an d other makers are provided Means of Obtai ning E xpr essi on 5 7

set s s so n s s n with a double of hutter , . that sou d wave e capi g

o s s n Th thr ugh the ﬁrst set are largely arre ted b y the eco d . e c resc endo an d diminu endo are thus somewhat improved . By the adoption of scientiﬁc principles Hope - Jones has mul n s ou t tiplied the efficiency of Swell boxes tenfold . He poi t that w h s in ns n i s one of s ood , itherto u ed their co tructio , the be t n n n s of s n and s n ot k ow co ductor ou d hould , therefore , be em h ff hi s s n an d n . T e s ployed e ect produced by brick, to e ceme t b s W s n n Mc Ewan n oxe ( orce ter Cathedral , E gla d ; Hall , Edi

n O n s . n burgh , Scotla d , cea Grove, New Jer ey, etc ) mark the daw

- i s now of a n ew era in Swell box construction and effect . It po ssible to produce by m eans of scientiﬁc Swell boxes an in crease or diminution of ton e amounting to many hun dred per n ce t .

We T O n on 5 0- n have heard the great uba at cea Grove , i ch w n ss so in s n an f i d pre ure , reduced tre gth that it formed e fective

c om n n ac pa iment to the tones of a si gle voice. The Hope - Jon es method seems to be to construct the box and its s s in n n hutter ( form ) of brick, ceme t or other i ert and n on- porous an d to sub stitute for the felt u sually “ ” s n employed at the 8 hi s patented ou d trap . Thi s latter i s SO interesting Of such import in the history of organ

n n on n s ns an d buildi g that we a pe d , the ext page, illu tratio

s f de cription s o the devi c e . I f a man should stand at one en d of the closed passage ( C ) he will be able to c ent erse with a friend at the other end Of the

ss D The s i i n as s n pa age ( ) . pas age w ll fact act a large peaki g tube and a con versation c an be carried on between the two indi vidu als n n s s e , eve i whi per ( Figur Thi s passage i s analpgou s to the Opening or n ick between

Swell shutters of the ordinary type .

a man s o d s n in 1 A to see If h ul ta d room at , he will be able

n s n n in 4 B n s l not a frie d ta di g room at , but the two frie d wi l

s W A s s n w v a to n . n s a e he be ble co ver e he peak , the ou d g that 5 8 The R ec en t R evolu tion i n Organ B uilding

s s ou and 1 A produce will pread t will ﬁll room . very small per centage Of them will strike the doorway or opening into room 2 I n . their turn these soun d waves will be diffused all through

F i 1 2. h r n r a g . T e P inc ip le of the S ou d T p

2 an d n sm n of ﬁ nd c ss room , agai but a all perce tage them will a ce n 3 Th n i to room . e sou d waves will by this time be so much atten uated that the voice of the man standing in room 1 will An n s . n be lo t y little to e, however, that may remai will become

F i 1 ou nd a oi nt 3 . S T J g . r p

ss in 3 an d not ss n di ipated room , it will be po ible for a perso s n n in 4 ta di g room to hear the voice . T s n s s n n hi pla illu trate the pri ciple of the sou d trap joint .

60 The R ec ent R evolu tion i n Organ B uilding

The shutters shown in Figures 1 4 an d 1 5 are aluminum cast n s i g . I 2 Ribs R and R are provided to support the ﬂat sides against

ss s of s s i s so the pre ure of the atmo phere, but each the e rib ar ranged that it supports only one ﬂat side and does not form a

ns of n n n on s an mea commu icatio betwee e ﬂat ide d the other . 1 2 T s s s on s s s s hu R upport e ﬂat ide whil t R upport the other .

The n s s s n s of o P alumi um hutter are upported by mea piv t .

S ection on Li ne A- B

- a u u m S hutter i 1 4 1 5 . The V F g s . c

They are very light and c an therefore be Open ed an d clo sed with great rapidity . A very thin vacuum shutter form s a better interrupte r of soun d waves than a brick wall two or three feet in thickness. When partially exhausted the aluminum shutters are dipped

T s s s an s into a bath of shellac . hi effectually clo e y micro copic

- blow hole that may exi st in the metal . Means of Obtaining Expr essi on 61

The u se of Swell boxes of thi s vastly increased efficien cy per mits the employmen t of larger scales and heavier pressures for

s n s s an d n s in the pipe tha could otherwi e be u ed , e ormou ly h f n creases t e tonal ﬂexibility o the orga .

s s the n s s s in an n It al o doe away with eed for oft top orga ,

s s n ns n s s thu ecuri g co iderable eco omy . Where all the top are inclosed in cemen t chambers ( as in the ca se of recent Hope n s ns an d s n - s s em lo ed Jo e orga ) where the ou d trap hutter are p v , e er i n s s v y stop s pote tially a oft top . CHAPTER VIII .

L I PP A REV O U T ON IN WIN D SU LY .

PRI OR to the construction of the above -named organ at B irken

n nd n s n head, E gla , it had bee the cu tom to obtai or regulate the pressure of win d supplied to the pipes by means of loading the

s n to its n no s s . O bellow with weight wi g i ertia , heavy bellow c n W n an set n . weight be i to motio rapidly he , therefore, a st was s on one s i ns accato chord truck of the e earl er orga , with

its s s n no s ns was n all top draw , little or re po e obtai ed from the

s s the n - s was ns n h s e an d no pipe , becau e wi d che t i ta tly ex au t d time was allowed for the inert bellows weights to fall an d so — force a fresh supply of air into the win d chests.

W’ RS TS B E LLO S S PRIN G S VE U S W EIG H .

’ I n one of Hope - Jones earliest patents the weights indeed re

n s ss s n s in n mai but they merely erve to compre pri g , which tur

n s act upo the top of the bellow .

B i s n was n n efore th pate t gra ted he had, however, give up the u se of weights altogether and relied enti rely upon springs. — — This one detail the sub stitution of springs for weights has

- n n o had a far reaching effect upon orga music . It re dered p s sible the entire removal of the old unsteadiness of win d from which all organ s of the time suffered in greater or less degree . It quicken ed the attack of the action and the speech of the pipes to an amazing extent and opened a n ew an d wider ﬁeld to the in ns n s K g of I trume t . I n 1 894 n T n A s in now of the year Joh ur ell u t , Hartford , “

nn . n an n n n n as U ni Co , took out a pate t for arra geme t k ow the ” s - I n s s . n s s as ver al air che t thi , the pri g oppo ed to the weight i h n s - s s n s adopted . T e U iver al air che t form a perfect solutio A R evolu ti on in Wi nd S upply 60

of o l m s n and s n - ss the pr b e of upplyi g prompt teady wi d pre ure , but as practically the same effect is obtained by the u se of a

S n s not one n of its s i s little pri g re ervoir hu dredth part ize , it

s n t s n sa air - s a y n as que tio able whether hi U iver l che t, c rr i g , it

o s n s n s s . d e , certai di adva tage , will urvive

D A PA ETS IN DIVI U L LL .

Fifty years ago the pallet and slider soun d - board was well n n s s s of s in n igh u iver ally u ed , but everal the builder Germa y,

' an d R s in s n y s n and n oo evelt thi cou tr , tro gly advocated , i tro du c ed s s n an n n n n , che t havi g i depe de t valve, pallet or membra e , * n ss n i n n to co trol the admi ion of wi d to each pipe the orga . I n almo st all of these instances small roun d valves were u sed

s for thi s purpo e .

A and s s i s ﬁ e and s good pallet lider che t dif cult to mak , tho e constructed by in different workmen out of in different lumber “ s nn n — i s n will cau e trouble through ru i g that , leakage of wi d

n n I n s s s n from o e pipe to a other . poor che t of this de criptio the s s s n s i s s lide are apt to tick whe the atmo phere exce sively damp , and to become too loose on days when little or no humidity i s n prese t . Individu al pallet chests are cheaper to make and they have

n n s n m . s s s s o e of the defect a ed above Mo t of the e che t , how

s s of own an d not one s ever, are ubject to trouble their , of tho e in which roun d valves are employed permits the pipes to speak to d n a va tage .

W s - n n n J s . a d s s illi , Hope o e , Carlto C Michell other arti t , after

* n wa n a O e object of thi s s to preve t what w s called robbi ng . While the pressure of the wi nd mi ght be ample an d steady enoug h with onl y few s o s n was o n n the s o s d n the a t p draw , it f u d that whe all t p were raw “ ” s o b sm n b o s o f du e s of n large pipe r b ed their aller eigh r their upply wi d , s n m to o n ﬂ at B n r cau i g the s u d . y g ivi g each pipe a pallet o valve to s the s of n i n th oo s wa s n Ano h e e . it elf , wa te wi d large gr ve preve t d t er o wa s to et of the on oo n s s i n dr bject g rid l g w de lide , which y weather to s n a nd s a nd i n m to s a nd were apt hri k cau e leaka ge, da p weather well s tick . 64 The R ec ent R evolu ti on i n Organ B uildi ng

n t s s n n n n s n le g hy te t , i depe de tly arrived at the co clu io that the best ton al results cann ot by any possibility be obtained from

s n s and and s the e cheap forms of chest . Lo g pallet a large teady l ’I< body of air below each pipe are deemed essenti a .

H EAVY WIN D PRE SS URE S .

As s s d s of n s previou ly tate , the va t majority orga built ﬁfty in s u s n o n ss 3 n s . year ago ed higher wi d pre ure than i che Hill ,

1 833 T s on 1 1 n s in an n , placed a uba top voiced about i che orga he for B n T n n n on built irmi gham ow Hall ( E gla d) , but the t e was so coar se and blatant that such stop s were for years em

‘ ployed only in the case of very large buildingsj Cavaille- Coll sub sequently utilized slightly in creased pressures for the trebles of hi s As n s ﬂue tops as well as for his larger reeds. a pio eer he l n in n did excel e t work thi s directio .

To s s n in Willi , however , mu t be attributed greater adva ce the

n f ss f s utilizatio o heavy pre ures or reed work . He was the ﬁr t to recognize that the advantage of heavy win d pre ssure for the

s not i n n s of s in reed lay merely the i crea e power , but al o the

n of n s n n w improveme t of the quality to e . Willi fou ded a e school of reed voicing an d exerted an influen ce that will never di e.

I n organ s of any pretensions it b ecame his custom to employ

* A striki ng i nstance of the diffe rence b etween the two ki n d s of pallet ’ c a n b e s n i n All An s N ew o . The o n wa s ee gel Church , Y rk rg a built

- o n b R oo se two m n s a nd his en n es . rig i all y y velt , with a ual pat t wi d ch t I n 1 896 th e ch u rch wa s enlarged a nd Jardi ne remove d the org a n to a chamber some thirty feet ab ove th e fl oor a n d ﬁtted hi s el ectric acti on n - At th e s m m h e e e e a n en to the R oosev elt W i d chest . a e ti e r ct d tirel y n ew o o n i n the s o his e on e to on Ch ir rga , clere t ry , with lectric acti ﬁtt d l g n m n s . The su e o of a d o ess o f s ee s pallet p ri rity attack pr pt p ch , e pecially of the o n o es of the o o th e e a nd S e o ns i s l wer t , Ch ir ver Gr at w ll rg a ’ me s m o s The s m n c a n be s en S t . J N ew o arvel u . a e thi g e at a Church , Y rk , where th e R oosevelt orga n wa s rebuilt with additi ons by the H ope- Jon es

O n C o in 1 908 . rga . - * n n em a nd m e n lS orne cong reg ati on s could ot sta d th had th e tak ou t. A R evoluti on i n Wi nd S upply 05

pressures of 8 to 1 0 inches for the Great and S well choru s reed s and the S 010 Tub as in his larger organs were voic ed on 20 or 25 / n i ches. Q ” He i ntroduced the c losed esc hallot ( the tube ag inst whic h a ' on s in and revelution in the t gue beat a reed pipe ) created a / n h s u . as n s b reed voici g He had ma y imitator , but the per

s his s in n s and n l ample of kill , left E gli h Cathedral tow ha l

o ns ﬁ s ss. rga , will be dif cult to urpa Prior to the advent of He pe -Jone s ( about the year 1 887) no

ss n 25 n s n higher pre ure tha i che had , we believe , bee employed

in an n and s o of ns n s y orga , the va t maj rity i trume t were voiced

on ss s n n s ss pre ure not exceedi g 3 i che . Heavy pre ure ﬂue

o n was n n n and i n s n W s s v ici g practically u k ow , reed eve illi u ed

d ss s s for T in s of reallv very mo erate pre ure , ave a uba the ca e

n s large buildi g .

- n s sh n s n the of Hope Jo e owed that by i crea i g weight metal ,

n s in n n bellyi g all ﬂue pipe the ce tre , leatheri g their lips, cloth

in ﬂues and s n h lan u ids n g their , rever i g t eir g , he could obtai from heavy pressures practically unlimited power and at the same time actually add to the sweetness of tone produced by

wn s . s n s y the old , lightly blo pipe He u ed arrow mouth , did awa “ n of the and the n with regulatio at the foot pipe , utilized p eu ” i matic blow obtained from h s electric action . “ i He also inaugurated an entirely new departure in the scienc e ” z k of voic in reed g . He employ s pre ssures as high as ﬁfty inches and never uses

ss n six His in s n has s le tha . work thi directio exerci ed a pro

n n n on n n u an d fou d i ﬂue ce orga buildi g thro ghout the world , leading builders in all countries are adopting his pressures or ar n e experimenti g in that direction .

s n n s u se s Like mo t revolutio ary improveme t , the of heavy pre su s was at s s s n s s and ac ou s re ﬁr t vigorou ly oppo ed , but orga i t

n O n o s o of S . 1 67. Dicti ary rga t p , p 66 The R ec en t R evolu ti on i n Organ B uilding ti c ians are nos ﬁlled with won der that the old low - pressure idea s h s so n in hould have eld way lo g, view of the fact that very heavy wind 1 s employed for the production of the best ton e from ' ' the huma nuvoic e and from the various win d instruments of the r s o che tra. ‘ e was in n of Karl Gottlieb Weigl , of Stuttgart, a little adva ce m n r ln s n s m u sm ss s a s of co frere g moderately heavy pre ure , but

the an d n he departed from leather lip arrow mouth used by.

-J n s an has n n n Hope o e d obtai ed power without reﬁ eme t .

I n n s ss s of n n se employi g the e heavy pre ure wi d, i crea d purity an P d beauty of tone should alone be aimed at . ower will take care of itself .

A W MECH NI CAL B LO ERS .

“ ” The organ beater of bygone days was invariably aecom i ‘ ‘ ’ ’ an ed n e n s . T p by the orga pump r, ofte by everal of them here is a well - known story of how the man refused to blow any longer “ ” n s n s n - u le s the orga ist aid that we had do e very well to day . ’ The n s n i s now s n n s orga pumper vocatio almo t e tirely go e, e pe c iall in s n l n ns in n n y thi cou try, a though we k ow of orga E gla d “ m s n which require four en to blow the ame u to this day . ’ in n s n . eo Whe Willi built the great orga St G rge s Hall, Liver

in 1 85 5 ns an - s n ne pool, , he i talled eight hor epower steam e gi to

n s l T i s six- s s en n in provide the wi d upp y . here a hor e team gi e u se in Chester Cathedral ( installed Gas and petrol ( ga soline) engines have been used extensively in n n n s c on E gla d, providi g a cheaper, but, with feeders, a les trolla l B n s b e e . e , prim mover y far the commo e t sourc of power n as was n and has bee the water motor, it eco omical readily gov e n and as ss was n the r ed, water pre ure ge erally available, but

e ne - n i s d cli of the old time bellows, with the fact that ma y cit e to - day refuse to permit motors to be operated from the water n n e now mai s, have give the ﬁeld practically to the lectric motor, n generally u sed in connection with some form of rotary fa s.

APT I X CH ER .

TRA S F ERE CE or r or s N N S .

Ai’ ‘ TH E commencement of the period of which we are treating the stop s belonging to the Swell organ could be drawn on that

n s s s on and P keyboard o ly imilarly the top the Great, Choir edal

ns n n on s s orga could be draw o ly their re pective keyboard . It i s now becoming more an d more common to arrange for the

n s n of s o s one to no tra fere ce t p from keyboard a ther . If thi s plan be resorted to as an effort to make an insufficient n of s s s for n is n end umber top ufﬁce a large buildi g, it bou d to in s n n an nn too s n n n On di appoi tme t d ca ot be tro gly co dem ed .

nd an n - s s n of the other ha , if orga builder ﬁr t provide a umber stop s that furni sh sufﬁcient variety of tonal qu ality and volume

' that i s ample for the building in which the instrument is sit u ated an d n n s for ns n of n of , the arra ge the tra fere ce a umber

s s n s n own w n the top to other ma ual tha their , he ill be addi g to the ton al resources of the instrument i n a way that i s worthy of n n n ns now ns c omme datio . Ma y orga co tructed have their tonal effects more than doubled through adoption of this n pri ciple . It i s difﬁcult to say who ﬁrst conceived the idea of transference of s s n n s n s o n i n s n c en top , but authe tic i ta ce ccurri g the ixtee th

n D n s i s n tury c an be poi ted out . uri g the la t f fty year ma y

s n in s on s n builder have do e work thi directi , but without que tio the leadership in the movement mu st be attribu ted to Hope

n s W s s s the s n he has Jo e . hile other may have ugge ted ame thi g,

s s ou t in n ns n s and worked the y tem practically a hu dred i ta ce , has forced upon the attention of the organ world the arti stic n n adva tages of the pla . Hi s scheme of treating the organ as a single unit and render Tr ansferenc e of S tops ( 39 ing it possible to draw any of the stops on any of the keyboard s

an s na was n s of at y ( rea o ble ) pitch , u folded before the member the Royal College of Organi sts in London at a lecture he do 1 on 5 1 89 . livered May ,

n n s s s m in d s of uni Whe adopti g thi y te part , he woul peak ” t n s or s and s s i n yi g thi , that the other top , thi omewhat apt phra se has n ow been adopted by other builders and threatens to b n ecome ge eral .

ina s of ss n ss an d s Extraord ry claim expre ive e , ﬂexibility arti tic “ balance are made by tho se who preside at unit ( Hope -Jones) ” ns s s of ns n i s n and has orga , but thi tyle i trume t revolutio ary n w nd who n ot n n n s. c an o ma y oppo e t Few , however , be fou do advocate utilization of the principle to a greater or less degre e in an Fo ns n who has not on s . r i every org ta ce , l ged at time that the Swell Bourdon could be played by the pedals ? Or that the Choir Clarinet were al so in the Swell ?

n of n n n d y s s n of ste Compto , Notti gham , E gla , emplo thi pla p

ns n and n s n or n n of s s in or exte io tra fere ce , u ifyi g top , all the

n s u d ga he b il s. As additional method s facilitating in some cases the transfer “ ” “ of stops mu st be n amed the double touch and the pizzicato ” Th o h . e n touch f rmer, t ough practically i troduced by Hope

o f m J ne s and . ou n d i n o st of his organs built during the la st

n s was we n n n n and ﬁftee year , , believe, i ve ted by a Fre chma

to ns - applied reed orga . The pizzicato touch is a Hope Jones n n n u l n nearlv n s i ve tio which , tho gh public y i troduced twe ty year s n not n n s n re i ce , did meet with the recog itio it de erved u til c entl Th y. e earliest example of thi s touch in the United State s is n in n ns n P B s B fou d the orga at Ha o lace apti t Church , rook lvn Y 1 909 , N . . , . I n the Frenc h Mu stel reed organ the ﬁrst touch is operated

ss n s o s n of n n T s by depre i g the key ab ut a ixtee th part a i ch . hi

s s s nd A an n produce a oft ou . louder d differe t tone is elicited

n s n down I n h upo pu hi g the key further . t e pipe organ the 70 The R ec ent R edolu ti on i n Organ B uilding

i n n Th double touch s differe tly arra ged . e ﬁrst touch i s theordi nar ‘ tou h y c . Upon exertin g a much heavier pressure upon the key it will suddenly fall into the second touch ( about one-eighth of an inch deep ) and will then cause an augmentati on of the

n k n ak Th is n l to e by ma i g other pipes spe . e device ge era ly em ployed in conn ecti on with the couplers an d c an be brought in to

n l of n s . n s n or out of actio at the wi l the orga i t For i ta ce, if the performer be playing upon hi s Choir Organ Flute “ an d draws the

O s on n c an v - boe top the Swell orga , he ( pro ided the double touch

n n s n an s ml s actio be draw ) , by pres i g y key or key more ﬁr y, cau e s t l n s s on O s tho e par icu ar ote to peak the boe, while the key that ss n he i s pre i ng in the ordinary way will soun d o ly the Flute . The pizz icato touch i s also used mostly in conn ection with the

s. W n n n s n n on coupler he playi g upo a oft combi atio the Great, “ ” the organi st may draw the Swell to Great pizz icato coupler . When ever n ow he depresses a Great key the Swell key will ( in

ff s n ns n n e ect) de ce d with it, but will be i ta tly liberated agai , n n i even though the orga ist conti ue to hold h s Great key . By means of this pizzicato touch ( now bein g ﬁtted to all Hope Jon es organs bui lt in this coun try) a great variety of charmi ng s f mu ical ef ects c an be produced .

OR A TH E U NIT G N .

The Unit organ in its entirety consists of a single instrumen t

n o n s y n c in its divided i t ﬁve to al familie , each famil bei g pla ed own n n n The mi e as s i depe de t Swell box . fa li s are follow “ ” n n — s n in s D s ns D n s T s Fou datio thi co ta the iapa o , iapho e , ibia , “ ” — i n ins s O s n s . . n s etc ; woodwi d th co ta Flute , boe , Clari et , etc , “ ” ’ s n s — hi s n ns s s O st D tri g t co tai the Gamba , Viol d rche re, ulci ” n s ss — s n ns T s n ns an d a a , etc . , bra thi co tai the rumpet , Cor opea “ ” T s ss n — s n ns T n n s i s uba ; percu io thi co tai the ympa i , Go g , Ch me ,

ns Glocke piel , etc .

On s an of s s foun da each of the keyboard y the top , from the ” “ ” “ ” n w n the st i n tio group , the wood i d group , r g group, the Transfer enc e of S tops 71

” ass and ss n n an d br group the percu io group, may be draw , be n 1 6 8 and in s ns n s they may draw at feet, at feet, , ome i ta ce ,

4 2 an d s . at feet, at feet, at twelfth at tierce pitche Arranged in this way an organ becomes an en tirely different n um n n an n s . is not c i tr e t It very ﬂexible, for o ly the to es be

r n s s s n s alte ed by drawi g the variou top at differe t pitche , but the various group s may be altered in power of tone independently of A n n n n n n each other . t o e mome t the fou datio to e may e tirely

n n s s s n s domi ate, by movi g the well pedal the tri g may be made to come to the front while the foun dation tone disappears ; then again the woodwin d asserts itself whilst the string tone is mod n n n n n ss s crated, till the Ope i g of the box co tai i g the bra allow

n n The n n ns that eleme t to domi ate . variety of the to al combi atio is n ss practically e dle . The adoption of this principle also saves needless duplication ’ of s s. I n n . s n n e top the orga at St George Hall , E gla d , ther are on n s 5 O n D s n s 4 P n s 5 n s the ma ual pe iapa o , ri cipal , Fiftee th ,

3 n s 2 O s O s 3 T s 3 O s 3 Clari et , rche tral boe , rumpet , phicleide ,

T s 6 n 4 s I n - n . . s romba , Clario s, Flute , etc , etc the Hope Jo e Unit organ at Ocean Grove effects equal to the above are oh tained o n s s h n 6 . T e s T n fr m o ly top orga i t of ouro Sy agogue,

O ns has ss n n his ten -s n New rlea , expre ed the opi io that top U it

n i s a to an n ns m n orga equ l ordi ary i tru e t with sixty stop s.

S YMPAT H Y .

A strong reason against the duplication of pipe s of similar

n in an n s s n n n e to e orga is that curiou acou tical phe ome o , the bét noir n - n n as s m ath n n of the orga builder , k ow y p y, or i terfere ce of s n s ou d wave . When two pipes of exactly the same pitch and scale are so placed that the pulsation s of air from the one pass in to n s n the other, if blow eparately the to e of each is clear ; blown

is n o s n s together there practically ou d heard, the wave of the one s n n and s n s n treami g i to the other, a li te er hear o ly the rush in of T g the air . hat the conditions which produce sound are 72 The R ec ent R evolu ti on i n Organ B u ildi ng all present may be demonstrated by conveying a tube from the ’ mo of s s n s ear n its n uth of either the pipe to a li te er , whe to e

s n l I r h . n s one s n dest ovs t e will be di ti ct y heard other word , ou d o ther . Helmholtz explains thi s phenomenon bv saying that “ when two equal soun d waves are i n oppo sition the one nulliﬁ es ” the f of o an d s i s s n i s ef ect the ther the re ult a traight li e , that , “ no s n f s nd no . s o a wave, ou d If a wave cre t a particular ize

n s n s form coi cide with a other exactly like it, the re ult will be a ” c s i of one i s s n re t double the he ght each ( that , the ou d will be “ n s o n s augme ted) . If a cre t c i cide with a trough the

s one n the and s n re ult will be that the will u ify other , the ou d

‘ will be destroyedﬁ That i s why i n the old- style organs the b n s e n one D a s n v uilder , whe he u ed mor tha i pa o , tried to a oid

s s s n s of n s n n thi ympathy by u i g pipe differe t cale , but eve the the results were seldom sati sfactory ; the big pipes seemed to s o n s I n n in s T n wall w the little o e . the big orga Leed ow Hall ,

n n was one i n P n n E gla d , there pipe the ri cipal which obody

n The n n ss b in its s could tu e . tu er tur ed it every po i le way ocket

u l and as s n m witho t avai , at l t ucceeded by removi g it fro the socket an d m oun ting it on a bl ock at a con siderable distance

its n n n . . from proper place , the wi d bei g co veyed to it by a tube n This is only one instance of what freque tly occurred . I n the H e pe - Jones organ the u sual plan of putting all the C pipes on one side of the organ and all the C# pipes on the

m The s n an in s is o . t d other, departed fr pipe are al er ated thi n n h is i ge ious way sympat y largely avoided .

* A s 2 1 . B roa dhouse : s o s . 6 Mu ical c u tic , p PT CHA ER X .

O TH E PRODU CTI ON OF ORGAN T N E .

WE now come to the department Of the organ which will be Of Th m n s n n s. e s s n . ore i tere t to the li te er, viz , the variou orga to e

n a s and ns n s now in use d n ge er l hape co tructio Of the pipe , ju gi g

s n s n not n for hun from the earlie t drawi g obtai able , have cha ged

s f s Th n n s not n n in n n dred O year . e a cie t were wa ti g i ge uity and we have pictures Of many funny -looking pipes which were intended to imitate the growli ng Of a bear ( thi s stop was some

' s V ox n l c o n o a time labeled Huma a ) , the r wi g Of a c ck , the c ll of o s n the n n an d the cuck o , the o g Of ighti gale , the twitter Of the n the n s of s s n n an d ns ca ary , e d the e pipe bei g be t over i erted in s as the y s n ss of water, ju t pla er blow i to a gla water through

in to s hon T n was v vm y . a quill a p he there the Hummel , a device which cau sed two of the largest pipes in the organ to # sound at once and a wak e those who snor ed du ring the ser mon

n was ss n A s - n n Fi ally there the Fuch chwa z . top k ob beari g the “ ” ns n tan erc not was to i criptio , Noli me g ( touch me ) , attached

ns A for n . s s y s s the co ole a reward their curio it , per o who were

- n to u the k n set of s n i duced to ch ob thereby free the catch a pri g, — c ausing a huge foxtail to ﬂy into their faces to the great joy and of s nd s mirth the by ta er . I n order to un derstan d what follow s we mu st make a short

c s n n f s W ex ur io i to the realm o acou tics. e have already remarked n m n h Th upo the extre e a tiquity Of t e Flute . e tone of the Flute is produced by blowing ac ross a hole pierced in its si de ; in other

ds b a s trea m o wind s tr ik in u on a tti c u n ed e . i s wor , y f g p g g It possible to produ c e a tone in this way by blowi ng across the end of an m d of an a of ss or n or y tube a e y materi l , gla , iro , rubber , or c ane or n an - s n Th , eve the barrel Of Old fa hio ed door key . e 74 The R ec en t R evolu ti on in Organ B ui lding

' primitive Flutes found in the Egyptian tombs an d also depicted on n n s Of n 1 4 the a cie t hieroglyphic are made reed or ca e, about n n ss ss n the s six ﬁ n er- s Th nd . e e i ches lo g, po e i g u ual g hole top i s not s as in n i s topped with a cork, the ordi ary Flute, but nn off n s n thi ed to a feather edge, leavi g a harp circular ri g at

n s f B n s n right a gle to the axis o the bore . y blowi g acro s this ri g

s n i a fair but omewhat feeble Flute to e s produced .

The si x s n s n s n ne hole bei g clo ed by the ﬁ ger , the grou d to of i On n n s in s ss the tube s produced . lifti g the ﬁ ger ucce ive order

end s n n Of from the bottom , we get the eve otes the major

s . s n s n an d n we cale Clo i g the hole agai blowi g harder, get the s an oc tave hi her B n s an cale g . y blowi g till harder we get octave i . In s ar e now n har mon cs . higher still other word , we produci g It i s possible to produce from a plain tube without ﬁnger

s s s as n n n n s hole or valve , uch the Fre ch Hor , by tighte i g the lip ’ and n s n ss s n i crea i g the pre ure of the player breath , the followi g series of harmonics

Th e harmonics of a pian oforte string c an be easily demonstrated “ ” by the following experimen t : Depress the loud pedal and strike an n in th e ss s . On s n n n n y ote ba a harp blow li te i g i te tly, the 3d 5th an d 8 n , , th ( the commo chord) Of the note struck will be s n d n s I heard ou i g all the way up for everal octaves. n this case the s n s n as r esona tors n n other tri g of the pia o act , e abli g the har n es d mo i to be hear . Coming back to our Flute again and applying the knowledge

e n an n s we hav gai ed to orga pipe, we Ob erve 1 . T hat the pitch Of the soun d depend s on the length of the e tub .

6 The R ec en t R evolu tion in Organ B uilding

TUN lNG

ENLARG ED V 'EW OF TUN lNG S U D # 3

' F i 1 — ’ . 6 g . E ste y s Op e n B o ss Pip es ll ood a nd Me ta l The Produ c ti on of Organ Tone 77

w s . s n n n b s a dra ing Oppo ite Thi i ve tio ( y William E . Ha kell ) enables the builders to supply Open bass tone i n organ cham bers and swell boxes where there is not room for full-length

s pipe .

R n to s on i t s n s eferri g the illu trati , will be ee that the pipe are

n and s d n n s in n . partly ope partly toppe , with a tu i g lide the ce tre The builders write as follow s “ The ns or n n in is i erted tube , compleme ti g chamber, the pipe

s i n f i s n as n O . uch le gth to complete the full le gth the pipe It ,

in s n s The as n s . will be oted, maller cale tha the out ide pipe effect is to produce the vibration that would be Obtained with a

- n t and in no s n full le g h pipe , way doe it i terfere with the quality

f n ss s i o I n s in ts s . to e . fact, it a i t the pipe materially peech Thi s is most noticeable i n a pipe such as the 32-foot Open Dia

s n n n is to s i n pa o , which whe made full le gth quite likely be low

s n n s its s y peech . With this arra geme t the pipe take peech ver readily and i s no slower in taking its full speech than an ordi n arv

1 6- n D s n foot Ope iapa o . “ w s ou t for ss s of ne—s n We have orked thi all cla e to tri g , ﬂute

an s n—a l n n d diapa o nd the law ho d s good in every i sta ce . Helmholtz was the ﬁrst to demon strate that the quali ty of all musical tones depend s entirely upon the presence or ab sence Of

u s I n n Of their pper partial . the hollow to e the Flute they are almo st entirely ab sent ; in the clanging tone Of the Trumpet

‘ many of the higher ones are present ; and if we take an instru ment like the C y mbal s we g et the wh ole Of the upper lot alto gether . The different qualities Of tone of the organ pipes are therefore determined : ( 1 ) By the material Of which the pipes are ma de ( 2) by the shape of the pipe ; ( 3) by the amount of wind pres s 4 s an d s n of ure ; ( ) by the hape ize Of the mouth , the relatio the lip to the stream Of win d impinging on it from a narrow

s s n n ss of s l Th m n i u and a a d . e a lit , the h pe thick e the lip it e f p l atio n o f the mouth and lip to produ ce the tone desired is c alled The R ec ent R evolution i n Organ B uilding

n an s ns r i sti s kill Th r l voici g d call for co iderable a t c . e writer ec o lects an instan ce of a clever voicer ( Gustav Schlette) taking a new n in n was not e s s an d on orga ha d, which qui t ati factory, the o in n n f llow g Su day he hardly knew it agai .

An in Of n s s n ow s l other k d harmo ic mu t be de cribed , ca led com

n n T n n s T t n n bi atio al or arti i to e ( from ar i i , a celebrated Italia

n s nt s s violi i t of the XVII ce ury, who fir t de cribed them) . “ “ T s s s s n two s he e tone , ay Helmholtz, are heard whe ever mu i cal tones Of different pitches are soun ded together loudly and n n n co ti uously . There is no ecessity for gi vin g a table of all of n s n s their to e here ; we select the two most useful . If two ote at an n e n n one i t rval of a fifth are held dow , a ote octave below the S O n i s —one lower one will be heard . orga bu lder take two pipes 1 6 feet long ( CC C ) and one 1 0 feet long ( CC) - whi ch k in and s n n ma e the terval of the fifth , , by ou di g them together , n f n s produce the to e O a pipe 32 feet lo g ( C C CC ) . This i the “ ” s 2- n i n 3 f . s . top wh ch will be fou d labeled t Re ulta t , Hope n —f l s s s s t. e an Jo e make a top which he call R su t t, n n s s s in his large organs. Ma y co ten d that thi y tem produces better results than if pipes Of the actual lengths of 32 or 64 feet n 64 n l n di were employed . I deed , a pipe feet lo g wou d be i au ble ; the human ear has its limitations an d refuses to recognize tone lower than 32 feet ( just as we cann ot lift water by a suction 32 e —bu t s s r odu c e harmonics pump over f et) , the e great pipe p h T whi ch won derfully reinforce t e tone Of the organ . herefore their use i s worth while . The other combin ati onal ton e to which we refer is that pro

’ u n i s n s a d c ed by the i terval Of a major th rd . It ou d two oct ves n Th is not ha i has below the lower ote . e writer aware t t th s e n se as an n s b t i s n r n ' n ever b e u d orga top , u it fou d w itte i the

- organ compositions Of Gui lmant an d other ﬁr st rate composers .

s n s i l ni s n d Of se It will be ee that a k ful orga t, with a k owle ge the

n s c an c s ns not the. to e , produce effe ts from mall orga available to ordinary player . The Pr odu c tion of Organ Tone 79

Reverting once more to our Flute whose tube i s shortened by in ﬁ n s s i s not n n n lift g the ger from the hole , it ge erally k ow that this c an be done with an organ pipe ; the writer has met with n Th s f P instances of it in E ngla d . e two lowe t pipes O the edal Open Diapason were each made to give two notes by affi x ing a n n h as p eumatic valve near the top Of the pipe . Whe t e valve w n n s s closed the pipe gave C CC . Whe the orga i t played CC C harp , n was n and s s wi d admitted to the valve, which Ope ed, thi hort n Th n was . e e e ed the pipe devic worked perfectly, o ly that it not possibl e to hold down both CC C and CCC sharp and make “ ” thun der The organist of Chester Cathedral had been playing in n e ten s he n s his strume t twic daily for year before fou d thi out, and then he only discovered it when the pipes were taken down a mr mak s i s to be cle aned . It is n ad i able e hift where a builder cramped for room .

n s n s— s s and Orga pipe are divided i to three familie Flue , Reed

D n h d n D s n s n s. T e n s s a d iapho e ﬁ e are ub ivided i to iapa o s, Flute , n s and n ow ns s s Stri g , we proceed to co ider each of the e group s e eparat ly .

D APA S I S ON .

The l es s s n in n an n n p p u ually ee the fro t of orga belo g to . the n O n D s n n as n n Great orga pe iapa o , lo g regarded the fou datio n ns n Th n D n in s to e of the i trume t . e Ope iapaso may vary ize

s 9 n s 3 n The ( or cale) from i che diameter at CC to i ches . aver n age size is about 6 i ches.

The D s ns Of Old n - i e iapa o the celebrated orga bu lders, Fath r Renatus s n Snetz ler an d e Schmidt, Harri , Gree , oth rs, though s in e s s in n T mall power, wer mo t mu ical to e quality , hough s un n s n the n n s m t s o di g oft ear orga , the to e from the e usical s op seems to suffer little loss when traveling to the end Of quite a

- n A 1 862 . i n large buildi g bout the year Schulze, his celebrated

n D n s n n n n n new orga at o ca ter, E gla d, brought i to promi e ce a and an and D n The s much more brilli t powerful iapaso . mouth 80 The R ec ent R e r olu tion i n Organ B uilding of the pipes were made very wide an d they were more freely ’ l w w s s o n m t . . of n . c s a T n bl w S hu ze ork i i ated by C Lewi , E gla d ,

s s v r and by Willi . It has also exerc i ed e v great inﬂuence on the

o don mos all o an - s in h s n i n w rk e by al t rg builder t i cou try , Ger ’ n m o and s . s of n ma y , el ewhere Schulze eth d treatme t added

to sse n ss an d o of n the largely the a rtive e p wer the to e , but gave impression of the pipes bei ng o ve rblown and led to the loss of

m s an d s n n y of n n s the beautiful , u ical , i gi g qualit to e fur i hed by

o D son s - on D s n s the lder iap a . Hard t ed iapa o s became almo t the

c n a W s n n s a o s hi s ac epted sta d rd . illi eve we t o far s t lot all Of

D s n s and e- o so m s s iapa o pipe , Cavaill C ll meti e adopted a imilar

ac W in n an an d H enrv n in s n pr tice . alker, E gl d , Erbe , thi cou tr n n D asons h n n y, co ti ued to produce iap avi g a larger perce tage of foun dation tone and they an d a few other builders thus helped to keep alive the old traditions . I n the year 1 887 Hope - J ones introduc ed his disc overy that bv n l s of D son s n n leatheri g the ip the iapa pipe , arrowi g their

s n n lan uids and nc s n n ss mouth , i verti g their g i rea i g the thick e o f m s o d o on 1 0 20 or n 30- n the etal , the pipe c ul be v iced , , eve i ch w n o a n ss of n o c n or n n ss n in i d , with ut h rd e to e f r i g , wi di e bei g trodu ed s s the toe of and c . He cea ed to re trict the pipe did all hi h s regulation at t e ﬂue . Hi s inventi on has proved of profoun d signiﬁcan ce to the organ

m s y i n o n n n is . The c world Old u i al qualit , rich f u datio to e ,

o I ts u se in f d n n d . O retur i g, but with a ded p wer , place the har an d empty - toned Diapasons to whi c h we had perforce become a y The o ns in s s s d i s n . ccu tome , rapidl growi g rga almo t all part

- n s of the w orld show the Hope Jones i nﬂue ce . Few builder have failed now to adopt the leathered lip . “ hi Di tion arv n o s 44 45 W o in s c O . edgw od , Of rga St p , pp , . savs “ * n s nn an n n A n n- Mr . Er e t Ski er . emi e t merica orga builder ,

* ne som o f h n s o n s in s o n Mr S n h a s t e . . ki r built e ﬁ e t rga thi c u try The Produ c ti on of Organ Tone 81

likens the di scovery of the leathered lip to the in ven tion by

B n n revolu arker of the p eumatic lever, predicti g that it will tioniz e Organ tone as surely and completely as did the latter

n n s an estimate i s no ns so ex a orga mecha i m, which by mea g Th D s n n as s s . e gerated might be uppo ed leathered iapa o , i deed , is now attaining a zenith of popularity both in E nglan d an d * A . A n n n s on au merica promi e t Germa builder al o , who , the ’ s n d n was so s thor recomme atio made trial Of it, truck with the reﬁn ed quality of tone that he forthwith signiﬁed his intention

s and ns ss of adopting the process. A few i olated u ucce ful ex perimental attempts at improving the tone of the pipes by coat

in e s c n an d n sub g th ir lip with paper, par hme t, felt, ki dred s n s n n Of n ta ce , have bee recorded, but u doubtedly the credit havi g been the ﬁrst to perceive the value an d inner signiﬁcance of the

- w s s n s. a proce s mu st be accorded to Mr . Robert Hope Jo e It

n s of ns an d o ly at the co t co iderable thought, labour that he was able to develop his crude an d embryonic scientiﬁc theory into a process which bids fair to transform modern organ build

in - . The n s Of e an d s an d g ame Cavaill Coll George Willi , of

—J n s n n s as s Hope o e , will be ha ded dow to po terity the author of the most valuable improvements in the domains of reed- voicing

and ﬂue- n s l n n ss in voici g, re pective y, which have bee wit e ed the ” s n o n pre e t era f organ buildi g . The desire for power in Diapason tone ﬁrst found expression in thi s country by the introduction i nto our larger organs of

wa l n n T s was Dia what s cal ed a Ste torpho e . hi a large metal

s n n ns n on n ss . pa o of ordi ary co tructio , voiced heavy wi d pre ure

w c n as s s n s and s . It mo t har h , u mu i al i arti tic It produced com paratively little foun dation ton e an d a powerful chord of har onic s n n I n n m of ss n . e , ma y them di o a t Germa y, Weigl , of

n s s Stuttgart, i troduced a imilar top , but actually exaggerated

* ’ Much Of R oos evelt s ﬁnest w ork i s now being improved by vari ous n builders by leatheri g the lip s . 82 The R ec ent R evolu ti on i n Organ B u ilding

its wan t of reﬁn ement by m aking the mouth n of above the normal width . As k owledge

H c e- n s s s s s se the p Jo e method pread , the e coar an is w d unmusical stops disappear . He ith out question right i n ur ging that the chi ef aim i n using heavy pressure should be to in

s n n not n . crea e reﬁ eme t, power of to e Sweet foun dati on ton e produced from hea vy win d

pressure alway s possesses satisfactory power . He i s also un questi onably right in hi s c on tention that when great n obili ty Of founda

n n i s u D s ns s not tio to e req ired , iapa o hould be n l T s u du y multiplied , but ibia or large

Flutes should be used behi n d them . Every epoch - maki ng inn ovation raises ad ver i sar es.

We learn from these that pu re foundation

n s not n . T to e doe ble d rue , there are exam ples of organs where the true foun dation tone ex ists but doe s not blend with the rest

ns n i s mis of the i trume t, but it “ Lip leading to say that pur e foun da ” on n n n ti to e does ot ble d . Hope Clot’wd F 1?“ Jones has proved conclusively that by exercise of the requi s ite skill it does an d so have others who follow i n his s teps. A view of the mouth of a Hope

n s ss D s n n Jo e heavy pre ure iapa o , with i verted

n u an d is n la g id , leather lip clothed ﬂue , give n 1 i Figure 7. The dull tone Of the old Diapaso ns was

F i 1 7 D ia ason g . . p due to the ab sen ce Of the upper harmonics Pi e wi th Lea th# p or partials. With the introduction Of the c red Li p Lutheran chorale an d con gregational singing

84 The R ec en t R evolu ti on i n Organ B uilding

n s n n n ns . T s the Mo a tic Church at Wei garte , ear Rave burg hi

n s no ss n n n -ﬁ ve n s in orga compri ed le tha i ety ra k of Mixture ,

n s s n - one an d n n s s cludi g two top of twe ty twe ty ra k , re pectively

T s n n Abt V O ler oward the clo e of the Eightee th Ce tury, the g — ‘ ’ 1 749 1 81 4 his n st one ( ) came forward with Simpliﬁcatio Sy em, feature of which con siste d i n the abolition of excessive Mixture

. The t A was s an d i work wor hy bbe, who a capable theori t a g fted

and ss ss an n and a player, po e ed of ecce tric , therefore, attr ctive

s n s n f s s per o ality, ecured ma y ollower , who preached a cru ade

ns Th s . e ss Of n c an agai t Mixture work ucce _ the moveme t well be measured by the amount of apologetic literature it called

and s s s n forth, by the fact that it tirred the theori t to po der for

s s was n n them elve what really the fu ctio of the Mixture .

The nn n n - J n n a ou ceme t by Mr . Hope o es at the begi ning of the last decade of the past century Of his complete di scardmen t of all Mixture an d mutation work may fairly be stated to have ” m s n in s n arked a di ti ct epoch the hi tory Of the co troversy .

is n s n ﬁ nd s man It i deed tra ge to that thi , who did much to

s u se of s has n n n di courage the mixture , ever quite aba do ed their emplovmen t an d is to- day the sole champion of double sets of

t s ts in hi s ns un n mix ure pipe , which he pu orga der the ame Of

s s # s s and of Mixture Cele te However, the e are very oft are course quite different in Object an d scope from the old - fashioned —n ow n mixture happily exti ct .

F TES LU .

The chief developments in Flutes that have taken place during the period under consideration are the popularization of the “ ” * n n n e- double le gth , or Harmo ic, pri ciple , by Cavaill Coll , by

W T nn an d s an d n i n Of s illiam hy e other , the i troduct o large cale . “ ” - T s - leather lipped ibia by Hope Jones.

* ’ The mon n is e s e in D om os ook s e Har ie pri ciple d crib d Bed b , publi h d i n 1 780 n w s a s t o e s a nd D r . B éda r t s s s a , applied r ed , tate that thi pri ciple e to ﬂ s a s a s 1 804 appli d ute earl y . The Produ c ti on of Organ Tone 85

* m n s n n s are now Har o ic Flute , of double le gth ope pipe , util

i z ed s n s. n n n by almo t all orga builder Speaki g ge erally , the to e i n n T nn in s and ss ss s s . pure po e e co iderable carryi g power hy e , his # FlOte n s n so as auber , i troduced stopped pipe blow to pro duce their ﬁrst harmonic ( an interval Of a twelfth from the

n n Th n is of s th ste . e e grou d to e ) to e quiet ilvery beauty, but p does not seem to have been largely adopted by other builders. Perhap s the mo st beautiful step of thi s kind produced by T i n in hyn ne i s the one n the remarkable orga the home of Mr .

lru n n B a d er D . . n W d J Marti hite , y, u dee , Scotla d The Hope - Jones leathered Tibias have already effected a revo lu ion i n n T t n the to al structure of large orga s. hey produce a much greater percentage of foun dation tone than the best Di a pasons and are ﬁndi ng their way into mo st modern organs of s T n o n s s as T P n . s ize hey appear u der vari u ame , uch ibia le a , T s oss FlOte n n and P . ibia Clau a , Gr , Flute Fu dame tale hilomela The word Tibia has consi stently been adapte d to the nomen c lature of organ stops on the Continent ( of Europe) for some

n s Th n n n ce turie . e word Tibia is ow used i this cou try to de n a of n an n ns ss and ote quality to e of i te ely ma ive , full clear

e s - n s n charact r, ﬁr t realized by Mr . Hope Jo e , though fai tly fore s d B i s s ha owed by i shop in hi s Clarabella . It produced from pipe s n n n ne ao of a very large cale , yieldi g a volume of fou datio to , n companied by the minimum of harmonic development . Eve

s n the n the T from a purely uperﬁcial poi t of view, to e of ibia

i s s its in n family mo t attractive ; but, further , value weldi g to gether the constituent tones of the organ and coping with modern reed -work i s “ Th T P n n - n an s e n was . J s d ibia le a i ve ted by Mr Hope o e , ﬁr t ’ n hi n n n m . n s B i troduced by i to the orga at St Joh , irke head ,

* is to sa the s a re m o the n That y , pipe ade d uble le g th actually required , bu t a re made to s ound a n octave higher by means of a h ol e pierced half wa u the y p pipe . “ W ed woo n d : n S o s . 1 5 0 T g Dicti o ary of Orga t p , p . The R ec en t R evolu ti on in Organ B uilding

n n 1 88 i 7. s s E gla d , about It a wood Flute of very large cale,

th on n Of h Th with e mouth the arrow side t e pipe . e block is s n and i s ns kn ss is s u k, the lip , which of co iderable thic e , u ually coated with a thin strip of leather to impart to the tone the

s n an n s i s on an n s requi ite smooth ess d ﬁ i h . It voiced y wi d pre s 4- n s Th T P n is s ure from i ch upward . e ibia le a the mo t power

n th T of s s i s a d y e . ful weight of all ibia tribe top It , therefore, n n n Th T P n i valuable in large i strume ts. e ibia rofu da

n f di ss 1 - f n - f P a ro un a 32 t. n ns d Tibia P ima are 6 t. d edal exte sio Of the Tibia “ The Tibia Clau sa is a woo d Gedackt of very large scale ( in

s s ur n s s. was other word , a topped pipe) , f i hed with leather lip It n n - n s The n and i ve ted by Mr . Hope Jo e . to e is powerful beauti

l The n n fully pure and iquid . prevaili g fault of the moder Swell

n i s s the n . orga , perhap , i adequacy of the Flute work It was the recognition of thi s shortcoming which led to the inven

” ' l u sa tion of the Tibia C a . j ’ T n - n h T D i . J s n n ns e ibia ura s a other of Mr Hope o e i ve tio . It i s an n s n ope wood pipe of peculiar hape , wider at the top tha the “ an d s W as and bottom, de cribed by edgwood of bright, hard, ” s r n n ea chi g to e .

h w n n n . T e T n as . n ibia Mi or i ve ted by Mr Joh H Compto , of

t in n n one s s i s in No t gham, E gla d, of the mo t arti tic bu lder that “

n Th T in s s s n . cou try . e ibia M or bear ome re embla ce to Mr Hope ’ n s T s n s n u se on an n Jo e ibia Clau a, but bei g de ti ed more for Ope

- n s The s i s n s s in s s . wi d che t, differ ome importa t re pect top now n s s m ns n ge erally made of wood , though everal peci e have bee h O I n s s i s . T e made f metal . all ca e the upper lip leathered

n f I n ss ton e of the Tibia Minor i s extraordi arily e fective . the ba it is roun d an d velvety in the treble the ton e becomes very clear and full it forms a solo stop Of remarkably

* i d 1 53 . Wedg wood : I b p .

b d 1 5 1 . fW edgwood : I i p . The Pr odu c ti on of Organ Ton e 87

ﬁ ne and i n n n s s ness effect, combi atio erve to add much clear and n ss Of n and in en s s ful e to e to the treble, , g eral , exerci e to the fullest extent the beneﬁcial characteristics of the T ibia n s n class of stop already detailed . If o ly by rea o of the faculty so s s n an d n n largely exerci ed , of thu mollifyi g e richi g the upper — notes of other stops which too often prove hard and strident — in tone the Tibia Minor deserve s recogn ition as one of the most valuable of modern tonal

- n i s The T s n n . s e ibia Molli , i ve ted by Mr Hope Jo e , a Flut of n Th n s n s n s. e oft to e, compo ed of recta gular woode pipe ame T n n ibia Mollis is al so employed by Mr . Joh H . Compto to de n hi n ote a more subdued variety of s Tibia Mi or .

O s n in ns e D s n ther Flute fou d orga are the Stopp d iapa o ,

n RohrﬂOte - ﬂute FlOte Clarabella , Clari et Flute , ( Reed ) , Wald ,

’ T s Su abe D FlOte Flauto raver o , Flute, Clear Flute, oppel ( with

s O s . n two mouth ) , Melodia, rche tral Flute, etc , each of a differe t n n Th P s quality of to e an d varyi g in intensity . e hilomela a n m n h made by Jardi e is a melodia with two o t s.

STRIN GS .

U nder this head are grouped the steps which imitate the tone s

s s n n n s as n of uch tri ged i strume t the Viola, the Violo cello, the

D B ss and s old n ouble a , more e pecially the form of Violo cello , six s n s an d was called the Viol di Gamba , which had tri g more n s n n a al i to e . At the commencemen t of the period herein spoken of string

n s s as n - s s T s to ed top we k ow them to day carcely exi ted . hi family was practically represented by the Dulcian a and by the Old slow s n n T s peaki g Germa Gamba . he e Gambas were more like Diapa s ns n s n o tha tri gs . Edmun d Schulze made an advance and produced some Gambas and n an d - Violo es which , though of robust full bodied type, were

* e oo : I bid 1 5 3 W dg w d p . . 88 The R ec ent R evolution i n Organ B uilding

s n n T plea a t and musical in to e . hey were at the time deemed

f s n - i s capable O tri g l ke effect . TO William Thynne belongs the credi t of a great step in ad n va ce . The strin g ton es heard 1 n the Michell an d Thynn e organ n n n in 1 886 n at the Liverpool, E gla d , exhibitio were a revelatio

ss s in s di n and n ns subse of the po ibilitie thi rectio , ma y orga quently introduced contain ed beautiful stops from hi s han ds nota bly the orchestral - ton ed i nstrument in the residen ce of i n W i D n n — an a n J . Mart h te, u dee, Scotla d rde t advocate of ’ s n T nn n n . s s n tri g to e Year later hy e part er, Carlto C . Mitchell ,

o - n produced much beautiful work in this directi n . Hope Jo es foun ded his work on the Thy nne model an d by intr oducin g s s s l s and s n n s in a maller cale , bel ied pipe u dry improveme t det il , produced the keen an d reﬁned strin g stops now ﬁn ding their wa n n His s y i to all organs of importa ce . delicate Viol are of exceedi ngly small scale ( some examples measuring only

- n . n T n i ches in diameter at the 8 foot ote ) . hey are met with u der ’ * h o nd D T t e n m s O s s a . es a e of Viol d rche tre, Vi l Cele te ulcet h e stops have c ontributed more than anything else towards the organ suitable for the performance Of orch estral music . Haskell has in troduced several beautiful varieties Of wood and

a s s Of n n s s n wn in met l top kee to e, perhap the be t k o be g the labial n His O o and n n n in s s. b e Saxopho e, commo ly fou d E tey orga work is destined to exert considerable in ﬂuence upon the art . Other string- toned stops foun d nowadays in organs are the

n Ae n s n S itz ﬂOte n F Keraulopho , oli e, Gem hor , p , Claria a , ugara, ' l n and Erz ahler r Sa icet, Salicio al , t

REEDS .

n n s s s As remarked in our ope i g chapter , pipe with trip of

* “ The Hope- Jones pattern Of Muted Vi ol is one of the mos t bea utiful

“ ” on of O n S o s . 1 73 . t ones conce ivable . Dicti ary rga t p , p - Th e E a mo d msho n is o nd on in o n s b by 1 rz hler, a diﬁe Ge r , f u ly rga uilt

s S k nn . E rne t M . i er The Produ c ti on of Organ Tone

cane or reeds in the mouthpiece are of

n n n s great a tiquity, bei g fou d ide by side with the ﬂutes in the Egyptian

T s s. s s a s s tomb he e reed , tho e u ed at

s n of the pre e t day, were formed the

s s of ss outer iliceou layer a tall gra ,

Ar undo donacc or sa tiva s , , which grow in Egypt an d the south Of Europe . T n hey were freque tly double , but the prototype of the reed organ - pipe i s to

be s n in l n ee the c ari et, where the reed i s single an d beats against the mouth

f s an . O piece cour e , artiﬁcial mouth piece has to be provided for our organ

i s o s b ot. pipe, but thi called the See

1 9 s s ns n Figure , which how the co tructio

n - A i s of a reed orga pipe . the boot containing a tube called the esc hallot

B and n n , partly cut away the ope i g

s ss ton u e clo ed by a bra g C , which vi

n s n D brate s u der pre sure of the wi d . is the wire by which the tongue is ' tuned ; E the body Of the pipe which

s n act as a reso ator . I n the last half - century the art of reed voicing has been entirely revolu

oniz d P n f s ti e . o W rior to the adve t illi , n n orga reeds were poor, thi , buzzy

n s n o n thi g , with little or gra deur of

ff and s n s in e ect, were mo t u mu ical

T s n of quality . e timo y to the truth this fact i s to be foun d in old instruo

fo n n s r s s. i s ’ ‘ tio book organ tude t It 1 a k ll ( Ia r net F ig . 8 . H s e s i s s s Wi thou t R eed there tated that reed hould never be 90 The R ec ent R evolu ti on i n Organ B uilding

s n D s n or n ﬁ ne u ed alo e, but that a Stopped iapa o other ra k of pipe s mu st always be drawn with them to improve the tone quality .

W li n n was il s created an e tirely new school Of reed voici g . He the first to show that reeds could be made really beauti ful and fit for use without help W n n from flue stops. he he wa ted power he

n s n ss in Obtai ed it by rai i g the pre ure , order that he might be able to afford still to restr ain the tone and to consider only bea uty of musical

quality . He was the ﬁrst to show that every trac e Of roughn ess and rattle could be obviated by im parting to the reed tongue exactly the right r cu ve . He restrain ed too emphatic vibrations in the case of the larger reed tongues by afﬁ xi ng to f s s s o ss. them with mall crew , weights made bra He quickly adopted the prac ti ce of using har

n - n t e mo ic , or double le gth ub s, for the treble

n e s and s e of and ot , ecur d a degree power bril

lian c e n ever before dreamed possible . Willi s gave up the Open esc hallot in favor of

s se n e re the clo ed variety, thereby curi g great r ﬁn ement Of s t Of s mu ical quali y , though cour e

s s y acri ﬁcing power Of tone . He de ign ed man

i s tu s s n t variet e of reed be , the mo t otable depar ure from existin g stan dard s being probably hi s

or nd C Anglai s a Orchestral Oboe .

n in n s of W s n— i U der the guid g ge iu illi , the Swell orga wh ch n o and t n n had hitherto bee a p or weak depar me t, e tirely over s — u and l hadowed by the Great became rich, powerf l a ive with

an e e e n e t r c in fe . gry re ds , which w r ev r heless t uly musi al ef ct

- n s s and has n ot Hope Jo e took up the work where Willi left it,

92 The R ec ent R evolu tion in Organ Building

n in P B CO York) orga ; ark Church , Elmira ; uffalo Cathedral ; ’ s lumbia College, St . Jame Church , New York ; College of the

Of O n A an d s . City New York ; cea Grove uditorium , el ewhere There undoubtedly lies a great future before this plan for in

B r ass

F i . 20. V ow H uma na wi th Vowel Cavi t Atta hed g y c .

i 21 . r F g . O ches tr a l Oboe with V owel Cavi ty Atta ched

F . 22 Ki nur a i a i a ig . w th Vowel C v ty Att ched The Produ c ti on of Organ Tone 93

s n s n s r 20 s s crea i g the variety of orche tral to e color . Figu e how n a vowel cavity applied to a Vox Huma a ( Norwich Cathedral , n n 21 an O s O W s E gla d) , Figure to rche tral boe ( orce ter Cathe n n an d 22 n Kinonl n dral, E gla d ) , Figure to a Ki ura ( , Scotla d) . Builders who have not mastered the art Of so curving their reed tongues that buzz an d rattle are impossibl e have en deavored to Obtain smoothness of tone by leathering the face Of the es c T n ha n n n hallot . his per icious practice s u fortu ately obtai ed

in h n s and in n nn much headway t e U ited State Germa y . It ca ot tOO s n n n its n n s s be tro gly co dem ed , for i troductio rob the reed of

s n s their characteri tic virility of to e . Reed that are leathered cannot be depen ded upon ; atmo spheric changes affect them and O n put them out f tu e .

The n s of n Cavaillé- has Fre ch chool reed voici g, led by Coll ,

s n produced everal varieties that have become celebrated . Ma y French Orchestral reeds are reﬁned and beautiful in quality an d the T s and T s ss and n larger rumpet uba , though a ertive blata t, are not n s The n s s not u mu ical . Fre ch chool , however, doe appear to be de stined to exercise any great in ﬂuence upon the art in

s n n n n s see thi cou try . ( For further i formatio regardi g reed n n chapter on tu i g . )

AT T PS— E ESTE U N DUL IN G S O C L S .

The writer i s n ot aware who first introduced into the organ a rank of soft-toned pipes purpo sely tuned a trifle sharp or flat the n n so as s to ormal pitch of the orga , to cau e a beat or wave in th n s s s s s n s and e to e. Fifty year ago uch top were pari gly u ed

n s many organi sts co ndemned their employme t altogether . Stop of the kind were hardly ever found in small organs and the n n n largest instruments seldom contai ed more tha o e . A great developmen t in this direction has taken place an d

A s further advance seems to be immediate . lready mo t builders introduce a Celeste into their small organ s an d two or three into 94 The R ec en t R evolu ti on in Organ B uilding

— ’ their larger i nstruments whilst Hope - Jones organs are planned

n s s P s n s s n with Vox Huma a Cele te , hy harmo ica Cele te , Ki ura Celestes and even Mixture Celestes # s n s s n s f n Mo t moder Cele te are tu ed harp, the e fect bei g more ' animated than if it were tun ed ﬂat ; but the aggregate effect and n s e n n u se ge eral utility of the t p are , greatly e ha ced by the

n s s one n n s an d Of two ra k of pipe , bei g tu ed harp the other ﬂat

n A - . n s s and n s n to the orga pitch three ra k Cele te ( harp , ﬂat, u i o ) formed one of the n ovel features of the organ in Worcester

n n - 1 n s in 896 . ed Cathedral, E gla d, built by Hope Jo e W g

n n n T s ss n Th s its . e wood credit i ve tio to Mr homa Ca o . three ran k Celeste i s also to be foun d in the organ s of the B ennett O n n rga Compa y . Apart from the inherent beauty of the tones there is much — to be said in favor of the presen ce Of the se stops if the organ

is s as an n or s s for s . to be u ed adju ct to, a ub titute , the orche tra ’ “ ” Th ho - n e w le orchestra i s on e huge and ever varyi g Celeste .

. n n Were it not so its music would sou d dead a d cold . Few of the instrumentali sts ever succeed in playi ng a single bar n n f n absolutely in tune with the other compo e ts O the ba d .

PER S S O S TOPS CU I N .

Thi s class of stop i s al so now ﬁn ding its way into organs more

n n . R s n n n s n n s ge erally tha heretofore e o ati g go g givi g, whe kill

s s s s n n n fully u ed, effect clo ely re embli g a harp have bee i tro du c ed A n n in its s ns an d freely by the eolia Compa y hou e orga , n The there seems n o po ssible Objection to such introductio . tone is thoroughly mu sical an d blen ds perfectly with the other “ ” i s s n th n Of s s s n n n s reg ter . U der e ame Chime the e re o a t go g are now ﬁnding place in many Church an d Con cert organs. Tubular bells are al so used in a similar capacity by all the lead in n - s g orga builder . The greatest development in thi s direction i s foun d in the

- n n s I n s ns n s one Hope Jo es U it Orche tr a . the e i trume t fully The Pr oduc ti on of Organ Ton e 95 third of the Speaking stop s rely on percussion for production of

n s ins n s s ot their tones. Eve mall trume t of thi type have all g

ol o n c u ss on s o s : m s Chr so lott o n the f l wi g per i t p Chi e , y g , Gl cke s B s s n s n an d piel , Electric ell ( with re o ator ) , Xylopho e , carefully

B s—in n to sin ss ns n s tuned Sleigh ell additio gle percu ive i trume t , s as n - B ss- - T n Cas uch S are drum, a drum, Kettle drum , ambouri e ,

tanets T n s an d n s n . , ria gle, Cymbal , Chi e e Go g

A s n s n s in s all the e to e producer are e clo ed a thick Swell box, an artist i s able to employ them with as much reﬁnement of effect

‘ as i s heard when they are heard in a Symphony Orch estra .

- n s n he s n n Mr . Hope Jo e i forms the writer that has ju t i ve ted an electric action which strikes a blow accurately proportioned to h in ss n s n n s t e force employed depre i g the key, thu obtai i g expre s sion from the ﬁngers as in the pianoforte . He will apply thi to the percussion stop s in organs he may build in the future . When skilfully employed many of these percussion stOps blen d so perfectly with the ﬂue an d r eed pipes that they become an — important integral part of the instrument mot merely a collee

s n u s tion of fancy stop s for occa io al e .

TH E DIAPH ON E .

The invention of the Diaphone by Hope - Jones in 1 894 will some day be regarded as the most important step in advance Th s n hitherto achieved in the art of organ building . e exi te ce of patents at present prevents gen eral adoption of the invention and limits it to the instruments made by one particular builder . I n addition to this the Diaphone takes so many forms and covers so large a ﬁeld that time must necessarily pass before its full ss po ibilities are realized .

n was n -J n s in nn n E ough , however, do e by Hope o e co ectio with the organs he built in England a dozen or eighteen years ago to leave the experimental stage an d prove the invention to be of the greate st practical importance to the future Of organ ’ n Th s n n n new buildi g . e author Opi io that before lo g every large 96 The R ec ent R evolu ti on in Organ B uilding

or e te Ca thedr a l E n . F 23 . D ia hone i n s r , g ig . p W c The Produc tion of Organ Tone 97

n n D on as o n n lS s orga will be built upo the iaph e a f u datio , hared

b n d B no ns y all who have had opportu ity to ju ge . y other mea kn own to - day c an anything approaching such gran d and digniﬁed

D ason n n e D s ns iap to e be produced . Were twe ty larg iapa o added in n J the ns n O . to i trume t cea Grove, N in B s T P or to that the apti t emple, hila

an d D n m d delphia, were the iapho e re ove , the instrument w ould suffer most seri

ousl I n P m n n o y . the edal depart e t reed or ﬂue pipe c an begin to compare with a

D h n in or i n iap o e, either attack volume n of to e . I n Figure 23 we give a section al View

of s D n n the ﬁr t large iapho e made , amely that constructed for the Hope - Jones or

an in s En 1 896. g Worce ter Cathedral , g , M i s a pn eumatic motor or bellows to which is attached a rod bearing the com 1 n and S n V n pou d pri g valve V, , worki g n n n agai st the Spri g S . O the admission

n n ss the A of wi d ( u der pre ure) to box ,

the M i s s s and motor cau ed to collap e, 1 n s V . n thereby to ope the valve V, Wi d

n s s n the B and the ru he i to chamber , entering the interior of m otor Mthrough ss q s ss e in the pa age C , e ualize the pre ur Th the motor . e actio n of the springs 1 n ow s s s s V and erve to clo e the valve V, ,

n ou t o n to ope the m tor M , whereupo the

process is repeated . I n 24 Fig . we illu strate the Diaphone in the Hope - Jon es organ built for Aber

F i 4 D ia h n n 2 . o e i g . p d n U niversitv n Th on . e a ee . Scotla d cti l Abe r d c u l n i v r s i t e e y . is as foll ow s i in 98 The R ec ent R evolu ti on i n Organ B u ld g

1 00 The R ec en t R evolu ti on in Orga n B ui lding

2 D ia hone n the Audi tor i um Oc ean Gr ove N . J . F ig . 8 . p i , , The Pr odu c ti on of Organ Tone 1 01

D s n the n ( colored black) , which form a portio of alumi um s n pi to . When the lower edge of the piston has risen a certain distance

un the n n s and it will cover circular e gi e exhau t port E , will At allow the compre ssed air to escape into the atmo sphere . this moment the ri se of the piston will have closed the engine supply port S . 27 s The momentum acquired by the piston ( see Fig . ) will cau e e an d s it to travel upward a littl further, thi upward travel of the divi sion D will cause a compression of air to take place T ss n at the foot of the reson ator or pipe B . his compre io will be vastly increased through the simultan eous opening of the SP eight circular speaking ports . The pressure of the compressed air at the foot of the resonator R will now by acting on the upper surface of the division D depress the aluminum piston until the engine supply port S i s n again ope ed . By this time the compression at the foot of resonator B will in s n and have traveled up the pipe the form of a ou d wave, n n T s will have been followed by the compleme tary rarefactio . hi rarefaction on the upper side will ren der more effective the pressure of the compressed air again admitted through the n n s n n s of n D e gi e upply port S o the u der ide divisio . It will be seen that this cycle of operations will be repeated as long as the organist holds down hi s pedal or key admitting

ss compre ed air to the chamber W . As the aluminum piston P i s very light an d is in no way

in its n s n s n impeded moveme t or wi g, the peed of its vibratio , and ns n n e n co eque tly the pitch of the ote emitt d, will be gover ed the n s n by le gth of the re o ator or pipe R . The tone given by this particular form of Diaphone possesses s n ss in the i s n a peculiar weet e quality, while power limited o ly

ss by the pre ure of air used to operate it .

2 n s I n Fig . 8 we give a illu tration of the form of Diaphone 1 02 The R ec en t R evolu ti on in Building

’ F i 29 . a . D i hone in S t Paul s a thedra l B u a lo N . . g p . C , ff , Y

1 04 The R ec en t R evolu tion in Organ Buildi ng

D i a h n r i a t ne 30. p o e P odu c ng F ou nd io n To The Pr odu c ti on of Organ Tone

Pressing upon the valve V it causes it to clo se against its seat i s n n n ot n s . T s s pite of the actio of the pri g S hi , however , doe take place until a pulse of air has passed into the foot of the P n t n s n in pipe , thereby origi a i g a ou d wave which due time liberates the valve V and allows the spring S to move it off its B seat and allow another puff of air to enter the pipe P. y thi s means the valve V i s kept i n rapid vibration and a power n A s i s P. t ful to e produced from the pipe Middle borough , York s n n -J n s s D n hire, E gla d, Hope o e ﬁtted a somewhat imilar iapho e 1 6 c 1 899 in s s s n of feet pit h about , but thi ca e the re o ator or pipe w as cylindrical in form and measured only 8 feet in length . I n 30 b n n D n i n Fig . will e fou d a other type of iapho e which the tone is produced through the medium of a number of metal

s n s s s n n s n ball , coveri g a erie of hole or ope i g i to the bottom of f s n and n n t n s . a re o ator or pipe, admitti g i termit e t puf of air

Th n i Air n ss n s e actio s as follows. u der pre ure e ter the cham l 2 B A and ss n s C C ber through the pipe foot , pa i g up the port C , , , 1 2 . s s D D D . s n etc , force the metal ball , , , etc , upward i to the The s chamber E ; the bottom end of the reson ator or pipe . pre s e of s in the s n n s s n ur air above the ball re o ator E , the ri e u til B T s it equal s or nearly equals the pressure of air i n chamber . hi is owing to the fact that the column of air in the pipe or resona ss ss e and ne and n i s tor E po e es w ight i rtia, bei g elastic , mo mentaril T s n s ss y compressed at its lower end. hi i crea ed pre ure

s s n n s n above the ball allow them to retur to their origi al po itio , n n B n u der the inﬂue ce of gravity . y the time they have retur ed n s n ss n has to their origi al po itio , the pulse of air compre io trav the e in s n and cled up pip the form of a ou d wave, the comple n me tary rarefaction follows. The cycle of movement will then be repeated numerous times e n s e n n n per s co d , with the re ult that a very pur fou datio to e s n mu ical ote will be produced . The Diaphone is tuned like ordin ary ﬂue pipes and will keep in tune with them ; the pressure of wind ( and consequently the 1 06 The R ec en t R evolu ti on i n Organ B uilding

n n t power of the to e) may be varied without affecti g he pitch . The form of the pipe or re son ator affects the quality of the tone ;

ﬂu e- in n it may be like or reedy character, or eve imitate a

P n and m T an O or n edal Violo e , a Hard S ooth uba, boe, a Clari et .

I n s n s s s ss hi s clo i g thi chapter, the writer de ire to expre in debtedness for much of the material therein to the compre “ ” hensive D n of O n s s I n all Wed ictio ary rga Stop , by Jame g g

of An s n and wood, Fellow of the Society tiquarie , Scotla d , Fellow of the Royal Hi storical Society ( published by the Vincent Music A Co. n n n n is s , Lo do , E gla d ) . lthough the title omewhat for

n it is mos n s n and s an n of biddi g, a t i tere ti g book reveal amou t original research an d person al acquaintance with organs in

n n an n n n is s m s E gla d d the Co ti e t that imply arvelou . It ought to be in the library of every organi st .

1 08 The R ec ent R evolu ti on in Organ B u ildi ng Tuning 1 09

has n s n m m n Much bee lo t by adopti g equal te pera e t, but more h s n n To ns S a . s ds and s bee gai ed a e itive ear, the harp thir fourth , the ﬂat ﬁfth s and other discordant intervals of our modern keyed ns r n ns n s n n i t ume t, are a co ta t ource of pai but the average orga ist has become so accustomed to the defect that he actually fail s ' to notice it # The change to equal temperament has on the other hand greatly increased the scope of the organ and has rendered pos sible the performance of all compositions and transcriptions re

ar l n g d ess of key or modulatio . The tuning of an organ is seriously affected by the temperature h s n n n s s s the in th n of t e urrou di g air . I crea ed heat cau e air e ope pipes to expan d and soun d sharp contrasted with the stopped

nn The s pipes through which the air ca ot so freely circulate . reed ar e e f n ns n n s aff cted dif ere tly, the expa io of their to gue by heat causing them to ﬂatten sufﬁ ciently to counteract the sharpening na n n an e med above. He ce the importa ce of equabl temperature an d the n - s s free circulatio of air through swell boxe , as de cribed

on e 5 9 ante. pag ,

N EW METH OD OF REED TUNIN G .

s s s n Organ reed pipe , e pecially tho e of more delicate to e, fail

s n n s n n i s in to tand well i tu e, e pecially whe the tu er a hurry or when he does not kn ow enough of his business to take the spring n out of the reed wire after the note has been brought into tu e . n s n e s n s Few persons fully u der ta d the r a o why reed fail to, stan d in tune as they ought to .

s 31 32 and 33 s Figure , , will serve to make clear the chief cau e n e 31 n re re for reeds going out of tu e . Figur may be take to p s n eschallot n u e and n n . e t a reed block, , to g tu i g wire at rest In this case the tun ing wire will be pressing ﬁrmly against the t n n B s n n e not e o gue at the poi t , but aid tu i g wir will be subj cted n to any abnormal strai . 32 we u se n and s Turn ing to Figure , if the reed k ife lightly 1 1 0 The R ec ent R evolu tion i n Organ B uilding

n n n n ns n lift the tu i g wire at the poi t C , frictio agai t the to gue at n B n s n B n n the poi t will preve t aid poi t from movi g upward . ( I thi s connec tion it must be born e in mind that the c o- efﬁc ient of friction in repose is much greater than the c o- efﬁc ient of friction in n motio . ) I n consequen ce of the drawing up of the tuning wire at point and n s s an n B n C , the frictio al re i t ce at poi t holdi g the latter s n n ss teady, the lower part of the tu i g wire will a ume the shape s n in 32 and n A in ns n how Figure , poi t will co eque ce move far n ther away from the to gue .

N ow s i n s s and n s , if the reed be left thi tate the orga be u ed an n n n B for y le gth of time , it will be fou d that poi t of the tun ing wire wi ll have risen upward un til the abnormal strain

n un n - s n has n s s I n ns n upo the t i g wire pri g bee ati ﬁed . co eque ce of s s n s n n in n thi , thi particular ote will be ou di g ﬂatter pitch tha it ought to do .

n s n n n be Co ver ely, if the portio of the tu i g wire lettered C

S n n as in 33 n of lightly drive dow , Figure , the retardi g effect the friction of repo se at point B will cause the lower portion of the t n n n n n s u i g wire to approach earer the to gue tha it hould do .

now s in s s has n If thi reed be left thi tate, after the pipe bee

s s and n has n n u ed for ome time the to gue bee vibrati g, it will be foun d that point B on this tuning wire will have traveled nearer of n i n n s n to the tip the to gue, order to relieve the ab ormal trai n n n P n A n upo the lower portion of the tu i g wire . oi t will the

e s i n m s n hav re umed ts or al po itio . I n s 32 an d 33 n of n Figure , the defective actio the lower portio of the tun ing Spring has been purpo sely exaggerated in order to n n n n i s n . T s make the poi t clear hi be di g of the tu i g w re , however , takes place to a much larger extent than most organ builders

n s n s s n in n . imagi e . It i s the chief rea o why reed fail to ta d tu e When point A on the reed tuning wires i s rigi dly supported an d in its n s n s c an held by force ormal po itio , reed be made to s an ﬁ t d in tune almo st as well as ne pipes .

APT CH ER XII .

PROGRE S S OF TH E EVO UT O OU R OW N OU R L I N I N C N TRY .

I N the study of the art of organ- building one cannot fail to be struck by the fact that al most all the great steps in advance have b n n s n : m n n e s the ee due to E gli hme the co pou d horizo tal b llow ,

on ss on s s l box n m c cu i bellow , the we l , the p eu atic lever, the tubu

- n u i n o- n m n ni lar p e mat c actio , the electr p eu atic actio , the U versal

s li n s o air che t, the leathered p, the clothed ﬂue, the diapho e, mo th e o n s n n t ne e r ed t e, imitative tri g to e, the vowel cavi y, to reﬂ ctors,

n s s s n n s i the n ceme t well boxe , the ou d trap joi t, u table bass , u it n ns i n and n e orga , movable co ole , radiat g co cave p dal board, com in i n l n n s ns an d y s a b at o peda s, combi atio pi to ke , the rot ry blower — — an d man y oth er items were the inventions and work of Eng li hm s en .

e in in n s i s n e in Sp ak g ge eral term , th cou try lagged very far b h d not nl n n s ehi n F n and e n n in o y E gla d , but al o b d ra ce, ve Germa y,

- the art of organ building until comparatively a few years ago .

has n n x r in an d if It rece tly adva ced with e t aord ary rapidity,

be not in i n is c ertainlv now it yet the posit o of leader, it well ns abreast Of other n atio . Hilborne Roosevelt constr ucted a n umber Of beautiful organs i in i n r e nn n hi s e 1 874. th s cou t y, b gi i g work about the y ar Wh le his organs altogether lacked the impressive di gni ty of the be st

r e n n n e a Eu op a i strume ts of the p riod, they were m rked by beauty n in n e of fini sh and artis tic care in constructi o . He ve t d the s a n n t n an d s s all hi s adju t ble combi atio ac io , thi form about orig in al contributi on destined to live and influence the organ of the u N hi s on n- i n in i n f ture. evertheless , marks orga bu ldi g th s cou s di i n try were great and wholly beneficial . He tu ed the art EurOpe ( especi allv France ) and in troduced into this c ountrv Pr ogr ess of the R evolu ti on i n Ou r Own Cou ntry 1 1 3

n s n n n ma y feature at that time practically u k ow here . S everal Of the organs constructed by his ﬁrm are in u se to - day and are i n n a good state of repair . They co tain Flutes that it would be

s ss D s ns and an d hard to urpa , iapa o that are bold ﬁrm, far above

e s an d n the av rage, though thought by ome to lack weight dig ity n n of effect . The action is excelle t a d the material s employed and the care and workmanship Shown throughout cann ot be too s highly prai ed . Roosevelt must be set down as the leader of the revolution

n n of i n m s has in s which , by the i troductio fore g ethod , the la t twenty years so completely tran sformed organ- building in the n U ited States. Roosevelt was also the pioneer in using electro -pneumatic ac

A n s n n hi s n n tion here . ccou t had reached E gla d of wo derful orga in n was in Garde City Cathedral , part of which the gallery, part in n r in the and in s in the cha cel, pa t roof, part the choir ve try n Th n n in P in 1 893 s . e o the ba eme t author, arrivi g hiladelphia , ’ as n s f n was n s see O . s orga i t St Cleme t Church there, a xiou to a Roosevelt electric organ and was invited to see one in the ’ n s was s n one co cert hall of S tet on s hat factory . He how of the

n s was Six n s n # e i s an n mag et , which about i che lo g Her accou t of the n in Orga Grace Church , New York City, which appeared in A n s n n n n Musi c al N ews the merica Corre po de ce of the Lo do ,

1 5 1 896 : February , — a r o ns i n s b R oos in the n e There e three rga thi church y evelt cha c l . in the s and a n e o in the oo onn a n d we t gallery , ch r f , electricall y c ected om of the o s one i n the n e and one i n playable fr either key b ard , cha c l the . Th e on i s Of a n Old a nd ms n O gallery electric acti clu y patter , per om s o s om the - m n an d re ated fr t rag e batterie ﬁlled fr electric li ght ai , ” “ ” n ns n on Th o ns and s s o Off quiri g co tan t atte ti . e full rga full well g s o s e b m to s on n m l wly , with a di agr ea le effect , fa iliar player faulty p eu atic ns um n s i tr e t .

This organ has lately been entirely rebuilt with new action and s nn y . va tly improved b Mr . E . M . Ski er

I n 1 894 the writer made the acquaintan ce of the late Mr . 1 1 4 The R ec ent R evolu tion i n Or gan B uilding

m n n who was n n new n Ed u d Jardi e, the buildi g a orga for the

P s n in n P W s an Scotch re byteria Church Ce tral ark e t, with en tirely new electric action that had been in vented by his ’ n f - . O s s J n s n n ephew cour e by thi time Mr . Hope o e i ve tions

n n h an d Mr n w were well k ow over ere, . Jardi e told the riter that some of the other organ -bui lders had been usin g actions which were as close imitations of the Hope - Jon es as it was pos s n n n n The n n ible to get without i fri geme t of pate ts . Jardi e actio s y s a n s and c an tes eemed to the writer a ver clo e imit tio al o, he ’ t to its n one as on n h s ti y bei g a good , he later had early t ree year ’ n All An c experie ce of it at gels Chur h .

B ut n s r s own no s the pio eer had t ouble of their , doubt, cau ed

n and n s s by usi g too large heavy mag et , which exhau ted the bat teries s n n ul The fa ter tha the curre t co d be produced . writer had thi s experien ce with the batteries at two different churches and had some difﬁculty in getti ng the organ-bu ilders to see what was Th S us e Of n an - n the matter . e teady the orga for hour a d ’ a- s s The n half choir rehearsal would exhaust the batterie . orga

i n and on n n would not bu lder would be otiﬁed , , comi g ext day,

nd an thi n the matter s i n r ﬁ y g , the batterie hav g ecovered them s s f s n s a l in n . n two s O elve the i terim Fi ally, ets batterie were i t l ed

s so s set ul with a witch by the keyboard, that the fre h co d be

n n x s n n brought in to u se on Observi g sig s of e hau tio . Ma y chur ches have in stalled small dyn amos to furni sh curren t for

k ey n n in s s s s n s a n ss n the actio . Eve the e ca e ig of we k e are Ofte

n — in in ll es not n s appare t the organi st play g fu—do get all the ote s n s . he puts down . Same cau e of trouble too heavy mag et Here i s - n n has - n s where the Hope Jo es actio the whip ha d over all other , all the current it requires being supplied by a Single cell # At ’ s the writer s churches there were Six and eight cells. Mo t of

ns in s nt 1 894- 1 904 the electric orga erected thi cou ry, , have had to n i be e tirely rebu lt . A nn i bout the year 1 894 Ernest M . Ski er ( at that t me Super B s n ss n intendent Of n s O n Co . the Hutchi g rga , of o to , Ma ) , we t

1 1 6 The R ec en t R evolu tion in Organ B uilding of yielding ; on returning to their own churches they are ﬁlled “ ” n e di s n n an d not s n il with divi co te t, they do re t u t a move n ni n n ew n s n n me t for Obtai g a orga , or at lea t moder izi g the Old n i s n Th n n n o e o . e Old s as to , set foot aba do me t of idea

i ns n i s un new s n set the l mitatio of the orga beg , ideal are bei g

and n hi c l s n r has up , a revolutio w h wil weep the whole cou t y now obtained ﬁrmfoothold Until recently Englan d unquestionably led in the development of n n n N ow hi n s n and s d . s the orga , Hope Jo e led E gla that ge iu ? i s in hi s n who s set m our ss at work t cou try, hall li it to progre

n n ss n i s l s hi s n n Eve whe expre i g h m e f through other ﬁrm , i ﬂue ce

n i s n c n il s e t rely altered the ta dard practi e of the leadi g bu der , an d now sin e ss n has e n n n s , ce direct xpre io b e obtai ed , improveme t t have appeared with even greater rapidi y . ’ It i s the author s opini on ( based on a wide kn owledge of the instruments in both countries) that in the course of the last ten years thi s country has made such great strides in the art that it may now claim ability to produce organs that are quite equal

h An d n s to t e best of those built in Englan d . he ve ture to

s in ss n n ten s A n - prophe y that le tha a other year , merica built ’ n s i s s n orga w ll be accepted as the world s highe t ta dard .

At n n in hi s n in in 1 906 a ba quet give ho or New York , the late Alexandre Guilmant complain ed that n o organ that he had

The n played in this coun try possessed majesty of effect . adve t

- T T s Of Hope ones has en tir ely changed the situation . ertiu

Of ins n n has s m to Noble, late York M ter , E gla d , who ju t co e

s c ountr v ss s ns c an n to or thi , a ert that orga be fou d here equal s an in n n and n s uperior to y built E gla d , the celebrated E gli h n s n n n s O n orga i t, Edwi Lemare, pro ou ced the reed at cea Grove , n N . J the ﬁ est he had ever heard .

P HMA B A CHARLES S AC N RKER .

1 20 The R ec en t R evolu ti on in Organ B uildi ng

Of e s n his s s n s e e n the k y , tur ed thought toward devi i g om m a s

in s s n s n of overcom g the re i ta ce Offered by the key to the ﬁ gers . The result was the inventi on of the pneumatic lever by which in genious contrivance the pressure of the win d which occasioned

' s s n was s en the re i ta ce to the touch kilfully applied to less it .

H Dr n n s th e . e e r a wrote to Camidge, the the orga i t of Cath d l , begging to be allowed to attach one of his levers in a temporary hi n on th s n s s . Dr way to e of e heavie t ote of orga . Camidge “ admitted that the touch of his instrument was suffi cient to e s men n n dif ul paralyz the efforts of mo t , but fi a cial fic ties stood i th a n B f n e w y of the remedy bei g applied . arker Of ered his n n n s n s n - s ndi n e i ve tio to everal E gli h orga builder , but fi g th m n s s n P s in 1 837 e e he i di po ed to adopt it, he we t to ari , , wh r ar rived about the time that Cavaille- Coll was building a large

- n f D ni s. . e e orga for the Church O St . e M Cavaill Coll had adopt d the practice Of making his ﬁ ne and reed pipes produce harmonic ton es by means of win d of heavy pressure ; but he encountered f u di ﬁculty as the touch became too heavy for practical se. Mr . ’ B s s s es s an arker apparatu , which imply overpowered the r i t ce that not was an n es n n could be removed, therefore opportu e pr e tatio ; ’ i br evet d invent on in 1 839 and . e he took out a for it , M Cavaill COll n s n immediately i troduced it, together with everal harmo ic

s s B s n . D n s n D ni s n . s top , i to the St . e orga e ide the orga of St e i , B ’ R s n e was s . arker p eumatic lev r applied to tho e of St och , La

n an d s in P s. Madelei e, other churche ari “ ’ B s nn n e was not n n arker co ectio with Cavaill of lo g duratio , an d we next ﬁnd him in the Daublaine Callin et organ -building

n At s n was n ma compa y . thi time the compa y rebuildi g the g niﬁ ul th n s e e c ent n . e orga at St S pice , ack owledged ma terpi c of ‘ ’

n . Cliquot, the Fre ch Father Schmidt “ D n s s n n was in n uri g the time thi re toratio of the orga ha d,

s Callinet n n n f s and Loui experie ced acute ﬁ a cial di ﬁcultie , , fail in n D aublain e hi s n n e e t e g to i duce , part er, to adva c him a r la iv ly s sum Callinet e so t n nse one mall , becam bit erly i ce d that The Chi ef Ac tors i n the Drama 1 21

n the n on s n e e he en e day, goi g to orga ome trifli g pr t xt, tir ly n n s wrecked it with axe a d ha d aw . “ This act of vengeance or criminal folly involved Daublaine in the n n n s and same fi a cial rui as him elf, through this tragic occurrence the firm in which B arker was beginning to be securely ll n s a e e an end. Ca inet s e enn e s e t blish d cam to , bei g ab olut ly p il s , was not en hi s in the e Of e prosecuted, but ded days mploy Cavaill as an ne voicer d tu r . “ Nor was this the only disaster which occurred during the B l in ll In 1 844 D e time arker was with Daub a e Ca inet. ( ec m ’ ber l 6th B - ne to i e a e ) , it was arker s ill fortu k ck ov r light d candle while trying to remove a cipher in the organ his fi rm n in a ne the e e e e . had r c tly rect d St Eustache, which occ sio d total e ru n d st ction of the orga . “ The outlook seemed unpromising for B arker when the firm l l n Th of Daub aine Cal inet came to an e d. e good will of that

n n e e e . Ducro uet co cer was , how v r, purchas d by M q ( a capitalist) , n n who entrusted him with its ma ageme t . “ ’ B Daublaine Callinet s e n e man J . . Stoltz, for ma , a v ry able ’ and n k n n e e B e s n a sple did wor ma , feeli g aggri v d at ark r promotio , s e e and set e e in the new n ec d d up for hims lf, his plac firm bei g V ersc hneider in B e n efi c ient su filled by M . , whom ark r fou d p port in matters Of technic al k nowledge and skill . “ D n h B Duc ro u et n uri g t e tim e arker was with M . q the prese t

n e e e so n n orga at St . Eustach was built, to r plac that u fortu ately destroyed by ﬁre ; also an organ which was exhibited at the great x n e hibition of Lo don in 1 851 . “ I n the Paris exhibition of 1 855 B arker was admitted as an h n n Du ro ue was in en . c t e ex ibitor, i depe d tly of M q ( who bad h alth and on the e n ne s n n ﬁ rst- s eve of r tiri g from busi s ) , Obtai i g a clas e an n n n as e e th n n m dal d omi atio Ch vali r of e Legio of Ho or . “ A th e u r hi s o t e . D c o uet e d ath of M q , w ch occurred h rtly aft r s e n e the s ne on Duc ro u et ward , M rkli took ov r bu i ss carried by q ,

‘ and B e e ne i n 1 860 en he set On ark r r mai d w th him u til , wh up 1 22 The R ec ent R evolution in Organ B uilding

own n in ne s i V rs hn . e c eid r his accou t part r h p with M e , before

n an d n the e 1 860- 70 th amed, it was duri g decad that e electric ” n orga came in to being . ’ Th s D Péschard s n n e tory of r . inve tio has been already set forth in thi s book ( see page B arker seems to have been somewhat jealous of him an d always described the action as “ “ Pn m - elec tri ue n the - eu ato q , objecti g to term Electro pneu ” was n the s s Dr . matic, although thi putti g cart before the hor e . “ Hinton says : Though I was much in touch wi th B arker durin g ’ his a in Péschard s part of brief period of ctivity electric work, n was n n and n n ame rarely me tio ed carried little mea i g to me .

not n if Pésc hard n n s and I did k ow were a livi g or a dead scie ti t,

e e the e e him was as if I ( a m r youth at time) v r thought of , it ” n s e in B a n bei g om k d of bogie rker had to co ciliate.

B r c eson B s n n e an n P s y rother , of Lo do , xhibited orga at the ari

t n n s in the de s in 1 867 on Exposi io U iver elle Champ Mar , which

n n A ‘ i n s . . L. T n daily recital were give by Mo s ampl , who i duced

n B r c eson s e n n n Mr . He ry y to vi it the lectric orga the bei g erected

h in r o in A . B c es n in n n t e Of . s . Church St ugu t Mr y , be g co vi ced s the n no ti e in n s that thi was actio of the future , lost m i ve ti in the s an d n B gat g sy tem thoroughly, arra ged with arker for the concession of the sole rights of his invention as soon as he should h n his n s n he in t e n . obtai E gli h pate t, which got followi g year B e e n e n an d the exc lusi ve ark r, howev r, repe t d him of his bargai , e e n B r c esons e rights wer ve tually waived by the y , although th y T retain ed the right to u se the patent themselves. hey made ’ ns e n on B s i n the hi e e e s co iderable improv me ts arker act o , c f d f ct of whi ch seem to have been the resistance of the pallets ( which had to be plucked from their seats ; he di d not even use the s an the n en n e the e plit pallet) d cost of mai t a c of batt ries, which rapidly deteriorated from the action of the powerful acids em ' ’ s n an n Péschard s and B ar ployed . A full de criptio d drawi g of ’ ’ “ n in D nt n Of th t i ker s acti on will be fou d r . Hi o s Story e Elec r c ” O an rg .

1 24 The R ec ent R evolu ti on in Organ B uilding

’ D n s n s and Rimbault s s and ictio ary of Mu ic, from Hopki Hi tory, ’ “ ” Th Dr n n s O n . e from . Hi to Story of the Electric rga para graphs within quotation marks are ver batim from this book by

‘ n f r n n n s ss n o D . ki d permi io Hi to , whom we have to tha k al o for the portrait of B arker which appears on another page .

- ARI STIDE CAVAILLE COLL .

The foll owi ng sketch of the life Of thi s emi nen t arti st i s tak en fr om ’ “ ” D r R m - . e s o c o n boo on e o and H is m s a nd dart f rth i g k Cavaill C ll Ti e , om L e M Mus i a of o ns onde c l s O 30 1 899 b . fr , Pari , ct ber , , tra lated y Mr R o n m th s m m n . of os o . The o is o e . bert F Miller, B t p rtrait fr a e agazi e

A s d e- was n n n on the ri ti e Cavaill Coll bor at Mo tpellier, Fra ce, 4th of 1 1 H was son D n 8 1 . e day February, the of omi ique

e- n n as an n - in Lan Cavaill Coll, who was well k ow orga builder

uedoc and n s n e n P e e g , gra d o of J a ierr Cavaill , the builder of the n n n B n The n orga s of Sai t Catherine a d M erci of arcelo a . ame was hi n s of Coll that of s gra dmother . If we hould go back fur ther we ﬁ nd at the commen cement Of-the Eighteenth Century at

s— e- e n Gaillac three brother Cavaill Gabriel , the father Of J a

P P ‘ - e e an d s s was an n . i rr ; ierre, Jo eph , who al o orga builder

A s e e e n s by his ss n and ri tid Cavaill , th refore , came ho e tly profe io at the age of 1 8 years was entrusted by his father to direct the n t n n in n co s ructio of the orga at Lerida, which he i troduced for the ﬁrst time the manual to pedal coupler and the system of

n - cou ter balances in the large win d reservoirs.

In 1 834 A s n n ss n hi s ri tide, realizi g the ece ity of cultivati g

n e s s and n s n P s e e he k owledg of phy ic mecha ic , we t to ari , wh r

' h u n n - The e became t e p pil of Savart a d of Cag ard Latour . sam year a competition was opened for the construction Of a large

O n i D n s A s s rga n the royal church of St . e i ; ri tide ubmitted his h n T s ss de plan and succeeded in obtain ing t e co tract . hi succe h n P s e t e ss s. e cid d Me r Cavaill to remove their orga factory to ari , where they established themselves in the Rue Neuve St . George.

On n s n n the accou t of repair bei g made to the church buildi g, A T D A A - O RIS I E C V ILLE C LL .

1 28 The R ec en t R evolu ti on in Organ B uildi ng

an d s s ns an d the bi hop , ordered the Cathedral orga to be rebuilt,

e- in n ns n s s gave the order to Cavaill Coll . He ma y i ta ce pre erved s n s n on n s s an d the old ou dboard , dividi g them two ve til for reed for ﬂues n s n ss s n n , i crea ed the wi d pre ure , i troduced p eumatic

s and ns s T n s n lever , tra formed the mall e or C Swell i to large

1 5 20 s s wi th 1 6- oot r eeds n an d SO n to top Swell , f i cluded, crow ed ﬁn e n n the ﬂue work a d mixture work of these Cathedral orga s.

We all n ﬁ ne f The en k ow the ef ect of a large Swell . Fr ch

d n s of s n s n n i n 1 850 Cathe ral orga were deprived thi to al re o a ce , an d e- s n of Cavaill Coll, by judiciou overhauli g, use good mate

s and by n Of s trans or med the so rial , the additio large Swell , f nori ty of these large i ns tru ments loc ated in splendid posi ti ons above the gran d west entran ce doors Of these ﬁ ne Gothic build n i gs.

e- n his n U ni Cavaill Coll , duri g lo g career, received from the

s s n s n was n ver al Expo itio s the highe t ho ors . He appoi ted a f n n 1 4 n fi . n O i 8 9 a d Chevalier of the Legio Ho or , of cer of the s n P s n ame order in 1 878 . He was also Ho orary re ide t of the n n n Chamber of Sy dicates of Musical I strume ts. n in 1 898 n s n Much e feebled by age, he reli qui hed the directio of hi s n w o s s one his e s s . h factorie to of b t pupil , M Charle Muti , ha n n s s ever ceased to main tain the high i tegrity of the hou e . Aristide Cavaille- Coll died peacefully and without suffering on He was n O 1 3 1 899 in his 89 . ctober , , th year i terred with m n s S s was n ilitary ho or . A imple ervice held at Sai t Sulpice an d s W n s M . Charle idor played o ce more, for the la t time to

us s n s n n was s the ill triou co tructor, the gra d orga which the mo t i beautiful conception Of h s life .

We have in the course of our review mentioned some Of ’ Cavaille- Coll s principal contributions to the progress of organ

n his n n s an d u se of n s buildi g, developme t of harmo ic stop i crea ed

s T B s in 1 888 in n s s. W. . wi d pre ure Mr . e t, , a report to the _ Liverpool Philh armonic Society as to the purchase of a new The Chi ef Ac tors i n the D ra ma 1 29

n n e- as the s orga for their Hall, recomme ded Cavaill Coll be t ” n n producer of pure orga to e at that time . Next to him he

T. . e ns n . S on placed C L wis So , the W Hill . B ut the organists Of the world have to thank Cavaille- Coll chieﬂy for the as sistance he gave B arker in developing the pneu

e the s n n s s its matic l ver, without which pre e t to al y tem with

y heav wind pressures would have been impossible of attainment . “ ” “ B s man s n P n s n en e le t be the , aid Sa cho a za, who ﬁr t i v t d sleep # And what a mercy he did not keep the discovery to him s s B n n he e elf Jo eph ooth , of Wakeﬁeld, E gla d, put what call d ” a puff bellows to assist the Pedal action in the organ of a

fi B u h A f n in 1 827. t e e church at ttercli fe , ear Shef eld, k pt the n n n and n e 24 i ve tio to himself, it o ly cam to light years after his death # Note on the other han d the perseverance of B arker . For ﬁve weary years he kept on trying one builder after ah e e hi s e and n be oth r to tak up id a without avail, the took it h L n s t R v. e n s s. e e e yo d the ea Which remi d us of William , the inventor of the stocking- kn itting frame in the time of Q ueen “ se n n s se and e Elizabeth, who cou tryme de pi d him discourag d

n B n s n n e n e his n e n . i v tio ei g oo after i vit d over to Fra c , e and n en with promises of r ward, privileges ho or by H ry IV h n n n n and as n s e we t, with i e workme ma y frame , to ”

R n in N n e he se. oue , orma dy, wh re wrought with great applau

Thus does history repeat itself .

HENRY WILLI S .

The following Sketch of the greatest organ-builder of the Victorian Era has been condensed from an interview with him

n n Music al Times 1 898 . as set forth in the Lo do for May,

His as n in n n on A 27 1 821 . H enry Willis w bor Lo do pril , Old father was a builder, a member of the choir of Surrey Chapel , and played the drums in the Cec ili an Amateur Orchestral SO ‘ 1 30 The R ec ent R evolu ti on in Organ B uildi ng

c iet Th y. e subject of thi s sketch began to play the organ at a very early age ; he was entirely self- taught and never had a lesson in his life .

I n 1 835 n was n s , whe he fourtee year of age, he was articled for s n s n s D s n eve year to Joh Gray ( afterward Gray avid o ) , n - D n his n s the orga builder . uri g appre tice hip he invented the special manual and pedal couplers which he u sed in all hi s ns n s s s o n i trume t for over ixty year . He had t tu e the organ in ’

. s n s n n St George Chapel , Wi d or, where he made the acquai ta ce of n n Sir George Elvey , who took a great fa cy to the boy tu er . “ ” While still serving his time and before he was out of his

ns n s was n n s st tee , He ry Willi appoi ted orga i t Of Chri Church , H n n oxto . I n the early ﬁfties he was orga i st of Hamp stead

P s new n an d n ari h Church , where he had built a orga , for early

s was n s s n n - Of- s thirty year he orga i t at I li gto , Chapel Ea e, which ’ “ post he only resigned after he had passed the Psalmi st s three ” s s an d ten I n S n ss n s his core year . pite of the e gro i g claim of

s n ss s his as n s . s s bu i e , Mr Willi di charged dutie orga i t with com men dable faithfulness ; he would Often travel 1 5 0 miles on a

S atu r I n his day in order to be present at the Sunday service s. younger days he also played the double -bass and played at the n 1 1 provi cial Musical Festival s of 1 87 and 874. After hi s apprenticeship expired he lived in Cheltenham for

s ss s an n - n ns three year , where he a i ted orga builder amed Eva , who afterward s became kn own as a manufacturer Of free reed ns n s T u of - n i trume t . hey prod ced a model a two ma ual free reed instrumen t with two octaves an d a half of pedal s which was ’ m t th l s in n n . s e e exhibited at Novello , Lo do Here Willi ce e

t s s n s o n W . bra ed rga i t, Samuel Seba tia e ley About the year 1 847 Henry Willi s started i n business for

s as an n - and his s s ss was in him elf orga builder, ﬁr t great ucce “ was s rebuilding the organ in Glouce ster Cathedral . It my tep ” “ -S s The n n n s . pi g to e to fame , he ay Swell , dow to double C ,

The ianissimo had twelve stops and a double Venetian front . p

The Chi ef Ac tors i n the D rama 1 33

w s n n £400 n was as s . a d imply a tou di g I received for the job , I ” presumptuous enough to marry . For the Great Exhibition of 1 85 1 in the Crystal Palace ( then in P s n n n Hyde ark) , Mr . Willi erected a mag iﬁce t orga which attracted extraordinary attention and was vi sited by the Q ueen

n an d s s n and P n ns . s ri ce Co ort It had three ma ual pedal , eve ty n T n - s s sou ding stops and seven couplers. here were twe ty two top on an d s was ns the Swell, the Swell bellow placed i ide the Swell

Th nu ss n in altissimo an d box . e ma al compa exte ded to G the

— 2 n s T e n pedals from C C C to G 3 ote . here wer other importa t features in this remarkabl e instrumen t which went a long way

' s - towards revolutioni z in n n . g the . art of orga buildi g First, the n n s ns ns n - S s i troductio of pi to , i erted betwee the key lip , which A n s s o s n in . replaced the clum y compo iti n p edal the vogue gai , ’ “ u s s own s n n was e . W to Mr illi word , that Exhibitio orga the A great pioneer of the improved pneuma tic movement . child h n n could play the keys with all t e stops drawn . It ever we t n wro g . This organ was afterwards re- erected in Winchester Cathedral in 1 85 2 an d was in n s n u se s n , co ta t for forty year before bei g

n s n s n s re ovated . It was al o the mea of procuri g Willi the order ’ The T n n in s . for the orga St . George Hall, Liverpool ow Clerk ” “ s the f e s . of Liverpool wrot to me, aid Mr Willi , to ef ect that a committee of the Corporation would visit the Exhibition on a ns n M. n 6 A. certai day at , their object bei g to test the various orga with a view to selecting a builder for the proposed new instru ’ be e. n in s . me t St . George Hall He asked me if I could ther I was e—all # The n e X and ther there other two competi g build rs, # in n n Of s n ns in the n n , a ticipatio the vi it, tu ed their orga after oo of the ev s s n the n pr iou day, with the re ult that, owi g to ab ormal e the sun ss s e not h at of through the gla roof, the reed wer ﬁt to ’ At on the n be heard # I said n othing . ﬁve O clock followi g morning my men an d I were there to tun e the reeds of my organ ’

. At in the c ool of the morning of that lovely summer s day . 1 34 The R ec en t R evolu ti on i n Organ B uilding

’ S IX n o clock the Liverpool committee , which i cluded the Mayor and T n in n . W s n S . a d T A the ow Clerk additio to S e ley . .

Walmisle s s s X n . ss s. a d y, their mu ical advi er , duly appeared Me r

# s n m n n n s s had pecially e gaged two e i e t orga i t to play for them .

n n . B ut s s to B s who I retai ed obody I had previou ly aid e t, ‘ n s s on n n had give everal recital my orga at the Exhibitio , It would not be half a bad plan if you would atten d to morrow ’ ’ n n six a s for B s . s mor i g at o clock, you u ually do practice e t was A n s n T n there . fter the two other orga had bee tried, the ow ‘

an d s : n . Clerk came up aid We have come to hear your orga , Mr ? ’ ‘ ’ W s. Are n s s T s illi you goi g to play it your elf I aid , here one of your own townsmen Stan ding there ( that was Best) : ’ ‘ a k B s h n n s ask . . as o him . He did him Mr e t objectio to play, ‘ ‘ s T n n s ive n s W aid the ow Clerk, but he wa t f gui ea ell , give it ’ n an The t was to him ; the Corporatio c well afford it . mat er ‘ ’ n B s sson a and . e d arra ged e t played the overture to J by Spohr, ” w s n n The an was it as a ple did performa ce . org quite a reve

n ns and n in latio to the Liverpudlia , after talki g it over private for twenty minutes the committee decided to recommen d ’

W n n in s . illis to the Cou cil to build the orga St . George Hall wh f Dr . W s o s s d n s . . He had , however , eriou if ere ce with S S e ley , “ n n n wa ted both the ma ual s and pedals to begi at GG . I gave ” n W s s in in s s . to him regard to the ma ual , aid Mr illi , but I aid , ‘ n ss ss s s n u le you have the pedal compa to C , I hall ab olutely decli e ’ was s n An so . to build your orga . d the matter compromi ed Bu t Willis lived to see the manual compass of his magn iﬁcent Liverpool organ changed to CO ( in When the organ was

n s n B s s n n s fi i hed he recomme ded that e t hould be appoi ted orga i t,

Dr s f n n n in 1 85 5 . although . We ley o ﬁciated at the ope i g ceremo y

n s B s n e Not o ly did Willi practically get e t appoi t d to Liverpool , but he had previously coached him up in his playing of over “ ”

s an n n s n . on ture d other arra geme t for the orga I egged him , s n n- an d n re aid the vetera orga builder, we all k ow with what

B s to W s sul s. s n n t Notwith ta di g all that e t owed illi , he quarreled

1 36 The R ec ent R evoluti on in Organ B uilding

’ and one in His s P e the instru Maje ty s rivat Chapel, whereby n me t is available for use in both places. ’ It was entirely owing to Willis dominating person ality that ’ the n I n P s was in its n orga St . aul Cathedral rebuilt prese t

. s n n n and n s form He had the old cree take dow the old orga ca e,

n on S s in and which happe ed to be alike both ide , he cut two re- e on s Th n s n e erect d each ide of the choir . e cha ge al o i volv d the removal of the statues of Lord Nelson and Lord Cornwallis . When one of the committee asked him if he proposed to have two “ n s s his n orga i t for divided orga , he replied , You leave that to ” An * me . d proceeded to invent his tubular pneumatic action ( see page When this organ was used for the ﬁrst time at the Thanksgiving service for the recovery of the Prin ce of Wales in 1 872 n n s from typhoid fever , the p eumatic actio for the pedal was n ot n s s ﬁ i hed . Willi rigged up a temporary pedal board inside the organ near the pedal pipes an d played the pedal part of the service music himself while George Cooper was at

s in h ns A the s i e ss s the key t e regio above . fter erv c Go aid to “ O s was en W n u ley, who pres t, hat do you thi k of the pedal ” “ ” “ n n orga ? Mag iﬁcent # replied the Oxford Professor . You know that the pipes are a long way off; did the pedal s seem to ” “P ” e the n ? ss s e . go xactly together with ma uals Go a k d erfectly , “ ” O s ask in ? T n replied u ley, but why do you me that way he — Goss let out the secret for it was really a great secret at the e tim . ’ W s n n 5 4-ton illi great hobby was yachti g . He ow ed a yacht n the O al and n n amed p , attributed the wo derful health he e joyed “ his n s n to umerous sea voyage . I have circum avigated the whole ” “ of n n and n s and own n . E gla d Scotla d, he aid , I am my captai Those two men over there ( pointing to two of his employees “ The working in the factory) are my steward and shipwright .

* E xhaust tubular p neumatic had been practically applied in Fran ce a s

S ee 23 . early a s 1 849 a nd pressure tubular p neumatic in 1 867. page The Chi ef Ac tors i n the Drama 1 37 — steward is a ﬁ sherman a ﬁsherman being very u seful as a

the s s weather prophet . I do all repair to the yacht my elf

- s s and have r e coppered her bottom two or three time . I al o put

n new s s n and S n s s . e tirely par i to her, there ta d her old ma t Some ‘ years agO I injured the third and fourth ﬁngers of both my T s n s han ds with the ropes passing through them . he e four ﬁ ger

m n n and n s s beca e be t u der, for a lo g time I had to play my ervice

n B ut Dr . with only the thumb and two ﬁngers of each ha d .

l s n to Macready, a very c ever urgeo , begged me allow him to

e on s ﬁ n s s c an u se operat my di abled ger , with the re ult that I ”

as n so . them of old , or early

n W s in n n on 1 1 1 900 in his He ry illi died Lo do February , , 8oth e n n and n y ar, deeply mour ed by all who k ew him , was i terred

I n s of s e in Highgate cemetery . the cour e thi work we hav re ferred to the many improvements he effected in organ c onstruc

n A s his n n and . s tio reed voici g Sir George Grove aid , orga s are “ ” n n l s n n . celebrated for their excelle t e gi eeri g qua itie Clever, n n s n ss and s — s n i ge iou , dau tle re ourceful qualitie ble ded together with a plentiful supply of sound judgmen t and good common — sense were some of the striking characteristics of this remark

n H his s n n n n able ma . e gave per o al atte tio to every departme t of his factory ; nothing was too insigniﬁcant to claim his notice ; — his thoroughness was extraordinary every pipe went through h n A n s s s n n is s. n s wa ha d orga i t him elf, he alway thi ki g of the

hi ns n s had in player in laving out s i trume t . He a remarkably ventive emu s he n n in mechani g , which tur ed to good accou t the ns n n n cal portions oi his orga . He took i ﬁ ite pai s with every B ut t n an his n s s n no n s. hi g d e thu ia m k ew bou d , above all , he possessed in a striking degree that attribute which a Similar suc “ ” c tin t n essful worker on ce aptly described as obs a e persevera ce. He had a strong aversion to n ewspaper men and sent them away n W n was not s without ceremo y . hile free from co ceit, he alway

n d n s n s s ame able to ictatio , e pecially whe he had di pute with

— y architects ih which the architects were generall worsted . 1 38 The R ec en t R evolu ti on in Organ Bu ilding

’ his n in P s in He regarded orga St . aul Cathedral ( rebuilt “ as his ma nu m o u T is n n i in g p s . here othi g l ke it the ” i n one n world , he remarked, w th pardo able pride , Saturday whe

Sir George Martin was playing that kingly ki ng of instruments . ’ To paraphrase the inscription on Purcell s monument in West minster Abbey :

H e has on on hi s own mon c an be g e where l y Har y excelled , leaving behin d him many noble specimens of his remarkable n s achieveme t .

B P - RO ERT H O E J ONES .

i s son of W - n s Robert the third the late illiam Hope Jo e , of

n n s n n . Hooto Gra ge, Che hire , E gla d

His man of ns was o n n as one Of father, a mea , pr mi e t the

n s in n n o n B n pio eer orga izi g the v lu teer army of Great ritai . He was s n m and n an n s n mu ical , playi g the co et havi g u u ual te or

i A nd o — n voice . H s mother ( gnes Ha f rth ) al so musical a d a — gifted singer was a daughter of the Rector Of Ashton- un der n n — m n s a n s . Ly e, La ca hire , highly ervou wo a — There were n ine children of the marriage two girls and

s n s. o a on n n 1 85 9 . eve boy R bert ppeared the i th of February, ’ He inherited in exaggerated degree his mother s highly strun g n o n was o s n . nc y a d s c as c erv u ature Mela h l , weak i kly a hild , he n m n ot expected to live . To avoid the da p a d cold of Engli sh n s was n n D wi ter he periodically take to the south of Fra ce . eemed

was o n in for s . n too delicate chool , a private tutor provided J i i g Sports or games was out of the questi on for so sensitive and

— m o n n delicate a youth , what re atural , therefore, tha that he s —a n ? Too an s hould become a dreamer thi ker ill for y real tudy, hi s s ns in s n and ﬁn d him mu ical i t ct drove him to the orga , we playing for occasion al services at Ea stham Pari sh Church at the ’ n n A his s n was age of i e . fter father death , whe he about four

n s n a Of s in u n n s tee , he pe t couple year irreg lar atte da ce at chool ,

The Chi ef Ac tors in the D ra ma 1 41

and t s n n was s s at the t O . hi co ﬁrmatio per uaded that by uper human effor will his physical di sabilities might be disregarded an m ou T n n h d a life Oflso e value be worked t. he bega t e des perate struggle that gradually overcame every ob struction and resulted in the establi shment of an iron will and determination

s n s n s n His n to ucceed that o mi fortu e have bee able to quell . wa t of health greatly interfered with hi s career till he was nearly

s thirty year of age . When ﬁfteen he became voluntary organist and c hoir-master B n to the irke head School Chapel . Two or three year s later c ’

s n fi . s s e at St. s he imulta eou ly held a imilar of . Luke . Church , T n n e ra mere, where he trai ed a boy choir that becam widely fi n n e s an e . celebrat d . For thi Church he bought d set up a orga H e subsequently served as Churchwarden and was active in many s an n in h n other Church office . He erected orga t e Claughto Music Hall and organized an d con ducted oratorio performances in aid of various Church fun ds ; training a large voluntary P s s chorus and orchestra for the purpose . For salms who se ver e “ n in s e he e r e are arra ged group of three, he wrot what call d t ipl ” — chants a form of composition since adopted by other Church s s n es e and writers ; he al o compo ed Ca ticl , Kyri s other music for

s v s th the er ice of e Church . ’ T e s was s in n hough St . Luk Church ituated a poor eigh borhood men and s n his not n e e , the boy formi g choir o ly gav th ir s s s n the ervice but al o gratuitously ra g the Church bell, pumped n s the s the s i s orga bellow , bought all music u ed at erv ce , paid for the washing of the surplices and helped raise money for the ’ n n - n s n s s n no n s ge eral Church fu d . Hope Jo e e thu ia m k ew bou d and he had the kn ack of imparting it to those who worked n u der him . S O earnest and energetic was thi s young man that in spite of in different health and without at once resigning his work at ’

s an d n n s . St . Luke , he became choirmaster ho orary orga i t of St ’ n s B n n s in nn n Joh Church , irke head , doi g imilar work co ectio 1 42 The R ec en t R evolu tion in Organ B uilding

ns t n n -n with that i ti utio . He trai ed both the latter amed choirs ’ an d s son wa n n s i . s together, the writer ( who e St Joh choir) frequently a ssisted him by playing the organ at the services on

un was n n nn n S day . It at thi s Church a d i co ectio with this organ that Hope - Jones did hi s ﬁrst great work in c Onnec ti on with n- n Th m n n . e s orga buildi g i proved electric actio , movable co ole

an d n s s n st n ma y other matter de ti ed to artle the orga world, were ’ s an d s s n ss and devi ed made by him there , after the day bu i e the n n s s s n enthu si eve i g choir rehear al . He had volu tary help from

s o n an d s n n —ou a ti choirme boy , who worked far i to the ight s s n n n s men an d s ome occa io s all ight . Certai of the e boy are to - day occupying responsible po sitions with the Hope -Jones Or

an n g Compa y . A A ll thi s merely formed occupation for hi s spare time . bout

n s was n the age of Seve teen he began hi s bu iness career . He bou d

n B s. n n s and s appre tice to the large ﬁrm of Laird ro , e gi eer hip ’ s B n n n A nn n n s builder , irke head , E gla d . fter do i g workma clothes and going through practical training in the various work s s an d n f he s n n as hop the drawi g of ice, ecured appoi tme t chief electrician of the Lanca shi re and Cheshire ( afterward s the Na tional T n I n nn n n ) elephone Compa y . co ectio with telepho y he

n n of n s s of s i ve ted a multitude improveme t , ome which are till in n s u s A s s in u iver al e. bout thi time he devi ed a method for

s n Of m n n crea i g the power the hu a voice , through the applicatio “ ” The n is of a relay furn i shed with compre ssed air . pri ciple now utilized in the best phonographs and other voice - producing “ ” n s D n n ow n s . s n n machi e He al o i ve ted the iapho e, bei g u ed

n n n n for its fo s n s ns and by . the Ca adia Gover me t g ig al tatio declared to be the most powerful producer of musical soun d kn own ( in a modiﬁed form al so adapted to the church organ ) . Ab out 1 889 he resigned his conn ection with the telephone company in order that he might devote a greater part of his at n n n n s te tio to the improveme t of the church orga , a ubject which , as s n was nn n to his s we have ee , begi i g occupy much of pare

1 44 The R ec en t R evolu tion in Organ B u ildi ng

s s in l of n n - n s an re earche the rea m orga to e by Mr . Hope Jo e d others who are continually striving for excellence an d the u se of an in crea sed and more varied win d -pressure ( rangin g from 3 to 25 in ches) all combine to produce greater variety an d superiority ” in n n n ha the quality of orga to e tha s ever existed before . Elliston in hi s book on Organ Construction devotes con sider able Space to a description of the organs built by Hope -Jones in “ n n and n an d s s : The -J n s s s e E gla d Scotla d, ay Hope o e y t m em

s n n in n an n s brace ma y ovelties to e d mec ha i m . “ e s in his n O n n Matth w , Ha dbook of the rga , referri g to the e-J n s ns m n s s : Hop o e i tru e ts , ay “ I i -J n s s no nl to oh n h s electric action Mr . Hope o e ought t o y n n Of t s n ss s tai a repetitio the u mo t quick e , but al o to throw the ‘ ’ s and s n n ss so reed other pipe i to vibratio by a percu ive blow, to speak ; being in this way enabled to produce certain qualiti es n in n n n ess and of ton e un obtai able from ord ary actio s. Rou d s n s n the s and mooth es of to e from more powerful reed , great body and l n ss n as s s fu l e of to e well as depth from the pedal top , are ” ns also noticeable features in these orga . n s i nn B s n s n s Er e t M . Sk er , of o to , u ed the followi g word

n s and r n n n Your patie ce , re earch expe ime t have do e more tha any other one agen cy to make the modern organ tone what it is. I think your in vention of the leathered lip will mean as much to

n n as B n di d an i n orga to e the arker p eumatic lever to org act o ,

- and will be as far reaching in its effect . I beli eve y ou were the first to recognize the importance of a . n and s low voltage of electric actio , that the world owe you its n thank s for the roun d wire contact and inverted mag et . “ Since I first became familiar with your work and writing ” ns I have foun d them full of helpful suggestio . At first Hope - Jon es licensed a score of organ -builders to carry

hi s n n n s as s un s s n out i ve tio , but thi proved ati factory , he e tered

as an n - i n s the ﬁeld orga builder h mself, bei g liberally upported

T s T n A by Mr . homa hrelfall , chairma of the Royal cademy of The Chi ef Ac tors i n the Drama 1 45

B s P en an d s . n W Mu ic ; J Marti hite, Member of the riti h arliam t, o nds ther frie .

was s e s so It , perhap , too much to xpect that tho e who had ’ far proﬁted from Hope - Jones contracts and work should remain f s n d avorably di po sed when he became a rival a a competitor . F or n early twenty years he has met concerted Opposition that — would have cru shed any ordinary man attacks in turn against his n s s n n n electrical k owledge, mu ical ta te , voici g ability, ﬁ a cial s n n i s s n and s n . H s ta di g, per o al character greate t admirer remai

s n n s his tho e who , like the author, have k ow him for thirty year ; greatest supporters are the men of the town in which he lives ; hi s a m s n s the ss s w r e t frie d , a ociate who have followed him to

s n n n in n n thi cou try after lo g service u der him E gla d .

n H O e- n s hi s s n nen and Lo g before p Jo e reached pre e t emi ce, n one hi s n n ns e deali g with but of i ve tio , Wedgwood , a F llow of the Royal Historical Society and a learned student of organ

s ss e- and W s one s matter , cla ed him with Cavaill Coll illi , as who e “ ”— n ame will be han ded down to po sterity the author of mo st * n s valuable improveme t .

in his n - n - J n s Early orga buildi g career , Hope o e had the good

n n W B alru dder D n fortu e to meet J . Marti hite, of y, u dee, Scot

n . Mr W ma n n n n . n n a d ot la d hite, a of large i ﬂue ce wealth , o ly time and again S aved him from ﬁnancial shipwreck and kept

in n— n s n ss n im him the orga buildi g bu i e , but re dered a far more ’ portant service in directin g Hope - Jones efforts toward the pro

s f n duction of orche tral e fects from the orga . hi . W in s s s as B s Mr hite, pite of dutie a member of the riti h

P n an d i n s s his s n ss in n arliame t, pite of the call of bu i e Scotla d an d in s n has n e and thi cou try, ma aged to devote much tim

of n n an n n thought to the art orga playi g d orga improveme t .

T nn n in n s n n hy e, who did pio eer work the productio of tri g to e

n s s not to n from orga pipe , owe a little Marti White ; while

* “ on of O n S o s . 44 and s e . Dicti ary rga t p , p l ewhere 1 46 The R ec ent R evolu ti on i n Organ B uildi ng

Hope - Jone s asserts that he derived all his inspiration in thi s ’ s n n and ﬁ e n in W s ﬁeld from li te i g to the large n orga Mr . hite home .

W n s Mr . hite argued that the Swell Orga hould be full of

n n an d as s n s in s n n violi to e be, the tri g the orche tra, the fou datio

n m n as as in s s n of accompa i e t well complete them elve . He le t “ ” to Hope -Jones some of his string pipes to Oopy in Worcester

n n Of s n n Cathedral, whe ce practically all the developme t tri g to e in h n . W orga s as come Mr . hite further urged that the whole n s orga should be in swell boxe . i n an man s s . t It extraordi ary that out ider like Mr Whi e , a

s in so n in s n S s bu y ma y other l e of e deavor, hould exert uch

n n on n i n n s marked i ﬂue ce the art of orga bu ldi g, but it remai a fact that but for his artistic discernmen t and for the enc our a ement so n n not d s n g freely give , the orga would to ay be uppla t in s in s and s nor i s in g the orche tra theatre hotel , be what it the n s churches a d hall .

has n s n s and Mr . White for early thirty year helped , e thu ed

n not n y s n - s ss n T nn e couraged, o l arti tic orga builder like Ca o , hy e,

e- J n s and n s m ss Hop o e Compto , but al o the ore progre ive of the

n n n s s promi e t orga i t . All honor to Martin White #

- n At I n the spring of 1 903 Hope Jo es visited thi s country .

P n - P s n ns n R . . the i tigatio of Mr . Elliot, the orga izer, Vice re ide t

an d A s n O n n nn . Secretary of the u ti rga Compa y, of Hartford , Co , n and n n n he decided to remai here joi that corporatio , taki g the

- n s n new ﬁ rm— -J n s office of Vice Preside t . Sub eque tly a Hope o e — s n was n B . in Harri o te tatively formed at loomﬁeld, N J

1 904 as s f n not n July, , but u ﬁcie t capital could be Obtai ed , Hope

Jones and hi s corps of skilled employees join ed the Ernest M .

inn n B s n - n s n oﬂfic e Sk er Compa y, of o to , Hope Jo e taki g the of

- P 5 W i n in nn n s n in 1 90 . Vice re ide t, ork g co ectio with the

n n n -J n s ons an d ﬁ ne Ski er Compa y, Hope o e c tructed placed a

1 48 The R ec en t R evolu ti on in Organ B uildi ng

I n the year 1 682 a new organ was wanted for the Temple “ ” i n n n n n and an d Renatus Church Lo do , E gla d, Father Smith

s n - s s Harri , the orga builder of that day, each brought uch power ful inﬂuen ce to bear upon the B enchers that they authorized both s n in n n s o e e e d. T builder to erect orga the church , at ach hey ’ e n n n s s n wer alter ately played upo certai day , Smith orga by ’ P and Dr B an d s n B s D urcell . low, Harri orga by apti t raghi,

n s u n n An B n s orga i t to Q ee Catheri e . attempt by the e cher of the Middle Temple to decide in favor of Smith stirred up violent

s n on of B n s of the nn T oppo itio the part the e cher I er emple, who s an d n s n favored Harri , the co trover y raged bitterly for early ’ ’ fi ve s n s n was an d s n year , whe Smith orga paid for Harri take “ ” T n h n away . his i s k own in history as T e B attle of the Orga s. ’ I n of one s s ns the thick the fight of Harri parti a , who had more ’ n s n his n s s n and zeal tha di cretio , made way i ide Smith orga s cut the bellows to piece . I n 1 875 - 76 n in s n n was the orga Che ter Cathedral , E gla d , n T L n f . he o bei g rebuilt by the local firm o J . C . H . Whiteley don silversmith s took alarm at the Cathedral job going to a little

n an d ot s one cou try builder g together, with the re ult that, by ’ one s men h , Whiteley left t eir employ, tempted by the Offer of

s in n n and not n work at better wage Lo do , had there bee four

s in men n brother the ﬁrm, all practical , they would have bee

n Th was s ns un able to fulﬁ l their co tract . e worry partly re po ible for the death of the head of the ﬁrm soon after .

All s s n s s n n thi ou d like a chapter from the dark age , of lo g, lo g

an d n ot s n s ss now. ago , we do deem uch thi g po ible B u t listen # I n the year 1 895 what was practically the ﬁrst ’ - n so was set in . s Hope Jones electric orga ld up St George Church,

n n n n n . Ha over Square, Lo do , E gla d Th was s es e furor it created cut hort by a ﬁre , which d troyed s the organ and damaged the tower of the church . With curiou promptitude attention was directed to the danger of allowing amateurs to make crude efforts at organ - building in valuable and The Chi ef Attors in the Drama 1 49

hi s n h e I n n a d t e e ns. c e toric churches, to gr at risk of lectric actio

diarism n n s s e the s th bei g more tha u pect d, authoritie of e church ordered from Hope - Jones a similar organ to take the place of on s the e de troyed . About the same time a gimlet was forced through the electric

e -J n n en n P n n cabl of a Hope o es orga at H do arish Church, Lo do , n n e s nn e n h ns E gla d . Shortly aft rward the cable co cti g t e co ole

-J ne n O s P s Lan with the Hope o s orga at rm kirk ari h Church,

c ashire n n At B n - on-T en P s , E gla d, was cut through . urto r t ari h

s e es e s e s n . Church, ampl pip from ach of his pecial stops wer tole A A n n f the t O e e N . a e e the uditorium, c a Grov , J f ort to crippl new Hope - Jones organ shortly before one of the Opening recitals in 1 90 wa An in th s e e on the n re 8 s m . d e ade am y ar, Su day p ’ vions to Edwin Lemare s recital on the HOpe-Jones organ in the

Y . e was s n e s s s N . e Fir t U iv r ali t Church , Roche ter , s rious damag in h n done to some of the pipes in almost each stop t e orga . APT R CH E XIV .

H ow E TA D T - AY W S N O D .

LOOKIN G backward over the ﬁeld we have traversed we ﬁ nd that the modern organ is an enti rely different instrument from of the n n n that Ni etee th Ce tury .

T n s s of racker actio , bellow weight , the multitude weak, drab

n s s s and in s to ed top , have di appeared, their place we have tops s n and of more mu ical character, greater volume, u der perfect yvide control ; n ew familie s of string and orchestral tones ; great

h n s n s s an ns n of ﬂexibility, t rough tra fere ce of top i trume t

s l n Old one n n mal er bulk tha the , but yet of i ﬁ itely greater

‘ ‘ I Q SOII I CQ S .

I n hi n n s s Ha dbook of the Orga ( page J . Matthews say

T nali t n s h n here c an be no ﬁ y in organ buildi g . Whil t t e violi s n its c n n s so no ss fa ci ates by perfe tio , the orga doe le by its s n n ss s an d n s n i s n almo t i ﬁ ite po ibilitie , moder cie ce fast tra s

n s n n Th s formi g it into a highly sen itive i strume t . e orche tral

‘ effec ts and overwhelming c resc endos possible from such organ s ‘ ’ se in s new s as tho described thi work, double touch , method of

n n s as D n s to e productio , uch the iapho e , the ea e with which all the resource s of a powerful instrumen t c an now be placed instan ’ taneou sly at the performer s command are developments of which ” B ach and Han del never dreamed . An d the modern ten dency of the best builders is to make the

n s s in the n orga till more orche tral character, by additio of caril lon ss n s S and other percu io stop . Th W T B s one n s n e . late . e t, of the ﬁ e t executa ts who ever

s n s lived , tated to a frie d of the writer who a ked him why he n O T nn s he ns its ever played the verture to a hau er , that co idered “ n n n n ss n adequate re ditio upo the orga impo ible, after havi g had

1 5 2 The R ec ent R evolu tion in Organ B uilding

s an d s i n with ab olute accuracy, a pretty clo e approx matio to the

i s st i s n power of blow with which each key ruck Obtai ed .

The s s is and n the n e ﬁr t of the e, that , the time duratio of ot , is directly recorded from the artist who plays the piece to be

. The s n s i s n reproduced eco d of the e, that , the power of to e, is sub sequently added to the record either by the artist hi mself or by musicians who have carefully studied hi s manner of in play g . The result of this i s a very faithful reproducti on of the origin al an perform ce.

I n the ca e the n ss r the e s s of orga , the pre u e with which k y

s s not n be n e are truck doe eed to recorded or reproduced, but i st ad

s we the s S s s and of thi , have to Operate variou tops or regi ter the various swell shades if we would Obtain a faithful reproduc tion mechanically Of the piec e of music played by an arti st on n the orga . A T P s n e ns. e utomatic layer are attached to ma y pip orga h y,

ns s n n s so n for the most part, co i t of ordi ary pia o player arra ged

e s e nis a the that they Operat the key , or the m cha m att ched to

s an n . key , of Orga T s n and the ul n e l hi is a very poor pla , res ti g ffect is thorough y n n s n one e mecha ical and u ati sfactory . O ly keyboard is play d

n as and n stO s n or the s nor upo at a time a rule, either the p pedal ,

s the expre sion levers are Operated at all . The A n n f e an i en eolia Compa y, of New York, ef ect d mprovem t some y ears ago when they introduced what they term the double

r I n i s s the s in are a e t acker bar . th ca e, hole the tracker bar m d — smaller than u sual and they are staggered or arranged in two r n n m i s on the ows . Every eve ly u bered hole kept lower row, and the Oddly numbered holes are raised up to form a secon d row .

P i e th b r an d be en rov d d e paper e tracked very accu ately, giv

en n s n e A n n careful att tio , thi pla adopt d by the eolia Compa y

an n n t allows of two manuals of orga bei g played automa ically, H ow We S tand To-Day 1 5 3

but still the stops and expression levers are left to be Operated by n ha d . More recently a plan has been brought out by Hope-Jones that provides for the simultaneou s performan ce of music upon — two manuals an d upon the pedals each quite indepen dent of th s n e other . It al o provides for the Operatio of all the stops n in n an d n the es i dividually a large orga , for the operatio of expr s n e e io l v rs . A switch i s furn ished so that when desired the stops and

ss n an expre io levers may be cut off d left to be Operated by hand . The Hope -Jones Tracker B ar has no less than ten lines of holes —i i s s n n t s . , of cour e, corre po di gly wide We look for a great development in the direction of organs n n played by mecha ical mea s. ' ' The piano player has done a very great deal to popularize the pianoforte an d in the same way it is believed that the automatic n player will do a very great deal to popularize the orga . Many people who cann ot play the organ will be induced to have them in their homes if they knew that they c an operate

an d s d e en in sen e s e er them at y time e ire , v the ab c of a kill d p

former .

We now give Speciﬁcations of some of the most notable organs

of the e en s n e the world , all of which hav be built or rebuilt i c

1 888 and e n in n n e year , embody mod r ideas mecha ism, wi d pr s ’ in es n es s and n s s. s ures , to al re ource Fir t the writer s timatio com the

’ A S T OR A RPOO . ORG N IN . GE GE S H LL, LIVE L, ENG

This noble instrument was built by Henry Willis to the speci

i W s was n on 29th ﬁ c a n Dr . t o of . S . S e ley , by whom it Ope ed the

The n n in and 30th 1 85 5 . of May, writer made its acquai ta ce

1 866 en n on ne en s . , wh it was tu ed the u qual temperam t sy tem

B s s in n re- n in e tem I n 1 867 Mr . e t ucceeded getti g it tu ed qual 1 54 The R ec ent R evolu ti on i n Organ B uilding

° erament several o n s and n s p , impr veme t were made, the wi d pre sure ou four of the reed stop s on the SO10 organ in creased from I n 1 89 in ches to 22 inches. 8 the organ was thoroughly

’ ll L v r l w E e boa d t eor e s H a i e oo . Two R o s o r s o O an i n S . G l/ f rg g , p f S top s a t Left Omi tted rebuilt with tubular pneum atic action in plac e of the B arker 3 s Th s of m n s was n —a lever . e compa s the a ual cha ged from GG 4 * to —c o s an d the s C C , ﬁve ctave , pedal were carried up to g

n A o was and s 32 otes. Swell to Choir c upler added variou

n s in s s n ns cha ge made the top , the Vox Huma a tra ferred from

to SO10 n an d of o n - s s the Swell the orga , two the Sol wi d che t

n - ox no T s s were e c lo sed in a Swell b . We te that the uba are till

- - s Th s n s of o s of 32 ft. left out ide . e ca t iro pipe the l we t octave the Double Open Diapason on the Pedal organ were replaced by

s of s n an d s n s to n o pipe tout zi c , four compo itio pedal added co tr l

s the Swell stop .

* 3 s is e on 0 see oo no bu t we to Thi r ally l y ( f t te, page have decided o m n ad pt the usual no e clature .

1 5 6 The R ec en t R evolu ti on in Organ B uildi ng

TH A A S L 1 5 S T PS . FOUR M NU L ( O O ) , O

Vi ol da Gamba 8 V ox Humana O e n son oo 8 O s O oe p Diapa , w d rche tral b S topped Diapa son 8 C orno di Ba ssetto Fl u te ( Orchestral ) 4 * Ophi cleide Flute Picc ol o 2 * Trumpet * on o o 1 6 on N O. 1 C tra Fag tt Clari , om on * n N O 2 b 8 o . Tr e Clari , Bassoon 8 ' s s o s ar e all i n n ew s -box os m d The e t p placed a well , except th e arke , a re on th which e heavy win d pressure .

ORGAN ( 1 7 S TOPS ) .

D ouble Open Quin t ( meta l ) Diapas on ( wood ) Fi fteen th o O en ou n t 5 n s D uble p F r i ure , ra k son m a 3 n s Diapa ( et l ) Mixture, ra k Open Diap ason ( w ood ) P osaune Open Diapason ( meta l ) C on tr a Fagotto S alici onal ( metal ) Ophicleide Bourdon ( woo d ) Trumpet Bass Flute ( wood ) Clarion Pri ncip al ( wood )

O C UPLERS .

- a . oi o ea S ol o Supe r Oct ve Ch r t Gr t. - - o u ta o S u e Oc . S lo S b Oc ve. Ch ir p r tave - o o S u b Oc t a . S ol o t Grea t . Ch ir ve - S o o to e ls . S well to Great S upe r Octave . l P da

S l to a s . S well to Great U ni son . we l Ped l - S well to Grea t S ub Oct ave . Great to Pedals .

o o to d a s. S well t C hoir . Ch ir Pe l

In addi ti on to these coupling movements there are other

s s nsis i n 36 n m ns 6 e an a acce sorie , co t g of p eu atic pisto , to ach m u l, an P T are ls 6 os n d 1 2 actin g upon the edal stops. here a o comp itio “ ” “ ” pedals acting upon the Great an d Pedal stops simultane

l ns Th ous an d 4 s n n the or a isto . e y, pedal acti g upo Swell g n p ul Swell and Solo organs are each provi ded with trem ants . Two s in s n l and n large bellow the ba eme t of the Ha l , blow n h an h i e su e e nes 8 . d e by two st am gi of p p r spect v ly, pply the in w ss s r e s to 1 4 e e in w d, hich pa e f om the b llow r s rvoirs H ow We S tand To-Day 1 5 7

s s ns in ns n ss n variou po itio the i trume t, the pre ure varyi g from

to 22 inches .

O A I N TH E AT D A OF OT -DA RG N C HE R L N RE ME ,

PA A . RIS , FR NCE

The an cient organ in the Cathedral of Notre - Dame de Pari s was built in the reign of Louis XV by Thierry Leselope an d I n n n s the best workmen of hi s time . the Eightee th Ce tury repair

' K oa r ds Ca thedr a l N o tr e D ame Pa ms ey b , ,

b n s u s on i s n ot o o bu t oo It will e oticed that thi ill trati a ph t g raph , a w d n n n b n and the s wa s n not m s n e gravi g , draw y ha d , arti t evide tly a u icia he only sh ow s 38 keys on each ma nual ; there sh ould be 5 6 . and additions were made by the celebrated Cliquot . Further

s Dalsey 1 832 1 838 and in 1 863 repair were made by from to , the French Government conﬁded the complete reconstruction

n m - s n e s of the i stru ent to Aristide Cavaille Coll . He pe t ﬁve y ar

and the new n was s n n over the work, orga olem ly i augurated on h 1 6 6t 8 8 . the of March , n It sta ds in a gallery over the west door of the Cathedral . 1 5 8 The R ec ent R evolu ti on in Organ B uilding

3 has n s 5 6 n s c to of 30 n e s It ﬁve ma ual Of ote ea h , CC g , pedal ot , “ ” C C C to F ; 86 so u n ding stop s controlled by 1 1 0 regi sters ;

22 n n s and s on s n 32 combi atio pedal , pipe , the l ge t bei g ’ Th c on - 0 feet . e a ti i s Cavaille 0 11 s latest improvement on the

B n Th n s o s on n arker p eumatic lever . e wi d re erv ir c tai

s of ss 6 s om es n s n litre compre ed air, fed by pair of p p fur i hi g ‘

600 s of n is s n litre air per seco d . Here the peciﬁcatio

E AL O A 1 6 T PS P D RG N ( S O ) .

Pri n cipal - Ba sse 32 Quinte Contr e- Ba sse 1 6 S eptieme Grosse Qui n te 1 0% C ontre B ombarde ' S Ou s-Basse 1 6 B ombarde Flute 8 Trompette Grosse Tierce Basson Vi ol oncelle 8 Ba sson Octave 4 Clairon

IR S T A IER RA H E R 1 2 S T PS . F CL V ( G ND C O U ) , O

8 Lari g ot 4 Septi eme 8 Piccol o 234; Tuba Mag na 2 Trompette 1 % Clair on

S E C A IE A O E 1 4 S T PS . OND CL V R ( GR ND RGU ) , O

EET F . Vi ol on - Ba sse 1 6 Octave M ontre 8 D oublette o on 1 6 o n 2 to 5 n s B urd F ur iture . ra k mon 8 m 2 to 5 n s Flute Har ique C y bale, ra k Vi ola de Gambe 8 Ba sson Prestant 4 Basson - Hautb oi s B ourdon 8 Clairon

H I A IER B A E S 1 4 S T PS T RD CL V ( BOM RD ) , O .

FEET. Pri ncipal - Ba sse 1 6 Qui nte Pri ncipal 8 S eptieme S ous- Basse 1 6 D oublette mon 8 o n 2 to 5 n s Flute Har ique C r et , ra k 1 Gr osse Qui nte 5 74, Bombarde Octave 4 Tr ompette 1 Grosse Tierce 3 7g Clairon

1 60 The R ec ent R evolu ti on in Organ B uildi ng

’

ST PA AT D A A D . . OR N ON O N UL S C HE R L G , L N, E G

’ The Old n in P ul s n n on i orga St . a Cathedral, Lo do , wh ch n ss and Sir Joh Go played, which had felt the magic touch of

n ss n 1 3 s s on the 7 on el 8 on Me del oh , had top Great, the Sw l , an d n n n h P s o in on the the Choir o ly o e o t e edal . It t od a case s n n n n a cree betwee the choir a d the ave of the Cathedr l . We have noted el sewhere in this book how Willi s had thi s screen in 1 I n 1 an d n on s 872. 1 89 removed, rebuilt the orga each ide

o Th it was rebuilt in its present form as noted bel w . e writer

ﬁ s saw and s n in 1 872 and n on hi s r t heard thi orga , ever failed, frequent visits to London in later years, to atten d a service ’ in P tw s s . s o St aul Cathedral , where there are choral ervice n Th h n s s . e daily all t e year rou d . No ummer vacatio here f n ni n e fect of the Tuba ringi g up into the dome is mag ﬁce t . ’ s n s n as his c he d oeu vr e s n Willi looked upo thi orga f , ayi g “ ” There i s nothing like it in the whole world #

The Great organ i s situated on the north side of the chancel .

The n n n s s Th Swell a d Choir orga s are o the outh ide . e Solo organ and one- third of the Pedal organ are un der the ﬁrst arch on n n Th A a n i c an s . e the orth ide of the cha cel lt r orga , wh ch

d S 010 n s i s n s n be playe through the orga key , u der the eco d arch on n n Th n n o- s the orth side of the cha cel . e remai i g tw third of the Pedal organ an d three Tuba stops occupy the northeast Th s ar on n quarter gallery in the d ome . e keyboard e the orth s n ns n s and c an s n ide of the cha cel , i ide the orga ca e, be ee from “ ” 3 s n T n s C 61 the whi peri g gallery . here are ﬁve ma ual , CC to ,

3 s n s s 2 n . ote ; pedal C CC to g, ote

E A O A THEAS T A E Y OF E 1 0 S T PS P D L RG N ( NOR G LL R DOM ) , O

D ouble Diapa son Octave O n son N o 1 3 n s pe Diapa , . Mixture, ra k O n son N O. 2 on os ne pe Diapa , C tra P au Vi ol on e Open Diapa son B ombardon Vi ol oncell o Clari on H ow We S tand To-Dag 1 61

E A O A U E A CH TH S 1 DE OF HA C E 5 S T PS P D L RG N ( ND R R , NOR C N L ) , O

EE T F . 1 6 1 6 1 6

H I R O A 1 1 S T PS C O RG N , O

Contra Gamba Flute Harmonique Open Diapa son Pri ncipal D u lcian a Fl ag eolet Vi ol on cell o Corn o di Ba sse tto Claribel Flute C or Ang lai s Lieblich G edack t

E AT O A 1 6 S T PS GR RG N , O

EET F . D ouble Diapa son 1 6 Pri ncipal n n N O n O so O. 1 8 pe Diapa , ctave Qui t

O n s on N o . 2 8 S O pe Diapa , uper ctave

O n son N o . 3 8 o n 3 n s pe Diapa , F ur iture , ra k

O n son N O. 4 8 M 3 n s pe Diapa , ixture , ra k Open Diapa son 8 Tromb one n m 6 om Qui t , etal Tr ba Flute Harmonique 4 Clari on

S WE O A 1 3 S T PS LL RG N , O

E ET F . Contra Gamb a 1 6 Fifteen th O n son 8 E o o n 3 n s pe Diapa ch C r et , ra k Lieblich Gedackt 8 C ontra Posaune S alici onal 8 Cornopean Vox Angelica 8 Hautboi s Pri ncipal 4 Clari on

S O A N OT I S WE B ox 3 S T PS OLO RG N ( N LL ) , O

Flute Harmon ique Piccol o Concert Flute Harmon ique

S O A I S W E B ox 1 0 S T PS OLO RG N ( N LL ) , O

EET F . Open Diapason 8 Tuba Gamba 8 Orchestral Oboe Contra Fag otto 1 6 Corn o di Ba ssetto Contra P osaune 1 6 Corn opea n C or Ang lai s 8 Flute 1 62 T he R ec ent R evolu tion i n Organ B uilding

A TAR O A ( AYE H H S O G A EYS 5 S T PS L RG N PL D T ROUG OLO R N K ) , O

Contra Gamba V ox H uma n a Gamba Tremula n t V ox An 3 n s gelica . ra k

TU B A O A 6 S T PS RG N , O

EET. EET F F . D ouble Tuba ( in quarter ga l T uba ( in qua rter gallery ) 4 lery ) 1 6 Tuba Maj o r ( over Great orga n ) 8 in 8 on o Tuba , ( quarter gallery ) Clari ( ver Great org an ) 4 — COU PL ER S AN D ACCE S S ORI LS PNE UM ATIC

S to S u b-o D om well Great ctave . e Tuba s to Great . S to U n son . n s well Great i Cha cel Tu ba to Great . S - to G S o . n # s to well reat uper ctave Cha ce Tuba Great . S o o to e l S w ll .

— COUPLER S ME CHANIC AL

O n to n O o . Tuba rg a Pedal . Great rg a t Pedal S o o O n e to o O n to . l rg a P dal . Ch ir rg a Pedal S e n w ll Org a t o Pedal .

S i x s ons O e n h W Pi t p rate o t e hole Org an . A o o A s s on n m n b ut f rty dju table Pi t s a d C o p ositi o Pedal s .

The s n n w The o on mechani sm i e tirely e . quarter d me porti of the organ i s playable by ele c tric agency ; the rest being entirely

n T n n - s h n l o s. T s p eumatic . here are e hu dred draw top e mo t ove

A n o n s Th o m o s new a d T . e c n feature are the ltar uba rga f r er ,

n n V ox man V ox An 3 n s and two tai i g Hu a , gelica ( ra k ) , Gam bas ( 1 6 an d 8 feet) serves for distan t an d mysterious effects and to support the priest while in ton ing at the altar ; while the Tuba organ produce s effec ts of striking brillianc y ; three of the Tubas being loc ated in the northea st quarter - gallery an d s i n n Am n c s peak g well into the body of the buildi g . o g the a ce sori es s n o s of s c om , al o, may be ted the large upply adju table

n on s ns n o s s ns Of instru bi ati pi to , which bri g the vari u ectio the ’ on s n ss s ment well un der the plaver s c trol . Variou wi d pre ure

o o to 25 n s. are empl yed , fr m i che

1 64 The R ec en t R evolu ti on i n Organ B u ildi ng therefor ( made to a pattern suggested by Sir Frederick B ridge )

s n i n s s will be ee the picture to the left of the mu ic de k . Note n Th n that this orga c an be played from two keyboards. e mai

n as n n was n orga h p eumatic actio throughout . It comme ced i 1 4 n an d n in 1 95 n 88 as s s 8 . , added to fu d were available, ﬁ i hed The speciﬁcation ( containing the additions made in 1 908- 9 ) follows : GRE AT ( 1 4 S TOPS )

D ou ble Open Diapason Harmon ic Flute O n son s e pe Diapa , large cale Tw lfth

O n son N O. 1 n pe Diapa , Fiftee th N O 2 4 n s O en son . p Diapa , Mixture, ra k m O n son N O . 3 o b pe Diapa , D u le Tru pet ‘ H ohl F lOte Posaune Pri n cipal Clar i on

CHOIR ( 1 1 S TOPS )

Gedackt Na son Flute Open Diapason S u abe Flute Keraul oph on Harmonic Gemsh orn D ulciana C ontra Fag otto Lieblich Gedackt C or Ang lai s Pri ncipal

S WELL ORGAN ( 1 8 S TOPS )

E ET F . o son ss 1 6 D uble Diapa , Ba Dulcet o b son 1 6 n D u le Diapa , Treble Pri cipal 8 L o O n son N O. 1 pe Diapa , ieblich Fl te

O n son N O . 2 8 n pe Diapa , Fiftee th R o F lOte 8 3 n s hr Mixture, ra k S alicional 8 Oboe Voix Ce lestes 8 Double Trumpet Dulcian a 8 Cornopea n H ohl F lOte 8 Clari on

S OLO ORG AN ( 8 S TOPS )

EET. EET F F . Gamba 8 I n a S well B ow R Ohr Fl o te 8 Orchestral Ob oe 8 L ieblich F lOte Clari net 8 Harmon ic Flute Vox H u mana 8 Tuba Mirabili s ( heavy wi nd ) 8 H ow We S tand To- Dag 1 65

CE LE S TIAL ORGAN ( 1 7 S TOPS )

Firs t Divi s i on

o n ss 1 6 Vo s es D uble Dulcia a , Ba ix Cele t ’ D o n 1 6 o F lOte uble Dulcia a , Treble H hl s o 8 n o ne 6 n s Flauto Traver Dulcia a C r t , ra k Vi ola di Gamba 8 ' The o o n S o s a re n s e on the S 010 e o f ll wi g t p available , whe de ir d , k yb ard , th us furni shi ng a n i ndep enden t I nstrument of two Ma nual s ; whil st in

om i n on o s N os . 1 a nd 2 o e s N os 3 c b ati with C upler Key , , C upl r Key , a nd 4 c an be n e n s e s n the s . i t rcha ged , thu rev r i g Clavier

S econ d Divi si on

ET FE . Cor de Nu it 8 V ox H uman a S ua be Flute 4 S pare S lide e o 2 o ns 3 n s Flag let Gl cke piel , ra k Harmonic Trumpet 8 G ongs ( three octaves of bra ss s 8 on s s b o- n Mu ette g g , truck y electr p eu m mm s Harmonic Ob oe 8 atic ha er ) .

PE DAL ORGAN ( 1 0 S TOPS )

EET F . D ouble Ope n D iapa son 32 Bass Flute Open Diapa son 1 6 Vi ol on cell o Open Diapason 1 6 C ontra P osaune B ourdon 1 6 P osa une Pri ncipal 8 Trumpe t — “ — n s to to . Ma ual CC a . Pedal CCC F The n ns m n is o n b a s n ne n ot e tire i tru e t bl w y a g e g i , actuati g a r ary o a nd bl wer high pres sure feeders . a re 24 o s 1 0 om n on s ff n S There C upler ; C bi ati Pedal a ecti g Great , well , and Pedal s o s 24 omb n on s on s and 3 s n o s . t p ; C i ati Pi t , Cre ce d Pedal

I n 1 908-1 909 the organ was reﬁtted throughout with William ’ Hill Sons latest type Of tubular pn eumatic action ( excepting s n the n was e n the Cele tial orga , for which electric actio r tai ed) , an n new ns was - s e O n Dia e tirely co ole provided, a large cal pe

s n the s n n an d pa o added to reed ou dboard of the Great orga , s n n everal additio s made to the couplers an d combin ation pisto s. William Hill Sons are al so the builders of the organ in the

T n n A s n s in ow Hall, Syd ey, u tralia , o ce the large t the world ;

has 1 26 s n o u n he it peaki g stop s . It mav be lo ked po as the apot 1 66 The R ec en t R evolu ti on in Organ B uildi ng

os s Of Old s n - n low ss s i the tyle of orga buildi g, with pre ure , dupli

n s Th h s ss s i and . e s 1 2 n s catio , mixture ighe t pre ure u ed i che an d there are no less than 45 rank s of mixtures which were “ B as n characterized by Sir J . F . ridge bei g like streaks of ” ’ s h ilver . T e writer saw thi s organ in the builder s factory in

n o s n A n Lo don bef re it was hipped to Syd ey . u ique novelty was on T n on P 64 n the C tra rombo e the edal Of feet actual le gth . The bottom pipes were doubled up into three sections an d the

n Of was n Al to gue of the reed the C C C CC pipe two feet lo g . though almo st inaudible when played alon e this stop generated harmonics which powerfully reinforced the tone of the full

n The n i s n s in s s n A orga . orga i clo ed a ca e de ig ed by Mr . rthur

n s n s Hill after Old re ais a ce example .

O A I N TH A A T E N E O OF J . W T S RG M NSI N M R IN HI E , Q , RALR DDE Y T A U R O D . , SC L N

The organs heretofore described have been somewhat on the “ Old n s m now i n 1 894 n Of new li e , but we co e , , to the daw a

d h - n on h z n an t e s J s s ori e . W era, tar of Hope o e appear the ith the exception of an instrument rebuilt by Hope - Jones i n Dun

P s s i s s an n in dee ari h Church , thi the ﬁr t org with electric actio n Scotla d .

B lru a dder ns s n . n n . y ma io , the rural re ide ce of Mr J Marti

W s n s in n s n s s D n . hite, ta d a fair cou try eve mile to the we t of u dee

The n s m ns n s n grou d of the a io are a dream of ylva beauty, with the broad bosom of the River Tay within the vi sion an d beyond that the blue line Of the Fife shore .

Th i was n e organ s the work of three hands . It origi ally built by Casson ; the most notable characters in the voicing are due to T nn n - n s n hy e ; and it remai ed for Mr . Hope Jo e to e tirely

ons hi s n s - s rec truct it with electric actio , top key , double touch ,

Th ns i s pizzicato touch an d some of hi s new stops. e co ole nn n one n movable, co ected with the orga by a cable about i ch

H ow We S tand To-Dag 1 69

n n n s n n thick, co tai i g about wire , e abli g the player to hear the organ as the audience hears it . n on 1 67 Referri g to the view of the hall page , the Great organ is in the chamber behin d the pipes seen in the upper

Th n ns n n . e a d i a d gallery Swell Solo orga are the attic above, the soun d of these c an be made di stant by shutting the Swell s Th s n n n . e s hutter , or brought ear by ope i g them pedal pipe are put up side down so that their Open en ds may be toward the s mu ic room .

S PE CIFI CATION . 3 m n n no s to a 58 o s . to 30 s. Three a ual , te Pedal CCC F , te E A A T PS P D L ORG N ( 6 S O ) .

EET F . Open Diap ason 1 6 Pri ncipal “ ” Great B ourd on 1 6 ( Partly from 1 6 feet ” n o n S well Vi ol o e 1 6 pe . ) Ophicleide 1 6 C ouplers

s a nd s on o to Pe da l. ( Fir t ec d t uch , Great

S to . partl y from Tuba . ) well Pedal ” S o o S well Vi ola 8 l to Pedal .

EAT A T PS GR ORG N ( 9 S O ) .

I 2 h O n son Cla ra bel a nd S o n . n s box N O. t e well , except pe Diapa , urdi e

EET EET . F . F B ourdon 1 6 Prin cipal 4 Open Diapason 8 #auber Fl ote 4 Cla r abel 8 Piccol o S ou n 8 5 n s rdi e Mixture , ra k Gedackt 8 C o s n n upler : S well to Gre at ( ﬁrs t a d seco d touch ) . o - S well t Great S ub Octave .

- S well to Great Super Octave .

S o o U n son to G s se on a nd o o . l i reat ( ﬁr t , c d , pizzicat t uch )

- S ol o to Super Octave to Great . m n 5 C o p ositi o Pedal s . A 1 0 T PS S WELL ORG N ( S O ) .

B x N 1 . I n S well o o .

E ET E ET F . F Vi ol one 1 6 Ge igen Pri ncipal 4 Gei gen Open 8 H o rn 8 ’ Vi ol es d Orchestre 8 Ob oe 8 Harmon ic Fl ute 8 Vi oles Celes tes ( Tenor C ) 8 ' E ch o S a lc iona l 8 V ox Angelica ( Ten or C ) 8 1 70 The R ec ent Revolu ti on in Organ B uildi ng

C o e s : S u b - O n e - O upl r ctave a d Sup r ctave . ' S ol o to S well ( se con d t ouch ) . o Great to S we ll ( sec n d tou ch ) . 5 om os on s C p iti Pedal .

A T PS S OLO ORG N ( 5 S O ) .

2 I n S well B ox N O. .

E ET EE T . F . F Harmon ic Flute ( 8 i nches Tuba Mirabili s ( 8 i nches wi nd ) 8 wi n d ) Vi ol oncell o 8 Cor An g lai s Cla r i c net 8

C o - O e - uplers : S ub ctave ; Sup r Octave .

A E E G ENERAL CC S S ORI S .

S u s . Three Pedal t d p , f, If S o n o f rza d Pedal f, If. S K a nd top S witch ( ey Pedal ) .

Tremula nt ( S well a nd S ol o ) .

O A WO T R AT D A A D . RG N IN RCES E C HE R L, ENGL N

Next in chronol ogical order comes the epoch - making organ in

W s n - n 96 n s in 1 8 . orce ter Cathedral , E gla d , built by Hope Jo e Here he gave to the world the result of hi s researches into the

n n n and sa no productio of orga to e , we make bold to y that other instrument has so revolutionized and exerted such an inﬂuence on the art of organ - building both in Englan d and the Unite d

s m ﬁ n n n n on . for s d State Here the ﬁr t ti e we that wo derful i ve ti ,

D n an d n n n s s s is the iapho e , eve the ome clature of the variou top n w e o now s n n s . , h wever familiar they may be , eve tee year later Hope -Jone s i s rep orted to have spent several days i n the Cathe

S n its s c s nn n s n dral tudyi g acou ti propertie before pla i g thi orga , an n The d the result was a marvelous ensemble of to e . fame thereof spread abroad an d emin en t mu sician s made pilgrimages

s to see an d as n n in from all part Of the earth hear it, me tio ed ou r n n s accou t of Yale U iver ity Organ later .

s H einroth O n s an d D of s n Charle , rga i t irector Mu ic , Car egie P s P ns a . s I titute, itt burgh , , say

1 72 The R ec ent R evolu ti on i n Organ B u ildi ng

— t n ed S WE LL ORGAN Con i u .

EET F . Harmon ic Piccol o 2 Cor Anglai s ( free ) D ouble E ngli sh Horn 1 6 V ox H umana Co rn opea n 8 Clari net Ob oe 8

A 1 T PS CHOI R ORG N ( 0 S O ) .

Dou ble Open Diapa son 1 6 D ulcian a Open Diapason 8 Flute C one Le iblich G edackt 8 F la u tina ’ Vi ol d Orc he str e 8 C or An glai s ( beati ng ) Ti er c ina 8 Clari onet

S O A 5 T PS OLO RG N ( S O ) .

EE T F . 4 Tuba S ono ra 1 6 Orches tral Ob oe 8

E A A T P D L ORG N ( 1 3 S OPS ) .

EE T F . Gravi ssima 64 D ouble Ope n Diapason 32 C on tr a Vi ol one 32 Tibia Profunda 1 6 Open Diapason 1 6 Vi ol one 1 6 B ourd on 1 6

C o e s : o S S o o to n S ub upl r Ch ir , Great , well , l Pedal ; light wi d Great Oc t ( on itse lf ) Great reeds Super Oc t ( on themse lves ) S ol o to S u b S a nd Un son S to S ub S Great , , uper i ; well Great , , uper

a nd U n son o to G S ub and Un son . i ; Ch ir reat , i S well S ub and Super Octave ( on itself ) ; S ol os to S well ; o o Ch ir t S well . o S ub and S O on se S to o Ch ir uper ctave ( it lf ) ; well Ch ir , i S ub S u and . U n son . , per S o O n u b and S u O on s l o rg a S pe r ctave ( it elf ) .

S ol o Tuba to Great 2d touch . S to e 2d o well Gr at t uch . S e o o 2 ou w ll t Ch ir d t ch . o 2 Ch ir to S well d touch . S ol o and Peda l Tuba s have double tongues a nd a r e v oiced on 20 i nches Of n wi d . A sso s : 5 om o n c om os on s for a n d S cce rie c p u d p iti key Great Pedal , well a n d S o o 3 for C o and a nd 2 to m n for Pedal , l ; h ir Pedal , each a ual H ow We S tand To- Day 1 73 couplers ; 2 combi nati on key s ; Tremulant to S well ; 5 comp ositi on pe dal s

S o S Ke a n d e . t p witch , y P dal The c omp ositi on key s between the ma nual s if touched in the centre g ive automaticall y a n appr opriate Pedal bass in additi on to the particular s top s acted up on ; but if touched on one S ide do n ot di sturb the Pedal m n l m n on mo m n s ff e s o ms s . depart e t . A l co bi ati ve e t a ect th t p keys the elve “ ” The stop switch enables the player to prepare i n advanc e a ny S pecial om n on of s o s a nd o s n n m n o the c bi ati t p c upler , bri gi g the i t play at mom n es Th n i o n ix - s as n n e t d ired . e orga s bl w b y a S h or e g e g i e .

OR A OO A A T G N IN W LSEY H LL, Y LE UNIVERSI Y,

N EW AVE N O . H , C N N

T s n n ns n n s- V ote hi mag iﬁce t i trume t, built by the Hutchi g y

O n n in 1 902 ss ss s n s n n n rga Compa y , po e e i crea ed fou datio to e and n ss s Th P ss S an higher wi d pre ure . e late rofe or Samuel S . n n in i s s a d s ts n . ford, devoted much time i tere t de ig He vi ited W s n n and was n ss orce ter Cathedral , E gla d, profou dly impre ed with the new epoch in tone production heralded by that organ

an ffor - n s one his He made e t to have Mr . Hope Jo e voice of Tibias and Smooth Tub as for the Yale organ ; and though his

was not s ss n s Of the s in effort ucce ful , leadi g feature Worce ter s n n n trume t were fra kly imitated and ge erously acknowledged .

n s It was largely due to the liberality of Mr . George S . Hutchi g in interpreting the terms of the contract that such a complete n s n s I n n n i trument was secured for the U iver ity . recog itio of ’ s and in n s s n ns thi view of Mr . Hutchi g arti tic co tributio to the

n- n n s n n art of orga buildi g, the U iver ity co ferred upo him the

n A The D s ns ho orary degree of Ma ster of rts . iapa o are voiced on pre ssures ranging from to 22 inches ; the reeds in the n n h T on 22 n s The and on 1 0 s a d t e . Great Swell i che , uba i che builders state that the mixtures have been inserted at the request

Of n n s s T now 78 s n n s s. ma y noted orga i t . here are ou di g top

‘ m o 1 no s m s of m C o ss of n s om t 6 . o s s o pa Ma ual fr CC c , te C pa Pedal fr

to 32 n o s . CCC g , te The R ec en t R evolu ti on in Organ B u ildi ng

EAT 1 T P GR ( 9 S O S ) .

Diap ason Octave Q u inta ton IV a ld Fl u te D iapa son Gambe tte Diapas on Twe lfth Diapa son Fifteenth D o F loete e 5 n s ppel Mixtur , ra k Pri ncipal Flute Trumpet Gross Gamba Trumpet ’ Vi ol d Amou r Clari on Gemsh orn

E 1 T PS S W LL ( 2 S O ) .

E ET F . Contra Gamba V ox Ce lestis B ourd on Harmon ic Flute S ten torphone Pri nc ipal Diap ason Vi oli na Gamba Flauti no B o on D o o n 5 n s urd lce C r et , ra k Fla u to Traverso 8 P os aune S alici on al 8 Cornopean Qui n taden a 8 Oboe Unda Mari s 8 V ox Huma na Aeo li ne 8 Tremol o A 1 CHOIR ORG N ( 3 S TOPS ) . ( I ncl osed i n a S well B ox )

EET F . Contra Dulcian a 1 6 Vi ol on ce ll o Diapason 8 Vi ola Mel od i a 8 Flaut o Traverso ’ Vi ol d Orc hes t I e 8 Piccol o Ha rmonique L ieblich Ge dacht 8 Clari net Dulcia n a 8 Contra Fa gott o o s 2 n s 8 mo o Vi l Cele te, ra k Tre l

A T PS S OLO ORG N ( 6 S O ) . ( I n a S well B ox )

EE T EET . F . F 8 H ohlp feife 8 D olce 8 Orchestral Oboe

P PE DAL ORGAN ( 1 9 S TO S ) .

EE T F . Gravi ss ima ( R esulta nt ) 64 Contra Ba ss ( R esultan t ) 32 Diapa son 32 Diapa son 1 6 Contra B ourd on 32 D iapa son 1 6

1 76 The R ec en t R evolu ti on in Organ B uilding

c ns s s T s n s n s . s s o ole well pedal he e divi io repre e t, re pectively “ ” “ ” “ ” “

n n n s n an d ss. Fou datio , wood wi d, tri g bra

The n ns m n is one ns in e tire i tru e t played from co ole , located the n nn n an an ave, co ected with the cha cel org by electric cable

S in n an d n on e of one ixty feet le gth , with the gallery orga by

n n s i of - n n hu dred a d sixty feet . This key de k s the well k ow

- J n s n n s s c s o s s s . Hope o e type, whi h appeal tro gly to mo t orga i t

n ns s n n n s : - s in s - It co tai all the late t co ve ie ce Stop key , emi cir c ular s n n s n n s po itio above the ma ual ; combi atio key , which move the stop -keys ( with switch -board within easy reach for changing

s n s s s e ss s s n an d the electio of top ) ; uitabl ba tablet , avi g time

n its of n worry to the player ; double touch , offeri g wealth to al

ff s T n s ns e ect , etc . hrough the Operatio Of a mall tablet the orga c an r be played separately o together .

PAS S : M A A S 61 TES E A S 32 TE S . COM NU L , NO ; P D L , NO

E A O A 1 T PS P D L RG N ( 6 S O ) .

E ET F . oun da ti o n o F . Cell Tibia Profu ndi ssima Cell o Celes te a Re sultan t Bass B r ss . Tibia Profunda Ophicleide Contra Tibia Clausa Tromb one Open Diapa son Tuba Tibia Plena Clari on Tibia Cla usa Great to Pedal .

n S to . W ood Wi d . well Pedal Clari net S well Octave to Pedal .

i o to e . S tr ng . Ch ir P dal Con tra Vi ola One S tud to relea se Dulciana Suitable Basses .

A 4 T P GRE T ( 1 S O S ) . T FEE .

W ood Wi nd . F oun dati on . Tibia Pr ofun da C oncert Fl u te Contra Tibia Clausa Flute ri n Tibia Pl ena S t g . Tibia Clausa Dulciana r a s Open Diapa son B s . H orn Diapa son Octave H ow We S tand To-Day 1 77

EAT A — ontinued GR ORG N C . S EET e O to . F . w ll ctave Great m o b Tro ba 8 Ch ir S u to Great . on o n son Clari 4 Ch ir U i to Great .

o O to . S well S ub to Great . Ch ir ctave Great

n to S on o . S well U i son to Great . Tuba Great ec d T uch One Double T ouch Tablet to cause th e Pedal S top s a nd C ouplers to mo so as m s u n s om s ve at all ti e to f r i h aut aticall y a Suitable Ba s . Ten D ouble T ouch Adjustable C ombi nati on Key s for Great S tops and S ss uitable Ba .

GA T P CHOIR OR N ( 22 S O S ) .

EET F . nda i n n n F ou t o . Qui tade a n s ( Ten ) Con tra Tibia Clausa Qui t Cele te C n Tibia Cla usa Dulcia a Un s ( Ten ) H orn Diapas on da Mari C Gambette

W ood Wi nd . Octave Celeste Orchestral Oboe ( Ten C ) Qui ntaden a Con cert Flute Qui n t Celeste n B r a ss Clari et . Ob oe H orn Tromb one Orchestral Ob oe Tuba Vox H uma na Tromba Per u i n Flute c ss o . tr i n mon on s 8 S g . Har ic G g C ontra Vi ola 1 6 Harmonic G ongs 4 ’ n ff - o s 8 son O S u b . . Vi le d Orche tre U i . Octave Octave o s o to on o Vi le Cele te 8 Ch ir S well Sec d T uch . One D ouble T ouch Tablet to cause th e Pedal S t op s a nd Couplers to mo so a s m u n s om ve at all ti es to f r i h aut aticall y a Suitable Ba ss.

‘ Ten D ouble T ouch Adj u stable C ombi n ati on Key s for S well S tops a nd S u s s itable Ba . A CHOIR ORG N ( 22 S TOPS ) .

EET F . ou nda ti n F o . Contra Tibi a Clausa r i n Tibia Clausa S t g . H orn Diapa son Dulcia na ’ ood nd o O s W Wi . Vi le d rche tre Clarinet Vi ole Celes te V ox Huma n a ( Ten C ) Qui ntadena Con cert Fl u te Qui nt Celeste Clari net Dulcia n a Ob oe H orn U nda Mari s ( Ten C ) Orchestral Ob oe Dulcet Vox Human a Unda Mari s 1 78 The R ec ent R evolu tion in Organ Bu ildi ng

— on n CHOIR ORG AN C ti ued . E ET S S u b to ho F . well C ir Pe r ussio n S n so n to o c . well U i Ch ir H armon ic G ongs 8 S well Octave to Ch oir ff - o n son . O . S to r s on o U i O S u b Octave . ctave well Ch i ec d t uch

One Double Touch Tablet to cause the Pedal S tep s and Couplers to mo so a s m r n s m c ve at all ti es to fu i h auto ati ally a S u i tabl e Bas s . Ten D ouble T ouch Adjusta ble Combi nati on Key s for Choir S top s a nd S u itable Ba ss .

G A T PS S OLO OR N ( 8 S O ) .

o u nda tio n r on F . Cla i n Pe u io n Tibia Profu da rc ss . Tibia Plen a Ha rmonic Gongs ' Open D iapa son Great to S ol o.

ra ss S S ub to o o . B . well S l 1 S n son o Ophicleide 6 well U i to S ol .

T u ba 8 S well Octa ve to S ol o . Tromba 8 o A s om n on s F ur dju table C bi ati Key .

A T PS CH NC EL PEDAL ORG AN ( 2 S O ) .

EE T F . D iaph onic Diapa son 1 6 B ourdon

CHANCEL GREAT OR GAN ( 7 S TOPS ) .

B ourd on Open Diapa son D oppel Fl ote Gamba

P CHANC E L CHOI R ORGAN ( 4 S TO S ) .

D oppel Fl ote 8 Gamba 8

G E NE RAL .

n S o n o B n S for oun o , f rza d Pedal . ala ced well Pedal F dati f n lan S for “ oo W n n S for S g , d well Ped al d i d , Bala ced well Pedal tri Ba ce ' c S well Pedal f r B ra ss . General B alanced S well Pedal for all or a ny of the ab ove . f th e o s Five Keys for i n di cati ng a nd con trolli ng the p ositi on o vari u S well Pedal s . n Tremulan t for W oo d W i d . m n r n Tre ula t fo S tri g .

1 80 The R ec en t R evolu ti on i n Organ B uildi ng thirty- piece orchestra could accompany the pictures so well as the - J n n so m Hope o es U it Orchestra does. Neither would it co pletely carry away with enthusiasm the crowd that ﬂock to ” hear it . Only the keyboard s are visible from the auditorium ; the in s r m n i s on s Of s n m in the t u e t placed each ide the pro ce iu , occupy g

s s s n n n place of the u ual tage boxe , the to e bei g reﬂected i to the

n m n s o Th 2- n theatre through or a e tal ca e w rk . e 3 foot Ope dia

n i s n s n Th S n : pho e located behi d the picture cree . e peciﬁcatio

E A A 2 E P D L ORG N ( 3 NOT S ) .

Diaphone 32 Octave Ophicleide 1 6 Clari net Diaph one 1 6 Cell o Bass 1 6 Flute T uba H orn 8 Flute s m m m — n s s s S c o o s . Ba Dru , Kettle Dru , Cra h Cy bal e d T uche to o o Great Pedal ; S ol Octave t Pedal . D on 32 S on o 1 6 . o o . iaph e ft . ec d T uch ; Ophicleide ft Pizzicat T uch S i x A T s ns djustable oe Pi to .

A PA E T A 1 T S CCOM NIM N ORG N ( 6 NO E ) .

Vox Huma n a ( Ten C ) Octave Celeste Tuba H o rn Flute Diaphonic Diapa son Twelfth Clarinet Piccol o ’ Vi ole d Or c hestre Chr ysog lott Vi ole Celeste S nare D rum Flute Tamb ouri ne V ox Huma na Ca stanets Vi ol . n l m s S h s X o on o n Tria gle, Cathedra Chi e , leig Bell , y l ph e, Tuba H r , S olo A om n m n — n to cc p a i e t Seco d T ouches . — S o o to A om a ni m n o Flute, l cc p e t Pizzicat Te A m n n n s o on s s . dju tabl e. C bi ati Pi to One D o o to c s the dal S o s a nd C o s to uble T uch, Tablet au e, Pe , t p upler mo so a s a # si to u a ma tic a ll S ta a ss . ve t Q tnng f rnish; ngtq y a ui ble P

1 6 n ( Te n ) , Clari et, C 1 6 Co n tre Vi ole ( Ten C ) 1 6 Tuba H orn H ow We S tand To-D ag 1 81

l H OR A —l oonti nued C OIR G N .

ET FE . o D iaph onic Diapason o o Clari net o ’ o Vi ole d Orc h estre o o Vi ole Celes te o o Flute o Vox Huma n a m Clari on ms- Vi ol i Octave Celeste A O S o o to e ctave, l Gr at . — O S o o to G S on o e s . phicleide , l reat ec d T uch S o l o to Great Pizzicato Touch .

Ten Adjustable Combi nati on Pi stons . One D ouble T ouch Tablet to cause the Pedal S top s a nd Couplers to move so a s at all times to furn i sh aut omaticall y a Suitable Bass .

A 3 TE S OLO ORG N ( 7 NO S ) .

EET F . Tibia Cla usa 8 Qui ntaden a Trumpet 8 Cathedral Chimes Orchestral Ob oe 8 Bell s Ki nura 8 S leigh Bell s Oboe H orn 8 X y l oph one n on S i x Adjustable C ombi ati on Pi st s .

E A GEN R L .

Two E ess on L s two n n and on o n s n xpr i ever , I dicati g C tr lli g Key , Thu der on n R TW O m n s R e- o Pedal ( Diaph e) , Thu der Pedal ( eed ) , Tre ula t , Iterat r

- for S n s R e o for S o o . tri g , Iterat r l ' On e o o S o n o s Touc h F u ll S o s S on D uble T uch f rza d Pedal , Fir t , t p , ec d

ou ss on . T ch , Percu i One o o S o n o s o S n m S on D uble T uch f rza d Pedal , Fir t T uch are Dru , ec d

o ss m and s m s . T uch Ba Dru , Cra h Cy bal

AT A T O TH E D D OF S . C HE R L J HN IVINE , NEW T YORK CI Y .

. T wa the n s M. nn n his organ s built by Er e t Ski er Compa y ,

~ P d Mrs. B s n s 1 1 1 i s Of Mr . an . s in 9 . o to , Ma , It the gift Levi

n and s to e s i s n n in Morto , is aid hav co t It co tai ed two cases on each side of the triforium Of the chancel and blown by ,

an electric installati on of 25 h p . 1 82 The R ec ent R evolu tion in Organ B uilding

EAT O A 21 T PS GR RG N ( S O ) .

Harmonic Flute Octave Gambette Flute Fifteenth Mixture Tr ombone Ophicleide Harmonic Tuba H armonic Clari on

S E 26 T PS W LL ( S O ) .

l st Flute 2d Flute Vi olin Flauti no Mixture Trumpet E ng li sh H orn C ornopean French Trumpet Oboe V ox H umana Clarion Tremol o

R O GA B ox 1 T PS CHOI R N ( IN ) ( 8 S O ) .

Gedackt 1 6 Piccol o Gamba 1 6 Fag otto Diapason 8 S ax ap hone Geigen Pri ncipal 8 Clari net Dulcian a 8 E ngli sh Horn Dulcet 8 Orches tral Oboe Concert Flute 8 V ox Human a Qu i ntadena 8 Carill ons Flute 4 Tremol o Fugara 4

RGA 1 T P S OLO O N ( 7 S O S ) .

S tentorphone Phil omela Claribel Flute Harmonic Flute Voix Celestes

1 84 The R ec en t R evolu tion i n Organ B uildi ng

A 1 P GREAT ORG N ( 6 S TO S ) .

EET F . * Double Open Diapa son 1 6 tOc ta ve * B ourdon 1 6 TH a r mon i c Fl ute * * Open Diapason ( large) 8 Pri ncipal * Open Diapa son ( medium ) 8 tTwelfth TVi olin Diapa son 8 TF ifteenth * — D oppel F lOte 8 TH a rmonic S ( 1 5 - 1 7- 1 9 b21 -22) * Fl ute Harmon ique 8 TD ouble trumpet TG emshorn 8 TTr omba * S o t p s marked c a n be played by Coupler in Super Octave . S tO m T p s arked 1 c a n be played by Coupler in S ub Octave .

E A 1 T PS S W LL ORG N ( 7 S O ) .

E ET F . Gedeckt 1 6 o Open Diapa son o o Clarabe lla o o S topped Diapa son o o Dolci ssimo o o Vi ola di Gamba o o Voix Celeste o s Fugara s a Flauto Traverso b W n ss n n n i d pre ure 5 i ches ; C or opean a d Clari on 6 i nches . W n ss n L i d pre ure 4 i ches ; arge Open Diapason and R ee ds 6 i nches .

A E S E 1 T PS CHOIR ORG N ( NCLO D ) ( 2 S O ) .

S alici onal 1 6 S u a be Flute Open Diapa son 8 Vi olin a Mel odi a 8 Q u i nt Gamba 8 Flageolet Dulciana 8 Contra Fagott o Lieblich G edeckt 8 Clari net W n ess n s . i d pr ure , i che

S O A I I S I E C S E 8 S T PS . OLO RG N ( D V ON I , N LO D ) ( O )

R ohr Flote C oncert Flute Q u i ntadena Orchestr al Ob oe ’ Vi ole d Or c hestre C or Anglai s é s Vi oles Celestes ( 2 rk s . ) C le ta

A E N E S ) S OLO ORG N CLO S D ) ( 8 S TOP .

S ten torphone Harmonic Piccol o Tibia Plena Tuba Mag na Vi ol onc ell o Tuba Mirabili s Octave Tubular Chimes

W nd ss 1 2 n s . i pre ure, i che H ow We S tand To-Dag 1 85

A R A 1 5 S T PS PED L O G N ( O ) .

E F ET. Double Open 32 Open D iapa son ( w ood ) 1 6 Open Diapa son ( metal ) 1 6 Vi ol one 1 6 D u lciana 1 6 B ourdon 1 6 Gedeckt 1 6 Flute 8 W n ss n n 5 s R e s 1 2 es . i d pre ure, i che ; e d , i ch a re 32 o s o b - s o s so b s ons a nd There C upler perated y Draw t p , al y Pi t s e s rever ible P dal . m n Co on s ons 6 to n a nd 4 s ons to the s. bi ati Pi t , each Ma ual , ( Pi t ) Pedal Four Foot Pi stons on all S top s and C ouplers ; one F oot Piston for o s n f n Great t Pedal rever ible ; o e F oo t Pi ston or Full Org a . B n S e d to S o a nd S o o n s endo ala ced w ll Pe al well , Ch ir , l ; Bala ced Cre c

Pedal . m n s to o S a nd S o o. Tre ula t Ch ir, well , l

T A PO T A D A . CI Y H LL, R L N , M INE

T s n was the A s n O n n hi orga built by u ti rga Compa y, of Hart nn 91 2 n P n in 1 . was s the ford, Co . , It pre e ted to city of ortla d

f t r enin Po t in . s . O the S a u da E v s by Mr Cyru K Curtis, y g , mem “ ” or the nn se Te D i s y of late Herma Kotschmar, who eum well

n n in th n s The n i s in n s s k ow e U ited State . orga a ha d ome ca e on the platform at one end Of the hall and i s entitled to take ’ it n n n s place amo g the world s great instrume ts . It is certai ly n n a coi cide ce that those who have been associated with Mr . Hope Jones in busin ess n ow rank as the foremost organ builders in

A as n ss s ﬁ ne n and in merica , wit e thi orga that the Cathedral

. n n of St Joh the Divi e in New York . 3 The P n n his n Of 61 n s c ortla d orga four ma uals ote , CC to , T 88 s n n s s and Of 32 n s . pedal ote , C C C to g here are ou di g top an 33 s d coupler . A A T P GRE T ORG N ( 1 8 S O S ) . EET F . S u b B ourd on 32 2d Open Diapa son Bourdon 1 6 3d Open Diapason Vi ol one D olce 1 6 Vi oloncell o l st Open Diapason 8 Gemshorn 1 86 The R ec ent R evolu ti on i n Organ B uilding

— n ti n d GREAT ORGAN Co ue .

D oubl e Trumpe t 1 6 Tru mpet 8 Clari on 4 Cathedral Chimes ( enclosed i n S ol o

B ox ) .

S E 1 6 S T PS W LL ( O ) .

Q u inta ton Harmoni c Flute D iapason Phonon Flautino o n s on r 3 and 4 n s H r Diapa Mixtu e , ra k ’ Vi ole d G amba Contr a Fagotto R ohr Flute C ornopean Flauto Dolce Oboe Unda Ma ri s Vox Human a Muted Vi ole Tremula nt Prin cipal

T ORCHES RAL ORGAN ( 1 3 S TOPS ) .

: Con tra Vi ole c Qui n tadena o ’ Geigen Pri ncipal o F lute d Amou r o Concert Flute o Flageolet o Dulci ana o French Ho rn ’ o Vi ole d Orc hestra o Clarin et o Vi ole Celeste o Cor Ang lai s o V ox S erap hiq u e o Tremulan t

GAN 1 2 T PS SOLO OR ( S O ) .

Vi olone 1 6 Co nce rt Picco l o o O en s s 8 o un Flaute Maj r , p Che t Tuba Pr f da Grand Diapason 8 Harmon ic Tuba Gross Gamba 8 Tuba Clari on Gamba Celes te 8 Orchestral Oboe ( encl osed ) 8 Flute Overte 4 Tuba Mag na 8

E H ORGA R 8 T PS C O N ( IN OOF ) ( S O ) .

E o o n 3 n s ch C r et , ra k V ox H uma na Ha rp Tremulan t

1 88 The R ec en t R evolu ti on i n Organ B uildi ng now under construction ( 1 91 3) for the enormous New Cathedral s n i s n of Liverpool , the peciﬁcatio of which here appe ded . 3 T n s 61 n s O an d n here are ﬁve ma ual , of ote , C C to , a radiati g

n n o f n T a d o 32 s to . co cave pedal b ard ote , C CC g here are no ns ns n s W n s s exte io or duplicatio . ith the exceptio of the Cele te ,

n to n s i s Of which go dow FF o ly, every top complete , full com T s. 1 67 s n s s and 48 s n pas here are peaki g top coupler , maki g

21 5 s n s a total of draw top k ob .

E A GA T P P D L OR N ( 33 S O S ) . EE T F . * n m D ble . O n son oo 32 o o o pe Diapa , w d Vi l cell , etal n n m 2 m D ble . O so 3 pe Diapa , etal Flute, etal * on o on m 32 n n m C tra Vi l e , etal Qui tade a , etal o n oo 21 1 m D uble Qui t , w d 74; Twelfth , etal n m O n son N o . 1 oo 1 6 pe Diapa , w d Fiftee th , etal

O n son N O. 2 oo 1 6 1 7 1 9 22d pe Diapa , w d Mixture , th , th , 1 6 o n 1 9 21 22 26 29 O n son N O. 3 oo pe Diapa , w d F ur iture, , 17 , , , O n son m 1 6 on om on pe Diapa , etal C tra Tr b e * on sso m 1 6 on O C tra Ba , etal C tra phicleide * G n m 1 6 om on eige , etal Tr b e ol m 1 6 om on D ce, etal B bard * * o on m 1 6 O Vi l e , etal phicleide * o on oo 1 6 o o B urd , w d Fag tt * uinta ton m 1 6 O om on Q , etal ctave Tr b e * n oo 1 0 O ssoon Qui t , w d % ctave Ba O oo 8 on ctave , w d Clari n m 8 Pri cipal , etal * x S t op s marked a r e in se parate Swell B o . W n ss es 1 n 2 n s : 6 7 0 1 5 a d 5 . i d pre ur , , , , i che

A T PS CHOIR ORG N ( 23 S O ) .

ET FE . * Con tra D ulcia na 1 6 Gambette * Contra Gamba 1 6 Dulciana * Open Diapa son 8 Flag eolet * * o n son 8 n 1 0 1 2 1 7 Vi li Diapa Dulcia a Mixture , , , , R o 8 1 9 22 hr Flute , * * Claribel Fl u te Bass Clari net 1 6 * m n n 8 on dble . vox 1 6 Dulcia a Bary t , hu a a * Gamba 8 * Corn o di Bassetto 8 * * Unda Mari s ( FF ) 8 Cor Anglai s 8 * Flute Ou verte 4 Vox Hu mana 8 * * S uabe Fl u te 4 Trumpet ( orchestral ) 8 Dulcet 4 * Clari on 4 * m k i S top s ar ed n separate S well B ox .

W n ss s : 4 n es m a nd on 7 n h s . i d pre ure i ch ; Tru pet Clari , i c e H ow We S tan d To- dag 1 89

EAT O A 28 S T PS 1 P E ) . GR RG N ( O , COU L R

EET F . ‘ Double Open D iapa son Octave Diapa son l — on m n C tra Tibia b Pri cipal B ourdon Hm Flute Couverte ‘ —s o n o mon D uble Qui t l a Flute Har ique O n s n O 1 o N . m pe Diapa , Twelfth O n 2 n N o . m e pe , Fifte th O n N O 3 m o o mon pe , . Picc l Har ique O n N o 4 m 1 0 1 2 1 7 1 9 22 pe , . Mixture , , , , ,

O n N o . 5 m S s 1 9 21 22 26 pe , e quialtera , , b , , , n m O N O. 6 m o t pe , D uble Tru pe Tibia Maj or m Trumpet Tibia Mi n or m Trompette Harmon ique S topped Diapa son m Clari on D oppel F lOte m S ol o Tromba s on Great Q ui nt g a ( B y Coupler ) W n s s s : 5 1 0 an d 1 5 n s. i d pre ure , , i che

W E 1 P S LL ( 3 S TO S ) .

C on tra Geigen Lieblich Fl ote Con tra S alici onal D oublette Lieblich B ordun Lieblich Pi ccol o n D n 1 L 1 1 9 22 O so N o . 7 pe iapa , ieblich Mixture , , , O n n 2 1 2 1 1 21 so N o . 7 9 pe Diapa , Full Mixture , , , , b , Geigen D ouble T rumpe t Tibia W ald Ho rn Flauto Traverso C ontra Hautb oy W ald F lOte Trumpet Lieblich Gedackt Trompette Harmonique E ch o Gamba Cornopean S alici onal Hautb oy V ox An gelica ( FF ) Krummh orn O on N o 1 ctave Clari , . n n on N O 2 Geige Pri cipal Clari , . S alicet W n ss s : 5 7 1 0 n s i d pre ure , , i che .

P ( 23 S TO S ) .

* C on tra Hohl Fl ote Concert Fl u te C ontra Vi ole Octave Vi ole * Hohl F lOte Piccol o Harmonique Flute Harmon ique Vi olette o de m o n de o s 1 0 Vi l Ga be C r et Vi le , , ’ Vi ol d Orc hes tre Cor Ang lai s Vi ole Ce leste ( FF ) Clari net ( orchestral ) * ‘ Octave H ohl F lOte Bassoon ( orchestral ) 1 90 The R ec ent R evolution in Organ Building

RGA —Continu ed SOLO O N .

F EE T. French H orn ( orchestral ) 8 Tr omba Re al Ob oe ( orchestral ) 8 Tromba Clari on C on tra Tromba 1 6 * Diapason S ten tor Tromba 8 All S top s in a S well B ox ex cep t S top s marked ' W n ss s : 7 and 20 n s i d pre ure , i che

A E E A A T PS ) CL VI R D S BOMB ARDE S ( TU B ORG N ) ( 6 S O .

EET F . Contra Tuba 1 6 Octave B ombard on B ombardon 8 Tuba Clari on Tuba Mirabili s 8 Tuba Mag na

n ss s : 30 n s n 50 n s . Wi d pre ure i che ; Tuba Mag a , i che Th e S o s of s m n be om the o t p thi depart e t will played fr ﬁfth Keyb ard , “ ” th on n n o b —s o n m n e acti bei g c o tr lled y Draw t p K ob arked Tuba O .

A 1 A A N D 4 A E CHO ORG N ( 9 M NU L A PED L S TOPS ) . E E A CHO P D L .

EET F . 1 6 Fugara 1 6 Dulzia n ( reed ) A A E CHO M NU L .

Q u inta ton 1 6 F la u tina E cho Diapa son 8 Harmon ica Aetheria ( flute mix C or de 8 1 0 1 2 1 5 Nuit ture ) , , , Carill on ( g ong s ) 8 Chal umeau Flauto Amabile 8 Cor Ha rmonique Muted Vi ol e 8 Trompette Aeo li ne Ce l este ( FF ) 8 Musette Celesti n a 4 Voix Humai ne ’ F er nflOte 4 H autbo i s d Amour R ohr Nasat 2% Hautb oi s Oc tavi ante W n 4 n s i d pressures : 35; a nd 7 i che . s B oth Pedal a nd Ma nual S top s i n S well B ox . The E ch o Ma nual S top e om th e o the on n on o e b play d fr fifth Keyb ard , acti bei g c tr ll d y Draw “ ” s o n e n t p K ob mark d E ch o O . Arrang ed i n two d ouble co l umns on the left - han d or ba ss jamb a r e 48 w-s e no for th o an r m n s Th n dra t p k bs e C uplers d T e ula t . e pri cipal ' C ouple rs may al so be operated by r eve rsible pi stons a nd the Tremulants 3 s s a re so 5 s s ons for the ( ) by rever ible pedal . There al rever ible pedal pi t ‘ nu to o s I n on to the s n -m n Ma al Pedal C upler . additi u ual I ter a ual Co s are on the o S S o o an d E o o ns S ub and upler there Ch ir , well , l , ch rga

S r a nd Un son Off o s on its own n . upe i ( ) C upler , each Ma ual no no B A velty i s a coupler labeled S ol o Te r to Pedal . y its u se the

s I n all W in n his n D n Jame g edgwood, writi g excelle t ictio

Of O n s n n n f an ary rga Stop , felt it i cumbe t upo him to Of er

s n n n n Of apology, or rather, ju tiﬁcatio for i troduci g the ame - n n Hope Jo es so freque tly . The author of this present volume feel s the same embarrass

n . s n ot see ss me t He, however, doe how it would be po ible for

an s him, or for y future writer, who value truth , to avoid reitera ’ tion of thi s man s n ame an d work when writing about the modern n orga .

’ The s n s A s n O n n author tha k are due to the u ti rga Compa y,

B nn n Dr s n e O n . . Cf O the e tt rga Compa y, W Carl , the E tey rga

n s n s n - J n O n Compa y, the Hook Ha ti g Compa y, the Hope o es rga

l r P. MOl e n n s O n n . . Compa y, the Hutchi g rga Compa y, Mr M

ss s O an d . . nn n Me r . J . H . S . C . dell, the E M Ski er Compa y,

h n n F réres Of n t e s ss s. s of U ited State ; to Me r Ca ava t , Ca ada ;

s s n S on Dr . . . n n s W. to Me r . J . H . Compto , Hill , J W Hi to ,

A n n n ff an d n W s lfred Kirkla d , Joh Mo crie Miller, He ry illi

ns Of n n Dr i Re Of and . s So , E gla d ; to . Gabr el dart, Lille , M Charle

n P s n s and Muti , of ari , Fra ce, for valuable data , photograph

n s n n s s . drawi g , ki dly fur i hed for thi book