The Organ in France 3

Home , Organ repertoire, Voicing (pipe organ)

PREFACE

PR OBABLY in no other country have the successive

an e in met o of or an on tru tion ur in h l ch g s h ds g c s c , d g t e ast uarter of a entur more nearl iﬁ q c y , y j ust ed the designa “ ” tion re olution t an in th e nite v h U d States .

At the e innin of t i erio ma in b g g h s p d , k g due allowance for the individual methods or characteristics of variou s uil er ra ti all all or an ollo b d s , p c c y g s f wed a general standar d with regar d to chara cter of speciﬁcation and the purp oses

i r for wh ch they were built . O gans designed for concert use ere oun in ome of the lar e t au itori nd o w f d s g s d a, a cca sionally in smaller halls ; the size o f church organs was governed by the prop orti ons o f the ediﬁces in which they re l e nd to a ertain e tent eman of litur we p ac d , a c x by d ds gy

i A ri t e i en e oa te or form of worsh p . few p va e r s d c s b s d

r r l im ortan e et if erin but instruments of mo e o ess p c , y d f g slightly from th e standard established for the typ es i previ ou sly ment oned . With th e su ccessful introduction of the electro-pneu

ti tem it ma airl be ai the our e of or an ma c sys , y f y s d , c s g l h e new tem building entered divergent channe s . T sys c ontaine d nothing in itself to alter th e standar d organ ion of th e p eriod in any respe ct save ease of manipulat . h u e i e in ention And yet it made p ossible t e s cc ss v v s , tion to an on i era le e ree h as ro whose adop , y c s d b d g , p duced an instrument of widely different resources from i th e e elo ment of new ossibil its prototype . W th d v p p ion of tru tural i o ition ities of contrast and express , s c d sp s V i PREFACE

l ntrol aro e new ﬁelds er a hi th a nd mech anica co , s , p h ps e rto und reamed o f ; in s ome cases re qui ri ng for their s uccessful exploitation a te chni que and repert oire quite

o reali e the e tent of t e e e elo ment individ ual . T z x h s d v p s we have but to c omp are th e use of the organ in chur ch and in o ccas io nal c oncert thirty years ago with th e

l m l o ment aﬁ orded it to -da variety o f additio na e p y y, th e char a cter of th e instrument necessarily varying ao c ording to the individual demands o f such employment

ni i al all or e en in th e o en air th e me ium in mu c p h s , v p , d

if il n er in th e o e or o ol o f frequent no t d a y c o c ts ; h us sch , “ — ” most o ften ﬁtted wi th so- called s elf pla ying appii ances which facilitate a cquaintance with th e master

ie e f r e r l re ertoire in the t eatre ere p c s o o ch st a p ; h , wh instruments o f a sp e cial typ e either have been added to the orchestra or have supplanted the latter entirely ; “ ” and finall e en as a eatur e attra tion of au e ille y, v f d c v d v n i h ou ses a d c nematographs . It is not my purp ose t o discu ss the many steps of invention and d evelopment whi ch have given us the or an or rat er or an of to -da for it mu t b e o i ou g , h g s , y ; s bv s th at instruments most suitable for th e work in any one of the fields above mentioned may differ in detail from th ose d esigned for others far more materially th an did th e various instruments of thirty years ago from one a nother . Suffi c e it t o say that in s cientific a chievement in the in enti on and li ti n ni l r r v app ca o of me cha ca es ou ces ,

arti ularl ele tri — in the re lt o f ro o n tu p c y c c , su s p f u d s dy and technical exp eriment in the domain of physical laws and eno mena in th e r i n f e tie f ph , p odu ct o o new b au s o — t o nal u alit and in ela ti it o f e re io n th e a ctiv q y , s c y xp ss , ities o f th e p ast qu arter o f a c entury in this country have

orne ri r i M b ch f u t . e ch ani cal pre cision and ease of op era tio n h ave b een brou ght to a higher d egree of e xcellence than ever before while mechanical a ccessories are now PREFACE V ii provided in a pro fusion and variety which facilitate the attainment of ef e t it erto im f c s h h p ossi ble .

Th e relatio n of these impro vements to the previ ously e ta li e on e tion of the or an as an in trument s b sh d c c p g s , and of its le itimate un tion it is not m r g f c , y p ovince to M n li discuss . a y b e eve that the new methods have emancip ated the organ from the fetters of mechanical limitatio n ile ot er m i s , wh h s a ntain that a t least in ex treme cases an essentially new instrument has been e ol e o e in a ﬁ eld o f u e l e v v d , p ss ss g s fu n ss and d emanding an in i i ualit of treatment e uliarl i d v d y p c y ts own . One thing is certain : that under discriminating and skilful dire ction the new methods adopted in recent years have given our organ-builders o f to -day th e o pp ortunity to produ ce work possessing at once su ch artistic excellence and interesting p ossibilities as c ould seldom have b een

ou a e to t eir re e e or or in un er e i tin v chs f d h p d c ss s , w k g d x s g limitations . Only th e future can d etermine the exact value of these

new met o . en u i i ou l em lo e it i in h ds Wh j d c s y p y d , s contestable that they will greatly increase the technical p ossibilities o f th e organ . But to prove th eir artistic as ell as t eir ommer ial alue t e m w h c c v , h y ust awaken a c orresp onding develo pment o f musical fa culties on th e

art of e e utant and timulate intere t in th r n p x c s , s s e o ga n i i n n m E i ll amo g mus c a s a d c o po sers . spe c a y must the latter be inspired to augment a repertoire whi ch is none

ri in m o er r o f en ine m i l im r n to o ch d n wo ks g u us ca p o ta c e . It is u seless t o exp e ct su ch interest to be stimulated by endless and generally fruitless discussions among organists and others of the j ustiﬁcation of p erformi ng orchestral arrangements upon the organ while one

l i f r eal intere t anot er discoun h olds that little e se s o s , h

en tenances th e u se o f transcriptions unr eservedly . R ec t works treating of the progress of th e p ast half- century viii PREFACE a rc wo nt c o ntinually to lay stress up on the enl argement

r of th e o r an t ro u tone and o f the imi ta tive p owe s g , h gh

i on e tio n of th e e e ntual un ti on of th e t o uch . Th s c c p v f c in t win o ular a laim but i ins t rume nt is ce rta o p p cc , t must no t be p ermitted to domi na te at th e exp ense o f fea tures which are indispensable to th e preservation o f the indi vid uality of the organ and to th e musical devel

Opme nt o f its p erformers . ument and oun one to be a an e The re are arg s , s d s , dv c d b o th for and against the inclusion of transcriptions in the r an re ertoire a umin t at u in l u ion is dic o g p , ss g h s ch c s tated by artistic consid eratio ns and a ccompli shed wi th i i Th a due regard for c ondit ons of t me and pla ce . e q uestio n really is : Does th e fre qu ent p erformanc e o f transcriptions tend better to d evelop and display th e i ndivid uality of the organ as a mu sical instrument ? Do es it assist the p erformer in th e acquisition and main tenance of the true organ style in performance ? Does it inc rease the resp ect for the instrument shown by — mu i ian at l r e b l r n o t er in tr men s c s a g y p aye s o h s u ts , o n u tor riti ? D oe it romote in th e by c d c s , by c cs s p greatest comp osers o f o ur time interest in th e creation o f original works for the organ ? These are the really i tal ue ti n V q s o s .

Or a ain the ro le i i n of c n g , p b m of the standard z at o o

ole e on th i r i s s , b y d e attainment of uni formity n ce ta n — mea ur ement or of the a a ta e of one tem of s s , dv n g sys to - ontrol o er a no t er — t man ot er s p c v h these , wi h y h

ue tion of relati el e ual u nim rt n e are in an er q s s v y q po a c , d g o f ein un ul em a i e h l f c on b g d y ph s z d , to t e exc usion o sid e ra tio n o f matters far more essential to the future o f the or an and of it l g s p ayers . It is eminently proper th at our organists sho uld interest th ems elves in organ o n tru tio n and a h c s c , cquire a te chnical kno wledge of t e s ubj ect which will enable them intelligently to weigh its PREFACE ix merit and its im er e ti s p f c ons . In France an eminent t orit h l au h y as d ep ored the fact that an organist is not o bliged to understand the construction of the instrument hi h e is alle u on to l w ch c d p p ay . In many a case he

oul un ue tiona l roﬁt t ere i w d q s b y p h by , s nce h e would be obliged to take into exa ct a ccount the properties and defects of the instrument and to utiliz e them to best advantage . But a ain intere t in g , s organ construction must not be p ermi tted to divert our attention from the broader con siderati on that th e hi ghest function of any musical in strument is to serve as an ade quate means of expressing musical ideas of intrinsic value ; whether that instrument be th e or an it its inﬁni te ariet of re our e or th g , w h v y s c , e iano orte or th e iolin or the um n i p f , V , h a Vo ce . Th e very advantage offered to the organi st of to-day in th e p ossession of an instrument p erfected through the medium of new meth ods of c onstru ction ad opted in re ent ear ill ro e to be tuall nt c y s , w p v a c y a agoni stic to the reali ation of t i i eal if we on i t z h s d , c ce ve hat th e chi ef “ ” t of the or ani t is to o off th r In du y g s sh w e o gan . these d ays comp etition among organ-build ers is necessarily keen and while there is no question that every reputable builder strives to employ onl y such methods of mechani cal n r i n s in his ment a re the reate t co st uct o a , j udg , ssu g s

i le e ree of re i ion nd ura il t it is but natural p oss b d g p c s a d b i y, that many should strive to characterize their instruments by such tonal and accessory features as will the b etter ew establish th eir claim to sup eriority o ver all others . N

n tr tion rat er t an the re uil in of ol er instru co s u c , h h b d g d n i o t and en oura e nearl all uil er me ts , s s ugh c g d by y b d s ; n nn t r ll on i erin th e ro a ilit t at and ot u a u a y, c s d g p b b y h the older organs are inferior in size and action to those by which they can be repla ced . When c omp ositions of re cognized worth are performed PRE FACE

nt the e ellen e o f the in trument o n o ther instrume s , xc c s th it its elf is no t give n ﬁr st cons ideratio n by e aud or . t in ire the c om The geni us of a Stradivari us did no sp rt of Mo art of eet o en p ositio n o f the violin conce os z , B h v ,

o n of rahm but it is ertain t at the o f Mend elss h , B s ; c h beauty o f hi s instrum ents increases the pleasure d erived fro m the performance of these works by an a ccomplished

d so it the iano orte . Th e ri ne of its ar tist . An w h p f ch ss repertoir e is no t th e result o f the c onstant impro vement rt on tru tion lea in u to the recorded in piano fo e c s c , d g p superb specimens o f o ur contemp orary manufactur e ; yet thes e la tter instruments materially enhance the e ffe ct in

r per forma nce o f the whole piano fo te li terature .

n t ti on li e i e offer e ual and Mod ern o rgan co s ru c , k w s , s q eve n greater advantages to the interpreter o f organ music but if the organ is to be co nsidered worthy of rank wi th o ther instruments it mu st ba se its claims to r c onsideration up on their common ground . The matte o f its ee not alone the manner mu t u ti its sp ch , , s j s fy ” o r mo ern d esignation as the King of Instruments . If u d o r an is trul a new reation if mu of the ol er re er g y c , ch d p toire is now oun antin in intere t nd e re i n f d w g s a xp ss o , th e serious responsibility rests upon th e builder of this modern instrument to enc ourage and effe ct th e pro duc tion o f a new literature a a te to th n w on ition , d p d e e c d s ,

' b ut o e in all th e intrin i meri the l r ool p ss ss g s c t of o d e sch , and suffering no thing by comparis on with th e establishe d re ertoire o f the r p o chestra and of individual instruments . But if we except c ertain extreme typ es of mod ern con tru tio n e i ne to meet o n i i i r s c , d s g d c d t ons whi ch have a d ffe ent laim to arti ti on i eration th r n -d is c s c c s d , e o ga o f to ay in no en e a n w r i s s e c eat on . In me chanical c onstru ction immen e a an e h as een ma e e en t ou th e e tent s dv c b d , v h gh x to whi ch the systems o f augmentation and b orro wi ng are ein utili e is a a f r I n l b g z d c use o deep concern . n to a PREFACE xi

r teri ti al re r re cha ac s cs , so , g at p og ss o ver former condi tion h as o ten een reali e alt ou ll s f b z d , h gh usua y in th e ﬁeld of individual voicing rather than in th at of general l n n n rit And et th e e enti l in b a a ce a d so o y . y ss a be g of the r n remain n n e s in ee it h in o ga s u cha g d , a d d as s ce th e time of B ach it presents no new c onditions calling for ra i al e artur e r om a u tome line in om o iti d c d p f cc s d s c p s on . n he ot er an the eneral e ellen e of th e mo O t h h d , g xc c dern instrument and th e variety of its resour ces sh o ul d stimu late th e organist to efforts comm ensurate with the advan H m n t tages offered him . e ust o regard th e exploitatio n re our e as his arti ti oal t r of thes e s c s s c g , bu ather their e n f i l i employment as a m a s o mu s ca express on . By his choice of rep ertoire and the manner o f its performance he must encourage th e produ ction and p erp etuation o f r as a or it and ill er etuate a tr su ch wo ks cc d w h , w p p , ue c onception of th e individuality of the organ and he r im el in th rt of im ro i ati n must strive to p e fe ct h s f e a p v s o , l whi ch is so essential to his mu sical deve opment . Thus must th e future of organ playing and of th e organ and

its literatur e be safeguarded in our country . Upon such foundations th e French sch ool of organ In pl aying and organ c omp osition h as been reared . no other country h as the organ a chieved so high a p osition n m i ian or a e so man of th e reate t of h onor amo g us c s , h v y g s c ontemp orary comp osers interested themselves in the

r n ot as e e utant and as riter o f or an mu i . o ga , b h x c s w s g s c I refer particularly to comp osers of established reputa tion and re cognized pre eminence in all forms of music

l in trumental and oral . n ue tiona l orchestra , s , ch U q s b y the very diversity of ﬁ eld in which they h ave lab ored h as

led them to treat the organ th e more individually ; for

necessarily it has been instinctive in them to differen i n f tiate sharply between the various media of express o or a ell- no n Fren riter whi ch they write . Thus w k w ch w xﬁ PR EFACE

“ afﬁrms that d ramatic c omp osers are better ﬁtted than

i i . o thers to write and to j udge of reli g ous mus c

Pro bably the las t man who would think of t reating i h the o rgan as an imitative instrument s t e successful it a nd d iscerni ng c omp oser for orch estra . W ness the u se o f the organ by d ramatic c omp osers of all sch ools . Wh at

r et er Di e Mei stersi n er or Le P ro hete e ver the ope as , wh h g p ,

da Fau st or Tosca the oun o f the Manon or Gi ocon , , s d o rgan is employed i nvariably and e xclusively to heighten io n o f the e le ia ti al or at lea t of the the s uggest cc s s c , s he ame is true in or e tral om o ition religious . T s ch s c p s ; as in the Dante symphony o f Liszt and the M anfred of ’ Tschaiko wsky ; in Strauss s A lso Sprach Z arathustra and ’ l a Di able to name a few r at Lo efﬂer s Vi llanel e d , wo ks

tri in e am le of th e use of the or an rand om . A s k g x p g more espe cially as an adj unct to orchestral c olor is found n h l f o ll d lla Madonna b t e en ere i t e ast a ct o I Gi i e i e u v h ,

mi ain ll in n r urroun in the om o er a d p fu y co g uo us s d gs , c p s , o i o l has o t t o on e a u tle u e tion of the bv us y , s ugh c v y s b s gg s yearning of th e distra cted G ennaro for the P aradise whose t i h i a t a nm ent e b eli eves vou chsafe d to h m .

As or o f art le of or l om ri on it w ks , capab fav ab e c pa s w h c o ntemp orary comp ositions for other instruments and fo r the or e tr th r i n h Fr m r ch s a , e c eat o s of t e ench c o p ose s who have striven to emphasize what th ey conceive to be the true in i i ualit of the or an o e e uliar d v d y g , p ss ss p c i ntere t in ie of h tl li iti n s , v w t e j us y estab shed p os o of auth ority o f these men among the ﬁrst c omp osers of our i t me . we are to er orm t ir r e l If p f he wo ks ad quate y , and thus e nr ich our repertoire by c ompositions of unques tio ned aut orit and alue it is in i en le to t eir h y v , d sp sab h p ro per interpretation that the resources and characteris tics o f the instruments for which they were conceived be th oroughly und ersto od by the executant ; even as the orchestral c ond uctor wh o would interpret masterworks PREFACE xiii of the older classicists must be able to bring to su ch interpretation an intimate knowledge of th e or chestral on ition er i i t n ta n n to t eir time . ur a t e i c d s p g h O sk , h , s one of on tru ti e anal i n t of riti i m in l en c s c v ys s , o c c s f u ced re i by p j u d ced conservatism .

n ortunatel little e en en e c n be l n U f y , d p d c a p aced up o “ ” many of the published editio ns for Am erican organs n i of stand ard Fre ch c ompo sitions . The r editors have too often b een misled into the general employment o f literal tran lation so t at a arent a eren to t eir i n s , h pp dh ce h d es g ated registration may be disastrou s to a proper interpretation of the c omp osition ; o wing to the wid ely different ch ar a ter of ertain etail of on tru tion and nomen l tur c c d s c s c c a e , n rin the me e i n i i h o fte bea g sa d s g at on n t e two c ou ntries . To sh ow h ow the spirit of these comp ositions may be attained in performance u p on our Am erican instruments Al h ll c n id h is the purpose of this b ook . though I s a o s er t e subj e ct exclusively from the standp oint of the American or an it is ro a le t at at lea t t o e ortion re errin g , p b b h s h s p s f g more espe cially to matters o f nomenclature and ad apta

ll li l En in r men tion are equa y app cab e to glish st u ts . It would obviously be difﬁ cult to apply su ch a study

of Am ri an or n o e e tre e difi er to all typ es e c ga s , wh s x m s F m le te er l rom one anot er . or e a a so wide y f h x p , wh v “ merit th e so - called u nit system may p ossess for sp ecial or its un amental rin i le of on tru tion fields of w k , f d p c p s c s c and specification are so radically different from th ose of th e typic al French organ as to render c ompariso n practi l In e in erea ter of the Ammican c ally imp ossib e . sp ak g h f or an t ere ore all re er to the t e more enerall g , h f , I sh f yp g y r r n rt-room oi e and found in ou chu ches and c o ce s , v c d e quipped as t o me ch anical accessories in the manner commonly ad o pte d by our foremost c ontemp orary

imilarl in e ner l ara teri ti o f builders . S y , s c ge a ch c s cs organ construction differ but little among the several PREFACE

romi nen e it is m r French build ers o f p c , y pu p ose to treat

i l Fren o r an i t onl o a ion l o f the typ ca ch g , w h y cc s a reference to s pe ciﬁc instruments . In o n l u io n oul rate ull a no le e c c s , I w d g f y ck w dg my inde bted ness to all wh o in any way h ave assisted me in the re ar a tio n o f t i or e e iall to M p p h s w k ; sp c y . Charles

i o P ri n M - J . Mut n f a s a d r . C Casavant of Saint Hya

cinthe ue e . , Q b c WALLACE G OODRICH

BOS O o ember 1 1 1 T N , N v 5 , 9 6 CONTENTS

P REF ACE

PAR T I

TH E F R ENCH OR G AN

T H E U S E O F TH E O RGAN IN F RANCE F RE NCH ORGA N C O MP O S ITIO N G ENERAL C O NS ID ERATIO NS T H E MANUALS T H E P ED ALE M E C H ANIC AL AC CE S S O RIES N O MENC LATU RE A ND C LAS S IF IC ATIO N O F R E G IS TERS

P RED O MINANT C HARAC TERIS TICS O F R E G IS TRATIO N

PAR T II

THE ADAP TATION OF F R ENC H R EG ISTR ATION TO AM ER ICAN OR G ANS

I T H E X . MANUALS

X T H E E . P D ALE

I F D I IO NS X . OREI GN E T

XII M IC D I O S . A ER AN E TI N

APPENDIX

S PE CIF IC ATIO NS o r IMP O RTANT A ND T Y PIC AL F RENCH ORGANS G LOSSARY B IB LIO G RAPH Y LIS T O F ORGA N C O MPO S ITIO NS R EF ERRED TO G ENERAL IND EX LIS T O F ILL U S TRATIO NS

PART I

THE FR ENC H OR G AN

CHAP TER I

THE U SE OF THE O R G AN IN F R ANCE

THE p rimary function of th e organ in France h as ever een and till remain th a b s s , e cc omp animent and embellish ment of i ine r i d v se v ce .

At th e b eginning of th e present century it was estimated that o ver ninety p er c ent of the Christian p opulation of Fran e was oman Cat oli Th . e Concordat r c R h c , o c on vention c onclu ded in 180 1 b etween Nap oléon B onap arte and P op e Piu s VII established defi nite relatio ns b etween “ Fran e and th e ol See in om o r t n r c H y R e, be wee Chu ch nd St t The Concordat wa not ro at ntil th a a e . s ab g ed u e p assage of th e Law of Sep aratio n in

Th e ountr is i i e into ei t - our io e e e lu i e c y d v d d gh y f d c s s , xc s v f th l ni E a of t e e io e e is a ain i i e o e Co o es . ch h s d c s s g d v d d into ari e ar in in i e rom o ne or more illa e p sh s , v y g s z f V g s f t n r it For th e ur o e of illu tra to a p ortion o a ow o c y . p p s s

n i r th it of P ari tion let us c o s de e c y s . rr di ssements or ar of P ari are Th e twenty a on , w ds , s

- i t ari e ea it its ari divi ded into seventy e gh p sh s , ch w h p sh church (including th e metrop olitan church or Cathedral f tr D m i it the a ition of a few o No e a e) wh ch , w h dd missions for foreigners and the private ch ap els of reli ious or er arita le in titution and ool min g d s , ch b s s , sch s ,

1 h mate ial One immedi ate effec t of th e latter proc eeding was t e r m si c al e s t ab r educ tion of th e ﬁn ancial supp o rt hi th ert o aﬁ orded th e u ish c h u ch es c au se d b th e ith dr a al li shment s of c a th edr al s and par r , y w w In man c a ses th e c o n of th e Sta te sub ventions previ ou sly enj oy ed . y

im ossibl e . tinu ed maintenanc e of former re sources was thu s rendered p 2 T HE OR GAN IN FRANCE ister to the R oman Cath olics in a p opulation of ab out 0 l At the ratio o f oman Cat oli to P ro t 2 00 00 . R , 8 , h c n ea of t e e e ent - i estant already mentio ed , ch h s s v y e ght parishes c o ntains a R oman Catholic p op ulation aver — ul Th aging ab ou t thirty ﬁve th o usand so s . e smallest p arish (that of th e Cathe dral itself) numb ers 6800 ; th e largest (Sainte- Margu erite in the rue B ernard) over while no less than seventeen p arish church es are each situ ated in a district having a to tal p opulation of

r i limi t o ver within th e p a o ch al s . C onsid ering th e c omp aratively large number of regular

r in ro ortion to th e total o ulation it worshipp e s p p p p , is obvious that each o f these p arish church es must affor d

f r r u nt er i e in e onl a orti facilities o f eq e s v c s , s c y p on of th e total attendanc e on any given day c ould p ossibly b e m at in a in le ur ediﬁ ce at one tim 2 accom o d ed s g ch ch e .

1 Th e rel atively small nu mb er of church edi ﬁ ces in F rench cities a s c o mp are d to th a t in our own h as a distinc t b earing u p on th e imp or nc o f h e or an o siti o ns in th e ormer a s ell a s u on th e nu m t a e t g p f , w p b er of mu sic ians wh o se servic es a re li kely t o b e u tili ze d in th e c ap ac ity of In thi s c onnec tio n th e o ll o i n c om a i c h urc h organi st s . f w g p rat ve table i s i nte estin th e ﬁ ur e s are in a few c ases a roximate bu u r g ; g pp , t n o irl ur d ubtedl y fa y acc ate .

P O P U L ATI O N C HU R CH E S S E AT ING C AP AC ITY

R oman P ro te s R oman P ro te s To tal P ro testa nt C ath o li c t ant C a tho lic t a nt

P ari s 78 60 1 New Y rk 4 6 o , 76 , 883 T 2 90 Chic a 2 2 g o , I8S, S3 T 108 742

Ce nsus of 19 10 TCe nsu s of 1911 IEstimated C ommu ni cants only

2 “ It sh o ul d b e rememb ered th a t among C ath olic c ongregations it i s c us to ma t o h old ma n s er i c e n n i h e same ediﬁc e ry y v s o Su da y n t , at hi c h different orti ons of l o w p th e c ongregation a ttend . A th ugh

H T E USE OF THE ORGAN IN FRANCE 3

E en t en the ur mu t v h , ch ch s be of considerable size and eatin a a it im l i s g c p c y , s p e n interior desi n and furnishin s g g . In Fren ur e th ﬂ ch ch ch s e oors are usually of stone ; mov a le oo en air ta e the la e of e b w d ch s k p c p ws , and c arp ets and an in are on i uou t eir h g gs c sp c s by h absence . There

re ult an au itorium of e treme re onan e s s d x s c , which exercises n nti l i ﬂ a esse a n u ence up on acoustic p rop erties and the ff e t of th e or an e c g s .

Under th e R oman system the forms of service have

remaine irtuall un an e for man ear d V y ch g d y y s . G regorian mu i or Plain on and me i s c , s g , d aeval p olyphony have b een

enerall ulti ate in Fran e as no ere el e g y c v d c wh s , unless in tal e e iall in re ent ar I y , sp c y c ye s ; under the leadership of 1 the Sch ola Cantorum a lively interest h as been awakened

simi lar conditions exi st to some extent in oth er d enominati ons , yet in most Pr otestant c h ur ch es th ere ar e n ot ordi narily more th an two s er i c es hil e man C ath olic church es h a e two or thr ee m ss s v , w y v a e , and some as man as six or se en e e Sunda each u su ll y v , v ry y , a y a ttended by a difi eren b o d o f orshi er s b esides th e a ternoon n t y w pp , f a d evening ” li i ou B servi c es . . C ensu s R e ort on R e s odi es P r II (U S . p g , a t . 1 Th e Sch ol a C antorum was ounded in P a is in 1896 b f r , , y ’ h arl e s Borde s l exandr e G ui lmant and Vinc ent d In i MM . C d s , A y , t “ o bj e c t s b eing th e p erforman c e of pl ainsong according t o G regori an tradi tion s ; th e restoration of medi aeval p olyph oni c mu sic to a p osition ” f m i M B e o f h onor th e cre ati on of a modern sc h ool o u s c . . o d s as ; — r , di re ctor of th e famou s Chanteu rs de S ai nt Gervai s (th e ch oir of the h u rch of inter ai s P aris h ad alr ead er ormed aliant s e ice C Sa G v , ) y p f v rv n u ic of h e P alestrini an st le th ou h its i awake ni ng an interes t in m s t y , r g F p erformance as a p art of th e regular worshi p of hi s p ari sh . rom mode s t be inni n s in h e some h at restricte d field of e c clesiastical g g , t w mu sic h e c l n u h as de el o ed into a c onser ator ith more , t S h o a Ca tor m v p v y w h an ee u n il s ith a l ar e and e minen t a cul t and i th t thr h dred pup , w g f y , w I s till exerci se s a o tent influence in c our ses in all branch e s of music . t p n ll establi sh ed h as or ani zed similar th e field for wh i ch it was origi a y , g i of F an ce and ro ides e o mance s in stitution s in variou s c it e s r , p v p rf r hich it h as ublish ed under its own of works of unusual inte rest , w p au spice s . incent d l nd has been the M . V in h e e h of M . Bordes y S ce t d at , j “ ’ ’ e u b : SW 16 Chant de l E lis e in La Co re Direc tor . (See Pierr A ry g r s i l 1 pondent, P ar s , Ju y 0 , 4 THE OR GAN IN FRANCE in the restoration of th e masterpiec es of unaccomp anied p o lyphony of the sixteenth and seventeenth c enturies to l in th er i of th r th eir rightful p ace e s v ces e Chu ch .

Our ﬁrst c onsideration is the employment o f th e organ . In th e more important c athedrals and p arish chur ches of France th e French system pro vides a small organ for “ ” ni ment of th e oir alle ar ue de chaeur the accomp a ch , c d g , or choir- organ ; it is u sually placed near the chancel metime ehi n the i altar for the ole ur o e (s o s b d h gh ) , s p p s l o f a ccompanying the ch oir . Th e argu e dc chceur is used to a ccomp any in simple

rmon th e uni onou lain on in ant or melo h a y , s s p s g , ch dy , nd to u ort th e oir in motet r ﬁ ured ma e as a s pp ch s o g ss s , 2 I i i r e m be ne e ar . t s o ten re n or e ont a a ay c ss y f f c d by c b ss s , undoubtedly o wi ng to the la ck of sonority in its somewhat 3 meagre P éda le. Thi s argue dc choeur is played by th e choirmaster or his e u t the oir t u ein i en th e ine tima le d p y , ch h s b g g v s b nt e r m m i al int of ie o f ein con a dva ag , f o a us c p o V w , b g 4 d ucted by its leader during servi ce whenever desirable . he olo or an alle th e Grand r u e is or inaril T s g , c d O g , d y placed in a galler y or tribune at the west end of th e 5 r h i i in tr ment na e o e t e ma n entran e . To t u v , v c h s s , u uall lar e and on r is intru te th e ta of th e s y g s o ous , s d sk

1 T h e ﬁr st a u e dc chaeu w s c on s ru c e d b John bb e a n rg r a t t y A y ,

- - - n li shman i n th e h ur c h of S in Eti enn e du M on t in P ari s in 183 0 . E g , C a t , It was sub s e u en tl emo e d t o h e Ch ur ch of Saint- R oc h h er e it q y r v t , w w s ins tall ed in h a t e Lady Ch ap el . 2 ee illu s ti n i S tra o opp os te p age 110 .

3 See endix e ciﬁc i XV I n V II S at ons a d . App , p X 4 It may b e remarked th a t thi s fea tur e i s d eni ed to many of our meri c an c h oru s ch oirs o ten to th eir di s tinc t di sad anta e i n man A , f v g ; y c a se s resul ting i n a ma terial r estric ti on of a vail abl e or pr ac tic al rep er i e to r . 5 r c hi tec tu all s eaki n th e hi h al tar i s al a s a ssumed t o b e A r y p g , g w y a t th e e as t er n e nd of th e c h urc h ; th e north a nd sou th a i sl es or tran se ts ar e thu s a t th e l e t a nd ri h t es ec ti el acin th e altar p f g , r p v y , f g ; th e est e nd is th at o sit h l a w pp o e t e a t r . THE USE OF THE ORGAN IN FRANCE 5 arti ti em elli ment o f the er i e s c b sh s v c , unhi ndered by c o n

i erati on or e i en ie o f a om ani ment i s d s x g c s cc p , e ther of oir or o f on re ti ch c g ga on . Thi s independence o f o rgan d i i an cho r ncreases rather than diminishes the resp o n sibilit of th e ri i y p nc pal organist (c alled the organi ste da Grand Or u e in e it re uire n g ) , s c q s a d thereby enc o urages ili t i im fac y n provisation ; and it has o ffered o pp or tunity for performance in a s ol o ﬁeld which in Protes tant countries must generally be s ought in th e c o ncert ro om or in re ital or el e ile th e n r c , s wh c o g egation is ente r i r l in ng o eav g chur ch . It h as als o emphasized the close relati on i o f th e or an to e le ia ti al use sh p g cc s s c , acc ustom in the u li t u to a o i ate it nd g p b c h s ss c , a to fail to take e qual interest in organ performances disso ciated with chur ch servi ce . Th e ser vice s which are habitually rendered with th e

reate t ela oration on Sun a and ea t and g s b d ys f s s , which are att en e the l ar e t on re ation are the i d d by g s c g g s , H gh Mass of th e morni ng and V esp ers of the afternoon with

- rri r r i o ccasional week day masses of ma age o equ em . In th e spe cial ser vices of the latter part o f Holy Week the organs ri h ri u l are of our e ilent e e t as re e t e t a . c s s , xc p p sc b d by On Su nd ays and feasts the principal M ass is frequently pre cede d by one o f th e mi nor ofﬁces and followed by 1 not r imi l rl V er ma be re e e Nones . a he . S a y esp s y p c d d by

1 F or m n n i s h s mino o fﬁc es kno n a s th e Dail ou s a y c e tur e t e e r , w y H r or Ch oir Offic es (b ec au se of th eir b ei ng said or su ng i n c h oir a nd no t c el ebra te d a t th e al ta r) h a ve fo rmed th e daily de vo tio na l ru le o f th e n Th e are ei h t i n nu mb e a s o llo s : R o ma Ca th oli c Chu rc h . y g r , f w

M m Tzer ce S exte No nes V es e s Co m a ti ns ; L a u ds ; P m e ; ; ; ; p r , li i h h e xc ti o n of V e s e s the se o fﬁc es are u s u all re n p ne . W t t e ep p r y

- ntu al or mona sti c e s ta bli shme nts d ere d pu bli cl y t o da y o nl y i n c o nve , a n l In n la nd Ti e ce S exte a nd Nones h a d al ea d a ll e n d c at h e dr a s . E g r , , r y f s x nth c e ntur so t h a t i n 15 49 th e int o di su se b y t h e middl e of th e i t ee y , il om Angli c a n servi c e s of M or ni ng a nd Eve ni ng Pra yer were c o mp e d fr ‘ i ht o i i nal o ﬁic e s e s e c ti el . th e ﬁr st thr ee a nd la st two of th e e g r g , r p v y ’ 6 19 . mm n P a e re v . ed . 03 (See Blu nt s A nnotated Book of Co o r y r , , pp , 1 7 , 6 THE OR GAN IN FRANCE

All of t e e er i e are ai in oir and t n h s s v c s s d ch , hus a y organ relu e or o tlu e to the ma or er i e if la e at ll i p d p s d j s v c , p y d a , s of ne e it ort and of om arati el le er im ortan e c ss y sh c p v y ss p c , except as it may serve as an a dmirable example of con i l nd r ri i i e mm etr a a a o ate m ro i ation . It i c s , sy c , pp p p v s s in the interlu des or organ r esp onses to the several vers e s f K ri e elei son of P lm or Canti le a e t o y , sa c , b s d up on i m lo ie or anti on re e ti el t at the arti i the r e d s ph s sp c v y, h st c r e o e nd a ilit of the e e utant are i la e s ur c a b y x c d sp y d , o ften to an astonishing d egree ; while opp ortuni ty for h r rm n e of m ter i or n m ition t e p e fo a c as p ec es of ga c o p os ,

r r en e d r l l l i r i tion o fo ext d d an emarkab y ski fu mp o v sa s , is furnished at th e Offertory and at other p ortions of the

i en l in i r f n rl l tur gy . Ev a casu a sp ect on of the wo ks o ea y all of the most prominent c omp osers of th e p ast few ’ d ecades will d emonstrate th e inﬂuence of the Church s rit l m i no t nl u on th e or f m n of the com ua us c , o y p f m o a y

o ition but as the our e of the er melo ie u on p s s , s c v y d s p which they are b ased .

’ ‘ ’ ’ See Amedee G a s to u é ; Tr ai té d Ha r mom satzon da Chant Grégomen ’ ” P ari s : — D u r le de l or ue dans la li tu i e 11 12 : . ( pp . 8 3 o g rg CHAPTER II

FR ENCH OR G AN C OMP OSITION

IN the i teent s x h and seventeenth c enturies the desig ’ ti claveci t na on ms e was applied alike to organists and to er ormer on th e ar i p f s h ps chord . The action of the two in trument was not unli e so f s s k , ar as th e tou ch was

on erne and the e t - c c d , b s known claveci ni s tes of th e time

a tu all ma tere ot in trument it e u l c y s d b h s s w h q a facility . Th e tone of the harpsich ord la cked sustaini ng p ower to such a degree that every encouragement was given to th e use of o rnaments and a bbellimenti ; and th e organs o f th e erio as ell ate er ma e h p d w , wh v y h av been t e sweet ne of t eir tone ere on i uou l ea in olume ss h , w c sp c s y w k v , and c onse qu ently in carrying quality thus they were devoid of th e digni ty and grandeur which we associate

h i r men -d with t e nst u t t o ay . It was but natural that comp osition for the one instru ment sh ould have followed lines not radically different from that for the other ; but it was greatly to th e ad vantage of th e organ that its rep ertoire could thus be d rawn from the works of the b est c ontemp orary com o er am n t em R ameau Cou erin Da uin Clé p s s , o g h , p , q , he or anis t G ri n Le e ue rambault together wi th t g s g y, B g ,

Nivers An ré i n it l u z , d R a so , T e o e . Conditions a ffe cting French music in general c ould not fail to exer cise equal inﬂuence up on organ comp osi

tion he mi le of th e nineteent entur the , and at t dd h c y greater p art of the contemp orary rep ertoire was trivi al he ear i had een and medio cre in quality . T y s wh ch s

r ini Méhul ale and men of the calibre of Che ub , , H vy, 8 THE ORGAN IN FRANCE

B erlio z lifting French orchestral and choral music to a

r i ti le el rou t ort little or not in for the high a t s c v , b gh f h h g F i organ comparable to their works . A rench wr ter himself is authority for th e surmise that at th e time B erlio z pro d u ced hi s imm ortal Symphonic fantasti qu e

arold m on P ari mi t a e een and th e H sy ph y , s gh h v b searched in vain to ﬁnd two organists wh o kne w the

B minor fugue o f Ba ch . In 1846 a oun el ian i ola Ja ue Lemmen , y g B g , N ch s cq s s n me was ent his o ernment to tu the or an by a , s by g v s dy g

re lau it A ol Frie ri e e the emi nent at B s w h d f d ch H ss , i P i an or ani t . e e was not un no n n ar G erm g s H ss k w s , as h e h ad taken p art in th e inauguration of the organ in — he C ur o f Saint Eu ta e in 1844 . t h ch s ch , ’ While Lemmens was under Hesse s guidance th e ’ i l f intere t in a or initiate Men rev va o s B ch s w ks , d by

l oh n in 1 2 9 was ein ro ne th e li tion de ss 8 , b g c w d by pub ca ’ o f B ach s complete organ c omp ositions u nder the super ~ vision of G riepenkerl and R oitzsch an edition d estined to maintain its superi ority for pra cti cal p urpo ses until h l ’ il hi n the t few ear . e a t of wit pas y s T s B ach s pup s , el h d een ea le t n o r in Ki tt a b d d ss ha f u de cad es ; R ck ,

i l il till li in h inﬂ n o f K tte s pup , was s v g ; and thu s t e ue ce l i B ach u p on the young B e g an must h ave been p otent . ’ ’ Soon after Lemmens return to B russels his Ecole d Orgue w s u li e a e u on the om n l ain on a p b sh d , b s d p R a p s g ; a work which marked the dawn of a new era in th e char

a cter o f French organ music .

In 1 5 Camille S int - aen i r ni 8 8 , a S s was app o nted o ga st of the C ur of La Ma eleine in P ari e r l ter h ch d , s a y a a , César Franck was chosen for the similar p ositi on at th e

C ur f i - l il h r an h ch o Sa nte C oth d e . B oth ad b een o g il o f n i 1 In 1 u e o t at th e P ari Con er or . 70 p p s B s , s s vat y 8 ,

1 Th e Conse va toi e Na ti onal e de M si wa s unde d in 1784 r r u qu e fo , u nde th e name E col e R o l e de nt et D cl m ti on for th e e du r ya Cha de é a a ,

10 THE OR GAN IN FRANGE and in the sources from which they h ave often d erived the ot er an ilm n . On G u n their inspiratio h h d , a t wrote

ie e on ei e e re l for on ert er orman e many p c s c c v d xp ss y c c p f c , o e er are a aila le for use at on most o f whi ch , h w v , v b e p oint i i ’ or anoth er in church serv ce . W d or s ﬁrst eight S ym phoni es serve not only to d emonstrate his own d evel op m o r and th e e olution of hi ment as a co p se , v s own con

h e or an bu t al o urni an en le ri ceptio n o f t g , s f sh d ss va ety in r an tou and re istrative om in i of studies o g ch g c b at on . Th e c omp ositions o f Saint-Saens and Cesar Franck n f or e tral inﬂuence alt o i h give evid e ce o ch s , h ugh n t e i i n nl et n i ch ara cter of th e c omp os t o o y . B wee th s and the attempt at or chestral imitation lies a gulf which r er e ire or e a e r neither c omp ose ev d s d ss y d to c oss . Par ticularly do th e works of Saint -Saens reveal ch aracter istics of color and invention whi ch are found in all the c omp ositions of this most versatile of contemp orary And it is note ort t at of all his u li writers . w hy h p b shed organ works only the ﬁrst the Bénédi cti on nupti ale — — — and the last the Marche r éligi eu se suggest in

l l i i l inﬂ n h ~ their tit e e cc es ast ca ue ce . T e Rhapsodi es — h Fantasi es all are i tin tl e l r in r t e d s c y s cu a cha acter , A d i albeit of great interest . n t must be confessed that they e xhibit less o f what we are accustome d to call “ r an t le e ite t eir r m r l n o g s y , d sp h e a kab e e ffe ctive ess .

A ain it th e e e tion i n in i g , w h xc p of some p eces c o ta ed n the a mira le olle tion for rmoni m n ne of th e d b c c h a u , o comp ositions of César Franck a pp ear to have been con ceived e re l for r B he i i xp ss y chu ch use . ut t sp r tual — q uality o f the P riére o f the Chorales is unmi stak able . With the two later Symphoni es of Wid or they stand as masterpie ces of organ literature o f surp assing

ort . I r li iou not w h n them are manifest the intense e g s , ’ to say ecstatic fervor of their c omp oser s life . ’ G uilmant s fame will rest not only up on his original A LE XAN D RE G U ILM ANT

FR ENCH ORGAN COMPOSITION 11

or for the or an but u on hi w ks g , p s editing of master ie e of earlier ool of all o p c s sch s c untries . With broadly at oli ta te h e ma t c h c s de hese works pra ctical for per formance to-da i y w th out causing them to suffer th e lig te t lo of t eir in erent im li it and in i s h s ss h h s p c y s cer ty .

i or in hi s la t two — W d s Symphoni es the Symphoni c othi ue and th e g q Symphoni c romane h as expressed his ro un n i i p fo d c o v ct o n that true organ music must be in ire reli iou melo ie n sp d by g s d s , a d thereby c onsecrated t o the Chur ch . While these c ompositio ns d emand for ir ll the fu e ffe ct chara cteristics o f organ speciﬁcatio n and c onstru ction and ac oustic conditions seld om fou nd in t i ountr t o e wh o h s c y , h s have heard them achieve th e effe ct c onceived by th e composer cannot fail to be deeply im re e p ss d by them .

e inni n wit ierne and ontinuin B g g h V , c g through the more recent c omp ositions of R oger -Du casse and G eorges Ja o we o er e t at t e e m c b , bs v h h s c o posers h ave been d eeply affected by th e same progressive tendency in mod ality and harmoni z ation which is characteristic of what we “ ” all the m ern Fr n l P r i l rl i c od e ch sch oo . a t cu a y n th e case of th e latter comp oser is e xhibited a predilection for effe cts which h ave their origin in contemp orary or e tr l ritin r t er t an in th e or an om o ition ch s a w g , a h h g c p s s previ ously put forth by the French or any o ther school . In n e er are t e e om o ition o n ei e o c ase , h ow v , h s c p s s c c v d for any type of instrument b ut th e one commo nly b uilt

in Fr n nd i is th e u e t of our tu . a ce , a wh ch s bj c s dy

I have now considered brieﬂy the French sch ool o f i n musica l th ought as exhibited in published c omp osit o s . But I mu st no t fail to emphasize the suprem e imp or im ro i ation tance attached by French organists to p v s , l o ment in tu whether as a means o f te chnical d eve p s dy ,

man e . or as a form o f mu sical expression in actual perfor c 12 THE ORGAN IN FRANCE

It is fair to say that the French organist places as hi gh a v al ue up on the art of improvisation as u p on c omposi tio n it forms th e b asis of in stru ction in th e Conserva

ie and is a romi nent and in i en a le eatur e of t or s , p d sp s b f ’ the organ s p articipation in the musical servi ces of the

Chur ch . The testimony of an emi nent French organist is inter e sting in this c onnection :

’ Formerly improvisation was the basis of the organi st s , — t alent ; his virtuosity was sli ght music written for organ n i A com en with concertante pedal was beyo d h s powers . s a p m i tion f h hi r Li tl ation we had i ro sa o t e est or e . t e s , p v s gh d by li ttle our organists have bent themselves to a cquire the V ir u i hi c t e la c e and the Fu ue wit o li ato e al t os ty w h h y k d , g h bb g p d h as ecome amiliar to t em but at the ame time under the b f h ; s , inﬂu nc of the G erman c ool im ro i ation has allen into e e s h , p v s f

It is im o si l for me not to lo i n l disrepute . p s b e dep re th s eed ess d n it out ea i n of the monoton i c resul t ecade ce . W h sp k g y wh h s — from it for all organists have very nearly the same reper t ory it is improvi sation al one which permits one to employ ’ all the resources of a lar e instrument and to a a t one el g , d p s s f to the infinite variety of organs ; only improvisation can fol l ow the servi ce er e tl the ie e ritten for thi ur p f c y, p c s w s p pose ein almo t al a lo Finall h t oo ort or too . t ra b g s w ys sh s w y, e p e ti ce of im ro isation e elo a ultie of in ention i c p v d v ps f c s v wh h , it out it ul m in o a e re a e latent . u t w h , w d h v d I have j s spoken of Le e ure—el ose u li f n f b W y, wh p b shed works or orga possess uc s cant intere t and who m m s h s , was a arvelous i proviser ; I mi ght mention others whose improvisations were su perior t o t eir ritten om osition i nd h in irin . Ne e t a t e s h w c p s c ss y, p g c ara ter of the instrument metim a om li at medi h c , so es cc p sh wh t ation is una le to I i b achieve . t may exc te surprise to learn t at the An ante of m ﬁrst Sonata for iano and iol n ello h d y p V o c , and the on l usion of m S m on in C minor er r ate c c y y ph y , w e c e d on the manual s of th e organ . “ The most eauti ul t in s are eauti ul nl in i b f h g b f o y the r place . And so how can a u u , f g e or a toccata by Johann Sebastian Bach FRENCH ORGAN COMPOSITION 13 ma e its w int k ay o an offertory ? They are concert pieces hi c ear no relation atso e er to a Mass and i w h b wh v , wh ch inspire it er a medi a ne h t tive nor a prayerful mood ; beyond the com pre ension of the audien e to ic t e address t emsel es h c wh h h y h v , t e can interest but a few rare auditors amiliar it h m h y f w h t e . “ A irtuo o ardene to e er difﬁ cult n in n V s h d v y y , a ge ious im rovi ser u s oul th e er ect or ani I p s ch h d p f g st be . t is to form such organists that they are laboring in the organ class at the Con er ator of Paris ere e s v y , wh xecution and improvisation ” re ei e an e ual mee of on 1 c v q d h or .

It must not be inferre d that the use of the organ as a on ert in trument in Fran e is an mean ne li i le c c s c by y s g g b , and it is entirely p ossible that th e younger school of c omp oser s will emphasize this function o f the instrument

r t n a e t eir orerunner u mo e ha h v h f s . S ch works as Les

Hcures Bour ui nonnes of G eor e Jacob far rom in g g g s , f be g i for se in ur e en re h infl c once ved u ch ch , v p sage t e uence ern im re ioni m u on o r an mu i an influence of mod p ss s p g s c , m lit l li el to e m i e er i ee t e o e e rea . h ow v , wh ch s s k y b c w d sp d M ilmant as t m r For many years . G u w a ccus o ed to pe form th e masterpie ces o f all schools up on the fine organ in th e Tro cadero in P aris and the number of organs re cently c onstru cted for concert halls and salons testifies to the in creasing interest in the use of th e organ apart 2 from religiou s worship .

“ 1 - si in th e Chur ch The usi cal uar Cami ll e Saint Sae ns , Mu c , M Q t rl N ew Y ork Janu ar 19 16 . e y, , y , 2 ’ L Or ue Moderne. See Al exandr e C elli er , g CHAPTE R III

THE F R ENC H ORGAN

G E NE R AL CONS IDE RA TIONS

I HAVE noted the pre dominance of th e R oman Catholic

in Fran e and th e a t t at th e er i o f i faith c , f c h s v ces th s Church h ave remained pra ctically unchanged for many n i erin th e om arati e on r i di years . Co s d g c p v c se vat sm s l e in or an om o ition ur in a lon eri o i p ay d g c p s d g g p d , t is obvi ou s that small encouragement h as been offered to material changes in methods of organ constru ction ; and it h as followed that imp ortant instruments have more

o ften been rebuilt than repla ced . So far as the general chara cteristics o f a ction and tonal i i i n re on erne the Fren or n of t -da d spos t o a c c d , ch ga o y was — m Vir tually established seventy ﬁve years ago . So e of the ﬁnest organs in France have thus b een favored with the advantage of impro vement as regards a ction or in

i i ual oi in wi out lo in elem nt of e ial alue d v d v c g, th s g e s sp c v which might not have been repro du ced successfully in

n ir l in an e t e y new strument . During the past century th e c onstru ction or rebuilding o f important organs was o ften dire cted by a commi ssion appointed by the government as in the case of the organs

o f Saint- Sul i e o tre—D am in -Eu t nd aint p c , N e , Sa t s a che a S

D ni he u li e r r d inter e s . T p b sh d ep orts a e exh austive an in Le n i h i ion e st g . t us co s der t e report of the comm ss a ointe t o e amine nd em for the pp d x , a p owere d to a cce pt

m n h o r - o ern e t t e an o f otre D m in 1 . g v , g N a e , 868 14

16 THE ORGAN IN FRANCE

’

ur on Flute Cornet and two ree . The P eda le (Bo d , , ds)

1 in lu in 5 ree . Th e om a of c ontained 1 stops , c d g ds c p ss 3 m nual was rom AA to 6 o f the ourt the three lower a s f ; f h , 3 3 F to 6 and of th e ﬁfth rom C to 6 . Th e P édale from , , f 1 4 h o . In 8 6 t e num er of m n l extend ed from FF t e , b a ua s

our a e tin chi eﬂ th e two u er ke was redu ce d to f , ff c g y pp y boards ; the comp ass o f all th e manuals was r endered

i orm rom AA to and th e P édale was i en th e un f , f f , g v 1 In 1 62 the or n wa n irel e il f t 6 . 8 a s e t r u t range o C o , g y b by Cavaille- Coll th e manuals were restored to th e num 3 r of five ea i t a om a rom C to and th e be , ch w h c p ss f 9 , ’ 1 P edal was e ten e u ar to . In 1903 the a tion e x d d pw ds f , c wa re ulate th e i e leane and ome mi nor altera s g d , p p s c d s i n e e te but th e re ent s ecificati on i en t o s ff c d ; p s p , as g v n h e A en i if er but li tl rom t t o 1 2 i t a f . pp d x , d f s s gh y f h 86 Th e fine or an o f th e Cat e ral of otre-Dame in P ari g h d N , s , as re on tru te rom th e e i tin one in 1868 al o w c s c d f x s g , s by

aille—Coll and a ain reno ate the me il r Cav , g v d by sa bu de in 1 94 ile a fe t o ere a e to he éc t i 1 8 wh w s ps w dd d t R i n 899 . The organ constructe d in 1841 for the R oyal Chur ch

- — 1 of Saint Denis (P aris) by Aristide Cavaille Coll mad e

1 r istide Ca aille-C oll robabl th e r eat st of ll Fr n h r A v , p y g e a e c o g an b ui l e s w s b o n i n M n elli er F e 1 d a o t b ua 2 1 1 . Bo h s er r , r p r ry , 8 t hi fath and randf a th er h a d ac hi e e d di sti nc tion i n th e same ro e ssion a nd g v p f , th e name C a aille h e t oo k th e name C oll r om hi s randmoth er h a d v ( — f g ) , b een a ssoci a ted wi th organ b uil ding sinc e th e b egi nni ng of th e eigh t e enth c ent ury . i s i - r t e . A d C C . e stabli sh e d hi s cl aim t o rec ogni tion b y th e i nstru me nt hi c h h e c om l ete d i n 184 1 for th e E li se R o al e d e Saint-D e ni s w p g y , P a is see e ndi x : s i i H i s i r ( App p ec ﬁc at o n V ) . e c ont nu ed hi ac t ve pur suit of th e art i n hich h e b ec ame reemi nent u ntil t r 1 9 w p , h e yea 8 8 , h en h e reti e d and was su cceede d b hi s i M . w — r y pu p l Charl es M utin . C a aill e Coll di e d in P aris Oc t ob er 13 v , , 1899 . o table i N mpr o vement s for whi c h th e Fr ench organ i s i ndebted to — C a aille ll - v C o ar e th e i ntro duc ti on of tracker pneumatic ac tion for

ke and e i s - - y r g ter ac tion ; of h armoni c pipe s ; of Wi nd pr essur e s var y i ng i n di f e e nt a ts of th e c om ass of each s s in f r p r p top , th ereb y i n ur g its c orrec t and effec tive s peec h throughout its range ; the intr o duc tion AR IST IDE CAV AILLE—C O LL

THE FRENCH ORGAN 17 use of tra e - r neumati a tion for the ﬁrst time t r o ck p c c , h ugh the intro u tio - d c n of the so called B arker pneumatic “ ” le er the machi ne Barker v s ; , as it was called by the F n i re ch . Th s devi ce p ermi tte d the use o f increased wi nd re ure and t p ss s hu s of harmoni c pipes although advan tage was ta en of the ormer onl to a mo erate e r k f y d d g ee . Durin the i g su cceed ng years of activity o f this greatest of all Fren uil er r ch b d s , p a ctically his entire e ffort was dire cted toward th e development and p erfection of

tan ar met o of on tru tion as to a tio s d d h ds c s c , c n and tone . New timbres were sought less than greater b eauty of i in n - l e t to e o or . ntil re ent ear x s g c s U c y s , and then o nly it ertain ui l er ele tri i w h c b d s , c c a ct on h as never found favor in France and it naturally follows that innova tions which have been made p ossible in organs in other

ountrie olel t rou the me ium of ele tri a tion c s s y h gh d c c c , have as yet found no general a doption in French instru i ment . Nor oe t ee r l il A s d s s m p obab e that they w l . s re ar er e tion of me ani m rom tne of re on e g ds p f c ch s , p p ss sp s , and uni ormi t of re ul tion ou le it u ea e of f y g a , c p d w h s ch s mani pulation as is of any real advantage to th e Fren ch or ani t th e e r f e ellen e attaine the tra er g s , d g ee o xc c d by ck neumati a tion s er e te Ca aille—Coll is all p c c , a p f c d by v , 1 that could be d esire d .

- m ble l ai es i in rom th e ke of di vi ded wind ch e st s (s om i ers 65 dou s ) , g v g f y b o ar d in dep endent c ontrol of c e rt ain st op s o n a singl e manu al ; th e ll - ns arti stic solu tion of th e mixt ur e p robl em ; gi vi ng th e Swe org a li (Réci ts ) th eir pres ent eﬁ ec ti veness through th e pro fu sion a nd qu a ty h e se eral of th eir r egisters ; th e more e qu al di vi si o n of stop s b e tween t v

m anu al s e ec ti n b ett e el ati e b al anc e . , ff g r r v ll f thi s b uil der hi c h Among th e organs whi c h te stify to th e s ki o , w i n t o th ose h ose were eith er b ui lt or r ec onstru c t ed by hi m (in a ddi t o w - o ch thi s b ar e th o se of Sai nt R , speci ﬁc a ti ons ar e appende d to ook) , - i n P a i s Sai nt - - - ai nt u u stin La Trini t , ; Saint V inc ent de P aul , S A g , é r ’ ll h efﬁ el d mst er dam T own a , S Mic h el H a vr e P al ai s d Indu stri e , ; H , ; A

r of M usi c M o sc o . (E ngl a nd ) ; C onservat o y , w 0 1 li sh o ani st c ontai n t ne R ec e nt program a nno tati ons b y an E ng rg l oo ke d Th e i nc o rec tne ss of its remi se may b e o er , foll o wi ng g em . r p v 18 THE ORGAN IN FRANCE

Th e mod ern French sch ools of organ- playing and of n th t i al Fren or an c ompositio n are founde d up o e yp c ch g , as exemplifi ed in th e work o f this builder and of hi s suc h l ment o f imitati e uali M tin . T e e e o o r M . u cess , d v p v q h en ra ti all i re ar e in the ties in the organ as b e p c c y d s g d d , d etermination to p reserve and enhance what the French h in r e t conceive to be the true indivi duality of t e st um n .

l t or ni t and om o er inﬂuenced as Th us it fo lo ws tha ga s s c p s s , they must be by th e character of th e instruments to which

to me and i mo t attra t t eir intere t they are accus d , wh ch s c h s , have devoted themselve s to th e establishment o f a sch ool whi ch all b ut ignores the trend towar d orchestral imi ta tion which is b e coming more and more a marked featur e of

m r r n tru ti nd e in Ameri c onte p o a y co s c on a performanc ca . All o f the foregoing mu st be kept in mind as affecting o ur re ent tu fo r it is m intention to treat articu p s s dy, y p l arly of the means ne cessary to a chieve up on American organs the e ffe cts c onceive d and a ctually realized by Fren om o er n eir in n ch c p s s up o th own strume ts . Th e most striking p oints of differenc e in th e construc tio n and e ffe ct o f French and American organs may be summariz ed as follows

P osition of th e or an h g and acoustic c onditions of t e e diﬁ ce . Characteri tics of s eciﬁ c l s p ation, regarding th e se ection and rou in of re ister g p g g s . G eneral ch aracteri sti cs of oicin v g . R elati e ositi on of th e manual s v p . Nature and o eration of mech anical ss p acce ories . i n vi e w of th e ne w a nd fa sc inating ar tis tic p ossibili ties vouch safed th e ” org a n by mo dern ac ti on

U nti l a c om a a ti el ec ent time a id Stacc at assa es e im ossibl e p r v y r , r p o p g wer p on the o a n owi n t it h e a t u o s o ch . e e a ni sm h e rg , g vy T h improve me nts i n m c h av la tely b ee n s o gre a t th a t now t h e Ki ng o f Ins tru me nt s c an no t o nly m a rch ” a lon in di niﬁ ed th u nd e i n t o ne s bu an i en t c isk a nd l lik e a k tt . g g r g , fr g amb o “ ” Is thi s th e e nd t o whic h th e org an of Bach h as b een impro ve d But we must no t ta ke su c h e bulliti ns o t oo seri ou sl y . THE FRENCH ORGAN 19

It matter not wit s h what skill and resour ces an o rgan ma be on tru te the in trument y c s c d , s to a marked d egree is dep endent for its full effect upon th e fulﬁlment of c ertain ar ite tural n iti n o o viz . t ch c c d s ; , hat it be allo tted l amp e spa ce and prop er surroundings for its constructio n a nd the ree e re of its oun f g ss s d , and that the a coustic c ondition o f the ediﬁce be or l s fav ab e .

It cannot be too strongly emphasized that the p osition o f th e Fren or an in th e e t end of th e na e th i ch g w s v , e s z e o f many of th e ediﬁces and the character of their interior ﬁ ni sh and furnishings do mu ch to enhance the effe ctive ne of the in trument and to im r ss s , pa t to it those quali ties of s onority and p ower with whi ch we are wont to ass o ciate it . Th e advantage of an unobstru cted p osition for th e o r an c an ar el be o ere timate en g sc c y v s d , wh c ompared with th e restricted and en cl ose d spa ce too o ften allotted to it 1 i n t i ountr e e iall in E i o al r In h s c y , sp c y p sc p chu ches .

Fran e not onl is am le a e u uall a ure f th c , y p sp c s y ss d or e

n tru tion o f the or an but the e tern ll o f th c o s c g , w s wa e

e it th e eilin a o e er e as an a mira le nav , w h c g b v , s v s d b in - r r tin h t ne wit t im e imen s ound g b oa d , p oj ec g t e o hou p d t

h r e iall do th throughout the length o f t e chu ch . Esp c y e f subsidiary manuals gain immeasurably in e fe ctiveness . I nstead o f b eing crowded behind the G reat-organ or place d dire ctly under th e ro of of th e organ chamber and hi n h r t ma o ten be la e erti all b e d t e a ch , h ey y f p c d v c y

“ 1 l e siol o i sts are now it is Th e maj ority of archi tec ts and ecc g , o b e eare in a o of l acin thi s no bl e i nst ument i n th e mo st t f d , f v r p g r t b di n aff o ds b ei n u n illi n th at a n seclu de d no ok th a t h e uil g r , g w g y h e p orti on of th e archi tec tur e of th e c h ur c h sh ould b e h idden by t n- s Th e mo de n or a n-c h amb e i s e u entl too o rga ca e . r g r fr q y e c ont ain an d i s o ten so l o w th at small for th e organ it is inte nd d t o , f e th e case and th e ﬁnest o an i s th e s ou nd i s u nabl e t o e scape ab ov , rg r th ur G eo e ill : The O an r obb e d of h alf i t s gran deu r . A rg H rg s nce c ases and Organs of the Mi ddl e Ages a nd R enai s a . 2 0 THE ORGAN IN FRANCE

- r n or at its i e in e the entire ab ove th e G reat o ga , s d , s c 1 width o f the nave is pro bably available . Even th e lo cation o f th e organ in th e west end o f the

e l in th e o ini on of e ert . Th e A é nave is not id a , p xp s bb Lamazo u remarks

It is generally maintained that despite the immense ad vantage of su ch a location for th e organ over that in the side oir or an el the i eal osition rom an a ou ti wall of the ch ch c , d p f c s c

of ie is in the enter of the ediﬁce for e am le at the point v w, c , x p Un er the latter on ition t re crossing of the transepts . d c d s he n r of ec o and e e i e resonan e in e th e oun is less da ge h xc ss v c , s c s d

r n is ro e te in e er ire tion imultaneou l of the o ga p j c d v y d c s s y, ” n n 2 without diminution of its i te sity .

Some English cathedrals demonstrate th e advantage s h l er lo ation ere th e or an is la e on he o f t e att c , wh g p c d t choir screen .

1 f in - l i ri s i s s r s s The organ o Sa t Su p ce , P a , con t uc ted in even di t l l s ti nct s to ies or a es one ab o e th e o th er . Ou th e ﬂ oor e e i r , é g , v v lac e d th e c ou l er a nd o th er a c ti on o n th e sec ond and thi r d th e p p — ; , c h es ts a nd pipe s of th e Gra nd chaau r a nd Gra nd-orgu e r e spec tivel y ; on th e our th a n d ﬁfth th o se of th e P osi tz a nd S ol o and on the sixth f , f ;

a nd se enth th ose of th e R ci t. Th e t o tal i dth o f th e c ase i s l e v , é w twe v met es and it s h ei h t om th e ﬂ o or t o th e to of i ts c o ni c e o er r , g fr p r v

- thi teen . Th e s ell b ox of th e R ci t i s lace d o er th e l atter entir el r w é p v , y r e e ro m o s f f b tru c tion . Thi s ﬁne i nstrument i s la c ed at a di sa d an a e h o e er b h e p v t g , w v , y t c onvex f orm of th e c a se ; a n d th e free emi s si on of th e t one i s u m d o ub te dl o b s t u c te d b th e sta u es l ac e b e en h e c l ns y r y t p d twe t o um . h en C a aill e—C oll recons t u cte d th e or an i n 1862 h e was unabl e W v r g , , to ob ain e mi ssi on t o al ter thi s mo s t im ortant eatur e of a n o an t p r p f y rg . 2 ’ E tu de s u r l Or u e monu menta l e de S ai nt-S u l i ce et la Fact e mo e g p ur dern . See also a e f h r res th e l . o C a t a a o . N v C dr , pp p 60 .

2 2 THE ORGAN IN FRANCE

ile o t the latter and the mutation upon the reeds , wh b h n in im le as ell as in om oun to im art ra ks , s p w c p d s ps , p l 1 the d esir ed brilli ance to the who e . The found ation stops of th e Grand-orgue (G reat) are

n rit and moot ne and f r n o table for their so o y s h ss , o am

li de of ale rat er t an for e e i e tren t o r p tu sc , h h xc ss v s g h loudness of tone ; and mutation ranks are plentifully h e to o f the P osi ti C oir are oi e p rovide d . T s ps f ( h ) v c d

lli n ualit t an t o e of the Gr and—or ue in a more te g q y h h s g , alth ou h no t necessarily lou der the P osi tif thu s stand g — ing more in th e light of a second or auxiliary Grand orgue than as the manual of s o ft or sol o stops which many

’ n t h Am erican b uild ers are wo t o make it . T e R eci t

ll i m nual of am le re our e and reat o (Swe ) s a a p s c g p wer, when th e box is op en ; affe cting materially the whole e nsemble of th e organ . In these resp e cts the French organ fulﬁls the re quire ments of an ideal instrument for th e p erformance of ’ M i or as t e are set ort e r . or nd B ach s w ks , h y f h by ss s W d a eit er in the re a e to t eir e ition of hi s or an Schw z , p f c h d g c omp ositions

Th e su i iar manual mu t not be too ea as con bs d y s s w k , t rasted it th e G reat-manual more e e iall all arie i w h ; sp c y, v t es

1 In Franc e th e prop or tion of me tal pipes to th o se of wood i s far m n ani s l r e a te th an i n thi s c ount . Th e G er a o t do h ess g r ry rg , A p H e , i sit n P a ri s and l a i n u on th e or an of Saint-Sul ic e noted v i g , p y g p g p , th a t th e pipe s of all b ut three of th e o ne h undre d sp eaking stop s of l th e o rg an were of meta . h a l es M tin s n s m il s M . C r u h a ki dl y ent e deta of th e organ in the E li se da Sacr - C oeur M ontma t e P a is hi c h i s of c om arati l g é , r r , r , w p ve y t c o ns u c ti n s e n i i r ec e n t o e e di x S ec fi c at on III . Onl r ( App , p ) y four ' ’ s t ops are of wo o d thr o ugh ou t : th e fiates a nd s ou ba s ses of 3 2 a nd 16 i n h e l n o s t P éda e . I th er c ase woo d i s occ a si onall y empl o yed for th e ’ ' l o e t wo o c ta es of 16 bou dons and for th e lo e o c ta e nl f w r v r , w r v o y o 8 O e n a n s t o e s i p d pp d fl ut e . W th th e exc e pti on of th e two P édal e stops ’ ’ o f 16 al ea d mentioned no i e of 4 l s r y , p p or e s i n spea king length in th e e ntir e o an i s ma d f rg e o woo d . THE MANUALS 2 3

i — o f reg sters should be represented on them the foundation to of 8 4 and 2 - s ft . tone esides mi ture an ps , b x s d reeds ; s ome of t e e last if ossi le of 4- t h s , p b , f . t one . “ re m t e n The us b o wide gulf betwee n any pair of manuals ; o therwise th e contrast obtained by alternation of manuals is h t oo s ar . On t e ot er and the diii h p h h , erence between the m must be learl mar ed else the ef c f l c y k , fe t o a ternation will lose its charm . “ Eac manual em odies in its tone an indi i u li h b , , v d a ty . They should b e differentiated from one another not only (and not so reatl stren t but rat er ti r h g y) by g h , h by mb e . T e G reat manual s oul ossess a ull r d m ll n oa e o t o e . h ir h d p f , b , w T e Cho s ould a e somet i n of the clear ree z een ound h h h v h g , b y, k s of t e o ld R ck osi ti ve i c ro ect ed out into h e c ur hin d p , wh h p j t h ch be d n- n The intonation of h e S ell ould m r the orga be ch . t w sh be a kod

i n n in n i en t ree suc manuals by a certain r ch ess a d te s ty . Wh h h are cou le to et er th e ealt of tone resultin rom the p d g h , w h g f oundin c ombination of their individual effects is ast g . “ The Swell- organ should b e abundantly furnished with sto ps

h ffect o tained b o enin and closin the of all classes . T e e b y p g g shutters should be su ch as to make itself felt when th e Swell manu al is cou pled to th e G reat and th e hands are playing on r In its relation to the instrument as a ole the th e latte . wh , Swell- organ should impart ﬂexibility and a capacity for modu ” - 1 lating the tone effects .

h e In all large organs chorus reeds are provided at t - not onl u on the Gr and- or ue pitch of 16 8 and 4 ft . y p g , i ountr but u on a nd p o ssibly up on the Réci t as in th s c y , p As the tem th e P osi tif and in th e P édale as well . sys ” “ in Fran e known as au gmentation is not in vogue c ’ ’ in ter note the ree of 16 and 4 are (except as here af d) , ds t eir relation i Voiced and regulated with regard to h sh p

- ere is no ue tion o f the ame la . to th e 8 ft . stop s c ss Th q s l is t ere that far more clearness of tone in the ensemb e h by

- d M . idor an 1 di te d b Oh . J . S . Bach e y The Orga n Works of , W i zer Alb ert Sc h we t . 2 4 THE ORGAN IN FRANCE attained than is po ssible u nd er the system adopted in Ameri an or an of im ortan e some co ntemporaneou s c g s p c , o f extending a single set of pip es so as to provide three stops whi ch should be indep endent and mutually regu 1 r u in the i o ition o f lated in q uality and p owe . Th s d sp s

‘ as in t eir ou n ation sto the Fren their reeds , h f d ps , ch de clare th eir a dherence to th e principle that an organ should be c onceive d as an instrument primarily o f eight

n o n th e manu al i t the ro i ion of o ta e foot to e u p s , w h p v s c v — and sub - o ctave registers (in b oth ﬂ ue and reed work) and

tation ran so oi e it re ar to ualit inten mu ks , v c d w h g d q y , sity and pitch as to reinfor ce artiﬁcially (and i n proper

ro orti on all th e natural o ertone it in u i iou p p ) v s , w h j d c s limit i are but ee l ro u e th e to o f s , wh ch f b y p d c d by s ps “ - i n i l ni it . it ri th r f h e 8 ft . p ch W h th s p c p e e theo y o t u t ” organ is frankly at varian ce while it is e vident that were the systems of b orro wing and au gmentation to b e a o te u on th e manual it o l be im o i le lon er d p d p s , w u d p ss b g to insure to the wh ole ensemble that c orre ctness o f pro

rtion hi is rantee in h Fren in tr ment p o w ch gua d t e ch s u , where every stop is indep end ent in qu ality and p ower of every other stop . Wi th many American build ers the tendency in re cent years h as been materially to redu ce the num b er o f muta tion rank r o i e in e arat t if not t i ar s p v d d s p e s ops , o d sc d t em entirel Mi ll in i h y . xture s h ave thu s fa en to d s ” re u te and een oi in of trin -tone re i ter p , k v c g s g d g s s h as been substituted and encour aged in the attemp t

1 If we a dd t o thi s th e procedure not inf requently e xhi bited in wh at are c onside e d t o f r b e so e f i s t . b o m o o ur mo st m orta nt o an . e o r p rg , , r o wi ng b o di ly th e se same stop s for wh at sh o uld b e th e i ndependent — ee ds of a no th e m anual or still orse b orr owin th em a sec o nd time r r w , g t o se e i n th e P e dal e — w m l intro rv , e ay we l wonder wh eth er th e duc tio n of el ec t ic ac tio n hi ch h as aci e d h do ion of thi s r , w f li ta t t e a pt s s tem is no t ac t u all te n i y , y d ng t oward th e pro duc tion o f i nstrume nts i nferi or i n g e ne ral e nsembl e q ualities t o th ose constru cted thi r ty years a o . Bu t mo e of thi s l a ter g r . S I T— UST C P R IS A N E A HE , A THE OR G AN

THE MANUALS 2 5 to ren er unne e d c ssary any artiﬁ cial reinforcement of th e natural o er to v nes .

We mu t a mi s d t that this movement was hastened and a ette and no b d , d oubt j u stiﬁed to a certain extent by ome o f th e e am l s x p es of mixture voicing in Americ a i ere no t in re uentl en ountere at o ne ti wh ch w f q y c d me . Shrill a l i o e , b d y d sp s d , disprop ortionately l ou d a nd ar el re sp s y presented mutation ranks could h ardly fail to e ite th e xc ire of every sensitive mu sician forced to em l o t em or o ome to li ten t p y h d d s o them . Bu t in

tea of on emni n unr e er e l th e ole tem s d c d g s v d y wh sys , b ecause of faults which were no less widespread in Fran e as ell the Fren c w , ch set themselve s t o c orrect its a u e wit ara teri i b s s , h ch c st c p atience and c onscientious ness .

As a re ult we are tru h s , s ck by t e large number of mutation ran in ot im le to and mi tur e ks , b h s p s ps x s , 1 it i Fr en or an are r i e B w h wh ch ch g s p ov d d . ut so care ull are t e e to oi e it u f y h s s ps v c d , w h s ch good j udgment a nd a ura are th e ariou ran i e cc cy v s ks d sp os d , that fre quently they may b e u sed even with mod erately s o ft om ination nd re m l c b s , a a so e p o ye d . Their t otal e ffect u on the en em le of th e in trument ile en o in p s b s , wh d w g it it reat rilli n e oe not e in t r w h g b a c , d s b g o asse t their “ presence to th e same degree as would a single shriek ” ing mixture o f the well -kn own and j ustly execrated t e i m ntall t lea t we ma rele ate to the yp , wh ch ( e y a s ) y g

- i bla ck walnut p eriod of organ constru ct on . An emi nent authority longs for the time when the proper prop ortion of mi xture ranks will be a ccorded to ea ch manual ; when it will be established as d ogma that h r n a n or an o e e th e truer t e more ﬁne mi xtu e ra ks g p ss ss s, , ri er n more eauti ul ill th e in trument be t at ch , a d b f w s h man and e e iall mu t th e it can never have too y , sp c y s

1 i - ul ic e P ari s c ontai ns i n th e R éci t S ell Th e organ of Sa nt S p , , ( w ) -f i tch . al one no l ess th an twenty ranks of ﬂu e work hi gh er th an 8 t . p 2 6 THE ORGAN IN FRANCE

l n i ll r i it Swell manual be p e t fu y p ov ded w h them . In i i n he a i e t at mutation ran be la e add t o , dv s s h ks p c d in ’ 1 the P edale.

Whether American o rgani sts will agree wi th th e fervency

i lar i n or not it mu t be a mi of th s de c at o , s d tted that its j usti ﬁ catio n li es in th e su ccess attending its ad option in French

r the i in f h instruments . We e vo c g o t e mu tation ranks not

arrie out it the reate t are and re i ion it i n c d w h g s c p c s , s co ceivable that th e effe ct would be quite intolerable bu t the representation of all upp er p artial tones (up to a c er tain oint t u ro i in for th e ri in p ) , h s p v d g b dg g over of pos i le a to et er wit th e n e tr l s b g ps , g h h u a qu ali ty and mod erate

o er im arte to t em in ure t eir arti ti p w p d h , s s h s c effe ct . In thi s c onne ctio n it is inter esting to no te that the or an of th e Cat e ral of otre-Dame P ari amon g h d N , s , g ot er ontain in im le h s , c s s p mutation stops a complete

62 1 a m 190113 4 110 ” 03 4 17)

, ' Dou ble tte 2 ' Octave 6 Pi cc olo 1

‘f s am S eﬂ zm e é /f e S e -h ém

Q umtc 2

1 Gross e h erce 3 5

' Octave 4

' P res l anf 4

Fu nd ame ntal to n e so u nd ed

No te pl aye d

1 l A b ert Sc hweitzer : Deutsche und Franzosi sche Orgelbaukunst u nd O elku nst rg .

2 8 THE ORGAN IN FRANCE

B a in erli li e t i reat treati e in 1843 ut ga , B o z pu b sh d h s g s , and must h ave been inﬂuen ce d by th e instruments of ’ he o iou a ition ma e to erlio te t his time . T c p s dd s d B z x

i hi re i ion o f the or ir e l by Richard Strauss n s v s w k , d ct y ’ c ontradict th e auth or s statements with r egard to variou s

itie of th e or an in man in tan e o in to the cap ac s g , y s c s , w g great advance mad e in many d etails of organ c onstrue ’ i 1 tion since B erli o z t me .

G evaert thu s treats of the subj e ct of mi xtur es in hi s ’ ’ Trai te d Instru mentati on a nd it ma be remar e t at , y k d h

’ ' G evaert s well - known p osition of auth ority up on all

orm of mu i or e tr l as ell as e le ia ti al and f s s c , ch s a w cc s s c , his re o ni e eru ition as a mu i al hi torian len c g z d d s c s , d sp ecial weight to his convictions

i la of to i intro u e orri le issonan e Th s c ss s ps , wh ch d c h b d c s into the most on onant or h as een a au e of of en e to c s ch d , b c s f c mu i ian la in amiliarit it the or an as Berlioz for s c s ck g f y w h g ; , il in h in e am le . Ot ers e acce t t e r ci le of mutation x p h , wh p g p p

to s re erre t o onsider t em as a tran r rt f h s p , p f d c h s ge p ope y o t e or an a ort of m steriou ri ile e reser e for t at essentiall g , s y s p v g v d h y

l iasti al in ru n As a m t r of a r r ecc es c st me t . at e t t e a e e f c , h y p f ctl natural and lo i l Mo ern cien e h s r n e y g ca . d s c a p ove by ex eriment t at most a en cie of oun rom trin s and i e p h g s s d , f s g p p s to the uman lar n roduce oun hi are a c om anie h y x, p s ds w ch c p d i h n n i i armon s . Co ere t e un ame tal to e c s by h c v d by f d , wh h the onl one t at art ta e into on i r tion se c or y h k s c s de a , the ac ess y sounds are not clearly perceptible ; only an attentive and

ra ti e ear is le o is ern t m But we are none th p c c d ab t d c he . e le af e te t em and a ordin t H lm oltz t e are ss f c d by h , cc g o e h h y n of h in i l nt f o n en m l o e t e pr c pal e eme s o s u d . Wh e p oyed in u i iou ro ortion t e im art to th one of th e or an j d c s p p , h y p e t g the onorou rillian e the ri c ol on the indeﬁnabl s s b c , h p yph y, e m litu e of oun i ara t riz h n m n it a p d s d wh ch ch c e e t e i stru e t . W h ‘ ’ mixt n n out ures there ca be o real full organ .

’ 1 l s - idor : T ni r r n See a o Oh . M . W ech que de l O chest e Moder e

( pp . 176 THE MANUALS 2 9

Finall the u e t o y, s bj c f mixtures h as been impartially and i erni n l treate Mr d sc g y d by . Wedgwood in his val u a le Di cti onar o Or an to b y f g S ps . Al though by no means e nt u ia ti in t eir a or the ollo n h s s c h f v , f wi g is worthy o f q uotation

One of the reate t mi ta e in En lis or an uildin g s s k s , g h g b g , ‘ h as been the whittling down of the Mixture to a mere three ’ r an s rie i n a r k h k g ppa atus . Had the liberal composition been

reser e on urrentl it a decided redu ction in o er p v d c c y w h p w , t he resul t oul a e een far less disa reea l A w d h v b g b e . s matters s tan th e er areness of the routin -r n d , v y b e III a k stop s erves ” but to em asize its as rti en s ph se v e s . “ It is true that the system of equal temperament demands some su ual of the o er of Mixtures b ut re arded in the bd p w , , g li t of artiﬁ cial armoni cs t ere is no ar ument ic c n gh h , h g wh h a b e levelled against Mixtures whi ch cannot li kewise be brought

n m ni Bu i is n tur t o bear agai st natural har o cs . t t ot N a e i is in the ron it is our ar itrar s stem of di idin wh ch w g, b y y v g h One American am l eteer t e o ctave into twelve notes . p ph s ets out with great display to vanqui sh the Mixture by tabulat ing the gruesome discords produced when a given chord is oun But the ole ar ument is a eciou reducti o s ded . wh g sp s

a r Pre i el th e ame discordant ounds are a d bsu dum. c s y s s But generated by th e harmonics of the chord themselves . su armoni s and the artiﬁcial armoni cs of ood Mi tures ch h c , h g x , a re altogether subservient to the prevailing notes of the chord . m erament difﬁ cult t ere is the And as regards th e equal t e p y , h s ame clashing of harmonics whenever a mi nor Triad is s ounded . On t i s s ore no o e tion can alidl be ur e a ainst dul h c , bj c v y g d g y s ubordinated Mixture tones which does not in some measure m Simi larl it is ste . hi t at the whole basis of our musical sy y,

” u s ec tive fifths . 3 0 THE ORGAN IN FRANGE

Th e relative p osition of th e manuals would seem to be a matter of mi nor imp ortance ; but it actually inﬂuences f h Fren in r m the wh ole tonal scheme o t e ch st u ent .

d-or u e or G reat is in aria l la e at the Th e Gran g , , v b y p c d o e the P osi ti or C oir nd th b ottom next a b v , f h a e t Réci t or Swell at the top . If here be a fourth manual

rl alle the Bombarde and la e et it was forme y c d , p c d b ween ' 1 - h I m rn n the Grand orgue and t e P omtif . n ode co struc he our t manual is u uall name S olo and is tion t f h s y d ,

It ma b r m r t th E ho pla ced at th e t op . y e e a ked hat e c divisi on found in some French organs is not ordi narily a section o f the organ pla ced at a distance from the main

n tr ment as is so re u entl the a e i i i s u , f q y c s w th us but s

n r ll i i ion ontainin o t ge e a y a d v s c g s ft s ops . The organs of Saint- Sulpic e and Notre -Dame in Paris

e ﬁve manual th e ﬁfth e r in each hav s , k yb oa d b e g pla ce d mnd—or u e nd ll — i b elow the G g a ca ed Grand choeur . Th s l o e t manual is a tuall a i i ion of th e Grand—or u e w s c y d v s g , o e er and o ntain almo t e lu i el th r nd h w v , c s s xc s v y e eeds a mi ture lea i n th e ou n ati on to to be la e rom x s , v g f d s ps p y d f

—r It i te the Grand o u e . s o n u e as a o lin m n al g f s d c up g a u , ll b l in l r a s i e e a e ate see ootnote . w xp d ( f , p

1 Among th e altera ti on s already menti oned as havi ng b een ma de t o th e o a n o f Sai nt-Sul ic e in 1903 wa s th e c h an e of l oc a tion of rg p , g t h e Bomba de i t wa s l ac e d a t th e to ab o e th e R éczt and i t s name r ; p p , v , n e B e st ibu tio n of th exi s in s s thi s manu al c h a g d t o S olo . y a r di r e t g top no w p arta kes m ore nearl y of th e nature impli ed b y i ts present d esigna ti on th an h e ormer Bomba e di d t f rd . T —DAM P R IS N O RE E , A THE N A V E F ROM THE ALTAR

CHAP TER V

THE PEDALE

THE P edale is the name given to the divisi on of the organ containing the pip es played only from the p edal “ ” e oar and orre on to our e al - or k yb d , c sp ds p d gan . Th e

' e oar it el is no n as th e P éda k yb d s f k w lzer . No dep artment of the instrument is considered by

Fren uil ers to be more im ortant ch b d p , or re ceives more cru ul ou are in its om o ition and i i s p s c c p s vo c ng . As with th e manu al th e mo t are ul attentio i i s , s c f n s g ven to the provision of ind ep endent stops of varied pitch and quality in t i e tion of th e tonal eme and o f a le nd l h s s c sch , mp a we l “ i i el ro ortione onor t . No t e e tron b t p p d s y xc ss v y s g, u i t to of onorou o iti e and ﬂ exible tone ma in w h s ps s s , p s v , k g itself felt even against the foundation stops and mixtures o f all manu als coupled together su ch a P eda le is never 1 too weak and never too strong ; p articularly will it never ” 2 cover and blur the inner voices on th e manuals . Thus may th e ideal P eda le of th e French builder be d escribed . Li n al the P edale is on ei e as ke each of the ma u s , c c v d

1 See Ex . 1.

1 A c h ei zer Deu tsche u nd Fr anzosi sche O elba u ku ns t u nd O el . S w t , rg rg st T th r u th er a d oc at es s tro n l th e i nt o du c tio n of kun . h e au o f r v g y r te d i n mi xtur es in th e P éda le ; a rec ommendation alrea dy a dop l l i nstal e d . si ngl e rank st op s in a t l east o ne prominent org an rec ent y ome ea s a o thi s rac tice (See Appendi x ; Sp eciﬁc ation III. ) S y r g p f th e Cin wa s qui te c o mmon i n l arge organs i n America ; th e org ans o s n a nd c i u ll of th e C ath e dr al of th e ol C o ss i n Bo t o , mati M u sic H a , H y r

o all c ontai n mut a ti on ranks i n th e P e dale . of th e Au dit orium in Chi c ag , eli e Of late ear s h o e er , I b e (See P e dale s p e ciﬁc a ti ons on p . y , w v v th e prac tic e h as b een ab andoned 3 2 THE ORGAN IN FRANCE

i n o f to a e u on an indep end ent divis o s ps , b s d p a proper ’ representation o f tone o f fundamental pitch ( 16 in thi s

in ea o f th e e eral rim ar tone- u alitie su c ase) , ch s v p y q s ; p d o t er to of i er it rein or in cer plemente by h s ps h gh p ch , f c g tain of the natural harmoni cs of th e fundamental tone each of th e latter stops b eing voice d as to intensity and quality with e xa ct regar d to this relationship with its fund amental (in acc ordance with the natural laws o f — h P h n i l r and to t e edale as a ole . T e e t r tone co o ) , wh e division is supp orted up on an e qually j udiciou s p ropor ’ h l i i i o f 2 tone in t e ar er in trument . u s a n t on 3 , g s s Th s m tained th e same principle o f th e provision o f stops sound

h e o ta e u er- o ta e and sub -o ta e in ro er ing t c v , s p c v c v , p p rtion to th e un amental tone t at h as alrea prop o f d , h dy ’ in onne tion it th e an al ere it b een noted c c w h m u s , wh 8 p ch m n l 1 i h t n r or un a e ta . s t e s a da d , f d R eference to th e sp e cifications in the App endix will sho w th e customary c omp osition of th e P eda le in organs

ill n in c o of various sizes . It w be o bserved that eve m ’ ’ paratively small instruments th e pitch es of 8 and 4 are almo st always given liberal representation in ﬂue i i h h ﬁ f to as ell as ro i on n t e ree . T e e ect o s ps , w p v s ds

i r e r i im rt n l i tin tne learne th s p o c d u e s to pa u u sua d s c ss , c ss and onorit to th e P edale a i n it of real alue as an s y , m k g v in n i h e r F P eda l t dep end e t se ct on of t o gan . or a e hus

on tit te re n h f i ion in c s u d p se ts t e asp e ct o a sep arate div s , all respe cts as ind ep endent o f e a ch manual division as h l I t e several manua s are o f each o ther . t may be a dd ed that remarkable promptness and pre cision of speech are o taine not onl t rou th e er e tion of the a tion but b d y h gh p f c c , also b ecau se of th e care bestowed up on consid erations f in l o w d supp y and voicing .

1 T h e Fr ench are ont o e si -f or an w t d gnate an organ as a 16 t . g “ ” o r a 2 -ft 3 . o rg a n (argu e de 3 2 pzeds ) i n acc ordanc e with its p osses sion of st o s f i p o th e p tc h menti oned .

3 4 THE ORGAN IN FRANCE

Only with a P eda le thus constituted is it p ossible to

u a a e as th e ollo in on ormin perform s ch p ss g s f w g , c f g to o f it an f in n i th e indicati ons b oth p ch d o te s ty . On th e

or an t e are entirel ra ti a le el e French g h y y p c c b , s they would no t have b een so written :

F nds e Fo d s R . o t M xt es P . n i ur G . P éd .

Fonds

- 1 0 10 1915 10 ) Wi dor S m home r oma ne (D EX. y p

Fond s P . Fo ds R . Fo ds e t Anches G . n n

P éd . Bass es d e

e Wi dor M SW h‘m“ (D EX’ 2 (All egro rlsol ut o)

s P éd . G . P . Fond , R . Fonds e t Anch es

- Fonds Tirass e G . O .

t Tf ms Versels EX q Bo nn e , 3 CHAP TER VI

ME CHANICAL Ac cnssomns

TH E me ani l ch ca a ccessories of French organs are almost in aria l th e ollo in : accou lements v b y f w g p , or manual 1 ou ler ti rasses or e al o u ler a els o r en il c p s ; , p d c p s ; pp , v t s ; ’ ’ edales d ex ressi on or ell- e al tremulant and p p , sw p d s s , o a ionall r e i stres de combi nai son o cc s y g , r c ombinatio n e i r g sters . Th e a ction of b oth keys and registers is almost uni versall tra er - neumati in th e lar er in tr men n y ck p c g s u ts , a d eit er tra er or tra er- neumati or i h ck ck p c , a c omb nation o f 2 ot in th ll l - b h , e sma er ones . E e ctro pneumatic a ction is 3 u e ome uil er in eneral on tr tion n d s d by s b d s g c s u c , a by ot er for s eciﬁc r o e u a the onne tion o f h s p pu p s s , s ch s c c

1 From th e erb ti er meani n t o dr a or ull th e ﬁr st v r , g w p edal k s n s a al ke s abo e p e y h avi ng b ee a ttac h e d b y cor d to th e m nu y v , ulli n th e l a tt r p g e d o wn . 1 In c onsideri ng th e me c hani c al c o nstru c tion a nd de tail s of Fr enc h or ans I sh all h erea ter re e t o th o se bu il t or ebu ilt b Ca aille g , f f r r y v In sel ec tin th ese i nstru C oll and hi s su s M arl s Mu tin . c c es or , . Ch e g ment s a s t ical I ould b no mea ns di s a a e or ail to ec o ni ze yp , w y p r g f r g s ns t uc ted b oth er b ui lde s th e excell e nc e of the many i nstrument c o r y r , Bu t th e di fe enc es or seem to ig nore th eir c laim to c o nside ra ti on . f r b et een all th es i nstruments a s to d etail s of s eciﬁc ati o n and mani w e , p p u lati on ar t a di cal a nd it is th e o ans of Ca aill e- Coll hi c h , e no r ; rg v w s h s h a ve more o fte n ser ved a s th e i nspiration o f th e c omp o ser w o e l No o k on F e nc h or ans works we are c o nsideri ng i n thi s vo ume . w r r g h o an s h ould fail t o a cknowl e dge th e arti stic a chi e vements of su c rg b uil rs et D ebierre bb e b ut th e ob ec t of th is de a s M erkli n , P ug , , A y ; j nc h or a n as a t e rath er s tu dy re quire s th at I sh oul d speak of th e Fre g yp , ll nt exam l es ro th an att empt to c onsider separa tel y th e many exc e e p p

V ided by all buil ders . ’ 3 i o s de Z Elecl ri ci té See Alb ert P esc h ar d : Les P remi eres Appli cat n u a x Gra ndes Orgues . 3 6 THE ORGAN IN FRANCE divisio ns of the organ necessarily placed at a c onsiderable distance from th e main instrument ; but it is fair to say that its a d o ption up to th e present time h as been far h tu ular- neumati ti n t one n r l . T e a o a from ge e a b p c c , l loo e u on in G erman h time so fa vorab y k d p y , as made i n little appre ciable h eadway n Fra ce . Mu ch attention is de voted to th e regulation and variety

- re re rat er t an to its ro ti in x e o f wi nd p ssu , h h p du c on e c s

f r the l tter i n r ren t . So a as a s o e ne e en sive st g h c c d , s v inches of wi nd is ab out th e maximum allo tted by Cavaille

oll to th e more o er ul to e e t in in i i ual a e . C p w f s ps , xc p d v d c s s “ ” he motto lent of in but at o erate re ure T p y w d , m d p ss may b e said to govern the whole system of wi nd supply .

h windf- e t o e er are i i e not al one as T e ch s s , h w v , d v d d , in o r ou ntr to re ent the ro in of wi n bu t in u c y , p v bb g d , order to feed th e pip es o f each of three divisions of th e l if en ntit nd e e o f in in sca e with a d fer t qu a y a pr ssur w d , h i n u the a ccord ance with t e needs of each se ct o . Th s principle of or chestral wi nd instruments is resp ected for the lo er re i ter a lenti u l u l of in at c om w g s , p f s pp y w d

arativel low re ure for th e me i m a more mo er p y p ss d u , d ate qu antity at somewhat higher pressur e ; for the u pp er re i ter a om arati el mall mo nt o f in but at g s , c p v y s a u w d , ill i r In i e to is ma e st h gher p essure . th s mann er ach s p d to sp eak thro ughou t its entire comp ass with remarkable

i r promptness and with uniformity and clearness o f t mb e .

The o eration o f the o l r o man l and e al e p c up e s , b th ua p d , is the same as in o u r own organs ; excepting that th e a tion ein ire t the e o he m u al ou le are c b g d c , k ys f t an c p d

tu all r l h e lar e t a o n . n il re nt in t c y d awn d w U t ce y , g s o r an ea o f h e u r t r n l oul b e ou le g s , ch t pp e h ee ma ua s c d c p d 1 onl to the lo er or Grand—or ue and onl th e Grand y w , g , y

1 — - - In th e ﬁve manu al r s f ain l ice a nd otre Dame o gan o S t Su p N , - P ari s thi s u nc ti on i s assi ne th l st ma n al th e Gr a nd chceu r . , f g d to e owe u ,

(See p . — IVIA IN—L ’ A XER R O IS P R IS SAINT G ER U , A THE N AV E

M ECHANICAL ACCESSORIES 3 7 argue to the P edale an m ; y anual b eing at the time ou le to the Gr and—or u e c p d g was thereby c oupled also to the P edale . But no ro i ion wa p v s s made for coupling an one of th e u er y pp manuals to an other of them y , or to th e P edale e e t — , xc p through the Grand or ue as b v g a o e . The latter manual w as and still is supplied with a ventil ontrollin the in - c g w d supply to the pallets similar to the “ , G reat to Pneum ti a cs formerly common to our own tra er- neumati or ck p c gans . This keyboard thereby exe “ ” ute the ofﬁ ce of a ou lin manual c s c p g , its own stops oun in or m s d g re aining silent at the discretion of the er or p f mer . In m ore re cent years indep end ent means have been

ro i e for ou lin a t lea t Réci t to P osi ti p v d d c p g s f, and each manual to th e P edale it out o li , w h c up ng through th e lowest e oar k yb d .

ta e ou ler ra in o n the o ta e a o e re Oc v c p s , d w g d w c v b v , a little used in France ; on the contrary sub-o ctave coup — , ler to the Grand or ue rom ea of the ot er manual s g f ch h s , as ell as f r the — o G . 0 . u on it el e l n w p s f, hav o g b een in ener l i g a u se . Th s will explain the common custom of French comp osers in writing full chords in the upper re i ter of the rin i al man l g s p c p ua , when the maximum of 1 o r is ir p we d es ed . Due allowance for these methods must be made in

er ormin t e i n ri n r n p f g h se comp osit o s up on Am e ca o ga s , when the latter are provided with o ctave couplers or con tain rill i In i onne tion it ma be ointe sh m xtures . th s c c y p d out that the custom o f some builders to include these cou l r ll r orzando e al is p e s up on the Fu Organ o Sf p d , mo st unfortunate sinc e only by circuitous means can

1 Nu me rou s e xample s of this p roce du re are fou nd in th e works of i r n iM ant amon th e ormer at the be innin of th e W do a d G u ; g f , g g m als Ex . 6 S ymphoni e. (See o 3 8 THE ORGAN IN FRANCE

limi nate rom at oul b e ull or n they be e d f wh sh d f ga ,

l ro ortione onorit o taine I i a nd a prop er y p p d s y b d . t s needless to add that up on French o rgans the upp er register of all mi xture and high -pitched stops is voiced

with regard to the pro cedure noted .

Fren or an e e t ome of tho e mo t re n l No ch g s , xc p s s s ce t y

ilt o e om ination mo ement as we u n er tan bu , p ss ss c b v s , d s d rate i n l I em et er o e to or e a . n t e th , wh h p d by p s s p d s h ir “ ” 1 la e th e Fren ma e use of the entil p c ch k v system, which was formerly used to some extent in th e p edal i organ of Am er can instruments . While the p osition of the draw- stop ordinarily d eter mines th e sp eech or silence of a single register or set of i e un er th e entil tem the in u l to th p p s , d v sys w d s pp y e stop - a ction o f the wh ole or o f a p ortion o f a wind - chest is controlled the wi nd b eing thu s cut OH prevents the

to ffe te rom ea in e en t o th e re ti s ps a c d f sp k g , v h ugh sp ec ve — r h i register kno bs may be d awn at t e keyb oard . A str k ing differen ce between this system and our own com bination a ction is that when once established by the uil er the to a e te ea entil nn b d , s ps ff c d by ch v ca ot be

n e it ou t rearran ement of the i n h cha g d w h g p p es o t e chest .

In a tual ra ti e o e er it is u tomar l a c p c c , h w v , c s y a w ys to rou the to af e te in the ame wa o n all or an g p s ps f c d s y, g s ; the ventils usually b eing applied chieﬂy to th e reeds and mi ture o f ea manual e e tin in th e a e of th e x s ch , xc p g c s

oun ation to of th e ﬁrst manual as alrea note f d s ps , dy d . These ventils are called appels ; as appel da Gr and orgue G reat to Pneumatics ; appel des anches Wind to R eeds .

“ 1 Th e entil s stem i s not er o ul ar outside France as it ln v y v y p p , curs a c o nsiderabl e a mount of h and-re i s r i is i it sel h s t a t on . Th n a g , f , a c hi e ve d i n th e p a st for th e F renc h o rgani sts muc h gr eater indivi du ali t and di stinc ti o n a s c ol o i sts th e n lis h l a ers h a i n b ec ome y r , E g p y v g t o o mu c h tie d to th e c omp osition p edal s a nd pi stons for th eir c om s A l binati on . . E a eﬁeld ull : r ( g H O ga n P layi ng. )

40 THE ORGAN IN FRANCE

n e and en e ire ma be ex similarly be arra g d , wh d s d y h m r th e e on t e a e o e and so ou . changed for s c d by s p c ss , n ire en e of om ination mo ement er While th e e t abs c c b v s , p

e m e it ne e ar t at all om ination all ori i nall s , ak s c ss y h c b s sh g y ra in the to the re i stres de com be arranged by d w g s ps , g bi nai son make it p ossible for new c ombinations to be

n e at an on enient oint er a far in a an e arra g d y c v p , p h ps dv c i l 1 o f the time of the r a ctual emp oyment .

' In the older French organs the pip es of th e R éczt alone

l e in ell- b ox nd h t r re fr were p a c d a sw , a t e shut e s we e qu ently op erated by the ratchet p ed al long since dis carded by American build ers ; this p edal was pla ced far

’ i In re nt ear the l n e at th e s de of the P edali er . ce y s b a a c d p edal h as taken the pla ce of thi s cumbers ome contrivance in Fr n e alt ou th e ef e ti ene of th e latter in a c , h gh f c v ss n e rom o en to lo e box o vi ce versa abrupt cha g s f p c s d , r , Li e i in re ent e r he P i ti cannot be denied . k w se c y a s t os f h as o ften been pr ovided with a swell-b ox o f its own but undou btedly a ccomp anied by a corresp onding increase in le of th e i e on e entl re er i n t eir ro er sca p p s , c s qu y p s v g h p p i i h l i 2 I prop ort on to the sonor ty of t e wh o e nstrument . t is not u tomar o e er to en lo e an ortion of th e c s y , h w v , c s y p rand—or u e nor was it u ual to en lo e the Bombarde G g , s c s or S olo manual in the older organs ; but in more recent

1 I rememb er a devi c e whi ch was a featur e of an organ c onstruc ted i n Boston some t ent ears a o desi ned to o erat e u on th e h ol e w y y g , g p p w

’ org an in th e sam e ma nn er a s th e regi stres de combi nazson u p on a single s s manu al . Th e ub e qu ent i ntro duc tion o f c ombinations a dj ustable at th e keyb oard h a s pro b abl y re ndere d suc h a de vi ce su perﬂ uous in later

i nstruments . 2 G ene all s eaki n sufﬁcient attention has not b e en aid t o r y p g , p thi s oi nt i m si p n A eric an org ans i n r ec ent years ; perhaps de gne dl y . A t all e e nt s our Ch oir—o ans h en enclosed i n a s ell -b ox h a e v , rg w w v lost immeasurabl i n so no it and o er h ate er th e ma h a e y r y p w , w v y y v ai ne d b t a i - l I g y h e ddi t on of s ol o stop s and i n variety of t o ne c o or . n many c ase s the y are no l o nger of sub stantial or e ve n appreciable assistanc e to th e G reat i si n i e n th e pro vi on of fou dat on ton . MECHANICAL ACCESSORIES 4 1

h l y ears t e atter has frequently been placed in a separate ell-box al s w so .

remulant are u lie for one or more of the manual T s s pp d s , a s in ot er ountrie h c s . They ﬁnd favor a ccording to the i n i i ual ta te of the er ormer or d v d s p f composer . 1 C ime or an of the er i h s , y p cuss ve e ffects now b eing i ntro du ce d into some American organs o f radical tend e n are not or inaril oun in Fren r n cy , d y f d ch o ga s .

It is intere tin to note t at a entur or more a o s g h c y g , o rgan stops mu ch in favor among certain p erformers were no n as the eu de rossi nol or i tin le th k w j g , N gh ga ; e eu de coucou or Cu oo m n 2 j , ck , a o g others . With the a d vent of a seriou s school of comp osition and performance t e e t ere out ro n it in l h s oys w g w , w h a s g e exception : the i inter in e tonnerre . Th s est g a cc ssory was operated by a

e al and e e te the ee of a num er of he lo e p d , ff c d sp ch b t w st he e l or n in te er notes of t p da ga , wha v stops were drawn i It er e a u e l r o e in the mu i al a t the t me . s v d s fu pu p s s c l f t n er torm i till ﬁ re s n p ortraya o a hu d s , wh ch s gu s a a i nevitable feature of the daily organ recital dear to the i l ome ear h earts of foreign tourists in Sw tzer and . S y s

o remem er notin t at e en the or an of Saint ag , I b g h v g Sulpice had not escap ed the provision of this stupid pl ay — thing but a conspicuous hole in the toe b oard where i n e h ad een mu tel testiﬁed to the p edal op erating t o c b , y the esteem in which the contrivance was held by the

in cumbent of th at particular organ p ost . No attempt h as b een made in France to redu ce the

n ole and in ee e er ef ort is ire te size of the co s , d d v y f d c d ll o i le im ortan e as is toward endowi ng it with a p ss b p c ,

1 sto The French wor d for a c hime or peal of bell s is cari llon . A p s b t it i s a Mixture desi ne d of thi s name i s c ommon in th eir organ , u ; g t i s im arte d t o a dd th e same brilli anc y t o th e foundation stops th a p s t o a b ell by th e prominenc e of it s o vert one .

' ’ 1 sur l Or ue b u ene de See Notes Hi storzques et Cri ti qu es g , y E g

Bric quevi lle . 42 THE ORGAN IN FRANCE

ﬁtting to th e digni ty and p ower of the instrument wh ose In the lar in speech it c ontrols . ger struments the console ll eta e rom th e or an re er e n is usua y d ch d f g , v s d , a d placed a few eet rom it ne er at an on i era le i f f v y c s d b d stance . Th e c omp ass of th e manuals in the old er instruments is

3 1 ‘ r to but it is ein e ten e 1 f om C g , b g x d d upwards to c in i n h e P all recent constru ct o . T eda le formerly extended 1 rom C to but imilarl is now arrie u t 1 f f , s y c d p o Q . Th e “ ” e al e oar is u u all of the old trai t t e h p d k yb d s y s gh yp , t e line of the ront of th e ar ein ur e o e r f sh ps b g c v d , h w ve , so

’ that the sharp keys at the ends of the p edali er are longer n t o e in h n tha h s t e c e ter . Th e keys are somewh at nar ro er t an our and are i l oli e w h s , h gh y p sh d . Th e concave and radiating type of p edal keyboard has found little or in Fr no favor ance . Th e stops are op erated by register knobs of rather mall i e la e on ea i s s z , p c d ch s de of th e keyboards nev er

o e t em in l r r - a a e o n . h b v h , g ga s T e cheek blo cks are o ften

1 Such p assages a s the foll o wi ng would u nqu estio nably h a ve b ee n wri tten di f erentl h a d it no t b ee n for thi s rest i i f y , r c t on of c ompass :

EX DnbOIS: l Lux . 5 ( All egro nontroppo)

T o ar d th e e nd of t h e S m honi e o ma n idor h as r w y p r e, W p ovi ded an alter nati e r en derin for u se h er ssi l v g w e p o b e .

M C E HANICAL ACCESSORIES 43

ur - e in a uarter ir le an c v d q c c , d invariably terra e c d . Th e a en e of i ton et bs c p s s b ween the manuals makes it o i le to la e th e latter l p ss b p c c oser to one another and th e e , e e iall th e ar k ys sp c y sh ps , are consid erably shorter t an on Ameri n a or an . h c g s The overh ang of each manual is t u re u e and th e h s d c d , passage from one keyboard to anot er is materiall a ilit h y f c ated .

the lo e t u ar the a ilit f w s pw d , f c y o execution of su ch pas age as the ollo i n is a s s f w g pparent . On our own instru ment t e are eit er totall im o i le s h y h y p ss b , or difﬁcult o f er orman e it out p f c , w h rearrangement of the indicated choice of manuals

(All egro ri sol uto)

VVl dor Symphoni c romane CHAPTER VII

NOMENCLATU R E AND CLASSIFICATION OF R EG ISTER S

IN the designation of registers all French builders em lo th e Fren l an ua e almo t lu i l t p y ch g g s exc s ve y . S ops of th e same chara cter u sually b ear th e same name in th e 1 in trument of i erent manu a r r Th la of s s d ff f ctu e s . e ck interest in th e creation of new timbres may p artly account for th e l atter on ition bu t th e ta li u tom i c d , e s b shed c s s at on on ni nt nd l i l 1 c e c ve e a og ca . Su erﬂuous or re un ant e i nation u as our p d d d s g s , s ch ’ D ouble Op en Diap ason are avoided : montre 16

fﬁ li n ti ra versi re har su ces . u a i a e e u as t e Q fy g dj c v s , s ch , moni u e e ri ial tonal u alit or i e constru c q , d sc b e sp ec q y p p tion as it u s or doux deuce as a mea ure of inten it , w h , , s s y fe w urel an i ul nam u as cor de nui t rom th e A p y f c f es, s ch (f

1 Wh ere referenc e i s mad e in this work t o organ stops as found on enc - Th ose of meri can F h o an s th e sto names ill b e itali ci z ed . r rg , p w A r ans l o g wi l b e print e d in roman and c apitali ze d . 1 It i s no t so l ong sinc e th e g eneral inc lina tion of Ameri can buil ders s eeme d t o b e th e empl oyment of any languag e b ut th eir own in th e d esig nation of organ st op s ; al th ough it mu s t b e a dmitte d th a t many familiar designati ons woul d seem u nu tt erabl y silly if transl ated literall y i nt o n lis s n i n l an a e s h . Bu I s a s an a ni e o e u E g t h ave een m y f r g g g ,

d ea d and mo dern r r s n i h s ecific a tion of a sin le manual . , ep e e te d n t e p g I no anc e of th ese l an ua es ossibl on th e art of offic e cl erks an d g r g g , p y p o ram- ri nte s h as l e d t o th e firm e stabli shment of c e tain inac pr g p r , r c uracie s i n our st o nomencl ature : G oss Flu te ohl Fl ute V ox p r , H , ’ ’ C el este V iol a di Gramb a V iol e d amo e D ol c e C ornet V i ol e d orch estra , , r , , 3 1 0 s T o th e ( ) are ome of th o se mo st famili ar and no t l ea st inc orrec t . c redit of s ome of our foremost builder s l et it b e said th at an effort to s ecu re a c c urac y and t o empl oy g o od taste i s apparent in more r ec ent years ; al th ough in many c ases th e E ngli sh l anguage is still b ut sligh tly re es en pr te d .

46 THE ORGAN IN FRANCE while in actual practice th e family name mi xtures includes

n mu tation to th e im le mutation to all c ompou d s ps s p s ps , m arati el few in num er are eit er i en in i b eing c o p v y b , h g v d

l name or rou e as mu tations . e oul vidua s , g p d Th y w d ordinarily be c onsidere d as falling u nder the head of mixtures o e er ein om ine into the e ui alent , h w v , b g c b d q v n to at the i retion of th er rm r o f c omp ou d s ps d sc e p fo e .

nds orre on to our oun ation ﬁue- or and Th e fo c sp d f d w k , do not include Vibrating stops like the voi x céleste and

' unda man s .

Th n r l r u t en are t e e : onds mixtures e ge e a g o ps h , h s f , , anch es !

Th e stops com monly found on French organs are thu s 1 Ale an re Celli er classiﬁed by M . x d

ME DIU M S CALE

’ ’ ’ ’ Montre or P rincipal 16 and 8 (3 2 and 16 in the P eda le) ’ Contre bass e 16 (P edale only)

P res tant

Dou ble tte

Piccolo

Diapason

Violoncelle

Keraulophone

S alicional

Fugara

G e ms hom

1 A s this cla ssifica tion seems t o rec ommend itself in p oint of l ogic and c on enienc e I sh all h e ea ter re er t o fl - o k f 2 16 8 v , r f f ue w r o 3 — i s 4 an 2 ft . tc h a F un i n i s n d p o dation , d ti c ti on t o M ixtur es and s Sim l e mu ta ti on s to s h h x i l R eed . it t e e ce t on f th e T e th p p , w p o w f and a n o c c asi onal ui nt are rarel encountere d in our la ter me i c an Q , y A r organs . ’ 1 L r M I h a e r l O gu e oderne . v rear anged and somewhat amp ified th li st f sim l mu ati s s e o p e t on t op . THE R EGISTERS 47

NAR R OW S CALE

’ G ambe or Viol e d e gambe 8 ’ Voix Cel es te 8

’ ' Dulciane 8 and 4 ' ’ Unda mans 8

WIDE SCALE

’ Flﬁte harmonique 8 ’ Flﬁte o ctaviante 4 harmonic ’ Octavin 2

Flii te traversiere

Flute

' Fhite (Manuals and P eda le) Flﬁte (P edale only) Flfzte creas e

Flftte 21 pavilion

STOP P ED R E GISTE R S O R BOU R DONS

’ ’ Bourdon 16 and 8 (Manuals) ’ ’ S ou be ss e 3 2 and 16 (P edale) ' Flﬁl e douce 4

’ Bourdon 21 cheminé e 8 ’ Cor d e nuit 8 ’ ' Quintaton 16 and 8

SIMPLE MU TATION STOP S

(P edale)

G ross e quinte 10

’ G ros s e tzerce 6

Q uinte or quinte ﬂ iite 5 , S eptieme 4 i 48 THE ORGAN IN FRANCE

(Manuals)

1 ’ Q uinte ﬂ ﬁl e 5 5

G ros s e tierce 3

’ Q uinte 2 g Nas ard 2 (Stopped pipes) 13 S eptieme 2 7 ’ Q uarte d e nasard 2 ’ Ti e rce 1 g ] Larigo t 1 31 S eptie me 1

COMP O U ND MU TATION STOP S (Mixtures)

Fourniture

Cymbale

’ P Ie zn-j eu

Co rnet

Carillon

R E E DS

' ’ Bombard e 3 2 and 16 (P edale) ' Tro mpe tte 8 ’ Clairon 4

’ H autbois 8

’ ' Bas son 8 ( 16 in P eda le) ' Cor anglais 8 ’ Cl arinette 8 ' Cromo me 8

’ ’ Voix humazne 8 LA MAD N P E LE I E , AR IS

THE N AV E F ROM OR G A N L O FT

CHAPTER VIII

P R ED OM INANT C HAR ACTER ISTICS OF R EG ISTR ATION

I HAVE already p ointed out that th e tonal scheme of h t e b est French organs aims ab ove all else at perfe ctio n o f en em le s b . Stops designed primarily or even exclu sivel for olo use are not la in y s ck g , but in a maj ority o f eriou o o ition at lea t s s c mp s s , s up to within a very few ear the i la of ol y s , d sp y s o qualities has u sually b een sub or i nate to on i er tion f a o en em le . Oh the ole d d c s d s s b wh , in t eir inter retation of or an m ition th Fr n h p s g co pos s , e e ch are a ccu stomed to d ep end up on th e nuances made pos

i le er e t tou ontrol rat er t an u on e e t s b by p f c ch c , h h p ff c s derive d from frequent changes of intensity or color in i i n i i al alue of th e re trat on . To t em the intri m g s h , s c us c v wor k is of more imp ortance than th e variety or novelty

rou the er o f the c olors in whi ch it is clo thed . Th gh p fection of tou i as el e ere no te is the si ne ch , wh ch , s wh d ,

u h r ani t th e ﬁnest nuan e o f q a non o f t e French o g s , c s r m n n ra in are o taine il e the hyth , a cce t a d ph s g b d wh treatment from the standp oint of registration is more o bj e ctive . l P robably this condition may b e a scrib ed to severa i ne causes among them the character of the part ass g d s r i l or hi th e i e of th e ediﬁce , to th e organ in litu g ca w s p , s z

nd no t lea t of all th e limitation la e u on re uent a , s , p c d p f q me ani al em of changes of registration by th e ch c syst m osit1on or French organ c onstru ction ; in whi ch co p — n t em and combination movements as we understa d h ,

l la kin . are a ccustomed to them u sually are entire y c g 49 5 0 THE OR GAN IN FRANCE

n ontain few if an to of i irtual French orga s c , y s ps wh ch v e quivalents (often bearing th e same names) are not found in Am erican instruments although frequently varying l ti e inten it due artl to met in timbre or in re a v s y , p y hods e i ter i we a re ont t o e of c onstru ction . R g s s wh ch w us as “ ” in mel o i or u as Flute G am a solo stops d c w k , s ch s , b s

h l er t e and Dia a on and amon th e ree (o i t e o d yp ) p s s , g ds mm on t th r et larinet et cet. are o o e th e Ob oe , T ump , C , , c Th i organs of b oth countries . e same s true of other for e ial e e t in eit er ol o or armoni stops used sp c ff c s , h s h c n as th e V ox umana oi éle te n a treatme t su ch h , V x C s s , U d 1 i re o e er a e M ri uinta ena ci cet. New t m a s , Q d , b s , h w v , h v not b een esp e cially sought and thus it follows that some registers intro du ced into American organs d uring th e p ast fifteen years are still pra ctically unknown or un i empl oyed n France . n f to s t o e name a o e in Th e treatme t o su ch s ps a h s d b v , “ ” i l f or nee no omment as it solo or sp e c a e fe ct w k , ds c , 1 differs but little from that to which we are a ccustomed . It is chiefly in the combination of stops for general eu l r nd in th e manner of u om ination semb e wo k , a s ch c b , that our study lies . n w find in Fren or an t at As I have alrea dy oted , e ch g s h dep enden ce is pl aced largely up on th e foundation stops f r n rit on th e ree for o er and u on th e o so o y , up ds p w , p

r and mi t re or mutation for rillian . eeds x u s , s , b cy

1 In e in e x le s of he in eniou s u se in o osition to e ach t res t g amp t g , pp o th e of sol o s to s or c ombinations on diﬁ ere nt manu al s ill b e ou nd r , p , w f

i n L es H ew s Bou ui nonnes b e or e s Jacob and in six P relu des e rg g , y G g ;

’

ier . for m n he e f All ain s b H . D all th e Ma g ﬁ cat o t F as t o S t , y ’ 1 lli r h as M l x . Ce e In hi s a dmirabl reati se L Or u e ode ne . e e t , g M r , A note d many int eres ting exampl es of th e u se of variou s r egi sters b oth ” as sol o st o s an d n etai l or in c ombination i th each o th er i th p e d , w ; w A s a referenc es to Fr ench o rg an c omp o siti ons illu stra ting su ch u se . s tu d of th e F enc h o an om th e F ench oint of V i e thi s o k y r rg , fr r p w , w r

s m s in eres in r ac e h as b een ro i ded b M . i invalu abl e . A o t t t g p ef p v y L i ou s V ierne .

5 2 THE ORGAN IN FR ANCE

ee or of th e ree and mi ture o f th e ci t nl 1 r ds , ds x s Ré o y the clo sed swell - box makes it p ossible to keep the latter i ll u nnoti e in th e a ro n ili pra ct ca y c d b ckg u d , to be ut z ed in r l nd im re i r c I he l maki ng a g ad ua a p ss ve c es endo . n t atter

a e of our e th e oun ation tone ill no lon er b c s , c s , f d w g e l i n exclusive y ev d e t .

A ain th e oun ation to of an manual eit er of g , f d s ps y , h ’ ’ ' ’ n o f nd o f n 8 alo e , 8 a 8 a d or 4 and

re re u entl ontra te to e i i olor trin a f q y c s d sp c f c c s , as s gs or 2 ute o n o t er e oar . ﬂ s , h k yb ds In the matter o f in i i ual oun ation to nd d v d f d s ps , a of

rou ma e u of t em or in lu in t em e eral c on g ps d p h c d g h , s v n l Fir l eratio are ita . t o f a l l t h sid s v s et us ake t e flﬁtes .

Th e Fren or an is li erall ro i e it ﬂ tes ch g b y p v d d w h u , l r l I h a though pe haps ess so than th e G erman . n t e

r r h e - f e te u on ll m n l re m o me t 8 t . O n u f , p ﬂ s p a a u a s a ost ni i t r le o ten of the armo ar et i . e . ou at a t th e f h c v y ; , h gh s upp er h alf of their comp ass the pip es are made twi ce

eir ual len th and ier e o a t ro u th e u ni o th us g , p c d s s o p d ce s n

l i ri i pitch at the no te p ayed . Th s va ety of sto p was n trodu ced Ca aille—Coll in th e or an of aint- D ni by v g S e s , “ ” in 1 4 1 ere th e a li ation o f th e machi ne Barker 8 , wh pp c ,

r n m i lle ﬁrst ren ere e i l e the se f th e o p eu at c p a t , d d f as b u o

i i l in r ure in i e l The tone a dd t ona w d p ess d sp nsab e to it .

1m 1 i 1 S m hon e P l u 11. V rn i e e Ex . e e : y p ( r d ) m 2 Symph o ni e (All egro ) Widor : Symph onie g o thiqu e (ﬁrst movement) “ 8 Symph o nie (fou rth mo vement ) César Franck : P iec e h é ro zqu e Bonn e t : P rélud e Tour n emire : P iec e symph onique P i erné : P relud e Maqu aire : Sympho nie (fourth move ment)

1 2 m x 1 . i r 4 E . W do : Sympho ni e (A ndante ca nta bi le) m 7 Symph o nic (ﬁfth movement) Bonn et : No c turne

Dub ois : No el CHAR ACTERISTICS OF R EGISTR ATION 5 3

of the armo ni ute is rilliant and tron h c fl b s g , but no t er-lo o u . ile o t er ute to v d Wh h fl s ps , su ch as the Clarabella and Tra er e Flute are l v s , a so intro du ce d i n lar e or ans g g , t e are u uall h y s y supplementary to those o f the harmo nic e ie and , as a rule do no t re la e th l sp c s , , p c e atter on mo re t an one man - ual . The 4 ft . ute al o e e h fl s s , xc pt the fldte deu ce r , a e u uall of t i armoni ariet s y h s h c v y , as well as

- the 2 ft . to alle the oct s p c d avi n .

These harmoni c ﬂ utes lend themselves a dmi rably to

om ination in en em le and r c b s b , p odu ce a sonority quite

' unattaina le G rossﬂ oten or the D o elﬂote b by by pp , ormerl so mu u e in t i f y ch s d h s country .

e ore ta in u th e to of the ambe rou l B f k g p s ps g g p , I wou d call sp e cial attention to several registers whose quality is qui te different fr om that commonly imparted to stops o f the ame name in Ameri r s can organs . I efer to th e vi olencelle th kerau lo ho h Th , e p ne and t e sali ci onal . e latter ile a roa in th ambe in ualit mor , wh pp ch g e g q y e n rl t an oe the vi oloncelle is till a to of me ium ea y h d s , s s p d , not of narrow scale ; and in France it p artakes more o f

i n The vi olencelle tan th e chara cter of a quiet D ap aso . s ds

tr nd th e sa li ci ona l as oe al o the b etween the mon e a , d s s

’ kerau lophone ; neither one p ossessing th e distinct string li in th e mo ern en e i we oul in tin ti el qu a ty , d s s , wh ch w d s c v y asso ciate with it .

- it are chieﬂ the Th e French string stops of 8 ft . p ch y gambe (no t to b e co nfuse d with our mo dern G amb a) ; 1 ' Celeste and u nda man s of and th e Vibrating stops voi x ,

“ 1 e h e inci al t e of sto s of th e V ib ati ng Th e voi x céles t , t pr p yp p r mbe i s l at ed t o o du c e u ite a id b ea t s i th th e g oo d ga spec e , regu pr q r p w n l e t o i t h en em l o e d i th m o d e a tion a d which i s indi spensa b , w p y w r i s ﬁ ne s se a n d ene di scre ti on rodu c es c h armin eff ec ts b y rea son of t p , p g — Th ese ll b ox . ra in V ib o rende e d ela stic and so tened b y th e s e t t g rat , r f w

ks of c om o s e s . eff ec ts h a ve so t o s eak mad e it cl a s sic i n th e o p , p , w r r a n i s t l abl e ab u se . T h e o U nfortunately it i s o ften sub j ec te d to dep or rg imb e eruditi on wh o ﬁnds in its strange t Wh o i s l acking i n tast e and , r 5 4 THE OR GAN IN FR ANCE

which th e former is o ften used in combination with other 1 L i n th e un en string stops . ack g p g cy chara cteristic of rin oi in the ambe l our modern st g v c g, g b ends admi rably

er oun ation to inten i in e with the oth f d s ps , s fy g th ir effect without unduly b etrayi ng its own presence ; and leaving to the vei n: Celeste th e character whi ch is p e culiarly its

n m re rea o n of its i ration t an e a o w , o by s V b s h b c use of li i t n - l the individua ty of ts o e co or . Th e French voi ce céleste (with whi ch the gambe is in 2 variably drawn) is noticeably stronger in intonation

n r u nl e th e latter b e om o e f i tha ou s , ss c p s d o p p es of th e G amba type ; p artly becau se th e quality and intensity o f the sharp rank (pro vid ed by th e 110 759: céleste itself) are not d etermined or governed by those o f th e soft Vi ola or Salicional to which th e sharp rank is so fre quently add ed

it s th re ul t i i li i in our organs . W h u e s s e ther a Sa c onal h aving th e quality and intensity prop er to th e Voix

le te or el e a oi éle te of olorle nd ineffe ti cé s s , s V x c s s c ss a c ve tone b ecause of its determination by th e ne cessities of

le e of th e a ore i i l r li i n l T the doub us f sa d V o a o Sa c o a . he

Fren voi x Celeste is an e tremel ef e ti e to o ch x y f c v s p , b th f its i tin tl in i i ual ara ter nd al b ecause o d s c y d v d ch c , a so

e o f its i e ran e of e re ion due to th e rimar becaus w d g xp ss , p y 3 intensity of its voicing . a cl oak for th e o er t of hi s own tech ni ue em l o s i t u on e er p v y q , p y p v y o cc asion ; c ombines i t u p on a singl e manu al wi th th e mo s t inc ompa tible sto s and th u s odu c es not onl a er etual tic kli n of th e au ditor p , pr y p p g y ner e hi ch i s ea iso me t o a d e ree b u t al s a ratin eﬁ ec t hi ch v w w r g , o g g w ’ - M . hi C . P far b etter merits th e app ell a ti on inf e rnal th an cel es ti al . ( li

- - b ert : Le Gra n d Orgu e de S a i nt Ou en d R ou en . ) 1 m 1 6 on e s c nd mo ement . Ex . 3 . Widor : Symph i ( e o v ) 1 Ou F rench organs it i s nec e ssary t o draw th e ga mbe in a ddi tion - On our own to th e vow: cél este h l in sin l e rank s to . , t e atter b e g a g p organs it is c u stomary t o h ave th e register-kn ob for th e V oix c élestes dra w b oth ra nks simultane ou sly ; it i s th erefore unn ecessary for u s to dra ano th er s t o t o e esent th e a mbe h en th e latter or its w p r pr g , w ,

e u i al e nt i s al rea d i nclu ded in th e V oix c l estes dra n . q v , y é w 3 me 14 i r 5 S m honie an n . E x . . W do : y p (C o ) — C HAR LES MAR IE WIDOR

CHAR ACTERISTICS OF R EGISTR ATION 5 5

Examples of th e use of various P eda le stops as solo

i ter are numer i ll - i e ou e e a o f t o f ft . r g s s s , sp c y h se o 8 p tch .

r m - l It ma be e ar e t at the 8 ft . ate a t ou no t o f y k d h ﬂ , h gh h e armoni ariet en la e in the P eda le is u uall t h c v y wh p c d , s y

f metal and en o e wit a i tin tl in i i ual and o , d w d h d s c y d v d effe ctive chara cter not easily attainable in a wooden flute

It i n t ntl u for o f the heavi er G rossﬁote type . s c o s a y sed

r s in th e ollo in e am le : s olo wo k , a f w g x p s

i r : m honie othi ue e on mo e 1 . d S Ex . 5 W o y p g q (s c d v ment) Symphonie (Variations) G eorges Jacob : Symphonie (An dante) Maquaire : Symphonie (second movement)

The vi olencelle is not voiced from th e standp oint of me a e but rat er rom the imi tation of its orchestral na s k , h f m ntal ro p oint of vi ew of its relationshi p to its funda e p It is of mar e le . t otype and to th e P eda le as a who k d m le com effe ctiveness as a p ositive el ement in an ense b f tan e of its in lu ion in th e en em le o bination . Ins c s c s s b llo in - dale re i ter ill be oun in th e o g all th e 8 ft . P e g s s , w f d f w works

Les Heures G e r es acob : Sous l e noyer ( Ex . 16 . o g J Bourguignonnes)

i ue la t mo ement Widor : Symphonie goth q ( s v ) Chorale Symphonie romane ( )

- ation to 4 ft . oun In addition to the u se of th e f d s p d te as alrea 1ndi cate (almost invariably an open ﬂu ) dy lo or as m it is o ccasionally employed for so w k ,

non . idor : S m honie (Ca ) Ex . 17 . W y p

e as a - is re uentl u s d ft . The P edale trompette of 8 f q y vo1ced n om o er and 1s solo stop by almost all Fre ch c p s s , 5 6 THE OR GAN IN FR ANCE

wi t e ial re ar to u use . Its tone is o er ul h sp c g d s ch p w f , as the character of th e subj oined example would de mand :

m 1 . id r : 2 m h ni e i i Ex . 8 W o Sy p o e ( d t on of 1900) S alv e a ( e R gi n ) .

’ In the general treatment of the P edahe by French

om o er e eral ara teri ti tan ort romi nentl c p s s s v ch c s cs s d f h p y .

One is the a oi an e of ou lin in th e o ta e hi a v d c d b g c v , w ch t one time (and for sp e cial reasons) was so generally prac In i ticed in G ermany . th s resp ect the example of B ach is a ain ollo e th e Fren ool nd i t u n es g f w d by ch sch , a w h qu tionable a dvantage to th e development o f a clear and A precise P ed ale techni que . no ther featur e is th e variety o f r a in in i ate i a ume for its e e ti e and ph s g d c d , wh ch ss s ff c v a d equate realization P edale a ction and pip e spee ch o f in i P hi variable regul ar ty and promptness . assages w ch ab ound in the works of nearly all French comp osers

oul be im o i le o f arti ti er orman e ere t i w d p ss b s c p f c , w h s

i er for the r in f assu mpt on not j ustiﬁed . Wheth ph as g o legato passages or for th e cl ear and uni for m d eta chi ng o f

ome or all the note in ot er the Fren o r an re on s s h s , ch g sp ds admirably to any demands that may legitimately b e i i 1 made upon t n these resp e cts . Th e t end ency of th e French to indicate changes of manual with more frequency than alterations of r egistra tion u on a in le e oar is a o unte for at lea t in p s g k yb d cc d , s

art the a en e of on enient me ani al a ilitie p , by bs c c v ch c f c s for maki ng several su ccessive changes upon a singl e manual u as are af or e our om o ition i to n , s ch f d d by c p s p s s ll h r ti e in en or p edals . It therefore fo ows that t e p ac c semble registration is rather to c ombine groups of like or unli e ualiti ne rom e manual mean of the k q es , o f ach , by s

1 1 2 m n t l e x an . l s r 2 o e P as o a e . Se E . d A o Wido : Symph i ( r )

5 8 THE OR GAN IN FR ANCE one a ter the ot er so t at t e all are la f h , h h y p yed from the chief manual ; we renounce the reali zation o f th e individuality of the several manuals in the crescendo ; we accept it as s tanding to reason that every crescendo must connote a change of colo r ; we hnd ourselves commi tted to the resul ting monotony of hav ing the order in whi ch the stops are brought on always one and the s ame namel t at hi the uilder has n , y, h w ch b see ﬁt to provide in the Cres cendo P edal ; we give up all thought of

etermi ni n en we wi to intro u e 16-ft sto or or d g wh sh d c . ps , 8

- mi n h 4 or 2 ft . or tures or ree i t e ens m le w i , x , ds ; e b e subm t to the e erla tin on a e into hic the uil er h as led us v s g b d g w h b d , and renoun e e er li ert in ef e tin the crescendo ere c v y b y f c g , wh li ert and Art are urel so losel relate all thi in rd r b y s y c y d ; s , o e to be in a position to effect a crescendo by means of the simple ” n f l l 1 moveme t o a whee or peda .

The d epend ence pla ced upon the crescendo p edal in mu of th e G erman or an om o ition of re ent ear ch g c p s c y s , i ’ i ll iﬁ Mr . e t er fu y j ust es Schw z s att tude of protest . Al to a far le er e tent t ere i n r f h though ss x , h s d a ge o t e same condition being realized in America by the alterna tive a cti on of b uilding up a crescendo by means of ﬁx ed in i m ement in th n f c omb at on ov s , e a bse ce o a p owerful - l and effe ctive Swell or Solo organ . If the atter are lack in ter a ertain oint is rea e onl the to a e g , af c p ch d y s ps dd d to the G reat-organ have any p erceptible effect on the ensemble . The absence of any p edal movements or combination pistons operatin single Pedale stops fre quently lea ds the g — comp oser to employ th e Gr and orgue e xclusively as a means of obtaini ng certain registers in th e P edale at the e ire oment t rou th e ou ler i is o erate d s d m , h gh c p , wh ch p d

- I i nne ti n 1 ft . bour on on by a ped al . n th s co c o a 6 d — the Gr and orgue offers another advantage to the French or ani t in e it can b e a e as in i ate t r ou th e g s , s c dd d d c d h gh

1 Deutsche und Fra nzesi sche Orgelbau kunst. CHAR ACTERISTICS OF R EGISTRATION 5 9

e al ou ler to a P edale om ination o f - p d c p c b 8 ft . stops o nly , a mo ement of th e o by v f ot . Th e Canon by Wid or o ffe rs an intere ting e am le o f the u e i e a iti on o f - f s x p s cc ss v dd 8 t .

- and 16 ft . it to th e P eda le o li p ch , by c up ng th e Réci t and Grand—or u e r g espe ctively the only P edale st0 p a ctually drawn being a ﬂﬁte of 4-ft

1 id ’“ Ex . 9 . W or : Z Symphonie (P astora le) Symphonie (Canon) ’ Vincent d Indy : Q ui s equitur me non ambulat in tene bris (A nti enne)

Now let us examine the manner in which the full strength of the organ is attained on the French instru ment by a gradual crescendo from a c ombinatio n of mod n erate i tensity . Assumi ng that in most cases it is impracticable to add

u e i el the remaini n to in t eir ro er or r s cc ss v y g s ps , h p p de , a tuall ra in the re i ter- no e en en e by c y d w g g s k bs , d p d c must be pla ced entirely upon the me chani cal a ccessories de

e e e orie are : entil scribe d m Chapter VI . Th s acc ss s v s e n ation to of one or more of the manual for th fou d s ps s , and for th e P edale ; ventils for th e reeds (or reeds and mixtures) of each manual and of th e P eda le ; swell -pedals operating the folds of swell -boxes provi ded for at least

’ h eci t and o ten for one or more of the ot er manual t e R , f h s , always excepting th e Grand-orgue ; and ﬁnally the sub

l r t the a ition er a as a ﬁnal o ctave coup e s , wi h dd , p h ps ,

o e of one or more ree of e treme o er . earin res ur c , ds x p w B g in mi nd that ordinarily every one of the accessories men

e al it out inter eren e it tioned is operated by a p d , w h f c w h

. l the work of the hands in performing the music al otted

— and t at no difﬁcult is ommonl ex eri to them, h y c y p h e re i e enced in d epressing or releasing ea ch pedal at t p c s m instant d emanded by th e a ccent or phrasing of the co 60 THE OR G AN IN FR ANCE

1 o ition we reali e t at th e Fren p s , z h ch p ossess substitutes o f no mean alue for o ur om o iti on mo ement n v c p s v s , a d for our Cresc end o and Sfor zand o P ed als although they re le num ero u and ne e aril the m nn a ss s , c ss y a er o f employ ment o f their system must differ materi ally from that

r wn me ni l dictated by ou o cha ca resour ces .

ner ll ea in th e r G e a y sp k g , p o cedure is appro ximately as

ollo alt ou th e or er of entr n f f ws , h gh d a ce o each of the

l n l ro severa to a g ups can be varied at will . Foun ation to are ra n u on all manual l d s ps d w p s , a s o ree ell- o e ein l o e as ell as the e er ds ; sw b x s b g c s d , w s v al

— The entil f r e i reed ventils . v o th foundat on stops of th e and-or u e is al o lo e ma in i le ili Gr g s c s d , k g it p oss b to ut z e this keyb oard at ﬁrst as o ne up on whi ch t o employ only the re our e of th e o t er manual i i ion o taine s c s h d v s s , b d through th e coupl ers th e foundation stops of the Grand

r u n t o n in e en t ou r n as is th e o g e o s u d g, v h gh d aw , case h also with the reeds of all manuals . T e Reci t b eing l to th e Grand—or ue onl th e oun ation to of coup ed g , y f d s ps th e former are ﬁrst h ear d ; then th ose of the P osi tif are

e ean of th e ou ler t en t o e of th e S olo or add d by m s c p , h h s

rde if t ere be a ourt manual ﬁnall the entil Bomba , h f h ; y v

r d—or ue is o ene and all the ou n ation to of the G an g p d , f d s ps

h ll - e r n of the organ are now u nited . T e swe b ox s a e ow ene or ma a e een o ene at an re iou time op d , y h v b p d y p v s , a ccording to the relative strength of the several manuals .

’ i m em nt th e ox of th e eci t is now l o e With a qu ck ov e b R c s d , th e wi nd then being admitte d to the reeds and mixtures

’ of the R eci t by the d epression of th e respe ctive ventil p edal ; the swell- box then b eing slowly op ened as far as i At th e ro er time the ree of the P osi ti are des red . p p ds f imil rl e t n t o of the olo and ﬁnall t o e s a y add d , he h se S y h s of the Grand- or ue and P edale in ea a e the o era g , ch c s by p

1 Al l the p edal s op erating ventil s and c oupl ers are of th e l ocking ” d o n t e . See drawi n of c onsole o osite . w yp ( g , pp p

CHAR ACTERISTICS OF R EGISTRATION 61

tion of the re e ti e e il - nt . Continuin th sp c v v g , e sub octave c ouplers are su ccessively added if d esired ; and if the éci t is sufﬁ cientl o er ul as is o ten the a R y p w f , f c se , the o eni n of the ell-box i m p g sw , wh ch ay have been inter ru ted re i ou l is now om lete af e in p p v s y , c p d , f ct g the en sem le of the entire or an as l b g , a ready no ted in a previo us chapter . All of these movements are a ccomplished with extreme e a e and a ura it o t r m in n s cc cy , w h u e ov g a ﬁ ger from the keyb oard ; and th e crescendo thu s obtained on a large

r n is of e uliar o ot ne nd i r i ne o ga p c sm h ss a mp ess ve ss . — ll th e re er e o eration a dimi nuendo ro Natur a y v s p , f m th e full p ower of the organ to th e foundation stops o f a — in le manual is e e te it e ual ea e and in the s g , ff c d w h q s same relative manner . M odern French compo sitions a fford ab und ant examples

f crescendo for in tan e : o f thi s typ e o , s c

: S m honie P relu de EX. 2 1. Vierne y p ( ) m 2 Symphonie (Allegro ; Final) Cé sar Franck : Chorales

G uilmant : Lamentation

Boellmann : Suite go thique ( Toccata)

n ell The op eration and effe ctiveness of the Fre ch sw e ti ene is b ox differs from our own only as such e ff c v ss the on tru tion d etermine d in ea ch individual case by c s c n As h as een note in a large orga and speciﬁcati on . b d , it mi ture and it th e Réci t is plentifully supplied w h x s , w h l it e it is de foundation stops and reeds of severa p ch s f ﬂuence u on the total en em le o signed to exer cise its in p s b 1 the or an . all th e other manual stops of g

rs wh o lace man G erman b uil de , p Contrary t o th e c ustom of y - al a s and st sto s Ca aill e C oll h as in th e swell -b ox onl y th e s ofte p , v w y In a s ll -b ox ul and b rilliant regi ste s . ri gh tl y pl ac ed th ere p owerf r we ed and off er b u t a e h mi t tl e in s eetness , soft stop s gain b u t lit w v ry 62 THE OR GAN IN FR ANCE

f the ell o e er th In th e us e o Sw , h w v , e custom of certain French c omp oser s and p er form ers d oes vary materially i can e t be e re e in from our o wn . Th s b s xp ss d th e words o f two well-qualiﬁed writers

That expression which is characteristic o f the modern n n b but u ecti e it is orn of mec anical m n orga ca e s bj v , b h ea s

in f n n i ri and possesses noth g o spo ta e ty . A s e ous organist ill ne er a ail himsel of t e e t is means of e ression w v v f h s ! h ] xp ,

unle$ ar hi te turall t at is to sa s trai t lines n c c y ; h y , by gh a d by B lin n h a l l si n . es e e sses s o rom i ano into ort de g s y , wh p w y f p f e, an almo t im er e ti le radient and in constant ro res by s p c p b g , p g

n i ut r l B i ns n h e t io t o ea or o t . es e a e ad s , w h b k j y d g , wh k s vantage of a second of silence to close the swell-b ox abruptly ” 1 between a forte and a pi ano . “ We may say that in French organ- playing the sentiment for architecture ic t o a ertain e tent is the oun ation of , wh h c x f d

n m h h ll - h e er Fre c art o es to t e ore . u t e e b ox a v y h , c f Th s sw s

n i l un tion It ser not for emotional ex res its ow spec a f c . ves p ll n n h ion but for archi te tural line . Ou a Fre or a t e s , c ch g s Réci t manuals are so important that the foundation-tone of the whole organ may b e affected by the tone-mass contained in the

ll - x swe b o . “ Breadth and simplicity in the treatment of the swell-box m a il m n i l n- l n In beco e ste d y ore ot ceab e in French orga p ayi g . César F ranck and th e older compositions of Saint - Saens we ﬁnd still the dimi nuti e re uent use of th e ell-box as a sub v , f q sw stitute to a ertain e tent for th e emotional e ressi enes , c x , xp v s

l in in h n But mor and more t i s treatment ack g t e orga . e h

d r e of aria tion in in nsi o s hi ch are o er ul d ecisi e eg e v t e ty . St p w p w f , v a nd b illi a nt on th e c ontra a t th e same time th at th e ar e c a able r , ry , y p o f b ein h eld in rest ain t a t th e ill of th e er o mer lend th em sel es g r w p f r , v t o th e sh a rp e s t c ontra sts a s well a s t o th e most ﬁnely gra duate d nuanc es and vary th e intensi ty within su c h extend ed li mits th at su ch varia ti ons aﬁ ec t most sen sibly th e wh ol e sonority of th e b alanc e of th e in s trument ; an i nval u abl e resour c e in rend eri ng th e effec t suppl e and ” ’ l i - - am t- uen e ast c . l n u e S O M . P hi ib er u s m su r le Gra d o d C . t Ca e e ( , rg e u d R o en) .

1 - ’ A P irr . h . M C . id or Pre ace to L r ue de Back b . o W , f O g , y

PART II

THE ADAP TAT ION OF F R ENCH R EG ISTR ATION T O AM ER ICAN OR G ANS

CHAP TE R IX

ADAP TATION TH E M ANU ALS

IN th e ad aptation of registration indicated for French in trument th e om o er th e o iou imilarit f s s by c p s , bv s s y o

n l t r is in man a e r f m n r nome c a u e y c s s a sou ce o u ch da ge . It is natural that we sh ould transl ate th e Fren ch designa tion ambe G am a ﬁte Flute di a ason , g , by b ; ﬂ , by ; p , by

de ond d r n Di on G . enaz de 8 i e s G eat ou ation ap as j f p , f d

’ - P t P Fl in d . a e d . e o t l to 8 ft . e e ut ou s ps , ; ﬁ N h g c d be simpler or more liable to l ead to an e ffe ct qui te differ 1 r m r li u n th Fr n in r n In ent f o that ea z ed p o e e ch st um e t . this regard many American adapters and editors h ave laid themselves op en to th e charge of b eing satisﬁed with giving th e o bviously literal translation withou t consid era tion of real or at lea t of a roximate e ui al ent or of , s pp q v s , i An th e general chara cterist cs of th e French organ . d usually th e pu blished dire ctions of French editors are not

1 With e a d to i nted indic ations h e n i en th e mu st nea l r g r pr , w g v , y r y always b e t ake n as mere sugg estions a nd mu st b y no me ans b e bli ndly Ind e ed s o eat are the di f e e nce s of t o ne and b al anc o n a iou s ollo e d . e f w , gr f r v r i ns trum ents th at printe d s to p -i ndi c atio ns are o c c asionall y worse th a n usel ess

A E . ul l : r an a i l a in . n even m s e d g ( . H O g P l yi g . ) T h e s ensitive orch e stral condu cto r Will t a ke c are to try out th e sto p s o f e ach With hi ch h e h a s to a nd Will no t e u id d l th ei n ame s o an b e me e b . rg w do , g r y y r ' O ne and th e s am e e i s t e i s o te n c o ns t u cted di f e entl b diﬁ ere nt b ui ld e s r g r f r f r y y r , o r a t l e a st i s dif e e ntl oi ce d a ai n m a n s to - na me s are al so d e o id o f f r y v ; g , y p v " i niﬁ an c e h il e so me d e all th e s kill o f a hil lo i c al x e t R ich a d s c o e . g , w fy p g p r ( r ’ ’ a n hi vi i n o f B li o z a t t In m on St u ss i s e s o e T e d stru entati . r , r r r ) 64 ADAP TATION THE MANUALS 65

ree rom the ame err r f f s o s . To c omp are th e ch aracteristics o f th e t i al in trument of ea o u ntr t o th n yp c s s ch c y , e e d that French c omp ositions may be rend e re d up o n o u r ins tru ment it ﬁdelit to th e irit and not alon o s w h y sp , e t the ap ’ arent letter of th e om o er e re e intention i h p c p s s xp ss d , s t e rimar aim of t i olu p y h s v me .

In t i matter o f a a tation difﬁ cult ill h s d p , y w be eu countered in th e treatment of the general ensemble more o ten t an in t at of olo to or t eir om in i f h h s s ps h c b at o ns . A s

a e alrea ointe out Fren il I h v dy p d , ch bu ders includ e few stops in their organs with a Vi ew to their exclusive use in

l r ile t r i n s o o wo k . Wh he e s o la ck o f variety of registers ell ﬁtted for u a ur o e in oint o f w s ch p p s , p beau ty and in dividualit of tone t e e u aliti n y , h s q es are ever allowed to p red ominate to su ch an extent as to imp air their u sefulness in combinati on with any and all o ther stops with which i i In ll they p rop erly m ght be comb ned . a our study of a tation we u t ee the a o e on tantl in min a d p m s k p b v c s y d , reali in t at e ore all th e Fren or an is an en em le z g h , b f , ch g s b in trument o e o er is a ie e not t r ou the s , wh s p w ch v d h gh ne rilli n of few to but irtue of lou d ss or b a ce a s ps , by V m in ti n m n om onent element ea cor th e c o b a o of a y c p s , ch

l r rti ne to the ot er and to the ole and rect y p op o o d h wh , all c ollectively p rodu cing an effe ct of solid and yet bril liant sonority . N owhere is the analogy between organ and orchestra more striking than in the asp ect o f th e former as an em i not e au e it o e e to s emble instrument . It s b c s p ss ss s s ps imitating wi th more or less su ccess the tone of vario us nt s ﬂute o oe larinet En li or chestral instru me s , a , b , c , g sh

orn trum et et cetera a u e i oul not be en h , p , ( s cc ss wh ch w d n it mu t be u e te ere the tone of the real ha c ed , s s sp c d , w nt ro u e an arti t e er to be ear instrume , p d c d by s , v h d B by th e side of that o f its namesake in th e organ) . ut it is be cause th e principle upon which each founds its 6 THE OR GAN IN FR ANGE

f th om in i n m le viz . t at o e at on of f w e se b , , h c b a e groups o f

n - olor ea li erall re re en p rimary to e c , ch b y p s ted in sonorous — t ariou it e is re i l h c ap a city a v s p ch s , p c se y t e same in tl n . u e u en ea of b oth insta c es S bs q y , ch these primary

— l r is to a ertain e tent af e te th in i tone co o s , c x , f c d by e d vid x li of its om onent art sto s on the one n ua ty c p p s by p ha d , by instruments on th e oth er . But supp ose that th e more individual instruments of

h r tra ere to b e in rea e in num er and riet t e o ch es w c s d b va y , and its fundamental resour ces c orresp ondingly diminish ed by a redu ction in th e numb er of stringed instruments ;

h om neit of ton th e onori n would not t e h oge y e , s ty of sou d f in on e u en e and etriment ll Y b e a fe cte d c s q c , d a y ? et this is th e precise tend ency so o ften e xhibited in some of il in Th in our more re cent organ bu d g . e tro du ction of new and sedu ctive qu alities in individu al stops which ren

o f more alue for ol o or t an to the en em l der them v s w k h s b e , h as n ot infre qu ently b een a ccomp anied by an a ctu al re duction in th e numb er of foundation stops on subsidiary manu als with th e provi sion in th e P edale of but a limi ted

f i e u lemente at to all intent n number o p p s , s pp d by wh s a d purp oses are only individual o ctave couplers : other stops i d erived by augmentat on . Su ch a loss in general and prop ortionate tonal sonority can ne ver be c omp ensate d for by th e increase of wi nd

or au mentin th e o er of th e G re t to pressures , by g g p w a s ps any more than it c ould be offset in th e orchestra by the a cquisition of wind instrument players of sup erior lung p ower and by a magic in crease in th e size and p ower of a n n reduced numb er o f stri ged i struments . French c omp o sitions are c onceived and registrated for “ instruments in which all of the manuals are provided i n ation to om oun to mi ture w th go o d fou d s ps , c p d s ps ( x s) And a P edale imilarl e ui e e e tin and reeds . s y q pp d , xc p g p ossibly th e mixtures .

ADAPTATION : THE MANUALS 67

It mu t ran l be a mitte t at ere a t the s f k y d d h h , begin nin we en ounter at g , c wh p ro b ably will p ro ve the g re atest tum lin - l f l s b g b o ck o a l in o ur study fo r o ur mo d e rn o rgan on tru tion a mira le c s c , d b as is the adva nce d e m o nstra ted in man re e t re u entl l y sp c s , f q y eaves mu ch to be d esired in t i rti l r onn i h s p a cu a c ect o n . As a e alrea tate th I h v dy s d , e several manuals o f French organs e xh ibit less radi cal divergence o f relative strength in found ation stops than the American ; th e fou nd atio n stops of th e Gr and- orgue are almost disp rop o rtio na tely mo era te in t eir inten it ile r d h s y , wh ou s are c onstantly

ein ma e tron er as om ar b g d s g , c p ed to tho se o f the o ther manuals . Th e mod erate strength of th e found ation stops of the — G mnd orgue is amply d emonstrated by th eir o ccasional use for th e a om animent of ol o to on ot er manual cc p s s ps h s , as in th e following examples

Ex 2 2 Lemai re : P as torale . . g ’ R é cit : H autbois e t Bourdon 8

rand-or u e : Flﬁte h armoni ue Bourd on e t G g q , ’ cional 8 Ch auvet : Andante con mo to in B minor R é cit : Cla rine tte

' ’ G rand -orgu e : Bourd on e t S aliczonal 8 m Vi erne : 2 Symphonie ( Cantabile) ’ R é cit : Cla rine tte ou Cromorne 8

’ G rand- orgue : Flare h armonzqu e

l l i r i l rl trikin as a clari nette The ast examp e s p a t cu a y s g , or cromom e is empl oyed as a s ol o stop on the Réci t in the l er re i ter the a om animent in two art ein ow g s , cc p p s b g ’ written nearly two o cta ve s higher and assigned to the 8 — ﬂﬁte (harmoni que) on th e Gr and orgu e !

- h Th e French P osi tif (Ch oir organ) stands more in t e

n r t s our ormerl did but relationship of a se co d G ea , a s f y 68 THE OR G AN IN FR ANCE d oes no l onger the fou nd ation stops of th e Réci t are p ower f l alt o u el in re traint th e lo e ell -box u , h gh h d s by c s d sw ; il r re more mo era tel oi e and th ni n wh e ou s a d y v c d , e op e g o f th e swell- shu tter s may pro du ce little effe ct o ver th e

n i t r of th e G reat en th e latter ar n r stro g reg s e s , wh e ume ous F rt r h Fr n P en ent . u e t e e os ti in i a nd ind ep d h , ch i f var ably ' n ei t- o ot oru ree o t n 1 p ossesses a gh f ch s d , f e others of 6 ’ a nd 4 while a ch orus reed o f any ki nd is a rarity on the

ir m nu l o f an Am eri n or n . Fin ll i cho a a ca ga a y, mu ch s mad e o f th e mu tation ranks on bo th P osi tif and Réci t ;

e iall u on th e latter er t e r n in rof esp c y p , wh e h y a e fou d p u i ll 1 ion alt o u t are u re ul ate inten it . e s , h gh w h c f y g d s y Th y impart to th e wh ol e Réci t a c oh erence and brilliance whi ch our fa vorite D ol ce Cornet (si c) is lamentably incap able of

B i is n t t Fr n i supplyi ng . ut t j ust to ote ha e ch comp o s tions are o ften conceived and registrated for instrum ents far larger and more compl ete than thos e which we may i l i n have a t o ur d sp o sa for our adaptat o s .

In ener l ere th e Fren re i tration all for ou n g a , wh ch g s c s f

i f - it h i h at on to o 8 ft . t rou out t e or an or t d s ps p ch h gh g , w — m n l i l t o e of 16 and 4 ft . a e on one or more a u a t i l h s dd d s , w be ne cessary for us ﬁrst to o btain all th e found ation to ne o f th e prescribed pitch that is a vailable on th e Swell and i n r nd n t d nl o e o r two reat to . Cho , a the o ad o y G s ps

A ro o o f t i e e ient it is intere tin to note th e p p s h s xp d , s g

ommen n t rit n t i t it c t mad e by a au ho y o h s subj ec , w h re eren to imilar da tati on to G erman or an Al f ce s a p g s . though th e l atter again differ mat erially from our own in th e ro ortion and ara teri ti of t eir en em l e the p p ch c s cs h s b , anal ogy is o bvious

1 Th e R éci t of th e organ o f Saint -Sulpice c ontains no l ess tha n six t een mu tatio n ranks o f hic h tw o are sim le th e b alanc e dis t ib u ted w p , r m Th e P osm a ong thr ee c o mp ou nd s to p s of four o r ﬁ ve ran ks ea ch . f c o ntains our a nd th e S olo six sim l e mu ta tion sto s i n addition to a f , p p , ix ur f m r n m n M t e o fro 3 to 6 a ks o n each a ual .

70 THE OR G AN IN FR ANCE

th ole matter for ile th e ualit of th key to e wh , wh q y e vari o us stops of a n organ may differ wid ely in various coun

n mi in i ation t an to th e almo t uni r tries , dy a c d c s , h ks s ve sal

m lo m ent o f th e talian lan ua e for t eir e i nation e p y I g g h d s g , a i m n re so to ea intern t onal . ea th e ame t i n a , sp k , p s s h g

s t a t it did to Cé ar Fran in 1878 and t ere or to u h s ck , h f e , it is incumb ent up on u s to return t o th e indicated regis

r tion and to mo i it in u manner as ea in ivi t a , d fy s ch ch d dual instrument may p ermit . Num berless examples of similar chara cter mi ght be

- ite ome in ol in onl th e 8 ft . oun ation to c d s v v g y f d s ps ,

- - 2 f . in 1 n 4 f . nd n others those of 6 a d t a e ve t a ddition . Am ong them mention of th e followi ng will sufﬁce

u n a D mi r 2 . G ilmant : S o at in o O 1 ﬁr m Ex . 6 st o 5 , n , p . ( ve ment) Lemaigre : P as to rale l m : e oi S a o e Oﬁ rt re, in F minor G uilmant : Co union m or 1 mm , in G aj , Op. 5

When th e G reat and Choir are not employed as sep arate m n al and it is o i le e en for th e tim in s a u s , p ss b v e be g to u e the foundation sto ps of the Choir as an integral p art o f th e G reat - or an it is ell to reali t at re i l t i n g , w ze h p c se y h s fu c tion of the Choir manu al was re cogni z ed in Am erican or an of t irt ear a o in ot er or th e u se of th g s h y y s g ; h w ds , e ” C oir as a e on G reat eit er in e en entl r h s c d , h d p d y o

l h l m it th e intr u tio n f c oup ed to t e atter anual . W h od c o a e arate ll - ox f r th i of th e oir h l s p swe b o e p pes Ch , t e sca e of the latter was as a rule not in rea e sufﬁcientl to , , c s d y c ompensate for th e consequ ent loss of p ower and to- day it is not u nc ommon to ﬁnd the Ch oir manu al but scantily

ro i e it effi ient oun ation to re eren e ein p v d d w h c f d s ps , p f c b g “ ” i en to r i i in l l r t r eit r g v eg sters of d st ct y s o o cha a c e , he ree d or flu e . Under such circumstances the ingenuity of the organist D A APTATION : THE MANUALS 7 1

ma ell be ta e to ollo th y w x d f w e express ed inte ntio n o f the Fren m o o er . Th e ch c p s p ra ctically u nive rs al a bse nce rom our C oir manual f h s of any representa tio n o f the har moni erie eit , er im le or om ou n to c s s h s p c p d , ge th er with the almo t in aria l e lou n s v b d ess of the flu e stops o n the G reat , in ee ma e th e ro lem a difﬁcult o n d d k s p b e . Its s olutio n mu t re t it ea er ormer s s w h ch p f , guid ed by the res o urces of hi s in rum n st e t ; I can o nly p oint out the conditions . Amon the inﬁnit n g e umb er of c omp ositions which re ul re the tre m n q at e t a bo ve indicated in their ad aptation to American instruments may be noted

Ex 2 idor m . 6. W 5 Symphoni e (third movement) Cé ar Franc : Chorale s k , in E maj or P rié re

Chauvet Andantino in E maj or

’ When the reeds in th e R eci t are prescrib ed in addition to oun ati on to on all th e manual h f d s ps s , t e conditions are the ame as for l s , examp e

Ex 2 7 Vierne 1” . . 1 Symphonie (P relude)

' Widor Symphonie gothzque (ﬁrst movement)

' César Franck P iece hé roique Déodat de Sévérac : Suite (Fi nal)

In all th e examples hereto fore cited the registration is treate for h e time ein in in le olor or n n d t b g a s g c , combi atio of colors ; the Réci t and P osi tif being c oupled to the — h Gr and or u e and th e éci t to the P osi ti . en a re ue g , R f W d tion o f inten it is e ire th e om o er ire t the as s y d s d , c p s d c s p 1 a e romth and—or ue GP R to th e P osi ti P R s g f e Gr g ( ) f ( ) , but e vidently d oes not intend su ch reduction of p ower to

1 In publish ed French organ comp o sitions it is customary to indicate — th e s e e m n h ir initial l ette s vi a : G or G O for v ral a ual s by t e r , - da le i s d e si G a nd o ue P for P osi ti nd R fo r R éczt. Th e P e r rg , f , a g d initial s as GP R G R P R ma ed i n P d . G ou e , t by th e abb re vi at o é r p , , ,

n i e h er or to th e P edale. i d cate manual s c oupl ed tog t , 72 THE OR GAN IN FR ANCE

ere we see th e im ortan e of n ot allowi n be radical . H p c g the G reat to be materially loud er th an th e o ther two man ual s Couple d together ; if th e combination is of founda

l one th e ell - b ox of th e éci t is e t o en tion stops a , sw R k p p

out ein l o e onl en it is e ire till fur throu gh , b g c s d y wh d s d s ther to so ften th e tone after l ea ving the P osi tif (P R ) and t p assing to th e Réci . m 2 idor : 2 S m honie t ir mo ement Ex . 8 . W y p ( h d v )

”1 7 " Symph onic (fourth movement)

In this conne ction it may be noted that it is often im ’ p ossible to o btain a ﬂue stop of 16 of th e prop er intensity m r i e Fren on our G reat manuals . Even on od e ate s z d ch ’ n ourdo f 16 i re u entl if not almo t al a orga s a b n o s f q y, s w ys , pro vid ed on th e Grand- orgu e in a ddition to th e montre or pri ncipal of Th e function o f th e former is not only to r un ou t th e ia a on tone but al o to ro i e a o ter o d d p s , s p v d s f ’ 16 stop for general use and to complete th e representa

- it in th e u te amil on t i tion of 16 8 and 4 ft . p ch ﬂ f y h s

a to is alle for in man Fren om o manual . Su ch s p c d y ch c p

itions as for in tan e s , s c

emai re : And ante reli ioso Ex . 2 9 . L g g Widor : Symphonie (second movement) G uilmant March e d e P rocess ion March efunebre e t ChantS é raphique ’ Vincent d Indy : P rélud e e t P e tit Canon

- Di a on on our G reat-or an ill As a rule the 16 ft . ap s g w - Di a on and th e be too strong for use withou t the 8 ft . ap s s , l -f u ll l r ir manu al a Dul i 6 t . stop sua y p a ced on ou Cho s ( c ana o r a G amba) will be too weak prop erly to replace ' - In t i a e th e French 16 bourdon of th e Gr and orgu e . h s c s it may be p o ssible to utilize a Choir to G reat sub-o cta ve c oupl er ; althou gh this must be employed with careful - tone t ere attention to th e amount and qu ality of 16 ft . h by intro u e il i h th latter ill of d c d , wh e n t e lower o ctave e w our e b entir l l c s e e y acking .

AD PT A ATION THE MANUALS 73

In the - a e o f our o o t t - c s f f s ops on the Gr and or u e a 4 - g , ft . Flute of mo erate inten it d s y is usually a vailable o n th e G reat of our or an g s .

All of th e ore oin a l f g g pp ies to c ombina tions o f fo u nda tion to o n all manual imultaneo u l o f s ps s s s y , m od era te in ten i t . S oul s y h d th e dynami c mark be or w f ﬂ , e will enerall be a le to us h g y b e t e foundatio n stops o f the G rea t it ou t modiﬁcatio n . In u a a e o e er i w h s ch c s , h w v , t must b e remem ere t at th e ro i in b d h d p n tensity up on p assing to the C oir e en if th , e S ell is ou le to th e latter h v w c p d , will be far more mar t ked han upon th e French o rgan partly e au e in th l t b c s e a ter th e su bsidiary manu als as well as the — Grand or u e are li erall i g b y suppl ed with stops sou nding the o ta e and ig er armoni o f th e u n amental tone c v h h h cs f d , l a nd part y be cause o f th e greater strength o f th e founda tion to on the u i iar manu al in s ps s bs d y s , prop ortion to th e

orre on in re i ter o f the Grand—o r u e . i ou l c sp d g g s s g Obv s y, o ur meth o d of pro cedure must be to redu ce the G reat be ore lea i n it e en t ou w f v g , v h gh e p ass to th e Choir at a

oint later t an t at in i ate th e om o er or p h h d c d by c p s , even remain on th e G reat t rou out r h gh , pe haps wi th bu t o ne o r two to r n i i 1 s ps d aw as a m n mum . For we must b ear

’ 1 Th e re ator no tes to th e e dition of Bac h s o a n orks b MM p f y rg w y . Widor and Sc h weitz er are i n e very way a dmira bl e i n th eir i nsigh t i nto t h e o m of th e a i ou s c om ositions and in th e ﬁdelit of th ei i nte f r v r p , y r r “ ” i Bu p re ta tion i n th e ligh t of a tru e c o nc ep ti on of th e Ba c h s p ri t . t h e s n r n lish a nsla tion of th e o i i nal F enc h and I t e otes a e a n E g tr r g r , c annot h elp feeling th a t th eir s piri t h a s su ffe re d th ro ug h wh a t is Th e no tes e e i tte n u ndou bte dly a literally a c cu ra te transla tion . w r wr from th e s tandp oint of th e F re nc h o rg an ; we mu s t interpret th em in n s P a tic ula l in th e ma tt e o f th e th e li gh t of our o wn i ns trume t . r r y r freq u ent c h ange s of manua l pres c rib e d i n so many of th e prelu d e s an d self u u es we mu st no t o e t th e ords of one of th e a u th o s h im , f g , f rg w r already quo te d i n thi s b o o k

“ i f m a nu al s o th e w i s e th e Th ere m u st b e no wid e g u lf b e tween any p a r o ; r T h e s h o uld be d i f e e n c o ntra s t o bt ain ed by altern at i o n i s t oo s h a rp . y f r atl b s t e n th but at h e by ti a t ed fro m o n e ano t h er no t o nly ( and no t so gre y) y r g , r r ” im no t e . t b e . ee oot r (S f , p 74 THE ORGAN IN FR ANCE in mind th at our task is not one of sla vish ob edience to indic ated changes of manual in ensemble work ; it is rath er that of produ cing th e intended e ffe cts of variety and n mi ra ation e en t ou an entir l i dy a c g d , v h gh by e y d f

In o t r or w u in ri l f r nt ro e . e e m t a a e e p c ss h w ds , s v b y con “ sider as supreme the evi d ent intention of th e c omp oser as regards tonal e ffe ct seeki ng t o fulﬁl th e spirit and not 1 merely to follow th e letter o f his indications . In th e case of combinations of found ation stops upon a single manu al we will usually exp erience less difﬁculty ; we mu st b e gui ded l argely by th e conditions imp osed by 2 i th e resources of each individual instrument . A sat s factory c ombination of foundation ste ps of 16 8 and

- i of n in n i o m ill ro a l be diffi 4 ft . p tch a y te s ty ab ve f w p b b y cul t of attainment u p on th e Choir manual ; p o ssibly th e ll n b ll o its i t n for th tim e ein but Swe ca e ca ed t ass s a ce e b g , I m b e ne e ar t this will not o ften be th e case . t ay c ss y o

- i h r . rely almost wholly up on th e 8 ft . stops of t e Cho

m E idor : m honie 3 0 . 5 S x . W y p (III) m Vierne : 2 Symphonie (Cantabi le)

In re e in a t r e ri e the Fren a p c d g ch p e , I have d sc b d ch metho d of building up gradually to th e full p ower of the or an ﬁrst om l tin th e union of oun ation to g , by c p e g f d s ps on all m nu l t n in u e i el th e ree of th e a a s , he add g s cc ss v y ds

éci t and P osi ti and ﬁnall t o e of th e Grand-or ue and R f, y h s g

1 It is w ell known th at César Franck was accu stomed to indicate th e regi s tra tio n of hi s org an w orks after c ritical e xp eriment upo n th e organ — ’ k Th i s ma kes F a n c . of Sai nte Clo thilde . (See Vinc ent d Indy : Ces a r r ) a stu dy of th e s peciﬁcation of thi s organ not only intere sting b u t of gr eat m n i p orta c e . ’ 1 It i s t o b e noted th a t Fran ck indi cate s the additio n of th e ha u tboi s o f 8 to t h e onds b e c a u s e of t h e sma ll nu m e of ste s in th e R éci t o f t h e o an o f S aint e f , b r p rg Clothi lde hi c h w as his ow n and i n o d e t o ende a e ci able t h e nuanc es , w ; r r r r ppr - x Wi th o u r e x essi e pro du c ed by th e o p e ning and c lo si ng of th e swell b o . pr v ” and o e ul R éc i ts a nd P os ztz s thi s addition il l o ten be u nnecessa . p w rf f , w f ry ’

A . e lli e : L r u ( C r O g e M odern e . )

74 THE ORGAN IN FR ANCE in mi nd that our task is no t one of slavi sh ob edience to indicated changes of manual in ensemble work ; it is rath er that of produ cing th e intended effe cts of variety n mi ra ation n t ou n n i and dy a c g d , eve h gh by a e t rely dif

In o t r or w in ri ferent ro e . e e mu t a a l p c ss h w ds , s v b y con ~ ~ sider as supreme th e e vident intention of th e c omp oser as regards tonal effect see king to fulﬁl th e spirit and not

l llo h l i i i i 1 mere y t o fo w t e etter of h s nd cat ons . In th e case of c ombinations of foundation stops up on a singl e manual we will usually experience less difﬁculty we must be guided largely by th e conditions imp osed by 1 i th e resources of each individual instrument . A sat s fa ctory c ombination of foundation stops o f 16 8 and

- i n in n i ll r l i 4 ft . p tch of a y te s ty a bo ve mf wi p obab y be d tﬁ cult of attainment up on the Ch oir manual ; p ossibly the ell can b e alle to its a i tan e for the time ein bu t Sw c d ss s c b g , i ill n h It ma b ne e ar th s w ot o ften be t e case . y e c ss y to

l - i f h r . re y almo st wholly up on the 8 ft . stops o t e Cho

E id r : m ho i 3 0 . o S n e x . W y p (III) m Vierne : 2 Symphonie (Cantabi le)

In a re e in a ter a e e ri e the Fren p c d g ch p , I h v d sc b d ch method of building up gradually to th e full p ower of the or an ﬁrst om letin the u nion of oun ation to g , by c p g f d s ps on all manu al t n in u i el th e ree of th e s , he add g s cc ess v y ds

éci t and P osi ti and ﬁnall t o e of the Grand- or ue and R f, y h s g

1 It is well kno wn th at César Franc k was accu stomed to indicate th e regi stra ti o n of his org an wor ks after c ritical exp eriment up on th e org an ’ i n - hi s ma kes F nck. T of Sa te Clo thilde . (See Vinc ent d Indy Cesa r ra ) a s tu dy of th e sp eciﬁ c ation of this organ not only interesting b u t of great m i p ortanc e . 1 ’ It is t o b e no ted th at Fran ck i ndi c ate s th e additio n o f th e ha u tboi s o f 8 t o th e onds b e ca u se of th e small nu m e o f sto s in th e R éci t of th e o an o f S aint e f , b r p rg C lo thilde hi c h was hi s own an i o ende a e c i a ble t h e nu anc es , w ; d n order t r r ppr o d u c ed b t he o — x With ou r e x es si e pr y pening a nd c lo sing o f th e swell b o . pr v ” a nd o e u l R éci ts and P os i ti s this additio n ill o t en b e unnecessa . p w rf f , w f ry ’ A . C e lli e : L r u M o ( r O g e derne . ) ADAPTATION THE MANUALS 75

P eda le . In realit y this method is dictated by the con tru tion of th e Fren in trument i s c ch s , wh ch has al ready b een e ri e th e ree and mi d sc b d ; ds xtures o f ea ch manual being l a e u on a e arate i i ion o f th e e t n p c d p s p d v s ch s , a d the wind u l to the ti s pp y a c on thereo f being cut in and o ut by l ’ ' e a . n p d s U der this system all the reeds o f 8 and 4 i wh ch are drawn on each manual are add ed simultane

ously ; unle t e be ra n e aratel an i i ss h y d w s p y by h d , t s not i l p oss b e by a me chanical mo vement to add first those of ’ t n t o o he h se f 4 and ﬁnally those of as with us o r h vi ce versa . T e same applies to the foundation stops of

1 4 n 2 - i 6 8 a d ft . t p ch . Up on th e American organ it is not only difficult but

ina i a le to a ere to th e a o e ro r dv s b dh b v p cedu e . As I have note our C oir manual rarel d , h s y boast of e ven a single oru ree of trum et ualit b t o r ch s d p q y , u u system of com

o ition mo ement et er o erate p s v s , wh h p d by pistons or e al l a e at our i o l th n p d s , p c s d sp sa e mea s to produ ce an effe ctive crescendo by th e a ddition of one or more stops at

It i tr t t rom r in in r h a time . s ue ha f a ce ta p o t onwa d t e effe ct will be that of a crescend o less homogeneous in tone olor au e of th e u e i e a ition of to of ariou c , b ec s s cc ss v dd s ps v s pitches ; but again we are concerned with th e means at our disp osal and with th e question of their best employ n ment from the standp oint of our own instrume ts .

x Cé sar Franck : Chorale in E ma or E . 3 1. , j

' Widor Symphome romane (ﬁrst and fourth movements ) Symphonie ( P relude) Lamentation

f oun Thu s far I ha ve considered only combinations o f dation stops of which th e pitch and intensity ha ve b een In all urel en em e prescrib ed by th e c omp oser . p y s bl o t im ortant 1t combinations these elements are the m s p , 76 THE OR GAN IN FR ANCE b eing taken for granted that no stop will be drawn which is of su ch pronounced individuality as to be incapable of a ssimilating and blending prop erly with all th e other stops l n n i n ordinarily inc u d ed i su ch combi at o s .

o l no mean im l o e er t at the Fr n I w u d by s p y, h w v , h e ch

‘ c omp oser is insensible to the nuances of c olor whi ch are p ossibl e e ven in combinati ons of a numb er of registers . But it mu st be re cognized that of th e three el ements in it i mu i al oun i er rom o ne anot er i z . wh ch s c s ds d ff f h , v p ch , — int n it nd ol or or u alit th ﬁr t two are th onl e s y a c q y, e s e y i n Th e o nes wh ose des g ation is u ni versally standardiz ed .

- - - ft . 4 ft . t . r l ntri x t erm 16 ft . 8 e c a e u e in a l ou e e s , , , , s d c s , c epting p ossibly in Sp ain ; while th e variou s dynamic “ gradations from pp to 17 convey to u s in America identi

ll th e ame meanin as to th m r in Lon on ca y s g e c o p ose d , P aris or B erlin excepting as th e interpretation of th e l atter terms may b e somewhat inﬂu en ced by th e prop or

n t s iﬁ in tr m n rn f it r i ter tio o a p ec c s u e t b o e by e ach o s eg s s , o r by th e siz e of th e wh ole instrument with rel ation to th e

i i r itorium in i i n e d f ce o aud wh ch t sta ds . In this c onne ction two classes o f stops call for sp e cial

n i r tion : t o e of Flute and t o of trin u alit c o s d e a h s h se S g q y . As a e alrea no te th e Fren or an almo t ih I h v dy d , ch g s ’ ’ variably pro vid es harm onic flu tes of 8 and 4 on th e Grand or u e and ai t and o ten on th e P osi ti and e en th e g Ré , f f ( v if t r n ll l n t th e s ecifi ca S olo e e be o e as e . a e a , h ) w A g c p tions in th e App endix will c onfirm this statement . It is greatly to be regretted that the Harmonic Flu te

- h s not n ore nerall o te in t i of 8 ft . a b ee m ge y ad p d h s c ountry ; e ven in large organs c onstru cte d here in re cent

ear elie e t at not more t an one to of t i ariet y s , I b v h h s p h s v y and it wi ll o ten be oun in e and ometime not p ch f f d ach , s s e ven that . Wh en Fren ch comp ositions call for th e c ombination of ' ’ ’ ates o f nd or f n n ll m nual th e ﬂ 8 a o 8 a d 4 o a a s ,

78 THE OR G AN IN FR ANCE binatio n with diap ason tone or in th e general ensemble of

n l its to ne is to o o ten ara t rl nd th e G reat ma ua , f ch c e es s a

’ Th e u se o f ros fl unfit for re fi ned solo work . a G s ci te of thi s typ e up on th e G reat as a substitu te for th e flfite har moni u e re ri e in innumera l e Fren om o ition q p sc b d b ch c p s s , I will nearly always resul t disastrously . f there be no other

— to on th e G reat of more mo erate inten it 8 ft . ﬂute s p d s y

r e ta le u alit u as a Clara ella or and mo e a cc p b q y , s ch b a

M lo ia it ill nearl al a b e more in ee in it th e e d , w y w ys k p g w h spirit o f th e d esignated registratio n and of th e c omp osition

- l t on th ir it th ll - o u tili e n 8 ft . u e e C o e e b x to z a f h , w h sw i i l l - o p en u nless it s pra ct cab e to emp oy th e 4 ft . ﬂ ute on

l in h r n l o r n ritt n th e reat a t e a t a o ta e e t a e . G , p y g p c v w h w n f t e e u titution can o en ate a e u atel No e o h s s bs s c mp s d q y ,

o r for th e l o of th e a mi ra le onorit and ril h weve , ss d b s y b ’ B t n n liance o f th e 8 fifite harmoni qu e. u a y o e of them will usually pro ve more endurabl e than th e a verage G ross l flete u sed as a so o stop .

x 4 R er-Ducas se : P as to rale E . 3 . og Ch ar l e s Q uei And ante cantabile Widor Symphonie go thique (second movement) Dub ois In P aradisum

The other class of stops d emanding sp ecial considera mil r n e t h iﬁ i tion is th e gambe fa y . R efe e c o t e spec cat ons in th e App endix will demonstrate th e promi nent p o sition o ccupied by stops of this class u p on th e several manu als

n r n of Fre ch o ga s .

e ore all mu t rote t a ain t the al t ni r l B f , I s p s g s mos u ve sa u tom of tr n l in a b m ir r c s a s at g g m e by G a b a . Th ty yea s a o it oul n nl i g , w d h ave b ee not o y p o ss ble but entirely

ustiﬁabl e for th t ne of th m j , e o e G a b a of that ep o ch was far i erent in ara ter rom the een almo t uttin d ff ch c f k , s c g quality and frequ ently increased intensity of th e register as oi e in r n e v c d ece t y ars . Modern methods of string ADAPTATION THE MANUALS 79 voicm i n t i ountr o e er g h s c y , h w v , h ave p rod uced a G amba i h as littl wh ch e or nothing in c ommon with th e French ambe e e t it 1 g xc p p ch . n t l U d oub ed y the gradual elimination of mixtures in t i ou ntr h h s c y as necessitated the sharp er ch ara cterization o f ertain oun ation to im r c f d s ps , by p a ting more p rominence t o t eir o ertone bu t the Fren ambe h as not n h v s ch g ch a ged . ile it is no mean a to o f ol orl e tone i i Wh by s s p c ss , t s so

oi e as to b e a a l e of eneral use in om ination an v c d c p b g c b , d i furn sh es th e amount of incisive t one essential to the en em le as l s b a who e .

e eren e to th e ta l 4 l R f c b e on p . 7 wi l show th e rel ationship

o f the ambe to th e o t er ou n ation to g h f d s ps . It is less full

in ualit and is of maller al e t an th e vi oloncelle n q y s sc h , a d is more trin t n th a l s gy ha e s i ci onal . It must again be em h asized o e er t at it n p , h w v , h does ot approach our modern G am a in ar ne of tone and t t i i l b sh p ss , ha t s re ied up on as a c omp onent el ement of th e ensemble of th e manual up on which it is pla ced a disp osition which cannot always be

ma e it a et u on our later Ameri 1 d w h s f y p can instruments .

1 I h ave no i nten tion of cri tici sing unfa vorably th e q u ality of th e G amb a as oic e d to-da b some of our mo st omi nent builde s so v y y pr r , far as it s u se as a solo sto i s c onc erne d o n th e c o nt ar h e h p ; r y , t y ave pro duced a regi ster of marked individu ali ty and g rea t u sefulness for man u ose s I u m sel o n rec o d in thi s m e s m y p rp . p t y f r a tt r o e yea r s a o h en I wa s instrumental in h a i n i ns tall ed in ea c h of s e e a l g , w v g v r r ns ix l s s f wo i n endent G amb a r nks n sol o ga a V o c é e te o t dep a , a d a o In n ins n G amba of wh a t was a t th e time a mo st radical typ e . o e ta c e th e latter i s of su c h o er a nd c h arac t e b ein d esi ned exclusi e l p w r , g g v y for sol o u se in a c om a a ti el l a e edific e th at I d ead to think of th e p r v y rg , r “ r esul t sh ould our time-h o nored dir ec tion G rea t D o pp elflote a nd ” G amb a b e o b e ye d li terally for an ensembl e p a ssag e i ntended to be o nly mo derately l oud ! “ 1 Th e G amba -to ne might be su pposed at first to be lower in th e colo ur - T h at it i s not o i s easil o e d b th e a c t t h at a s c ale th an Trump et to ne . s y pr v y f single G amb a-sto p e asily make s it self felt even i n a l arge m ass o f o th er s tro ng e r C onse uentl th e G a mb a—to ne o nl a e a s o n t h e o g a n i n its t o nes . q y y pp r r i e d with e at ese e and neve r for lon eriods as it s o fter s c ales and s u s gr r rv , g p ,

soon p alls o n se nsitive e ars . “ ‘ ' n - one is some h at mi sleadin as th e G a mb a-tone o te n Th e term Stri g t w g , f 80 THE OR G AN IN FR ANCE

Wh ile a gambe is not infrequ ently placed up on the

r nd-or u e it is more o ten oun u on th e éc G a g , f f d p R i t or P os i ti o e oun ation to a e een note as mor i f , wh s f d s ps h v b d e nci F - sive in ch ara cter . or th e Grand orgue th e vi oloncelle i s o ften given preferenc e ; it is worthy of c omment th at in th e Saint - Sulpi ce organ th e entire G reat division (com

ri in th e Gra nd—chaeur and th e Grand- or ue to et er p s g g g h ) , i ontain in all t ent - six t o h as but in l wh ch c s w y s ps , a s g e register of any pitch app roaching string quality : a sali ci ona l of 8"

In our or an a iolin Dia a on or a on r i g s , V p s c se va t vely

oi e Sali ional if o f oo o ill u u all v c d c , g d b dy , w s y b e found th e e t e ui alent of th e ambe alt ou neit r i b s q v g , h gh he s an entirely acceptable su bstitute for it in ensemble combina tion or ere moot ne of tone t o et er it r i s , wh s h ss g h w h a ce ta n

F r h r n i d egree of p ower are d esirable . u t e c o s d eration will b e given to this matter in th e chapter on editions pu blish ed for American organs . One or two oth er d esignations o ften enc ountered call “ A h for a word of expl anation . nc es et are not in re u entl re ri e for one or more m nu al f q y p sc b d a s , i nti n f n i n In w thout me o o fou dat o stops . su ch cases it is generally to b e u nd erstoo d that th e reeds are suppl emen tar to th e oun ation to and not to n y f d s ps , be d raw exclu l n t ir sive y i h e stead .

m x idor : 6 S m honie Intermezzo E . 3 5 . W y p ( )

Th e same applies to th e d esignation Mi xtures the simultaneou s empl oyment of fl ue stops of su ch intensity and pitch as will furnish a prop er found ation tone and b ridge o ver any p ossible gaps b etween th e latter and the mi ture i n r ll i in s atu a on i n l . x s , y c s d ered d spe sab e

a oxi mat es mu ch mo e l ppr r c osely to th e orch estral oboe than to the violin .

A . E ull : O an P la i n . ( . H rg y g )

ADAPTATION : THE MANUALS

m Ex i . 3 6. d r : W o 2 Sympho nie (S a lve R egi na) S m ho i y p n e go thique (las t move me n t )

ere an en em l o Wh s b e c mbinatio n o f gambes o n o ne o r more or on all manual 1s alle fo r s c d , we mus t tra nsla te “ ” ambes trin - to ne to rat e r t g by s g d s ps , h h a n by the a p arentl literal non m G am p y sy y , b as . O nly wh e n the quality of th e latter stops is c o nsistent with th e e ffe c t o bvi ou sly intend ed by the c omp oser may th ey be u sed in i u an n tan e . As a rule ee nl i s ch s c , k y vo c ed G amb as o r o ther string-toned stops will better be repla c ed by string tone te of le in ivi ualit and o f e tter l n d s ps ss d d y , b b e ding capacity .

Ex Bonne La ento 7 . t : m . 3

me Widor : 6 Symphonie (Adagi o)

In t e e as in all ot er matter o f a a tatio n th h s , h s d p , e organist mu st be guid ed by the conditio ns imp o sed by th e in i i l M ire is o nl l strument at h s d sp o sa . y d es y to p ac e him on his gu ard against a to o literal a cc eptance o f the a arent ire tion of th e om o er and to a i t him pp d c s c p s , ss s , through a knowledge o f c o nditions o f voi ci ng as th ey

in in Fr n to arr out th e irit o f t o e a ctually o bta a ce , c y sp h s

in th e end and not th e mean th e dire ctions ; mak g , s , primary o bj ect of his solicitude . CHAP TER X

TH E P E DA LE

IN no department of Am eric an organs h ave more radi cal changes b een e ffe cted in re c ent years than in th e i i a t i not l r nt p ed al e div sion . Th s f c s a ways app a e u p on

e a inati on of a new s eciﬁcation i ma eem t o x m p , wh ch y s p resent sto ps in th e P ed al e appro ximately th e same in numb er and nomencl ature as th ose to which we were “ a ccu stomed b efore th e b eginning o f th e so- c alled revolu

on tail e min ti n o f th e to tionary era . Up a d e ed xa a o s ps t em el e o e er we ill almo t in ari a l h nd t at h s v s , h w v , w s v b y h more or l ess u se h as b een m ad e of th e systems of aug ” “ ” r rr in Th e intro mentation o o o if not of ot . b w g , b h d u ction of indire ct a ction h as made th e ad option o f these two systems pra cticable ; I sh all d escrib e and consider il l them in d eta ater .

In or an o f mo er t i n r in Ameri a b e g s d a e s z e , c o st u cted c fore th e introdu ction of tubul ar and el ectro -pneumatic a tion th e e l i i ion as rul e was not l r in a t c , p d a e d v s a a ge f c it was o ten i ro ortionatel mall e e tin in th e f d sp p y s , xc p g l r l r a er in trument . Con e u ent ate er to e e g s s s q y , wh v s ps w in lu e ere u u all o f o o o i e mu t c d d w s y g d b dy , s nc each s

on titute an a re ia l e elem n h l en em le c s pp c b e t of t e tota s b ,

as re ar e onori n i An i was g d d s ty a d e ffe ct veness . d t rare to ﬁnd p edale stops wh ose chief usefulness could lie only in solo work or in th e pro vision of an extremely o t a s f b ss . In th e larger organs the sp eciﬁcation was not dissimilar 82

84 THE ORGAN IN FR ANCE

the total cost of th e instrum ent ; o wi ng to the relati vely f th e i e and th e re uent ne e it of large siz e o p p s , f q c ss y dividing them among numerou s small and deta ched wind t wit re ultin e ten ion of a tion and of in ches s , h s g x s c w d

trunks or tubing . With th e a dvent of indire ct action it be c ame p ossible to make a smaller total numb er of pipes in th e P edale ap p ear to ser ve th e s ame end as the c ompl ete sets formerly “ ll mean of th e tem of au mentation insta ed , by s sys s g “ ” m r i ll i and b orrowing . These two syste s a e rad ca y d f ferent in their e ffe ct up on th e ensemble of an instrum ent

u t in e th e two e i nation are so re uentl on u e b s c d s g s f q y c f s d ,

nd em l o e as t ou t e ere no n mou all a p y d h gh h y w sy y s , I sh l deﬁne each sep arate y .

- i i i If we pl ace th e pipes of a 16 ft . stop s de by s de w th

- f r im l th m o f on of ft . and o a o ate e a ualit th ose e 8 pp x y s e q y , thus :

X 3 8 E ' 16 17 18 ( 9 2 0

-' S G l t. top

Nata sw ndcd

' - Sto (B l t. p — 9 5 r 5 1?2 0 2 6 2 7 2 3 2 9 3 0

1 - in ill ﬁnd t t i . h rre on we w ha p pe N o of t e 8 ft . stop c o sp ds

1 - - 1 o f th f . . 2 2 h 1 f . o . 1 pitch t o No . 3 e 6 t ; No of t e 6 t to N 0

- f th . n A min t to are o e 8 ft a d so ou . u at ot , ss g h b h s ps

ra n at th e e oar an note la e ill au e two i e d w k yb d , y p y d w c s p p s

n i T ro e arate to ea a o ta e a art in t . o i e a sp k , c v p p ch p v d s p

i e fo r ea note of th e l in o o l re uire p p ch sca e each st p w u d q ,

in t irt - not P l i i o l b a e e a e t . m t o u e h y d , s x y p p es If a e h d c d — -f oun t o u tili e for h f to o i e of the 16 t . f d z t e 8 t . s p th se p p s

i af or e th e e ire it it o l no t b e neces wh ch f d d d s d p ch , w u d sary to pro vide these pip es sep arately in th e form er ;

in o t r or n n h -f oul el e e e e ar t e t . to h w ds , wh c ss y , 8 s p c d h p itself to any one o f th e upp er eighteen pip es b elonging to ADAPTATION : THE PEDA LE 85 its el er rot er the 16- ft . r i d b h , eg ster lea vi ng only an addi tional o t a e to be ta ken are o f in e en en l c v c d p d t y . As the latter i e are om arati el mall t p p s c p v y s , hey wo uld add little e en e and it xp s w h indire ct a ctio n the vario us c o nne c tio ns rom e oar to f k yb d chest c ould easily be ta k e n c a re o f Th e o llo in t f w g able (taken from th e sp ecific a tio n o f a

- - ell n o n t ree man l - w k w h ua organ o f ab o ut fi fty five speak in to and o f o er g s ps , p w ful sonority) will illustrate th e s a v ing in th e num er of l es ne e ar b p p c ss y , where the system o f au mentation is g used .

’ (wood) 3 2 5 4 pipes ’ 1 6 (metal) ’ 1 6

' 1 0

42 pipes

13 st ops 2 3 4 pipes

In this manner two hund red and thirty- four pip es sufﬁce s o far as itch is c oncerne d ere u n er th e o ld , p , wh d

tem t irteen time t irt or t ree un re and ninet sys h s h y , h h d d y ,

l n n All f he i e are la a le wou d ha ve bee e cessary . o t p p s p y b

r m h P e al onl nd r in en nt o f the manual f o t e d e y , a a e dep de s and as many pip e s will sp eak wh en a single no te is played

n n ta e in th e P e al as t ere are to ra n . W e a o d e , h s ps d w h c v

s l e o e er th e total num er o f i e ill no t be i p ay d , h w v , b p p s w

l but ill b e le t an t i e the num er o f to d o u b ed , w ss h w c b s ps 1 - dr awn since th e upp er pipe sounding in th e stop o f 6 ft . 86 THE OR G AN IN FRANCE pitch is th e same pip e which serves as th e lower note of its eri ati e to t u ' d v v s p , h s 3 9 Ex .

M un! S ou nds

In ot er or a and b are one and the ame i h w ds ( ) ( ) s p p e, i n r ll n e b n wh ch atu a y ca sp ak ut o ce .

B ten in th e om a of 2 - e a 3 ft . to u ar y x d g c p ss s p pw ds, t ree o ta e it is o i le to o t in n h c v s , p ss b b a o less than h y e

om lete to in th e P e ale u se of th e te c p s ps d , by sys m of aug n i t o ll n i me tat on . Th ese s ps wi ot d ffer materially from o ne anot er in ualit or inten it unle h q y s y , ss su ch variation b e made app arent in a single one of them ; and thus th e p rinciple o f th e relationship o f an o vertone t o its funda mental as r e ar ro ortionate tren t and ualit , g ds p p s g h q y , s o im ortant in its e e t u on th e P e ale as a ole ill p ff c p d wh , w n t tri It i n o b e tl re ar e . s u enia l e o e er t s c y g d d d b , h w v , hat while a t otal o f one hundred and ﬁfty pip es would b e re quired if the ﬁve stops were to b e c onstru cted indep end e ntl of ea ot er onl i t - ix ll y ch h , y s x y s wi be ne c essary und er this system a s a ving o f fifty- six per c ent in th e number o f i e re uire al eit o f relati el m ll r n p p s q d , b v y s a e o es . (See

Ex .

Ex 4 . 0

Actual sc u nd

‘ Note pl aye d

The system o f augment ation is sometimes known as ” “ ” o ta e u li tion a or dédou blement. c v d p c ,

ADAPTATION : THE PEDALE 87

B orro in e i n y b w g , I d s g ate the system whe re by a

art or th e ole of a to no rm all p wh s p , y belo nging to a c e r t ain i i ion of th e or an ma d v s g , y be played also fro m ano th e r i i ion it ou t the use f d v s w h o a c o upler ; having a separa te re i ter- no in its e on lo ation g s k b s c d c . Th us a sto p he

- l onging to th e Solo o rgan may be bo rro wed and used als o in th e C oir o r i e er a m n h , V c v s ; a ual st o ps are o fte n b o r r o e for use in the P e ale a nd o a io nall to r w d d , , cc s y , s ps a e s imilarl orro e rom th e P e ale fo r use u o n a m n y b w d f d p a ual .

In th e latter a e of our e e ten ion o f th c s , c s , x s e compass is ne cessary . ” i tem is al o no n as ommuni atio n tr n Th s sys s k w c c , a s ” “ ” mi ion or inter an in ss ch g g of stops . There is no thing new in it as it was em lo i n , p yed n E gland o ver two hu nd red

ear a o e en it th e ire t a tion t n in y s g , v w h d c c he use . Th e system recomm ends itself for use in small instru ment ere e onom of n t s , wh c y sp ace a d cost mus be c on 1 r It ti i r i in side ed . s ad op on n su ch cases p o vid es d st ctly

r l xi ilit n rl F rt ermore the orro mo e e a d va et . u f b y y h , b w in o f o t manu al to for u se in th e P e ale u as a g s f s ps d , s ch

1 “ T ansmis sio n o f st o s th e t e - int o d u c tio n of a e i ste a s an inde r p , r r g r p e nden t s t o p o n a no th er keybo ard i s p e rm 1s 5 1ble l n sma ll o rg a ns a s a m a ke s hi t if i t i s a u e stio n o f bo o wi n o ne o r t wo s to s e s e c 1a ll fo r t h e u r f , q rr g p , p y p a m o m l e e p o se o f re ndering t h e P e d le re co p t . “ Th e re p e ated u se o f a sing le se t o f pip e s u nd er t h e a u g me nt e d sys t e m wh ere by t h e nu mb er o f re gi st ers m a y b e s e ns i bly i n cre a s e d i n c o mp a ri so n t o d i n t h e c a s e o f e sma ll o a ns th e a c tu al set s o f pip es i s no t t o b e re j e ct e v ry rg , ‘ ’ — n Bu t a sin le se t o f i e s sh a ll no t b e so u s ed fo r p arti cul arly salon o rg a s . g p p ” m ore t h an t wo re gi s t ers . “ m e nt ati o n m ust Th e e mployme nt o f th e sys tem s o f Tran smis s io n a nd Au g n e It s h o u ld a l w a s b e ma d e a n a lways b e di c t at e d b y l a c k o f s p a c e o r m o y . y x A s a u l e all e is te s s ho ul d be co n e ce t l o n t o b e u s ti fi e i n e a c h c a se . g p , J d r r r ” s tru c t ed t hro u gh o ut a s i nd e p e nd e nt s p e a ki ng s t o ps . ll no t b e i e n e u al St op s deri ve d by T r a nsmi s s1o n a nd A u g m e n t a tio n sh a g v q e mfi c a tio n no r i nc lu de d 111 t h e t o t a l pl a ce wi t h th e inde p en de nt sto p s i n th e s p , i ed s t o s a nd a dd ed n u mb e o f e iste s bu t sh all b e d es ig na t ed a s s u ch !de v p ] r r g r , r n d e nt e i s te s sin c e th e i nc i le mu s t s e p ara tely to t h e nu mb er o f th e i nd ep e r g r , pr p It i s t h e d u t o f e x e t s t o s e e b e u p h e ld th at o nly th e l a t ter a re nu mb ere d . y p r i n th e n u mb e i ng o f t h e1 s p e c nfi t h a t o rg a n b u ilders re sp e ct t his p ri nei p l e r r o f u n a i co m e t it i o n t h o ug h a c at 1o ns i n o d e t o p e cl u de a ny p o s sib l ll ty f p , r r r r r ” Interna tw na les R egu la tw fu r Orgelba u p arti ally fi c titi ou s numb er o f re gis t ers . ( 88 THE ORGAN IN FRANCE

1 - f o r on rom th e S ell or a C i 6 t . B u d f w , h o r Dul ciana or - i arti ularl t r G am a o f 16 ft . s o be e ommen b , p c y c ded in all organs and it is e ven p ossible t o o btain additional stops “ ” n in th orro n by augme t g e b wed o es . But th e app arent su ccess of augmentation as p ractised up on imp ort ant instrum ents h as und oubtedly l ed t o fur ther inno vation in th e way of interchanging stops b etween l nd et een a m nual nd th e P l manu a a a a e . I s , b w d a e t do es n t l a e to be l ear to or ni t nd o a w ys s em c ga s s , a oth ers in t rested in th e in trument o e er t at th e two e s , h w v , h systems o f au mentation and orro in ile su er i ll g b w g, wh p ﬁ c a y some at akin a tu all are totall if erent in t ir ff wh , c y y d f he e e ct

n h n h in Th orm r up o t e e semble of t e strument . e f e makes use alm o st exclusively o f pip es that for th e moment would

i n in to of th ir o th erw se b e sta d g mu te . A s p e d es ed pitch i s obtained and in intensity and tone- c ol or it at least ap proximates wh at it would be if ind ep end ent and voiced a a u l e ent to and not as a art of th e to ro s s pp m , p s p f m i ri In m o inion P l m i n n i t i s e e . a e a a wh ch d v d y p , d e k g a y c onsid erable u se of th e system of augmentation is not as lear not as e ira le as one in i e er im ortant c , d s b wh ch v y p ste p is ch o sen and voice d sol ely from th e p oint of Vi ew of n B t in om ri on t ot r on i r its ow e ffe ct . u c p a s wi h he c s de a tion annot do more t an a ume t at th e ue tion of s , I c h ss h q s augmentation will b e de cided in accordanc e with th e spe ciﬁ c c onditions go verning th e choice and constru ction of ea in i vi ual in trument and a ter are ull ei in ch d d s , f c f y w gh g th e advantages gained in other resp e cts with th e und oubted m It is disadvantages so easily re co gnizabl e in th e syste . ri l idle to claim th at th e l atter do not exist or are not mate a . Such an assertion is b ased eith er u p on a failure to re cog nize or admit that t one qu ality and ind ep end en c e are of as real imp ortance in th e P ed ale as on the manu als ; or else u p on th e claim that these c onsiderations are inferior n h manual in imp ortance to th e addition of solo stops o t e s ,

90 THE OR GAN IN FR ANCE

Th e ta ble o n p ag e 91 c o nt ains th e P e dale speciﬁ cation of representative instruments constru cted in th e United States d uring th e p ast ﬁfteen years by fo ur well - known e ifi ation airl r r n b uild ers . These sp c c s f y ep ese t th e metho d of modern buil ders wh o make ext end ed u se of th e systems i n in I o f augmentat o n a d b orrow g . t woul d be u nfair to

riti i e an one of t e e s eciﬁcations as to its a e ua c c s y h s p , d q cy or its in trument it ou t a ull n o le e of all n i f s , w h f k w dg co d tion ertainin t ereto th e i e s eciﬁ cation n r s p g h s z , p a d cha

t r o f th e or an in eneral th mount f il a c e g g , e a o sp a ce a va

l e for its on tru tion the i e nd a o ti on iti n ab c s c , s z a c us c c d o s o f the ediﬁ ce in hi it is la e and an re tri tion w ch p c d , y s c s as i r min n l r to o t . It s o e e e e t o er t l c s , h w v , y p p hat we shou d empl o y this graphic illustration of th e very radical change in meth o ds of constru ction which has t aken pla ce during th e p ast two d e cades for a full realization of its effe ct is in i n le t th imm i te u t of o r d sp e sab o e ed a s bj e c u work . Little remains to be added to what I have already h m rn Am ri n P le p ointed ou t . T e ode e ca eda c ontains prae tically th e same sto ps as th e c orresp onding division of th e typical French organ ; certain variations of intensity or n r l n n quality ha vi g b een p e viou s y noted . I c ase imp orta t

to are orro e ro th e manu al for th e P e ale h ow s ps b w d f m s d , e er e ial treatment in a a tation ill u n o t l v , sp c d p w d ub ed y It t no b e or otten in t b e ne e ar . u t u a e at c ss y m s f g s ch c s s , h th e to h as een oi e as t o inten it and ualit rom s p b v c d , s y q y , f the standp oint of its p osition up on a manual (except in

n We s tru ctive to a ve ry seri o u s e xtent o f b o th tonal va riety a nd s tre g th . maint ain th a t no two s te s i n a n o a n ho e e l a e sh o ul d b e e xa c tl a like p y rg , w v r rg , y i n ti mbr e or in s tre ng th o f voi ce ; a nd t h a t wh e n a ny two s to p s clo s ely a ppro a c h r a a i n s t e n t h o f o i ce e ac h o the r i n ti mb e th ey sho ul d b e wid ely p rt r g v . Be o nd th e o m atio n o f a n e x e ssi e au xi li a P e d al o a n w e y f r pr v ry rg , s t o n l nde n h a c ti ce o f b o o i n a nd d u li c a tio n a s u ns cien ti i c r g y co m t e pr rr w g p f , i na tisti c a nd a tal to a e ec t to nal a o i ntme nt . V o l . II . 13 r , f p rf pp ( , p p

Ever y o ne inter es ted in th e fu tur e of th e org an in this c ountr y will d o

M r . well t o re a d th e e ntire c h a pt er from whi c h th e a b o ve i s q u ot ed . r Audsl e y h a s pu t th e wh ole ea se wi th a dmirabl e c learne ss and fo ce . ADAPTATION THE PEDALE 9 1

s s g e s 1 s l \ \ \ a ~ s a u m o k o m o e m w w m N E e m w m : ﬁ : u : ﬁ a m H a

u 0 mo 0 u q 0 fl B m a 0 a fi 0 S 3 3 0 o M G fi $ 8 S n 8 3 N S 8 0 3 s —. S o E 0 3 5 Q mQ 0 ; O o n

g o “ c ¢ a 2 w 0 u > o 5 é t 0 x 1 m 1 1 \ \ c v m m G c w c m m 0 o w v Q m 0 o m m2 : H a fi a : 9 fl m 0 0 0 W u n 0 0 a 9 3 £ 8 5 0 3 0 3 5 : “ 3 e a 0 d v 0 0 m a o 3 3 s 2 3 0 s «v o e m 9 a 0 m $3 fi 2 m s a g 3 é 8 0 m 8 0 2 0 a o 2 a E n B 3 9 o a m 0 h 0 c 5 D o Q 0 n _ o o 3 3 n 0 . o n .$ S a w 5 e 0 A 0 M 0 5 E 3 5 = 3 E 0 m 5 £ o M v 0 o o a o 5 u 0 0 0 fi 3 m 6 0 a 0 0 0 5 g 8 9 “ 1 fi 3 o 0 0 Q . S n o e 9 S m e. s G a 1 m m r 3 3 fi 8 a 3 0 c 0 e E a o 3 S o “ 8 m £ o b 3 0 2 M 3 x a fi 0 0 » 0 fi e t 0 0 3 o Q 0 0 v 2 5 z e 5 3 3 e 9 k z 0 0 v 3 o m 0 3 c 3 N e S 2 e 3 u u 8 w k a 8 t z fl 9 5 n 5 o 8 3 o e 0 E aa 5 b 0 mr mr m mn m : w 0 5 2 e 0 0 0 8 2 0 0 9 “ 3 5 2 9 8 0 8 5 0 0 0 2 0 5 : 5 « 0 0 0 0 0 5 8 0 9 5 5 £5 6 9 3 3 0 8 9 0 > 1 0 5 0 d 8 m 9 5 0 0 0 c 0 0 1 s 1 x 0 c m a 9 0 5 m m a w m co co o w oo oo oo w v b m w m m “ 0 o m m n ” a i a g a u : 0 0 m 0 c 5 0 S a o 2 a m 0 m. 5 0 c m 0 o 9 o 5 E a 0 8 5 a 0 o 2 S S n x 3 v ; w 5 0 0 5 g a 0 2 E a c 0 8 w a c a 3 8 S u w 0 8 o o a M 0 Q u 8 0 fi G 0 x qO . z E t . n o ? z 8 o o w o 0 d 5 n 2 fi fi a a 5 u m . a < k A c A A A - Y a fl v w S S 3 a S 3 : fiw v v o o a u mfi n O 2 THE ORGAN IN FRANCE th e c omparatively rare instances where a stop p rimarily b elo nging to th e P edale is b orrowed for u se u p on a

i i h ﬁr n i r manual . Th s s t e st o e ation th e e o n is ) c s d ; s c d , whether the manual registers from which the P ed al e stops

n u e tio n are orro e are im ul taneou l in i q s b w d , s s y u se . If

o it mu t b e reali e t a t the re e ti e P e al t il s , s z d h sp c v d e s op w l a dd no no tes which would n ot b e equ ally attainabl e by

n h n l h P l i i n r c oupli g t e ma ua stop to t e ed a e . If t s e cessa y t at the P e ale tan ou t in e en entl we ma a e to h d s d d p d y , y h v s acrifice to ome e tent th e om ination on th e manu al s x c b s , in ord er th at th e P e dale stops may present a different lit or a e inten it s th m find u a a e a e a be . We q y , dd d s y , c s y su ch an example in th e Fi nal of th e fir st Symphoni es by ierne ere the P e al mu t ma e it el tron l elt V , wh d e s k s f s g y f in h ll h m n l i itional a ga st t e fu p ower of t e a u a s . Th s add s onority in th e P edal e will almo st invariably be derived from reeds ; but if th e reeds are b o rrowed from th e manu al en e is th e a e inten it t o ome ? n er s , wh c dd d s y c U d su ch c onditions we must d ep rive th e manu al c ombination o f th e ree and of as mu more as ma b e ne e ar to ds , ch y c ss y , p ermit th e d omination o f th e P edal e ; e ven to th e extent of lea ving the entire G reat free to b e coupled to the

P e al urin th e time t at th e latter is treate as a ol o d e , d g h d s the hands pl ayi ng onl y u p on the Ch oir with th e Swell An l h f ll b f r rom c oupled to it . d o bvi ou s y t e e f e ct wi e a f i th o r that conce ve d by e comp se .

Al t ou we ma not u e t it it is to the mu i of h gh y s sp c , s c B ach that th e system o f b orrowing for th e P edale o ffers i i n the mo st ser ou s d sadva tage . ’ The or an of time i n turall inﬂuenced g s B a ch s , wh ch a y his om o ition as a rul e o e e a P e ale ra ti all c p s , p ss ss d d p c c y indep end ent of th e manuals ; alth ough o ften not of pro 1 orti n l n P e ale ou ler p o ate y adequate strength . If a y d c p

“ 1 T he o an in th a stl e h a e a We ima h ad onl two manu al s With rg e C C p l t r y ,

ei h t s to s ea c h . Y et th e P edal O an c ont ai ned se en sto s one of 3 2 ee t g p rg v p , f ,

94 T HE ORGAN IN FRANCE

ni l reso urces are oncerned the or an in i B c ch a ca c , g wh ch a h would re cognize the instrument of which he dreamed as h e

Hi nl re r ac oul h wrote his fugues . s o y p o h w d b e t e strong ”1L in h h ll r n predom ance of t e reeds in t e fu o ga .

A nd a gain “ il - ll Sin e Ca a le C o the tu of Bac has e un . c v , s dy h b g

With regard to th e a daptation of French organ music t o our in trument t en th e P e ale o e im orta n s s , h , d wh s p t stops are b orro wed from th e manu als will present a ques Th tion d emanding seriou s c onsiderati on . e exact e xtent t o which a dvantage may be taken o f th e systems of aug mentation and b orrowing in th e case of imp ortant stops mu st b e d etermined in ea ch instance a cc ording t o cir cum

tan e and in a or an e it in i i u al onvi tion s c s , cc d c w h d v d c c s .

Brieﬂ th e a o tion of eit er tem mea n a a in of y , d p h sys s s v g a e and o t i a i n ma b e e o te t o the a i sp c c s , wh ch s v g y d v d dd tion of o t er manu al to or to th e more om l ete ro h s ps , c p p

i i n f ir l m ni l i A in i V s o o d es ab e e cha ca a ccessor es . ga st th s must b e weighed what I b elie ve to be th e l oss of ind e

endence o norit and l earne in th P al n f p , s y c ss e ed e , a d o i n ivi ualit in its ariou to and arti ul arl i d d y v s s ps ; p c y , n e treme a e th e sa criﬁ ce o f at oul b re o f x c s s , wh sh d e a deg e p ower d etermined by th e relationship of th e P edale to th r l e o gan as a wh o e . I am glad to say that American organ- build ers are by no means u nanim ou s in their approb ation of these sys tem il e ome em l o t em to a mar e e tent o t er s wh s p y h k d x , h s are a u tome to u se t em o nl to a limite e re e if at cc s d h y d d g , all and it reat i r w h g d sc etion . M i M . ut n thu s states his po sition with regard to the u se

' of th e systems of augmentation and b orrowing

1 Deu tsche u nd F ra nzosi sche O el ba uku n st rg . 2 - ’ Ch . M . idor i n hi s re a ce o r W , p f t L O gu e de Bac h . C HAR LES MUT IN

CHAPTER XI

FOR E IG N EDITIONS

IN the preceding chapter I ha ve c onsidered the general subj ect of th e a daptation of French registration to Ameri

can or an a umin t at th e in i ation i en th e g s , ss g h d c s g v by 1 om o r a e not een tran l ate and are on ei c p s e h v b s d , c c ve d esp ecially for F ren ch instrum ents . Of l ate years some of th e princip al foreign publisher s of organ mu sic ha ve made it their pra ctice to furnish a 2 ll l n li tr n l ti n o f th e re ri re i tr ti n p ara e E g sh a s a o p sc b ed g s a o . This h as e vid ently b een d one for th e assistance of the Eng

1 Certain c omp osers h ave p r esc rib e d n o regi stra tion wh ate ver in some of th ei u blish ed orks l e a i n th e c h oic e of s to s enti el to th e r p w , v g p r y ani s Th e h a e no t ail e d h o e e a ll i e all n e or t . c e u t o o d c g y v f , w v r , r f y pr v e ssa marks of i ntensi t and d nami c s mon th em ar e Saint r y y y e ffec t . A g

aen s ar t z C h au ss on . S , R op , 2 A singl e public a ti o n of one of th e b est -kn own F renc h h ou ses fur ni sh es a s t iki n ill u stra ti on n ot onl of inac c ura te t an sla tion b ut r g y r , occasi onall y of ex traordinar y orth ograph y

Tiras s e R é cit Voix c él es te S well with pe dal V ox angelica

O te T o z r mpette c i Clairon Anch es s ans 16 p.

S ell Trum R 1 ia . w putt Clairon e e ds 6 f. Le R écit res te f e rmé Bo ite f ermée Sw ell ( schutt b ox) S chutt b ox R efrain popul aire P opular s oud 96 ADAPTATION : FOR EIG N E DITIONS 97 li or Ameri an or ani sh c g st wh o is not familiar with the Fren lan ua e and no ch g g menclature ; but it must be ad mi tted t at in m h any instances such tra nsla tio ns will ro e eit er im i p v h p oss ble of application or to tally misleadin g, if not a tuall in rr 1 c y co e ct .

A i ti onar of mu i d c y s cal terms appears to have been the ’ tran l ator ui e s s g d more o ften than e ven an elementary no le e of g Ameri an or En li to nomen la tur e t k w d c g sh s p c , o sa not in f t y h g o onal chara cteristics o r mechanical con tru tion il ’ s c wh e a scho olboy s extemporaneous translatio n of Cae ar Co s s mmentaries would hardly be more crud e t n ha th e English constru ction o ccasionally encount r d e e . In man a e no attem t i y c s s p s app arent to pro vide anything bu t a are lit r l r b e a t anslation which might have been a li a le to o ur or an of t irt ear a o but - pp c b g s h y y s g , to day is utterl unrelia le as h as alrea y b , dy been shown . F or th e purp o se of illustration I ha ve selected a few in

tan e of u ill-a i e tran lation s c s s ch dv s d s , whi ch I app end ere it in th e ori in l h w h , g a sp elling

Ex 41 .

' R é cit : Fonds d e 8 (doux) S well : Foundati ons ste ps - G rand o r ue : Fonds d e G re at : Foundations s to s g p , Stop. Bourdon d e Flﬁte de Dia as on 1 6-f p t. Open Dia ' M ontre 8 a n -f p s o 8 t. Fl ute . ’ P dale : Soubass e 16 - é P e dal : S u bb as s 1 6 ft.

' nd él ude d el t ! Vincent d I y: Pr P Ca m

Modéré

Great to Peel

1 F or some years th e Engli sh ed prefa c e of a s tandard Ge rman edi tion ’ “ ” of Bach s organ works invariably rendered th e G erman dur by sh ar p “ ” and moll by ﬁ at ! 98 THE ORGAN IN FRANCE

ot t at the Fren u aliﬁcation douse o t ha N e h ch q , s f , s l n A to . Di n b een omitted in the tra s ation . S p apaso (si c)

r n of alt ou of reat im ortan e is all to o or B ou d o h gh g p c ,

r l n o n our G reat - or an and th e Dia a on ra e y fou d g s , p s used “ ” llo h lin sh ould b e a se co nd ary one . Su bb ass fo ws t e e

l t r i n in tran l atio n b t we do not o t n ﬁn o f eas es sta ce s , u f e d the P e dale B our d o n s o d esignate d .

42 Ex. F d l a To mb ell e : Canzonetta . e

- R é cit : Flﬁte harmoni ue Viole Swell : S to e d Dia aso n 8 ft . q , pp p— Vi ol di amb a 8 ft . d e G ambe 8 p. G P os itif : Je ux doux d e 8 G re at : D ul ci an a Viol di G amb a - 8 ft . (R écit accouplé) . - - h h ir f . W o O . G rand orgue : Flﬁte harmon C o : s o ft 8 t (S . t ) - ni ue Bourdon 8 P e dal : Foundation st0 1 6 ft . q , p P éd ale : Bourdon 16

’ An equival ent of th e 8 bourdon is no t always present o n the G reat of our later organs ; bu t a Viol di G amba (si c) is an incomprehensible su bstitute for a Harmoni c Flute .

4 Ex. 3

- en Dia . S to Di a B G re at : O . G rand orgue : Montre , our p p , p , e harmoni ue c i ason S ali cional H ar don, Flﬁt q p , , m e -f oni c Fl ut 8 t . Salicional d e 8 p.

G ui l mant Communi on m G-ma or 0 IS , j , p

Could su ch a collection of stops on the G reat of our later or an e en if e er o n t ere to et er be e e te to be g s , v v f u d h g h , xp c d pi ano in intensity ?

' 100 THE ORGAN IN FRANCE

r n or an is the P osi ti orre on in F e ch g f, c sp d g fairly to our m n l or oir in ar t a u a C a ter . h lowes , h , ch c T e translator h aile to ta e t i into a ou nt and as f d k h s cc , as a result we ﬁnd registration p rescrib ed for th e G reat and Choir which oul be arrie ou t on the C oir and G reat re e ti l sh d c d h , sp c ve y .

‘ i ou l a Flu te on the G reat oul be far to o ea Obv s y w d h vy , and th e string quality called for would probably be en i l l in in h e ire int n it t r a t e . e y ck g , e d s d s y

4 Ex . 6

‘ R cit : Fhzte harmoni ue Dul well en Di a an e é q , S : O p p. d K - ciana c l G ambe d e 8 . rau10 h on f p p 8 t. G rand -or ue Bourdon e t a t0 n a g G re t : S p. Di ap. a d G mb a - ambe d e 8 P . R cit G 8 ft . i h w ( é (w t S . coupl ed) .

accouplé) .

R écxt.

Pad

A ain m h i l n G a a as t e a e t of a b . g b , equ v g m e

Ex. 47 G uilmant : Lamentation

R écit Flute l raversze re et Swell : H armoni c Fl ute and Cla rinette d e 8 P . Cl arin et (or O b o e) P os iti : C r d h - o e nuit et Sal re at : wit Ch . cou l e d . . f i G p p 8 ft. cio al d n e 8 P . ﬂ Ful l with out Mixtur e s G rand -or ue : P s iti a g o f ccouplé . Choir : Stoppe d Diapason and Jeux d e d - p fon s d e 8 P . S ali cional 8 ft. ’ G rand -choeur s an mix P dal : 2 f ﬁ s e 1) 3 , 1 6 and 8 t. 17

tures . R e e ds P d ale : B é p ourd ons , Flﬁtes ,

Co ntre bas s e , Violoncelle d e ' 3 2 16 e t , 8 ﬁ Anch es . C AT EDR AL R E IM H , S

GR AND O R G U E

102 THE ORGAN IN FRANCE

E x . 5 0

- R cit : Fonds d e 8 c i 4 P . Sw ll : 8 and f é e 4 t . Com opean T B W rom e tte oite e rm e . S cl o s e d p ( f é ) ( . ) - ’ P os iti : Fonds d e 8 P . Flﬁte G re at : 1 6 an d f f , p 8 4 t . ﬁ d uce d 4 T m e te W o e P . ro t ull ith n h ( p f (w S . a d O . e t Clairon préparés) Co upl e d)

‘ - - - G rand or ue : . Fond d 16 8 h f s e C oir : 8 t . an ft . F g p , d s oft 4 l ute ' - c i 4 P . G rand choeur. P e al ) 1 f 17 d ; 1 6 and 8 t . ﬁ R e e ds R écit c i P os itif accouplés ou

Cd . ale : P éd p Fonds d e 16 et 8 P . f Anch es

G ui l mant: Sm l a iu Damirwf O 61 , ; p

’ ’ A pi ano c ombination of 8 and 4 on th e G reat il l s eld om a va ab e .

E 5 0a x.

R cit: G ambe 8 . Bourdon 8 . Swell : G amb a 8 é S top di ap . 8

8 Anches r ar es PI. Fl . . p ép é 8 R ee ds pre pare d

i : Bourdon 8 . Flﬁte 8 . h oir : to dia l i S . Pos tf C p p 8 F u te 8 . A h es e ar e i M ontre 8 . nc pr p é s O pen d ap R eeds pre pared

s ans 16 P .

O . : Flﬁte 8 . Bourdon 8 . re at Flu te 8 i G . G : S top d ap. 8 Anches preparé es R eeds pre pared ave 8 16 A e P ed . : O ct e t . nches P dal : O ctave 8 e t 1 6 R ee ds préparées pre pare d ’ A . P 0 cc t . 11 G . O . Tirass es G rea t Ch oir Coupled P e dal wi th G reat

No tran lation oul be more ait ull liter l e n if s c d f hf y a , ve i i no n ir l m l Th n l t s t e t e y co p ete . e E g ish registration is an excellent example of strictly literal transl ation ex

’ c e tin t at th e e i nation an 1 r onl in p g h d s g s s 6 P . app ea s y th e Fren and Ti rasses m in l ch , ay c u de o th er p ed ale couplers in a ition to t at of th e r t dd h G ea . Y et su ch a translation ADAP TATION : FORE IG N E DIT IONS 103

f l i s o ess practic al assistan ce th an o ne giving m o re g e ne ral e ui alent o ul be ile th e e i na tio n A h q v s w d , wh d s g nc es pré “ arées alt ou ait ul l ren ere e ed re are p , h gh f hf y d d R s p p d , is uite su erﬂ q p u ous . On th e Am e ri c an o rga n re eds are rarel re are in a an e u nle o n n y p p d dv c , ss a adj usta ble c o m bination ; and their d esigna tio n is th u s e nig ma tic to th ose unfamiliar with th e French c o nstructio n which de m n i a ds t . I need not refer at length to dire ctio ns for the additio n o r it r w l l r r i r ti a a of ou e ee ci cet. Su e o n w hd c p s , ds , ch d c s are nearl al a literall tran late a nd no t in r u n l y w ys y s d , f eq e t y l are quite u seless . T o add a manu a c ou pler at th e pre cis e moment indicated may be imp o ssible unless th e c o uple r i s o erate a e al as in Fran e and e e n if p d by p d , c ; v

r ti a le it is no mean ertai n t at th e manual p ac c b , by s c h thereby added would add materi ally to th e stre ngth

The ll so re uentl ma e for o f the ensembl e . ca f q y d the addition of th e Choir reeds prior to th ose o f the

G reat c an seld om be met in our organs ; and s o on . Often it will b e necessary to re c ast the entire registra tio n of a work in order to substitute ou r combination mo vements for th e c oupler and ventil system o f the

in ter a e alrea on i ere u French ; Chap IX , I h v dy c s d d s ch a c ontingency . CHAPTER XII

AME R ICAN EDITION S

MU CH of th e old er French rep ertoire has been repub lish ed in th e nite State at one tim or anot r rti U d s e he , pa cu larly th e earli er works of G uilmant ; and naturally with th e Fren e i nation tran late into En li th e ori i ch d s g s s d g sh , g nal Fren not ein i en at all —or el e it th e entir ch b g g v , s w h e r i r i n t n Am ri r Th eg st at o ad ap ed a ew to e can o gans . e faults previ ou sly mentioned as existing in the publishe d translations p ro vid ed by French editors are not so o ften ou n in t e e Ameri an re rint in e th e latter a e f d h s c p s , s c h v u u all een e ite Ameri an or ani t amiliar ith s y b d d by c g s s , f w th e Am erican instruments of their tim e . It is reasonable to assum e that these re visers would be less satisﬁed wi th merely literal translation than a French

itor for alt ou the ormer mi t not al a b e os ed , h gh f gh w ys p sessed of a knowledge of th e ﬁner details of French con tru tion and met o of oi in t e oul urel be s c h ds V c g , h y w d s y unlikely to prescrib e any registration for an American organ which would generally b e impracticable or difﬁcul t of realization up on th e average instrument . But b efore we a ccept su ch indications of registration at their fa ce value we must know appro ximately th e pe riod ion in which th e American editor prepared his adaptat .

umerou Fren om o ition mu u e in t i ou n N s ch c p s s , ch s d h s c try and adapted to American organs by one o f our best

n i m r i o t u tl onore k own organ sts whose me o y s m s j s y h d , can b e played u pon our organs o f th e old er type pra ctically as in i ate in the a tation ere ma e and ub d c d , s ce ad p s w d p 104

106 THE ORGAN IN FRANCE

n o r u li e in t i ou ntr ill s Fre ch w ks p b sh d h s c y , w ufﬁ ce to i i ill illustrate difﬁ cult es wh ch w be enc o u ntered . Fo r th e

m ari o n ill i e al o th e ori in l re i tr sake o f c o p s , I w g v s g a g s a ti n alt ou as a rule it oe no t a ear in th e Ameri an o , h gh d s pp c edit io ns 1 Ex . 5

a o Ie r Cl a vie r : 8 P . pi n . G reat : G amb a and D oubl e Fl ute

S amt-Sa é : ha sod ze in E-ma na R f , j or

2 Ex . 5

B d ll Bourdon 1 -ft Cl a vie r III: ( R é cit) ourdon e Swe 6 . an d - 8 e t Trompette (ou Basson Flute 4 ft . am -f H autbois) G re at G b a 8 t . and S t Di a or Fl te -f Cl a vie r II: S alicional d e 8 . p. u , 8 t. ‘ Cl a vie r I Bourdon c i Fhzte Ch oir : Di apas ons and H ar m ni c Fl ute -f harmonique d e 8 o 8 or 4 t . - P éd ale : Bourdons d e 16 c i 8 P e dal : 1 6 and 8 ft . ‘

e . B L s Flzzl e d 8 P (N. . e j eux d es Clavie rs I e t 11 ’ doivent étre d égal e force . )

All eg retto

Th e dire ction of the original edition regarding th e rela ti e tren t f two o f th m l i t im ortant v s g h o e anua s s mos p , and IS not oun in h r i i in l th e alter f d t e epr nt . In th e or g a nation of m n l i n or a ua s s b etween th e ﬁrst and seco d ,

Grand—or uc and P osi ti and th n i ar in th e ﬁr st g f, e dy am c m k ADAPTATION : AME RICAN E DITIONS 107

mea ur e is . In th e Am i s p er can edition no exp ressio n ma rk is i en and th e l g v , a ternatio n i s between G rea t a nd Swe ll it r a egi tration ra i all ifferent rom the ori i w h s d c y d f g nal .

Ex . 5 3

G uil mant : G rand Choeur en R é Ma j eur. (Alla Haend e l)

Récit . Jeux d e d fon e t j eux Swe11: Di apas o ns an d H autb o ’ y d anches d e 8 P . Ch oir : M el o di a an d Fl ute - 4 ft .

In th e rio o f t i ie e th T h s p c , e modern French editio n u ses the éci t e lu i l R e . P o i l th e ori inal o ne did no t xc s v y ss b y g , but th lt r e a e nation b etween Swell and Ch oir in the Am eri can e ition is e tremel d x y awkward . The words of the “ ” title Alla Haendel are l , , a so omitted in the latter edi i n 1 t o .

Ex . 5 4

G uil mant : Lamentation

‘ R cit : Voix humai e é n , Fhzte S ol o M anu al : H armoni c Fl ute harmoni ue d e 8 e t Flfit — — q e 8 ft . (R o hr Fl ute P hil o douce d e 4 P . avec le Trem m el a) blant Swell : V ox umana S t D H , . i ap . Cl a vie r de Bo mbarde : - - Flfite 8 ft . an d Fl u e t ft . 4 , with harmoni ue d e 8 P T — q . r emul ant G rand or ue : M ontre Bourdon G re at : Di a as ons n - g , p a d 8 ft . G ambe ou Salicional e t Fl ute Flute d e 8 P . Ch oir : G amb a (Keraul oph on) ’ P os iti : G ambe ou S alicional Vi ol d Amo f ur . (Viol d a a vec Bourdon d e 8 P G amb a and e G e ) M l . ( P edale : m Cont e ba e f r s s s , Flfites d ackt) e t Bourdons d e 16 - e t 8 P e dal : Bo u r don 1 6 ft . and Vio Bourdon de 16 et F l onc ell o f n lfite 8 t . (Co tra Bas s

de 8 P . and t e G . coupl r c d lib . )

A mo dern Phil omela woul d hardly be an acceptable

u titute for a armoni Flute es ec1all in i e of th e s bs H c , p y V w context while the mark mf in th e original editio n woul d prob ably be c onsid erably o verstepped if G reat Diap asons

1 Th e translation of a n - haeu b G a nd Cho us as a lie d t o th e Gr d C r y r r , p p i n G a nd- Chaeu titl e of a c om o sition i s i nc o ec t . In this c onnec t o p , rr r r “ ” signi ﬁes full org a n ; a c omp o sition b ea ring thi s d e signa tion i s one imila l n h of h e ins t u ment . S to b e pl a yed wi th th e fu ll stre gt t r r y , Grand-Chaeu r applie d t o th e regi stra tion of one or more manual s is “ ” s ynon ymou s wi th full . 108 THE ORGAN IN FRANCE

1 er t e to sa not in o f th e o i le a ition w e o be us d , y h g p ss b dd o f a G amba .

Ex . 5 5

n d R é cit : Flfite harmonique , G ambe Swell : Di apas o s an R e e ds e T om e t Trum e t and autb o c i d e 8 P . t r p te ( p H y) armoni ue G reat : G amb a and 8-ft h — q 4) . G rand org ue : p Bourdons de Fl utes fi Full O rgan al a a n 16 e t 8 P . S icion l . fl Ch oir : O pen Di ap s on a d - - G rand Choeur Fl ute 4 ft . P éd ale : Flfites c i Bourdons de P e dal : Bour don and Di apas on - - 16 e t 8 P . An he 1 f nd ft . ou l er (fl ) c s 6 t. a 8 ( C p ' Full P e d. G t . c d lib . fi )

G ui l m (Andante maestoso)

Th e American registration answer s no l ong er incident ’ ll th l e of our on of 1 h a y it sh ows e va u a B d 6 on t e G reat .

Ex . 5 6

o u ain ll n R écit: Bourdon, V ix h m e, Swe : V ox H uma a, St. Dia. ambe e oix c les te d e arm ni a -f w G t V é H o c , 8 t. ith mblant Tr e mu an 8 P . a vec Z e Tre l t P os iti : Flﬁte e t S alicional d e G re at : Bourdon 1 6-ft D oubl e f . (

8 P . Diapas on) With u ni son and a - e B u d 1 P r- G r nd orgu o r on de 6 . s upe octav e S w ell c oupl er s R écit accouplé e n unis on (In th e ab s e nc e—o f th e l atter e t 8 ve rave c d libitum . c ou l er a dd f l te g ( ) p , 4 t . F u )

P édale : Bourdon d e 16, Bour Ch oir : M el o di a and D ul ci ana 8 c d on d e ( d lib . ) Flﬁte d e 8 or S ali ci on al mi dolce ou Flﬁte d e 4 P al Bo r n - i l on Co . P e d : u d o 1 6 ft . V o - -f c ell o 8 ft. and P rincipal 4 t.

l m t Ma r he dc rocess n G ui an . c P on

1 Th is faul t of tr ansla tion i s espe c i all y notic eable in Ame ric an e di ’ ’ i u t ons of the various piece s c omprising G u ilman t s L Or gu e P ra ti q e.

112 THE ORGAN IN FRANCE

INDEX OF SPECIFICATIONS

SP E A K G BU LDE R MAN U AL S IN I ST O PS

Eglise de Saint-Sul pi c e —(P ari s ) C a vaill e-C oll C ath édral e d e N o tre D ame

(P ari s) o E li s u c - ur P ari s III. g e d Sa ré C oe ( ) M u tin IV C ath d al e de Sainte-Cecil e . é r

Egli se de Saint-Eu stach e (P ari s ) M erklin l u -D eni s VI. Cathédr al e de Sa t (P ari s ) Cavaill e-C oll i r P ari s V II. P al a s du Tro c a de o ( ) i - u n R ou en III h s d e Sa nt O e . V . Eg e ( ) s La M a del eine P ari s IX . Egli e d e ( ) li se d e Sainte-Cl o thil de X. Eg (P ari s) I onser at oi e R o al e d e M u X . C v r y siq ue (Bru s sel s) XII C ath d al e de o tre-D ame . é r N (Ch ar tres) Abb ey th dr al e de saint-Vincent XIII. C a é (Saint M al o ) D ebierre I esid enc e of th e l ate l exan dre X V . R A G uilmant (M eud on-sur

Sein e , P ari s) E li se d e ain -G odard R ou en XV . g S t ( ) r u u r E li se d u XV I. O g e d e Ch oe , g Sac ré-C oeur (P ari s ) mi nimum XV II. Orgu e d e Ch oeur ( type)

1 lli n n Th e manu al c on o our ma u l di i i n . r e s , tr g f a v s o s

114 THE ORGAN IN FRANCE

SPECIFICATION I — EG LISE DE SAINT SU LP ICE (P ari s) — ( Organ rec on stru c t ed by C availl e Coll i n 1862 )

- h . M . r h a b ni (M . O Wido s ee n o rga st sin ce 1870) SPECIFICATIONS 115

SPECIFICATION I Continu ed

— EG LISE DE SAINT SU LP ICE (P aris )

- In swell box. 116 THE ORGAN IN FR ANCE

SPECIFICATION II

EG LISE METR OP OLITA INE ( CAT HEDR A LE) DE — NOT R E DAME (P ari s) — an buil b Ca aille Coll 1868 e s to e d in 1894 . ( Org t y v , ; r r al te re d in 1899)

i MM L o u i s i e r n e a n d Ma c e l D u e) ( T h e p r e s e nt o rg a n s t s a r e . V r p r

118 THE ORGAN IN FRANCE

m 0 0 3 0 8 m ﬁ 2 w 0 EE 0 w m 8 o 8 c c t c c 8 0 0 Q ﬁ . o E o o 0 o © 8 h 3 u E 3 3 3 E m a § z 0 0 S Q 0 3 o 3 o 2 3 o o Q g m 5 w g t § D 0 w 0 0 m : mN h

mm ﬁ ﬂ s m O mn 8 w 8 8 Z m. m. 8 w 8 8 8 o u. . m. B u 3.

0 mm 0 N mm 0 3 0 0 : 0 6 0 5 . 0 0 3 8 : 0 0 0 8 2 0 v : 8 0 0 0 0 0 : o : 0 0 $ 5 0 0 0 0 : 8 m m B : : : E E a a 0 0 o ~ 0 a v v S R D m k E 6 g 0 g m c N w a o mm 3 0 m m v m m m w 0 v m m. w n S.

1 \ £1 1 w w mmmm0. m N 0 0. 0 z 1 ; 5 3 3 0 3 3 8 : 3 3 5 0 0 0 0 : 0 0 8 c z 9 0 0 5 8 e 5 0 O o : 0 3 0 m 5 w 2 t 2 5 M 0 m : 3. 0 U e 5 s 5 s 0 5 m b mm m ma 5 o mm 3 mm m8 5 mm w Q v v 0

z 8 : 8 3 0 0 0 0 0 9 £ : 0 0 0 c 0 S m 8 . 8 8 3 8 8 E 0 c 0 x n. ; 5 2 0 : 5 0 m

c m m 0 0 0 mu ma c 2 m8 m m 0 0 m m a mm5

\ Q ’ . b O b O V a N N ; t T w . N c h é ~

E m 0 2 E z S c E o 0 0 o Q o 5 o “ 5 c ﬁ v S 3 N 0 n N F 0 0 8 5 S a 0 Q s o 3 o 2 S o 3 m m m 5 oQ n s 0

v c0 w 0 5 M Q a S 8 8 2 2

12 0 THE ORGAN IN FRANCE SPECIF ICATIONS 12 1

co co oo v w w w oo oo v

? 0 2 0 0 0 0 0 S 0 0 & 0 0 u 0 o 0 0 0 0 0 0 z N 8 8 0 0 0 0 0 0 E 5 0 0 t 2 0 0 0 0 o 0 k K ? 5 5 0 mm5 5

\O °O °O V

0 0 0 0 0 0 0 0 0 0 5 . 0 0 3 0 5 8 0 0 0 5 0 0 0 0 0 3 0 0 0 0 3 6 0 Q 0 m5 0

0 00 00 00 00 0 0 0 0 “

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 3 0 0 0 5 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 8 0 0 0 0 2 m k m 0 0 m

0 0 0 0 0 0 0 0 0 8 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 3 0 0 0 0 0 0 u 0 0 0 0 0 3 3 0 0 0 0 0 & ? h k o .

0 0 0 0 0 0 2 0 0 0 0 0 0 0 0 5 0 0 0 0 0 0 0 0 0 0 0 0 ~ 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 w 0 5 0 0 0 0 0 0 0 2 0 0 0 0 2 E 0 5 : k h m0 5 k Q 0 9 12 2 THE ORGAN IN FRANCE

12 4 THE ORGAN IN FRANCE SPECIFICATIONS 12 5 12 6 THE OR GAN IN FRANCE

12 8 THE ORGAN IN FRANCE

0 0 N 0 0 0 0 0 0 M .

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 m. k

0 0 0 0 0 0 0 0 0 0 0 N 5 0 0 0 m1 m

0 0 0 0 0 0 § 0 0 0 0 0 0 0 3 0 0 0 0 0 0 0 0 5 o %

0 s 0 0 0

0 0 0 w m 0 N 0 w 0 0. 0 .

0 0 0 0 0 0 0 0 0 : 0 0 0 0 0 0 0 0 0 8 0 0 0

m 0 0 0 0 0 0 m m m 0 0 m. N E 0 0 -N 0

0 0 N 0 u 0 0 ! 0 0 ~ 0 0 b 0 0 0 0 a 0 0 o 0 ~n g 0 SPECIFICATIONS 12 9 13 0 THE ORGAN IN FRAN CE

13 2 THE OR GAN IN FR ANGE

0 0 0 0 0 0 0 0 0 0 6 0 0 0 0 0 0 0 0 0 0 0 0 n 8 5 0 0 0 0 o 0 0 U 0 0 w 2 % m 0 “ - 0 0 0 0 0 0 0 0 b 0 0 N 0 0 y 3 0 a a 0 0 d m 0 m 0 0

0 0 0 0 0 N 8 Q 0 0 N . 8 3 3 0 3 0 2 Q g

0 0m 00 O ~ Z 0 r $ < 5 a 0 w 0 0 0 m 8 0 0 m. . 0 0 0 8 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 0 ‘ 0 0 5 a 0 k 0 mm

0 N N 0 3 0 0 0 E 0 2 5 0 E 0

0 0 0 m Q Q S E P CIFICATIONS 13 3 13 4 THE ORGAN IN FRANCE

to to ao

Q OO Q OO V T- U

G LOSSAR Y

Y of th e ll wi n MAN fo o g wor ds and designations admit of more th an nsl a i In s one t a t on . h c as s r u c e th e transl a tions here given are only th ose associate i th th e or i th el a te sub s d W organ , W r d j ec t . In th e c om ila ti on of l p th e G ossary I h ave frequ ently referred for ’ m i n M e ’ info at o to r . W dgwo o s Di cti ona o Or an S to s o L r d ry f g p , t Orgue

Mo e ne b Al e . C elli e and t o th e c ti on nai re L r d r , y x r , a ous se. I ac kno le e i n e te ness to th ei au th o s and u w dg my d b d r r p blish ers.

ABBR EV IATIONS

Itali an Latin li terall y li tur gi c al mascul ine mu sic noun n a li e to th e n orga , pp d orga pl ural pre po si tion pronoun Whi ch see v erb i ntransitive verb transitive

h semici cula east Abs id a ch . A se t e e eccles . r p ; r r h i end of th e c o r .

Abs o ute Ab s ol u tion .

Ac co mp ag ne m ent A c c ompani ment .

Ac co e v. t. to Acco rd Ch ord ; c onsonance . rd r, ,

tune . A u l e A lie l to th e c u l e s ccoupl e me nt n . m. Co p r . pp d on y o p r See from one manual to ano th er . ( e Tirass . )

tic . s i s Al s ad . ac ous A c ou t c . o j , m siti n o f Ad ti o sh i . A c li t. ora on , w r p o po o e ch a ac te sui tabl e reverent and q ui t r r , f for u se at th e most sol emn portion o e th e servic . 13 7 13 8 THE ORGAN IN FRANCE

- S a acute . c ta ve ai ue h e Aig u é h rp , O g , t oc tave

b ve a s se d to octave ra v . a o , oppo g e (q A d of ise a e o i . r . I. t u Allél uia n . m (g ) wor pra dd d var o s texts of th e li turgy a t c e rtain seasons o f h h ea 2 . A m si i th e c ur c y r . c o po t on of illi an a e br t ch rac t r . e an G rm y . G e ma n r . mé n ue d a o Ame i ca . A N o t r q rd , N r h A me i a Th e d A m ri u is r c . wor é q e fre u entl a li e to th e ni te States q y pp d U d .

é i in a d . Ame i m r ca c an . See b A e . , j , r a ov h e li br ee h e ee . Anc e ee . Anc h e s Anc R d , fr r d 0 u l s l a vi e s ee s ll m o s e c on a nu l s . t r , r d a a m Old ; fo r er . s E ngli h . l E ng and . h e F east of th e Annunci ti n B M T . V . . a o , a ch 2 M r 5 . u i h ve se u su ll Anti enne li t . A t m rg n p on ; a r , a y fro th e s c i tu es su in a t or as a r p r , ng p r Whole b efo re and after p salms a nd c an ticl es esc ib e i n c c d nce i th th e , pr r d a or a W

c hara cter o f th e d ay . In th e sixt eenth c entury th e l atin word a nti phona was t ansl ate a nthem a nd i s s till s o r d by , r endere d i n c ertai n p arts of th e E nglish e -b Pray r ook . ’ ll su mm ns n m. li t. A c . P éd al e d a e l . a , o pp , a pedal c ontrolli ng th e admi s sion of th e Wi nd to th e p neumatic ac tion of a di vi si on or of th e Wh ol e of a manu al or l s all e P éda le c h e st . A o c d pédale de m i ' co b na zson .

A te f r . is mu si i n A rt t ; c a . Th e F eas t o f th e Assum ti n B p o . V . M . , A u u s g t 15 . e o man c h ea in P rf r e ; —r g . Al ta . M ait e autel hi alta . r r , gh r

Before .

Bar ton r m. . A ee f s ll l y n . o g r d o u ua y p ac ed in the al Péd e . 8 0 3 ba e ow (f. s s ) L .

Bas ili e l m n m n a. u ecc es . a ch. A th e s q r o g Ro a , l ong obl ong hall With a semi circul ar s In a e at th e end . m de n u se p o r , a c hu c e ﬁ ce of simi l m r h di ar for .

140 THE ORGAN I N FRANCE

Ca th éd ral e C a th edr al ; th e principal c hurc h of a di cese the sea of is o , t th e b hop . m ca th oli Ro an c . t n i f m l o n sa i t. a n c l or a ver t on. F m th e Italian chi a ma ta mil i a ( ro , a t ry s n l iven b u ets o ig a g y tr mp r drums . ) r i ni O g . e u c h amad e s g ﬁes that th e i e s are l c ed o i ontall ins a p p p a h r z y , te d f v i all Thi s meth o i s o ert c y . d appli e d onl y to powerful reed s ; as tro mp e ttes e n c h a ad m e . an Ch a ng e ment C h ge . l n l i h ant M e d s . Ch ant o i en C o y , o g grég r , p a n ha n s n no a re n See ton . o g ; t g gori a c t . ( ) A sm ll i ch u ch . A or on of a c h u h Ch ap ell e 1 . a r p t rc c ontainin an l A l c e e se ed g a tar . p a r rv for eli i u s o s i in an institution r g o w r h p , as h os i al r sch l 2 A c h u ch a p t o oo . . r

ch oir . —’ Ch ef d a nuf e M a ste rpiece . i Th e h o an el f c u c . Choeur l . c r or c h c o a h r h A h i nd 2 . c o c o u s . See a r , h r ( g r

c haeur ; maitris e . ) Choral Ch oral e ; applie d to c ompositions b ased - u se i u s ch o al e li ke th eme . pon a r o , r m u li l ce Cl airo n A reed of of tru p et q a ty . P a d l a o n th e manu a s and in th e Péd le . b l u s b a iful m s i h t e l e u t . Lat . cla Cl ara b ella ( , br g ; , ) A cl ear ﬂ ute of Wh ose pipes ar e n i ttl e u sed in co struc te d of wood . L

Franc e . i n A eed sto desi ned to imi Cl arinette Clar et . r p g ta te th e orc h estral instru ment of th e

s m n m See ne . a e a e . ( cromor ) a si c h Cl avecin H rp ord . Cl avecinis te A p e rformer u pon th e harpsichord ; ap pli ed al s o to organi sts in th e seventeenth s and eigh teenth c enturi e . l nu e b d . Ma a , k y oar

ke . le . la t. cla v s C ( i , y ) f ’ ll d l och e t e s o oi sm ll b e . Je u e c t t A a , a p -f i h l t . p tc . i i n o inai o ns lib e s ad~ mb nat o . C b s Combinaiso n Co m r ,

j ustabl e or free c ombi nations .

i A li e to te ts . n . m. l tu . Commun C ommon . rg p p d x presc rib ed for u se u pon all feasts of a

c ertain clas s or c h arac ter . A e se i n th e M ss s id b th e Communio n li turg. v r a a y

c elebrant and repeated by th e c hoir . A ui et se i u s c om osition a o i a te q , r o p ppr pr

t o c orrespondi ng use . GLOSSARY 141

C m und o po . Je ux c m os s o p é , mi tu es x r . A c m se of mu i o po r s c . A s o t mu smal h r work , or c om osi i p t o n . Co m ’ po s itio n d e l or u e g , sp ecification . C ns le ke -des o o , y k . T o c onst u c t b ui l r , d . A i nci a l of Pr p of large sc al e pla , ced in th e al Péd e. Co r angl ais n li sh g o n . A E h reed of 16 or 8-f r t . i t p ch , esi ne to i d g d mi tate to some ex tent th e orch es tral inst umen r t . Co r d e nuit li - t. ni h t h o n er g r (g . Na chtho n r ) . A s topp e egi ste of d r r th e softes t s top of th e organ . Co ne t r n . A i tu e of III or IV - n s i m x r ra k , g ving the l e h a moni ’ ’ ow r r cs of the 16 or 8 se ie s r . Of l e sc l arg a e . Co no d lc e i t r n li . o ( ) . m. t so t h o n . A a f r soft flute stop ; in F enc h s m r organ ore often a reed of l c ed in th e al p a Péd e. (See Sp ecifica tions . ) C l u ali o or , q ty . Ah ei h th -n g ote ; a c orre spondi ng divi sion of me su e a a r . Do u bl e c ro ch e a six , teenth n ote . T i l e c o ch e r p r , a thi rty sec nd no o te . Cromorne e n. iv i ( at on v i u sl sc ibed to er D r ar o y a r g . u mmho n an d r . co r h o n n Kr r i , r , a d m ne , s mb e or mel nch l or o r a o y . ) A s i pec es of cl arinet s top more in favor in th e eigh teenth c entury and fir st a t of th e ni neteen p r th . Culte n A s ste . y m of religi ous beli ef ; a Church or enomi na i d t on . C mbal y e A mi tur e sto li ke th e ou ni x p , f r ture, b ut hi h e in itc an g r p h , d Wi th freq uent b e s r ak .

Dans I n .

Dé co u l er T o unc u le i m l e p o p . p . découp z . D édo u bl ement Th e s stem of au mentation h y g , w ereby some of th e pip es of a stop are bor rowed from anoth er stop of a different i p tc h . F aul t e ect au d aut d e in e aul , d f ; éf , d f t

of in th e b sence of. , a D eho s r u t a ou tsi e e te i o . Eu e h s O w rd , d , x r r d or , to b e ou h t out or em has wed ﬁg. , br g p , O as a melody in an inner v0 1ce . 142 THE ORGAN IN FRANCE

See déc oupl er. Th e u e a h e l t t t e e . pp r p r , r b il . in m i D e ta . or E n tail c o n i n g d é , b at o s of f w i s s a e reg ter .

D e ux Two .

n bbr . Z e or Z é me . D e uxié me S ec o d . a m

l i n 2 s l Sc a e ro ort o s . tc or an Dia as n . . i t p o , p p P h d ard a s d i a as o n n mal n m l or , p or , or a i nt na i nal i r A s to e o . r t o p tch . 3 . g p simi la to th e mon t e or i nci a l b u t r r pr p , of small er sc al e and more p ositive

o n h m nu l s . qu ali ty . Of t e a a Sh a th si n hi c h i s e s no te e m. e Dié s n . rp ; g W ra a a - é l e s Doubl e di s e d ub a . alf tone . h , o h rp

Sun a . n . m. d y es T vi si on of state or c ount eccl . h e di a ry s i over Whi c h a bish op h as j uri di c t on. - mil 2 s to of th e i nci a a . D o u bl e tl e Th e ft . p pr p l f y

D So t ui et s ee t . u . uc e o x (f do ) f , q , w i D ro it R gh t . D ul ciane A s oft stop of narrow scale and qui et ’

t one . 8 and

E l Sc a e . A m nu l c ontainin so t ste s org. a a g f p n n i n an ont a not ofte fou d Fr ce . C r ry t o Ameri c an c u stom th e pip es are not l c ed a t i stanc e m th e p a a d fro organ , b u t merel y form a suppl ementary di vi Th e m nu l i s u su ll sion of i t . a a a y a plac e d ab ove th t of th e R éci t. l i ns i u i n of l ea ni n 2 A sc h o t t t o . . 1. A o , r g sch l in th e se se of stan a or oo , n a d rd typ e of meth o d or c h arac t eri sti c s ; as o i a i the French school f mu s c l composi t on .

Publi sh er . An ni z ed o of C r i stians as 1 . orga b dy h , ’ l é lis e o mai ne th e m n C ath oli c g r , Ro a ’ h u ch é lis e e c u e th e G ee C r ; l g g r q , r k ’ Ch u c h l é lis e o te s tante th e r ; g pr ,

s an h u ch . 2 Th e ec cl esi s Prote t t C r . a i al sta li sh ent as se d to civil t c e b m , oppo

A chur c h e ﬁc e . government . 3 . di f h e mos s l emn 1 . One o t t El é vation li turg . o ss 2 A c om moments of th e Ma . . p ositi on of d evo tional and e xcee dingly a a qui e t ch r cter .

144 THE ORGAN IN FRANCE

Time as q ne is once t ois is hr ; fo , ; r fo , t ee im s is t o et e sim t e . A l a ul tan fo , g h r , e sl o u y . a i ll ec tivel m. oun t on . F n s c o h o n n . t F d F d o d , y e ﬂ ue s t s o f 2 16 4 a 2 - o 8 nd ft . i p 3 p t ch , a s O sed to mi tu es mutations an ppo x r , d ee s r d . Fo nd a e ntal F un amental m d .

Fo t St on . Te m s o t st on eat of r r g p f r , r g b ( a

measur e) . Fou nitu e A mi tu e of seve l n s ivin ﬁfth r r x r ra ra k , g g s tav and o c es . F ein h a ni ue n e i ur i A ll o m. F n c b b t . ro er or a . e r rm q ( r , ) b rd attach e d t o th e mou th of pipes of a c er tain class to render th eir sp eech more m pro pt . Fu a a - s to of sa ci na or k ra ulo h n g r A 4 ft . p li o l é p o e

q u ali ty .

nd - e G ra o rg u . Th e i nci al sto of st in ualit no t p r p p r g q y , u nli ke th e V ioli n Diapas on of Americ an s su ll of 8 sometimes of organ . U a y - i l tch . se a s th e n t une 16 ft . p U d N ot to b rank of th e voi zv c éleste . e u s i our mo e n m c onf ed W th d r G a ba . - G am es st i n tone s to s . b , r g d p

Left . i h e r ms e m is . t t cor (ge . Ge , c ha o ) W h

de nui t th e softest sto of th e r n . , — p o ga Of 8 and 4 ft . pitch . G n al e e nt G ene ll u su ll . é ér m ra y , a y G ra uel A ve se sun in th e ss b e d li tu rg . r g Ma i s el tween th e ep stl e and the go p . G ad uell e e nt G du ll littl e b littl e . r m ra a y , y G rand-Chaeur A manu al fro m Whi ch are pl ayed c ertain s top s b el onging t o th e Grand-orgu e di vi sion ; onl y found in th e l arg est ns and l ced b el th e G an orga , p a ow r d

2 . Th n l See . e orgu e ma ua . ( p ull e of m nu l or of th e f p ow r a a a , A c om osition d e n i n . e t re orga 3 . p signe d to display th e full p ower of an n orga . G and- r r ue n. m Th inci al n u su ll situate O g . 1. e pr p orga , a y d in a gall ery or imba na over th e main 2 Th e c i e e ntranc e of th e c h urch . . h f m nu l u su ll l c ed l o est in th e a a , a y p a w

order of th e keyboards . GLOSSARY 145

- G rog s e ad . Prefixed to , j nixture o r mutation s to s i p , e ne ll Sl ni fies g ra y g pitc h an oc tave lower th an u su - l . G os s e fite a r fi , a powerful fl u t e of 16 or 8-f t . i p tch . No t often und in F an fo r ce .

a moni c . S o n h a oni ue ove H r rm q , rtone .

n h .

- oe . A ee sto f o 8 ft . itch a Ob r d p p , pproxi matin i g n qu ali ty th e tone of the orch es t al in st u me r r nt . ei h i H g t , p tch . Ei gh t .

Indication Indi cation. In icatio n d es eu e d j x, r gi s trati o n . I te a m n v l . n f . r I i nvo cat on a e . A m si , pr y r c o po tion of a o iate ch a a te ppr pr r c r .

- al us ie S u tte s ell ld . J o h r , w fo e i s e u d e n oun ation Je u l . eux n m Sto te . (p j ) . . p , r g r J x fo d , f d ’

d nc h e s ee s . e ux sto s . e ux a p J , r d J

c m s é s mi tu es . o po , x r d - und Th u s a Th ur s a in H l e u i s aint n m. J . Ma y r d y , d y o y

We ek .

o u e . To play ; i mp . j z ’ o u d e s mo ts All ul s Day . J r r , So Day

(N ov . ’ u e to as far as . J squ au pr p . U p ,

xé a s o n a mass i e ; ¢ww§ Ké raulophone (gr . p h r ; p p ’ A n 8 sto in u ali t b e v oic e . ) p , q y

i onal . tween th e montre and th e salzc A su li c ati on sun at th e be m r . Kyrie el e is on n . . (g ) pp g s ginni ng of th e Mas .

s e . T o l eave i m . l ais v. t. ; p z

B oa i e . a dj . r d , W d an si l e mutati on stop s undi n n . m. A mp o g

l . oc tave ab ove the Twe fth 146 THE ORGAN IN FRANCE

Lu mié re Th e na rrow l ateral sl o t through Whi ch th e win d i s dire c te d a gainst t h e lip of th e i p pe .

M achine Th e neumati c a c tion of si l e m nu l p a ng a a , a hine n or o f th e le . M ac eumati u e Péd p q , a i l p neum t c p a le t or valve . n M i n d ite i h t h an ai ain a . a o m n M H d r , r g d ; ‘ a u c h e l e t h a n cl a vie s cx mains g , f d ; r , l manua s .

Bu t .

' M aste r ; a titl e of resp ec t applie d to one s s i i t eac h er or to mu si cians of di t nc t o n . M a it e d e c h a e ll e c h o i maste r p , r r ; ma it e d e s ch aeu rs c h o us m as te r , r r ; - mait e au te l hi h al ta . r , g r ’ M aitn s h i f s . e eccles . A c o r o b oy M a j o r . M ke a anu al ; a manu al yb o rd . m i i i s s C o b nat o n m tu e of to . , x r ( p ) Sa m A dv. e n l s . e . ev , a o t T e a riﬁ c e o f h l u r mi s a . S t g . (l at. s ) h c t e M s s th e ss th e i nci al ser a , Ma ; pr p li vi c e of th e Roman C a th o c Ch ur c h . Th e p orti ons su ng b y th e ch oir at th e inc i al el eb ation are i e elezs on p r p c r Kyr , G lo a i n excelsi s Deo C e o S a n ctu s ri , r d , n n z n nu s Dei hi c a d Be ed ctu s , a d A g , W h

c o m i se th e ina o i nan ce . v. pr Ord ry ( rd , q ) i th th e Int oi t G du l or T ac t W r , ra a r , ll l u n fi er tor an A e ui a or Se q e c e , O y d C mmu ni n hi c h o m th e o e o o , W f r Pr p r l w o e . M e s s e as s e o (pr pr , q b , m s s me s s e c h a nt e su m s s a ; é , ng a ; ’ ra nd me s s e hi h m ss me s s e s l e n g , g a ; o n e ll e s l e mn m ss me s s e o nti c al e , o a ; p fi , ontifioal m ss me s s e d e ma i a e p a ; r g , i nu pt al mass ; mes s e d es mo rts (la t. m s sa r n m ss a da r e i p o def u ctzs ; i t. i ui em e ui em m ss m ss for th e q ) , r q a , a ea mes s e e n l a inc h ant sun to d d ; p , g a l ins n s e in me s s e e n mu s i u e p a o g tt g ; q , su ng to a pol yph oni c or harmoni z e d s in e tt g . M e tt e v T o take l i m e t e a a . t. ac e . . t r , p p m z , dr w (

s top ) . M ine u M in r or .

148 THE ORGAN IN FRANCE

‘ ‘ e i av v O c ta v a g ue Ah oc t e ab o e .

c ta ve ave Ah o c tave elo . or . ctaves ave O gr b w g O gr s , - av l s sub o c t e c oup er . i - n i c . A harmo c ﬂu te of 2 ft . p t h l e o a o i f th i u . t t on o e l t rg. Off r ry ; p r s s A esc i e t e to b 2 . t e Ma . pr r b d x sun a t th e ffe to va i n c c d g O r ry , ry g a or A i n o h e c a ac te of th e da 3 . g t t h r r y . c omposition suitable for use at th e f O fertory .

u s d xxel s ke . hi l d m r . s e ent an c i e n . . Op é (g M , rp , , y ) A n o c e st al i nst ument i ch re 1 . r h r r Wh

2 . A ee n plac ed th e S erpent . r d orga - s to u su ll of 16 ft . itch and l c ed p , a y p p a i n th e a Péd le .

Orc h estra . C ollec tivel t ose o tions of li tu . rg y , h p r th e Mass Wh o se text s d o n o t c h ange a a ccording t o th e f eas t c ommemor t e d . l s on ant. r o e . v. e . . i e e e ( p pr , q ) g Kyr i ,

S a nctus , etc . d c h u r r u n . o te n . an . u e e ce O g e . m. (pl f f ) Org Org , a small organ pl ace d i n or near th e m m n c h anc el , u s ed for th e a c c o p ani e t

o f th e c h oir . u e a tu au i e Org y x , p p

o rgan . Q i m ni m ine a r ue x es s a o u c a t o n . g e pr f H r , b rg m e te T o e ove eti e ith r a i m . é t z O r r , r r , W d w ; p ,

pu t off (a s top) . n m l se bouch uve t en . a t. e c d O r Op ( f r é, o ; é ,

stopp ed . ) i m o uv e . O uvr r T o open ; i p . r z

P os itif .

Th e east of Th e R esu ec tion aste . f rr , E r

s a i s . eccl e . P r h

T o ss i m . as s e pa ; p p z . A b ell -sh ap e d termi nation of an organ i See . p p e . ( ﬂ ﬁte ap avillon )

bb a le . a r . Péd Th e i vi sion of th e n c ontainin 1. d orga g th e pip e s pl ayed onl y from th e p edal - i me 2 . e l a k ey b oard . P da oper t ng a m v men c h ani c al o e t . Th e e l - p da key board .

D ur i ng . GLOSSARY 149

WGW KOU T r . fl (g fi, fiftie th d a y . ) Th e fe a s t of entec o s t W P , hitsun a d y . In th e m Chu c h th e Ro an r s uc c ee di ng S u ndays to A ve nt are d numb ere d fro m P e n tec o s t th u s the ; fifth S unday a f te r e nte c os t i P s th e four th a fte r Tri ni ty , i n A n lic an u sa e g g . m ll li l tt . S a , e Littl e . P e u a e u little b li l p , y tt e . a (u . fl u to i ccol o s m ll fl u p , a te . ) A h organ st o of - p 1 ft . itch p of th e pmnmpa l m l ; th e hig h e s t s to o f th e o a n fa i y p rg . F o ot . e u d e 8 i e d s s to s o f J x p , p 8 ft . u e d e 3 2 l e d s a Org p , n organ c o nta m i ng o ne or mo e s to s o f th a t i r p p tc h .

1 . A mi tu x re h a ving nu mero us ra n ks , o te n c lu th e s even f in ding te enth .

2 . F ull o a n rg .

adv. o e . D e l us b esi M r p , de ; i n a ddi tion ; d e l us e n l us mo e a nd mo p p , r re . Sev eral . P o i s tif.

er . osa u ne t omb n (g P , r o e . ) A h eavy ee sto of 16-f t . itch u su ll r d p p , a y plac ed in th e Péda le . A sub si i a m nu l s n d ry a a , ta di ng b e twee n th e G a n -or ue an r d g d R éczt b oth in l oe af tion and i n c h a ac t r er . C orre spond s fairly to th e Ch oir-organ of older A me i c a n i nst uments r r .

Fi s t . bb . I e r I a é re . r r ,

T m . o e a e . i An h es pr p r p prépare z . c pré a e s e e s e a e a i ec tio n c o n p ré , r d pr p r d ; d r s tantl u i n F enc h mu sic y fo nd r organ , rendere d unnec essary by th e mec h ani c al c onst u c tio n of Ame ic a n s r r organ , Wh ere th e re e ds c an ge nerall y b e a dde d b y a mec h ani cal movemen t whe n

d esire d . ri n z a — i ch and of b illi ant A p c p l of 4 ft . p t r i q u al ty . A c om osition of a rO n a te Praye r . p pp p na ture a ull - s c l ed Th e typ i c al organ s top ; f a , - s onorou s Diapa son of 3 2 16 or S ft .

i See Mont e . p tc h . ( r )

ant . sa c . Sec u lar . ( ré ) h o se o tio ns of th e ass C oll ec tively , t p r M Wh o se texts c h ang e a c c ording to th e ’

See O rdinazre . feas t c el ebrated . ( ) 15 0 THE ORGAN IN FRANCE

Se u en a h n in Pros e li tu rg . q ce ym appo te d to b e sung betwe en th e epi s tl e and go spel o n in s Se u e nc es e me c erta d ay . q w re for rly nu me ou s b ut to-da nl ﬁ v e h av r , y o y e b e en re taine d by th e Roman Ch urc h Vi cti mce p a s chali (Easter) V eni S a ncte S pi mtu s (Pe ntecos t ) ; L a u da S i o n (Cor pu s C hri s ti) Di es t rm ( Mzssa pr o defu ncti s ) ; a nd S ta ba t Mater dolorosa n l (F east of th e Seve Do ors B . V . salm Ps aume P .

Fou t of th e nas a d . A s ec ies of Q uarte d e nas ard li t. r h r p dou blette of usu all y included among s mu ta ti o n top s .

F our .

few me . So , a m im - A Bour don of so et es of 8 ft . itch i n hi c h th e a monic of th e p , W h r l i s mi n n twe fth pro e t . Q uinte ﬁ ﬁte A mu ta tion s top of (in th e Pédale) or m l of 5 g? ( anu a s or Péda le) .

R écit . A vi sion e s on n o our org. di c orr p di g t ell - and i nva i a bl l c e d i n a Sw organ , r y p a - u l sep arat e s well b o x . Th e man a key

b oard i s situ a te d ab ove th e Posi tif .

T o ec o nst u c t eb ui l . r r , r d i s s - o R e te to kn . g r , p b il T o es to e eb u . r r , r d T e nam e i s e i ve Cres c endo p e dal . h d r d from th e Wh e el by Whi ch it i s oft en a e i n man I i s no in Op er t d G er y . t t

u se in France .

Sa e n . a t. e cr d . ( profa n ) i n a d . h l . S t . a j , o y ’ A n 8 sto i ll . l at. s ali x s a l ci s Wi ( , , ow ) p of ui e t tone s o te th an th e i a a s on q , f r d p and approaching i n qu ali ty th e ga mbe amil f y . 8 0 11e ll o om . Ha , r S amed i—s aint E n l E as e ve . n . Sa ur a i n H e ek t m. t d y o y W ; r

15 2 THE ORGAN IN FRANCE

T o a ull i m . i e dr w , p ; p t r z . Ke of c om o sitio n e o i an y ( a p ) ; gr g r mod e . Ke oi a m nu l y ( a a ) . Th e east of All Sain f ts (N ov . to u (pl . s , to ute s . ) Al l . T ea tis ssa e e . r , y See ni ﬁ te travers iére . T emula n r t . Thir - ty two .

V ery . A n elevate d place reserv e d for p ersons of ’ i stinc tion . eccles . T i bune d a ue a d r rg , gall ery i n a c h ur ch Wh erein i s l ocate d th e i nci al n to e th e Wi t i s ns p r p orga , g r h t co ole .

Tro cad é ro , S all e d a A l arge conce rt h all i n th e P al ai s da Tro ca déro a uildi n c ons t u , b g r c ted for th e a i s Ex o siti n o P r p o f 1878 . T o e tte o e ul ee st 0 of 8 or 16—f itc r mp A p w rf r d p t . p h o n th e m u l s u su ll f - o 8 ft . i n h an a , a y t e da le o f cl ea and illi a nt u ali Pé ; r br q ty . T o e tte h a mo ni u e t om e e r mp r q , a r p tt Wi th ou l e l en th i es in th e u e i d b g p p pp r reg ster . - — x n . m. an i e . Tuyau (pl . ) Org p p

da av d o M a is la t. u n e ma e se a Un . A vi r ( , w ; r , ) i n s - i b rat g top of 8 ft . p tc h simi l ar to th e voi x c les e u sl t b t With o e a . é , w r be ts

n m. Th e ﬁr st no te of th e s c al f . e o C . Ut

a e u C m Th e s ll bl o i s m j r, ajor ( y a e d u se i n s l e i o nl e s a d o f gg o y . ) K y re designate d i n Frenc h by th e syll abl es

u t re mi e tc . instea of C D E viz , , , , d , , , Ut ma eu C m s ol mine u G j r, ajor ; r,

' i no a d ié s e ine u F -sh a m r ; f m r, rp mi nor ; - s i b ol a e ur B ﬂ a a o . ém m j , t m j r

- Ve ndre di s ainl G ood Friday . e i V es e s th e i nci al a te noo n Vépr s l turg. p r ; p r p f r se vic e o f th e m n C u c u su ll r Ro a h r h , a y l ’ c e ebrate d ab out two or thr ee o cloc k . f e i l e si l A ve se o th B ve c e . r ( b ) , r i a vi ola . Th e t c l inst umen of (i t. ) yp r t h e like-name a il of hi c nl t d f m y , W h o y th e c ontrab ass i s i n present o rc hestral s An - u e . organ stop of string tone and - 8 ft . pitch . GLOSSARY 15 3

’ i t. vi ola d a mo e ( . ) An g s to o f 8 - f r or an p t . pitc h a nd so t s t i n uali t f r g q y . T h e o r c he stral i ns tru me n t fro m whic h th e s to e iv s i s p d r e t na me is now o b s o le t e , al th ou h g occ asionally u se d by mo d e rn c m o o se s e . L p r ( g . o e f ﬂer : La M o rt de Ti nta i ll es I g ) . t wa s of the vi ola fa mi ly h ad seve n s t in s to e r g , g th er Wl th s e ve n s mall er stri ng s vi bra ting sympa th e ti ll c . Its eil e tone i s ve b e au i a y V d ry t f u l .

i t. vw la da a mba i - l . l ( g , t eg vi ol ; i n di s tinc tio n to vi ola da bra ccw a r m- vi o l , ) . Th e o e u nne of th e V i l c e f r r r o on llo .

or . g (Se e g ambe . )

- V ioli n . An n s to f 8 f i o t . tc h o f orga p p , l arge r sc ale and full er tone t h a n th e a mbe and u su ll la ce o n a m u l g , a y p d an a . A le s f 6-f a to o 1 t . so me times Péd p , , o f 2 -f i . Its si i 3 t p tch . p o t ve q u ali ty is i ndi sp ensabl e a s an adj unc t to the

ﬂ u tes of th e Péda le . - s o -f i h ne all A ull tone t of 8 t . tc e f d p p , g r y pl ac e d i n th e Pédale ; i n q u a li ty b e n tween th e montre and th e s a lzcw a l . - i h u n a li le hi h e A a mbe of 8 ft . tc t e tt g p , d g r h an th e n m l itch of the so t or a p organ , th at Wh en c ombine d wi th th e ordi nary ga mbe a Vibrating or b eating eff ec t i s

pro duc e d . - ee sto imitatin Vox hu mane ; an 8 ft . r d p g Wi th more or less success th e so und of i s human vo ce .

15 6 THE ORGAN IN FRANCE

’ ’ esch ard Alb e t Les emi e es A li cati ons de l Electri ci té au a n P , r , pr r pp x Gr des i ss 1 u es . a s La ou e 890 . Org P r , r , - - — h r M . Cause i e su te G and u de S ai nt u n hi lib e t O . e e ou n P r , , r r Org O d R e . h Av anc es 1890 . r , ’ L i a l s-M i o A . Or u e de Ba ch . Wt e ace b C e a i i W o . P rr , , g ( h a Pr f y h r r e d r ) i s Fisc h h r a b ac e 1895 . P r , , ha nn S eba ti a n Bach a nd Hi Wo ks or th a T ans Jo s s r f e Org n . r m h F n l o i la te o t e e c b a ace G o c . N ew Y d fr r h y W l dr h ork , 2 Sc i me 190 . G . h r r , ’ — d l E li se tro oli tai ne ot Da m l n H . G an ue e é N e e de a i s . P o , , r d Org g M p r P r i E xt ai t du R a o t. a s 1868 . —r pp r P r , mille u zc m the hu ch in Th Mu si cal u a t l in Saens Ca s C e e . Sa t , , M r , Q r r y w o nu r Ne Y k Ja a 1916 . r , y , eit e Al e t Deu tsche und F ranzé si sche elba ukunst und el Sc hw z r , b r , Org Org i i l Lei B e ko u nd a te . kuns t. t p z g , r pf H r m n ta ti l hr n nz au ss R ich a Instr u e ons e e vo Hecto Be li oz. E r d t Str , rd , r r g i i s 1 u nd evi i e t. Le ete 905 . r d r p z g , P r ,

o o ames In all A Com ehensi ve Di cti ona o an S to s . Wedgw d , J g , pr ry f Org p

i o . 4th ed . nd n V incent us c C Ltd . Lo o , M , - i o h a les a ie La R evi si on da l ai nchant in Le Co es ondent. W d r , C r M r , P , rr p

a i s Jul 10 1904 . P r , y , i o Ch a l es-M a ie and Sc eit e Alb e t e ace to The an W d r , r r , hw z r , r , Pr f Org - A C i ti co a cti cal E i ti on . Works of Johann S ebasti an Bach . r Pr d i m 1 12 New Y G . Sc e 9 . ork , h r r , ’ - r d i o h a les M a ie Techni u e de l Orches t e Mode ne. 4th e . W d r , C r r , q r ,

a is en Le in e Cie 1910 . P r , H ry mo e t , OR G AN COMPOSITIONS R EFER R ED TO

PUBLISHER o s Bonn et , J eph , Canzona Leduo

La mento Prélu de Nocturne ’ Troi s V ersets sur l Ave Marts S tella

llmann Lé n Boe , o , S ui te gothi que Durand au sson E nest Ch , r , V ersets pour les Vépres des Vi erges Schola Cantorum 96

Chauvet , A . , Andanti no in E major P érégall y et Parvy

’ A nda nte con moto in B minor P éreg ally e t Parvy Fils

allie H . D r , , Si ze Preludes pou vant s ervi r de M agniﬁcat pour le Tou s s ai nt Le duo

is h u o T . D b , , F ugu e in D major Noél

Fi at Luz

In P aradi su m F nc Cé sa ra k , r, 5 1 F antai si e in C major 5 1 Pi ece s ympho ni qu e 10 5 l 7l Priere , , 69 P a stora le 69 Ca nta bi le 5 2 71 i ece héroi que , P 5 71, 7 Chorales

i u t E . G go , , R ha ps odi e su r des ai rs papu lai res da Canada Pel eri nage 15 8 THE ORGAN IN FRAN CE

Pnnmsa s n P A G n G uil mant Al e an e , x dr , mmu n in m Co i on G O . 15 ajor , p

P n ere in F m O . 16 ajor , p Médi tati on in A major Schirmer A ll egro in F sh arp mi nor Capri ce in B ﬂ a t major Ca nti lene-P a storal e M a rche de Processi on S chi rmer M a rche fu nebre et Cha nt sé ra hi u e 2 p q 7 , 108 L a mentati on u an 61 75 1 1 D r d , , 00 , 07 Gra nd Chwur in D maj or D urand ; Schirme r 107 n z D n Ca ona O . 90 u a 1 1 , p r d 0

O ertoi re in A mino O . 90 1 1 ﬁ r , p 0 h o D u n S onata in D i no O . 61 S c tt d m r , p ; ra ; Schi e 0 102 rm r 7 , ’ in cent d Indy , V , Prelu de et p eti t Ca non Durand ’ V ers ets pou r l es Vépres d u n ma rtyr Sc hola C anto rum 5 9 Ja c ob G eo es , rg , S ymphoni e Le du c Les H eures Bou rgui gnonnes mai e A Le gr , P a s tora le A nda nte reli gi oso

M a u aire . q , A , S ymphoni e Hamelle

iern . P é , G , elu de nd 5 2 102 Pr Dura , uef Ch a les Q , r , A nda nte ca ntabi le Le due Tri sta mento

F a bli au

R o e -D u c as se g r , P a storale D urand - mil S ain t Sae ns , C a le ,

R h a s o i e in ma o u an Sc i me 10 106 p d E j r D r d ; h r r , m Sal o e, Th . , Oﬁ ertoi re in F mino r Le duc Seve a c Dé oda t d e r , , S u i te p ou r Orgu e Schol a C antorum 71

160 THE ORGAN IN FRANCE

~ M . u i o Oh . c onti n e W d r, ( d) ,

S ymphoni e gothi qu e Schott I II IV

Symphoni e romane I 11 ( Choral ) 111 ( Canti lene) IV ( Fi nal) G ENER AL INDEX

2 Ab e Fré re s 3 5 . Bé u e Nicolas b y , g , Antoine Le ( 163 0 1 1 Abb e oh n 785 4 . y , J ( 7 .

A a tati on . B Ame i can e i to s Be noi st Fran d p y r d r , , goi s 1794 8 f ( , 64 104 6 s e cial eatme , ; p tr nt 15 . necessa for o ans o th e th an Be li o ry rg r r z , H e ctor (1803 8 ' F enc 68 fi 72 ff oun a tion 2 7 r h , , f d f. s o s o all m nu l s 6 of B t p , n , 8 ; oellmann Lé 1862 a a , on ( 9 . th e G an —o u e 69 6 mo difi Bo 1 d g , ; d e s , Ch a l e s 1863 r r r r ( 3 . c ation of m nu l c an es neees Bo o in s stem of 2 4 a a h g rr w g , y , , 3 3 82 , sa 73 el ements of mu sic al 84 87 fi 4 ry , f , , 9 . D efined 87 , , sound de signa ti ons of pitch di fi erenc e be tween sys tems of in e sit s t a a i an n . d t n y d ze , b u t B and A u menta tion 88 li ttle d r d g , not of u ali t 76 fl u te s 76 ff u se in F ance 2 4 3 3 9 q y , , d r , , , 5 st in s 78 ff ene al ima e efi eet on ensemble 2 4 8 r g , ; g r d , , 9, 92 , uac of t ansl ati on xiii 64 96 94 et een m u l s 87 f q y r , , , ; b w an a , ; ff 102 ff 108 nume ic al d esi om m nu l s to e al e 87 f , , f r g fr a a P d , , nation of ke oa s un ise 99 90 in u se in l yb rd w , , ; Eng and two

110 A . u e in li h t of h un e ea s a o 87 a d j dg d g dr d y r g , ; e io at i ch ma e 104 ff vanta es of B 1 sm ll ins ru p r d wh d , g 11 a t nee of new e i ti ons for Ame ments 87 In la e ins ru d d r , rg t i ca o ans 1 5 c om a i son ments 87 e ul ations of n rg , 0 ; p r , f r g of esent and o me e al e Inte national C on ess 871 pr f r r P d , r gr ,

105 in i c atio s l c i 107 i sa vanta es of B . 89 94 d n a k ng , d d g , , o o se s ste of esi natin ini on of e e ts 891 94 f p r p d y m d g g Op xp r , , i i f s ecial t eatment of e ale 109 . e st at on i A . r g r n , p r P d A b e D ani el F an oi s E s it ne c essa in a a ta tion 90 u r , r c pr ry d p , , 1 2 n 1 94 ill ust ative t able e al e ( 78 9 (foo t ote) , 5 . ; r (P d ) , ’ A mentati s s m f 2 3 f 82 91 effect on Bach s mu sic 92 f. ug on , y te o , , , , 4 li le 84 ff, 94 . D eﬁ ne d , 8 ; tt u se in F ance 2 4 3 3 95 d r , , , ; C effec t on ton al q u ali ty of en sem l e 2 4 86 94 savin in Cav ll C0 11 A i stid e (1811 b , , , ; g ai é , r 1 2 611 umb e of i es ef ec te 84 if 16 fl 2 0 3 5 , 3 6, , n r p p f d , , , f l o ss of indi vi du ali t y of regi sters 93 .

s i 86 88 6 94 C elli e Al e an e 46. o d er ve d , , , ; r, x dr , 1 e ubini M a i a Lui i (1760 o ini ons of ex e t s 89 94 f . Ch g p p r , , r , r

9 oo tnote . 7 , (f ) Choeu o ue d e (see gue d e B r, rg Or choeur) . umb e of e di ﬁ ces i n Bach oh ann S eb as ti an 1685 Ch u ch e s . N r , J ( r ” 1 a i s 1 f ediﬁ ces esc ib e , 8 12 f 2 2 3 3 5 6 92 ft . P r , ; d r d , , , , , 161 162 INDEX

s i tion of in te i o 3 G i out Eu ene 1 2 f d e c r p r r , g , g ( 844 9

ac ou stic o e tie s 3 11 19 oo tno te 69 . p r p r , , , f (f ) , a c hi te c tu al oints of c om a ss G and - u e see l s O i r r p p , r Org ( a o rgan , n 5 4 F ance . Loca tio n 4 19 . r ) , , f P r el ative si e 4 h ow m l Ch u ch R m n Cath oli c . e e o e r , o a r z , p y d , omi nance in F anc e 1 14 4 11 c o nstru c tion o te n su e d r , , ; ; f p r mmi s si o ul atio n in F anc e 1 o u vi se b c o on 14 f. p p r , p p d y , io i a i s 2 i o c sa G e o i an m si c se e P l ai ns n l a n n e n u o . t P r d r g r , ( g) ' s s tem 1 Ch u c h and G ri e enk erl F i e i ch K n d y , r p , r dr o ra

S t a te 1 Conco at 1 1782 8 . , rd , , (

Se ara i Law f 1 a r hi al G i n Ni c ol as d e 16 17 7 . p t on , o , , p oc r g y, ( a mi ni s t ati o n 1 f se vi c e s G ui l mant F li Al e an e 183 7 d r , ; r , , ! é x] x dr ( 2 f 5 14 u se o f n i n 3 1 e itions of old , , ; orga d s ame 4 if 12 f ass 5 13 aste s 11 T oc a e o con , , ; M , , m r , r d r Ch oi Ofﬁ c es 5 V e s e s 5 c e ts 13 c om ositions 9 ff r , ; p r , r , ; p , , 1 1 inﬂ uenc e of litu u n n 3 7 3 9 63 . rg y po orga , , i i c omp os t on , 5 f , 9 , 11, 49 .

’

Clavecinzs l e s 7 . , H Cl e amb ault Loui s -Ni c ol as 1676 r , ( 7 H l e ac ue s F o ental Eli e a vy, J q r m - Cli c uot Fran oi s en i 172 8 1799 7 . q , g H r ( ( i 15 . a s ch o 7 . H rp rd , Communi at on s s em se e lmh ol t e mann Lu i c i , y t of ( e H z , H r dw g B o o i F e i nan d 182 1 2 7 . rr w ng) . rd ( Com o siti on for O n in F anc e e s s e A l F i e i ch 1809 p rga r H , do f r dr ( s m i i 2 1 ee O n Co o s t on 8 2 . ( rga p ) . , Cons e va o i s f t i e a 8 13 . r r (P r ) , , C ou e i n F an oi s 1668 7 p r , r c (

m vi s 1 I o ation xi 6 1 ﬁ . D pr , , , ’ n Vinc e nt d 185 1 I dy, ( Da i - qu n, Loui s Cl au d e (1694 1 74 . 7 Int e rch anging of stops (see D e bi e rr e Loui s 3 5 2 , , Bo o in ‘ rr w g) . D ou bl eme nt s s tem o f s ee éd , y ( A me nta i ug t on) . J D ub oi s F an oi s Cl m e , ! r c é nt] Th é o dore 183 7 9 ( b G e 1 aco o e s 1 13 . J , rg , ,

F K

ittel oh ann Ch i stian 173 2 ~ F aur é G ab i el U b ain 1 4 K , J r ( , r ! r ] ( 8 5 8 9 (fo o tno te ) . F nc C s a 182 2 8 f ra k , é r ( , 2 m si i 1 2 6 . C o o t o s 1 4 . p n , 0 , 69 , 7 .

Le eb u e -Wel Loui s ame s G f r y, J l 2 A fre d (18 17 1 . G eva e t F an oi s -Au u ste 182 8 Lemm en s Ni c ol a - ac e s 182 3 r , r c g ( , s J qu ( 2 8 . 8 f, 15 .

164 INDEX

l — 2 usu ll o e ate b e a s , 12 2 f Sainte Clot il e 8 69 a y p r d y p d ; h d , , , 1 2 5 9 103 t e of latt e 74 - 3 9 , , ; yp , , , 12 7 S aint Au ustin r g , 1 60 m nu l cou le s 3 0 3 5 ﬁ 17 ootnote in -R ; a a p r , , (f ) ; S a t o ch , 17 a e e al e e . 3 3 3 5 ﬂ ; o ct v oo tno t e La T i nité 17 oot P d , , (f ) r , (f - - - - e . 3 7 sub o c tave e . 3 7 ; note S aint Vince nt de au l , ; , ) ; P , - 1 ales de combi n ai son . 17 o ot note S aeré oe 2 2 péd ( p (f ) ; C u r , , ’

3 5 3 8 f . : 11 a el 8 f . d p p ) , , R EGISTERS

e cific ation e ne al ch a ac te Sainte Mich el av e 17 oo sp , g r r r , H r , (f t ’ ’ ° i s ic s f 2 1 fi 49 fi 65 6 73 note al ai s d Indu stri e Am t o , , , , ) ; P , o f th e G a n -o u e 2 2 67 80 s terdam 17 o o tno te T o n r d rg , , , , , (f ) ; w ' osi ti 2 2 67 f R éczt 17 oot H ll Sh effield 17 o otno te P f, , ; , ( f a , , (f ) note 61 f 68 Bomba e or C onse va to of usic M osc o ) , , ; rd r ry M , w , - S olo 3 0 G a n chceu r 3 0 17 oo tno te . See l s In ex , ; r d , , (f ) ( a o d , 1 if f ifi ati l 1 . o S ec c ons 3 6 E cho 3 0 e a e 3 . ; , ; P d , p , p if c a i n com ositi on F en h sc o l No menclatu e 44 64 l ss . c o r , , ; Orga p r h , fic ation 46 fl a monic i es xi 9 11 18 indi vi uali t , ; h r p p , , , , ; d y 16l f i es ate ial of ic of xi c om a e to t at for ; p p , m r wh h , ; p r d h ma e 2 2 1 onds 2 1 2 3 45 o t e inst uments xii e d , ; f , , , h r r , ; di f a nc hes 2 2 f 45 f 80 ti ons for Am e i can ns xii i ; , , , ; r orga , mutation sto s 2 2 45 f 68 in 16th and 17th c entu i es 7 p , , , ; r , ; mi xtu es 17 ootno te 2 2 f i l e of 19th centu r , (f ) , , m dd ry , 7 ; 2 11 1 m c on ie 5 f 8 4 45 f 68 80 . ce t ces 1 . , 3 , , , , r p , 0 in th e e al e 2 6 3 12 e al e n l n c a ac te i s ic s P d , , P d Orga p ayi g , h r r t of i F an 18 4 2 s to s 3 2 f 5 5 f mont e o r n c e 9 6 f . p , , ; r r , , ,

i nci al 72 vi ol onc ell e 5 3 ue d e chwur . Loc ation 4 pr p , ; , Org , 5 5 79 f k a u lo hon e 5 3 e m l o men t 4 a l ein , er p , p y , ; Ped e r s ali ci on al 5 3 79 a mbe 5 3 f o ce b cont a asse s 4 s eci , , f g , , f r d y r b , p

78 ff, 8 1 ; voi x Celeste, 5 3 f ; ﬁ cations , 13 4 f.

ates 45 5 2 f h a mo ni c f . ﬂ , , ; r , 5 2 f 76 f f in th e e al e , ; . P d , P 5 5 bou ons 45 98 bou don rd , , r u c s " Plainson . In F enc h c h he , 16 on th e G an —o u e 97 f g r r r d rg , , 3 inﬂuence o n n c om osi 108 f s l s to s 2 1 49 f ; orga p ; o o p , , ,

tion 9 . 5 5 f s , , 65 , 77 f ob sol e te stop , P ol ho ni c usi c me diaeval 3 f . 4 1 yp m , , . R ene al , 9 , REGIST ATION g r 2 P u et et Fil s 3 5 . 5 0 if c o i na tio n of m nu l s g , mb a a , 5 1 5 6 f 71 a l e 5 5 f , , ; Ped , ; ene al c escen o h ow effec te R g r r d , d , 5 9 ff 74 f m nu l in i cations , ; a a d , s é ca . 165 0 7 . R ai on, Andr ( h ow a evi ate 7 11 onds bbr d , ; f , - hi li e 8 R ame au , Je an P pp ( 16 3 5 1 69 on , ; f ds et anches , 5 1 f ; 7 . on s c ont aste to o th e c l s f d r d r o or , in k oh ann Ch i sti an ein i ch R c , J r H r 5 2 t s ﬂa e , 76 ga mbes , 8 1. ( 1770 8 .

O ans . ain rg I N PARIS . S t - R o e Ducas s e 11. g r , Eustac e 2 1 h , 8 , 14 , 1 T ro R oitz sch , F . August ( 1805 8 .

c adéro , 13 , 83 , 12 4 Saint Sul ice 14 ff 2 2 1 1 p , , , 2 5 , 3 0 , 3 61 4 1 681 80 114 f S , , , , ; N o tre ’ 1 - 1 a e 14 f 16 2 6 3 0 6 S aint G e rvazs Chanteu s d e 3 . D m , , , , , 3 , , r , 116 f Saint- eni s 14 16 Saint-Saéns Ch rl es Camill e ; D , , , , ! a ] INDEX 165

183 5 8 12 f 62 com T ans iss ion s s ( , , ; r m , y tem of (see

ositions 10 69 . Bo o in p , , rr w g) . m 1 h ol a Canto u 3 . Sc r , h eit e Alb e t 2 2 2 5 f 3 1 Sc w z r , r , , , , V 1 5 7 f 62 f 69 73 93 . , , , , “W L ow s 11 63 . e , . R ic a 1864 Strauss , h rd ( W T We oo ame s In all dgw d , J g , 2 9 f. mas Ch a l e s Loui s A b oi s e Wi o Ch a l e s -M a i e 184 Th o , ! r ] m r d r , r r ( 5 1 1 1 11 9 ootnote . 9 2 2 3 7 3 9 62 f ( 18 (f ) , , , , , 73 ; gym honi s f 6 1 7 . e 1 9 . Titel ouze , Jean ( 5 p . 0 ,

168 LIST OF ILLUSTRATIONS

O P PO SITE PAG E A M D IN L A ELE E , PARIS 48

n Wi 14 1 ft . ei 100 ft . he Le n t i te 3 54 ft . T i g h of rior , ; dth , ; h g ht , cho r of n and s and h e a u e d e haeu ar a n t h i a a T h me boy t rg c r e pl ced be hi d e h gh lt r . e Gr a n ue i s i n a a e e th e es e n th a e d Org g ll ry ov r w t r port al of e N v . (See Spe ci

ﬁ c atio n IX, p .

OH ARLES-M ARI E W ID O R

B n at L ns F e u a 2 2 1845 . or y o , br ry , an s a in - u i sin 1 Org i t of S t S lp ce ce 870 . Profe ssor o—f t h e Organ at t he P a ri s Cons e rva tory ( su cceeding Cesar F an k 1890 1896. In th e a e e a h e su ee e D u s as ess r c ) , l tt r y r cc d d boi Prof or si n of Comp o tio .

T H E N A ND H OIR CH ARTRES C ATH EDRAL . AVE C W i 1 f Le n 3 65 ft . i a e 5 2 ft e 1 8 t . at the ssin . g th , dth of N v , h ght , Cro g Th e Gra nd Orgu e occu pie s th e u ppe r p art of th e two e as te rnmo s t b ays o n the s u snde t h e a e a s e a u nus ual b ut s a a n a e us si n o th of N v ; om wh t l mo t dv t g o po tio , ' m na ﬁ e ﬁ a io n X the st and o t e ct . See S ecx c t II . from p of to l ( p , p

TH E O RGAN O F C H ARTRES C ATHEDRAL

Hei an ﬂ or a a u f t h e an- 4 o e 50 t . ase is 0 ft . in ght of org from of N v , bo t ; org c Wl d th and 5 0 ft i Se eciﬁc at ion XII e S . . h gh . ( p . p C ESAR F RANC K

A h e a in n b ann u ( ft e r t p ti g y Je e R o gie r . )

B n at L e e D e e e 10 182 2 ie at a is e e 8 1890 . or i g , c mb r , ; d d P r , Nov mb r , - Be a e a n a u a i ze F e n an i n 1870 . anis ain e i e c —m t r l d r chm Org t of S t C—loth ld . 185 9 1890 e ss the an at th e a is ns e a 1872 1890 . ; Prof or of Org P r Co rv tory .

T H E O F S -M R ORGAN AI NT ACLOU , O UEN

th e e au its a e Noted for b ty of c s .

C AMILLE SAI NT-SAE NS

B n at a i s e 9 183 5 . or P r , Octob r , n s L a M a e n 1 5 8- 1 h wa u ee e b Du is Org a i t of de l i e 8 877 e s s cc d d y bo .

X T H E N F H O IR BAY EU C ATH EDRAL . AVE ROM TH E C

W n Le n i n e i 3 15 ft . i a e 3 3 ft . ei the au i g th of t r or , dth of N v , ; h g ht to v lt g , T he a u e de chwu r and its ns ar s n al so th e an ue 75 ft . rg co ol e e how ; Gr d Org n h nd av i t e we st e of the N e . C H ARLES M UTI N

- Successor to A ristide C availle Coll .

R E IMS C ATHEDRAL . Le Gra nd Orgue

ua e i n th e ans e e the a . Sit t d North Tr pt , ov r Port l

’ L ce R EIMS C ATHEDRAL . Orgue de Ch ur

i ua e n h s i he an S t t d o t e ou th s de of t Ch cel .

- - O F B o n S C E C GJU R P IS . ORGAN C ONSOLE THE ASILICA THE A R , AR R EGISTER-PLAN

in t he a an e en th e e is e s and e a - e e n s a nd the Show g rr g m t of r g t r p d l mov m t , e h k - a T h num e s e e h s n in e is e s ord r of t e ey bo rds . ( e b r r f r to t e corre po d g r g t r

in Sp e c iﬁc atio n III . ) M in 19 B ur es M . a es u 14 . y co t y of Ch rl t ,