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Transcriber's note:
This book includes several references to organ notes in the format "c3," where the "3" is in superscript.

The Organ in St. George's Hall, Liverpool, Eng. Built by Henry Willis in 1855. Rebuilt 1867 and 1898. The White Marble Bust Seen in Front is That of W. T. Best.
The Recent Revolution
in Organ Building
Being an Account of Modern Developments
By
GEORGE LAING MILLER
Fellow of the Royal College of Organists, Eng.; First Mus. Bac., Dunelm.; Organist of Christ Church, Pelham Manor, N. Y.; late of All Angels', New York; St. Clement's, Philadelphia, and Wallasey Parish Church, England
Fellow of the Royal College of Organists, England; First Mus. Bac., Durham; Organist of Christ Church, Pelham Manor, NY; formerly of All Angels', New York; St. Clement's, Philadelphia, and Wallasey Parish Church, England.
SECOND EDITION
NEW YORK
THE CHARLES FRANCIS PRESS
1913
Copyright, 1909, 1913, by
GEORGE L. MILLER
Entered at Stationers' Hall, London
Reprinted by the Vestal Press, Vestal, N. Y. 13860
1000 copies, 1969
Second Reprinting, April 1971, 1000 copies
Write for catalog of other reprinted books
in the field of piano and organ literature
FOREWORD
Some years ago the elders and deacons of a Scotch church were assembled in solemn conclave to discuss the prospective installation of a pipe organ. The table was piled high with plans and specifications and discussion ran rife as to whether they should have a two-manual or a three-manual instrument—a Great and Swell or a Great, Swell, and Choir organ. At last Deacon MacNab, the church treasurer and a personage of importance, got a chance to speak.
Some years ago, the elders and deacons of a Scottish church gathered in a serious meeting to talk about installing a pipe organ. The table was stacked with plans and specifications, and there was a lively debate about whether they should choose a two-manual or a three-manual instrument—a Great and Swell or a Great, Swell, and Choir organ. Finally, Deacon MacNab, the church treasurer and a significant figure, had the opportunity to speak.
"Mr. Chairman," said he, "I don't see why we should have a Great, a Swell, and a Choir organ. I think that one organ is quite enough."
"Mr. Chairman," he said, "I don't understand why we need a Great, a Swell, and a Choir organ. I believe one organ is more than enough."
Now, Deacon MacNab was a master tailor, and a good one at that; so the musical man who was pushing the thing through appealed to his professional instincts in explaining the situation by saying:
Now, Deacon MacNab was a skilled tailor, and a great one at that; so the musical guy who was promoting the idea appealed to his professional instincts in explaining the situation by saying:
"Surely, Mr. MacNab, you would not say that a man was properly dressed with only a coat on! You would expect him to have on a coat, waistcoat and trousers!" And the day was won for the three-manual organ.
"Surely, Mr. MacNab, you wouldn’t say a man was properly dressed with just a coat on! You’d expect him to wear a coat, waistcoat, and pants!" And the day was won for the three-manual organ.
Of course there had been no organ in this church before, or the worthy deacon might have known more about it. If he had read the second chapter of this book, he would have known all about it. The following pages have been written with the idea of helping those who may be placed in a similar position; who may be called upon to decide the serious question of the purchase of a new organ for their church, town hall, or an auditorium, or the rebuilding of the old one now in use; who are distracted by the conflicting plans and contending claims of rival organ builders; who are disinclined to rely upon so-called "expert" opinion, but wish to look into these things for themselves and intelligently purchase an instrument which is thoroughly up-to-date in every particular, which will not drive the organist to the verge of profanity every time he plays upon it, and will not prove a snug source of income to its builders—for repairs.
Of course, there had never been an organ in this church before, or the deacon would have known more about it. If he had read the second chapter of this book, he would have understood everything. The following pages are written to assist those who might find themselves in a similar situation; who may need to decide on the serious issue of buying a new organ for their church, town hall, or auditorium, or fixing the old one currently in use; who are overwhelmed by the competing plans and claims of different organ builders; who are hesitant to rely on so-called "experts" but want to examine these matters for themselves and make an informed purchase of an instrument that is completely modern in every way, that won't push the organist to the brink of frustration every time they play it, and won't become a constant source of income for its builders in terms of repairs.
The organ-student, the amateur, and eke the professional organist, will also find much here that will interest them and lead to a better understanding of the instrument.
The organ student, the hobbyist, and even the professional organist will all find plenty here that will interest them and help them gain a better understanding of the instrument.
The revolution in organ-building herein described has for the most part taken place under the personal notice of the author, during the last fifty years. The organists of a younger generation are to be congratulated on the facilities now placed at their disposal, mainly by the genius and persevering efforts of four men—as hereinafter described.
The revolution in organ-building described here has mostly happened under the author's personal observation over the past fifty years. The organists of a newer generation should be congratulated on the resources now available to them, thanks largely to the talent and relentless efforts of four men—as will be detailed later.
CONTENTS
CHAPTER I
As It Was in the Beginning
As It Was in the Beginning
CHAPTER II
The Organ in the Nineteenth Century
The Organ in the Nineteenth Century
CHAPTER III
The Dawn of a New Era; the Pneumatic Lever
The Start of a New Era; the Air-Powered Lever
CHAPTER IV
Pneumatic and Electro-pneumatic Actions—Tubular Pneumatics—Division of Organs—Sound Reflection—Octave Couplers and Extensions
Pneumatic and Electro-pneumatic Actions—Tubular Pneumatics—Division of Organs—Sound Reflection—Octave Couplers and Extensions
CHAPTER V
Stop-keys—Control of the Stops
Stop keys—Control the Stops
CHAPTER VI
Radiating and Concave Pedal Boards—Pedal-stop Control—Suitable Bass Attachments
Radiating and Concave Pedal Boards—Pedal-stop Control—Compatible Bass Attachments
CHAPTER VII
Means of Obtaining Expression—Crescendo Pedal—Sforzando Pedal—Double Touch—Balanced Swell Pedal—Control of Swell by Keys—Swell Boxes—the Sound Trap Joint—Vacuum Swell Shutters
Means of Getting Sound—Crescendo Pedal—Sforzando Pedal—Double Touch—Balanced Swell Pedal—Controlling Swell with Keys—Swell Boxes—the Sound Trap Joint—Vacuum Swell Shutters
CHAPTER VIII
A Revolution in Wind Supply—Springs vs. Weights—Individual Pallets—Heavy Wind Pressures—Mechanical Blowers
A Revolution in Wind Supply—Springs vs. Weights—Individual Pallets—Heavy Wind Pressures—Mechanical Blowers
CHAPTER IX
Transference of Stops—Double Touch—Pizzicato Touch—the Unit Organ—Sympathy
Transferring Stops—Double Touch—Pizzicato Touch—the Unit Organ—Sympathy
CHAPTER X
Production of Organ Tone—Acoustics of Organ Pipes—Estey Open Bass Pipes—Diapasons—Flutes—Strings—Reeds—Vowel Cavities—Undulating Stops (Celestes)—Percussion Stops—the Diaphone
Production of Organ Tone—Acoustics of Organ Pipes—Estey Open Bass Pipes—Diapasons—Flutes—Strings—Reeds—Vowel Cavities—Undulating Stops (Celestes)—Percussion Stops—the Diaphone
CHAPTER XI
Tuning—Equal Temperament—New Method of Tuning Reeds
Tuning—Equal Temperament—New Way to Tune Reeds
CHAPTER XII
Progress of the Revolution in Our Own Country
Progress of the Revolution in Our Own Country
CHAPTER XIII
Chief Actors—Barker—Cavaillé-Coll—Willis—Hope-Jones
Lead Artists—Barker—Cavaillé-Coll—Willis—Hope-Jones
CHAPTER XIV
How We Stand To-day—Automatic Players—Specifications of Notable Organs: St. George's Hall, Liverpool; Notre Dame, Paris; St. Paul's Cathedral, London; Westminster Abbey; Balruddery, Scotland; Worcester Cathedral; Yale University, U. S. A.; St. Paul's Cathedral, Buffalo; Paris Theatre, Denver; Cathedral of St. John the Divine, New York; University of Toronto, Canada; City Hall, Portland, Me.; Liverpool Cathedral, England
How We Stand Today—Automatic Players—Specifications of Notable Organs: St. George's Hall, Liverpool; Notre Dame, Paris; St. Paul's Cathedral, London; Westminster Abbey; Balruddery, Scotland; Worcester Cathedral; Yale University, U.S.A.; St. Paul's Cathedral, Buffalo; Paris Theatre, Denver; Cathedral of St. John the Divine, New York; University of Toronto, Canada; City Hall, Portland, ME; Liverpool Cathedral, England
INDEX TO ILLUSTRATIONS
The Organ in St. George's Hall, Liverpool, Eng. . . . Frontispiece
Prehistoric Double Flutes
The Wind-chest; Front View.
The Wind-chest; Side View.
The Pneumatic Lever
Nomenclature of Organ Keyboard
Portrait of Moitessier
Tubular Pneumatic Action
The First Electric Organ Ever Built
The Electro-Pneumatic Lever
Valve and Valve Seat, Hope-Jones Electric Action
Portrait of Dr. Péschard
Console, St. Paul's Cathedral, Buffalo
Console on Bennett System
Console, Trinity Church, Boston
Console, College of City of New York
Principle of the Sound Trap
Sound Trap Joint
The Vacuum Shutter
Series of Harmonics
Estey's Open Bass Pipes
Diapason Pipe with Leathered Lip
Haskell's Clarinet without Reed
Diagram of Reed Pipe
Vowel Cavities
Diaphone in Worcester Cathedral
Diaphone in Aberdeen University
Diaphone in St. Patrick's, N. Y.
Diaphone in Auditorium, Ocean Grove, N. J.
Diaphone in St. Paul's Cathedral, Buffalo
Diaphone Producing Foundation Tone.
New Method of Tuning Reeds
Portrait of Aristide Cavaillé-Coll
Portrait of Charles Spachman Barker
Portrait of Henry Willis
Portrait of Robert Hope-Jones.
Keyboards of Organ, St. George's Hall
Keyboards of Organ, Notre Dame, Paris
Keyboards of Organ, Westminster Abbey
Organ in Balruddery Mansion, Dundee, Scotland
The Author Playing a Hope-Jones Unit Orchestra
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THE RECENT REVOLUTION
IN ORGAN BUILDING
CHAPTER I.
AS IT WAS IN THE BEGINNING.
"The Organ breathes its deep-voiced solemn notes,
The people join and sing, in pious hymns
And psalms devout; harmoniously attun'd,
The Choral voices blend; the long-drawn aisles
At every close the ling'ring strains prolong:
And now, of varied tubes and reedy pipes,
The skilful hand a soften'd stop controuls:
In sweetest harmony the dulcet strains steal forth,
Now swelling high, and now subdued; afar they float
In lengthened whispers melting into cadenced murmurs,
Forming soft melodious strains, and placid airs,
Spreading gently all around, then soaring up to Heav'n!"
—Dryden.
"The Organ breathes its deep, solemn notes,
The people join in singing pious hymns
And devout psalms; harmoniously in tune,
The choral voices blend; the long aisles
At every ending prolong the lingering strains:
And now, with varied tubes and reedy pipes,
The skilled hand controls a softened stop:
In sweetest harmony, the dulcet sounds emerge,
Now swelling high, and now subdued; they float
In extended whispers melting into rhythmic murmurs,
Creating soft melodic strains and calm airs,
Spreading gently all around, then soaring up to Heaven!"
—Dryden.
The origin of the pipe organ is lost in the mists of antiquity. Tradition hath it that there was one in Solomon's Temple at Jerusalem, the sound of which could be heard at the Mount of Olives. It has the honor of being the first wind instrument mentioned in the Bible (Genesis iv, 21), where we are told that "Jubal is the father of all such as handle the harp and the organ." The Hebrew word here is ugab, which is sometimes translated in the Septuagint by cithara (the ancient lute), sometimes by psalm, sometimes by organ. Sir John Stainer ("Dictionary of Musical Terms," p. 444) says: "It is probable that in its earliest form the ugab was nothing more than a Pan's-pipes or syrinx, but that it gradually developed into a more important instrument." The passage, however, shows that the ugab was known in the time of Moses, who was "learned in all the learning of the Egyptians."
The origin of the pipe organ is lost in the mists of ancient times. Tradition holds that there was one in Solomon's Temple in Jerusalem, the sound of which could be heard from the Mount of Olives. It is recognized as the first wind instrument mentioned in the Bible (Genesis 4:21), where it says, "Jubal is the father of all who play the harp and the organ." The Hebrew word here is ugab, which is sometimes translated in the Septuagint as cithara (the ancient lute), sometimes as psalm, and sometimes as organ. Sir John Stainer ("Dictionary of Musical Terms," p. 444) states: "It is likely that in its earliest form the ugab was simply a Pan's-pipes or syrinx, but it gradually evolved into a more significant instrument." This passage indicates that the ugab was known during the time of Moses, who was "learned in all the learning of the Egyptians."
The flute, a component part of the organ, is one of the most ancient of musical instruments. We find it pictured on the walls of early Egyptian tombs, and specimens of it, still in playable condition, have been unearthed and can be seen in our museums. Some of them were double, as shown in the illustration. Side by side with these flutes we find the shepherd's pipe with a reed or strip of cane in the mouthpiece, which may be found in the Tyrol at the present day. The next step was probably the bagpipes. Here we find four of these pipes attached to a bag. The melody or tune is played on one of the pipes furnished with holes for the purpose, while the other three give a drone, bass. The bag, being blown up, forms a wind reservoir and the amount of tone can be regulated by the pressure of the arm. Here we have the precursor of the organ bellows. Next comes the Irish bagpipes, with a bellows worked by the arm furnishing the wind to the bag, the reservoir, and producing a much sweeter tone. This is one line of advance.
The flute, a part of the organ, is one of the oldest musical instruments. It’s depicted on the walls of early Egyptian tombs, and examples that are still playable have been found and can be seen in our museums. Some of them were double, as shown in the illustration. Alongside these flutes, we see the shepherd's pipe, which has a reed or strip of cane in the mouthpiece and can still be found in the Tyrol today. The next step was likely the bagpipes. These consist of four pipes attached to a bag. One of the pipes, equipped with holes, is used to play the melody, while the other three provide a drone bass. The bag, when filled with air, acts as a wind reservoir, and the sound can be controlled by the pressure of the arm. This setup is the precursor to the organ bellows. Then, we have the Irish bagpipes, which use a bellows worked by the arm to supply air to the bag, creating a much sweeter tone. This illustrates one line of progression.

Pre-historic Double Flutes. From Assyrian and Egyptian Tombs
On the other hand we have the syrinx or Pan's-pipes. Stainer says this was undoubtedly the precursor of the organ. "It was formed of seven, eight or nine short hollow reeds, fixed together by wax, and cut in graduated lengths so as to produce a musical scale. The lower ends of the reeds were closed and the upper open and on a level, so that the mouth could easily pass from one pipe to another." This is the instrument used at the present day by the Punch and Judy man. He wears it fastened around his throat, turning his head from side to side as he blows, while with his hands he beats a drum.
On the other hand, we have the syrinx or Pan's pipes. Stainer notes that this was definitely the forerunner of the organ. "It was made up of seven, eight, or nine short hollow reeds, stuck together with wax and cut to different lengths to create a musical scale. The lower ends of the reeds were closed, and the tops were open and level, allowing the mouth to easily move from one pipe to another." This is the instrument that the Punch and Judy performer uses today. He wears it around his neck, turning his head from side to side as he plays, while beating a drum with his hands.
The next step would be to combine a set of flutes or shepherd's pipes with the wind reservoir of the bagpipes, placing a little slider under the mouthpiece of each pipe which could be opened or closed at will, so that they would not all speak at once. Then some genius steadied the wind pressure by pumping air into a reservoir partly filled with water. This was the so-called "hydraulic organ," which name has given rise to the impression that the pipes were played by the water passing through them—which is impossible.
The next step would be to merge a group of flutes or shepherd's pipes with the air reservoir of the bagpipes, adding a small slider beneath the mouthpiece of each pipe that could be opened or closed at will, allowing them not to all sound at once. Then some genius stabilized the air pressure by pumping air into a reservoir partially filled with water. This was the so-called "hydraulic organ," a name that has led to the misconception that the pipes were played by the water flowing through them—which is impossible.
And so we come down the ages to the Christian era. The Talmud mentions an organ (magrepha) having ten pipes played by a keyboard as being in existence in the Second Century. "Aldhelm (who died A. D. 709) mentions an organ which had gilt pipes. An organ having leaden pipes was placed in the Church of S. Corneille, at Compiegne, in the middle of the Eighth Century." St. Dunstan had an organ with pipes made of brass. Then we have the organ in Winchester Cathedral, England, described by Wulfstan of Winchester in his "Life of Saint Swithin." This was a double organ, requiring two organists to play it. It contained 400 pipes and had thirteen pairs of bellows. It was intended to be heard all over Winchester in honor of St. Peter, to whom the Cathedral was dedicated.
And so we reach the Christian era. The Talmud mentions an organ (magrepha) with ten pipes played by a keyboard existing in the Second Century. Aldhelm (who died A.D. 709) refers to an organ that had gilt pipes. An organ with lead pipes was installed in the Church of S. Corneille at Compiegne in the middle of the Eighth Century. St. Dunstan had an organ with pipes made of brass. Then there’s the organ in Winchester Cathedral, England, described by Wulfstan of Winchester in his "Life of Saint Swithin." This was a double organ, requiring two organists to play it. It had 400 pipes and thirteen pairs of bellows. It was designed to be heard throughout Winchester in honor of St. Peter, to whom the Cathedral was dedicated.
The year was now A. D. 951, and this is an important date to remember, as modern harmony took its rise about this time. Before this, as far as we know, there had been no harmony beyond a drone bass, and the vast companies of musicians described in Holy Writ and elsewhere must have played and sung in octaves and unison. I quote Stainer again:
The year was now A.D. 951, and this is an important date to remember, as modern harmony began to develop around this time. Before this, as far as we know, there had been no harmony beyond a drone bass, and the large groups of musicians mentioned in religious texts and other writings must have performed and sung in octaves and unison. I quote Stainer again:
"The large pipes of every key of the oldest organs stood in front; the whole instrument sounded and shrieked in a harsh and loud manner. The keyboard had eleven, twelve, even thirteen keys in diatonic succession without semitones. It was impossible to get anything else than a choral melody for one voice only on such an organ * * * the breadth of a keyboard containing nine keys extended to three-quarters the length of a yard, that of the single key amounted to three inches * * * even from five to six inches * * * The valves of the keys and the whole mechanism being clumsy, playing with the finger was not to be thought of, but the keys were obliged to be struck with the clenched fist, and the organist was often called 'pulsator organum' (organ beater)."
"The large pipes of every key of the oldest organs stood prominently; the entire instrument produced a loud and harsh sound. The keyboard had eleven, twelve, even thirteen keys in a diatonic sequence without any semitones. It was impossible to create anything other than a choral melody for a single voice on such an organ * * * the width of a keyboard with nine keys stretched to three-quarters of a yard, and each key measured about three inches * * * sometimes even five to six inches * * * The valves of the keys and the entire mechanism were cumbersome, making it impractical to play with fingers; the keys had to be struck with a clenched fist, and the organist was often referred to as 'pulsator organum' (organ beater)."
Gradually the keys were reduced in size and the semitones were added. By 1499 they had almost reached the present normal proportions. In 1470 pedals were invented by Bernard, the German, a skilful musician of Venice, the pipe work was improved and so we come to the Sixteenth Century[1] after which the organ remained almost in statu quo for hundreds of years.
Gradually, the keys got smaller and semitones were introduced. By 1499, they had almost reached the size we know today. In 1470, pedals were created by Bernard, a talented musician from Venice, and improvements were made to the pipe work. This brings us to the Sixteenth Century[1], after which the organ stayed pretty much the same for hundreds of years.
Since then there have been four great landmarks in organ construction, viz:
Since then, there have been four major milestones in organ construction, namely:
1. The invention of the swell box by Jordan in 1713;
1. The creation of the swell box by Jordan in 1713;
2. The invention of the horizontal bellows, by Samuel Green, in 1789;
2. The invention of the horizontal bellows, by Samuel Green, in 1789;
3. The invention of the pneumatic lever by Barker in 1832; and the electro-pneumatic action, by Péschard in 1866; and,
3. The creation of the pneumatic lever by Barker in 1832, and the electro-pneumatic action by Péschard in 1866, and,
4. The marvelous improvements in mechanism and tone production and control in 1886 to 1913 by Robt. Hope-Jones.
4. The amazing advancements in mechanics, sound production, and control from 1886 to 1913 by Robert Hope-Jones.
[1] The organ compositions of Frescobaldi, a celebrated Italian organist who flourished 1591-1640, show that the organ must in his time have been playable by the fingers.
[1] The organ compositions of Frescobaldi, a renowned Italian organist who thrived from 1591 to 1640, demonstrate that the organ must have been playable by hand during his time.
CHAPTER II.
THE ORGAN IN THE NINETEENTH CENTURY.
Before proceeding further we propose to give a brief description of the construction of the organ at the beginning of the last century and explain the technical terms we shall use later.
Before moving on, we’d like to provide a short description of how the organ was built at the start of the last century and clarify the technical terms we’ll be using later.
As everybody knows, the tone comes from the pipes, some of which are to be seen in the front of the instrument. The pipes are of various shapes and sizes and are arranged in ranks or rows upon the wind-chest. Each of these ranks is called a stop or register. It should be borne in mind that this word stop refers to the row of pipes, and not to the stop-knobs by the keyboard which operate the mechanism bringing the row of pipes into play. Much confusion of ideas prevails on this point, and cheap builders used to take advantage of it by providing two stop-knobs for each row of pipes, thereby making their instruments appear to contain more pipes than were actually there. This practice was at one time very prevalent in the United States.
As everyone knows, the tone comes from the pipes, some of which are visible at the front of the instrument. The pipes come in various shapes and sizes and are arranged in ranks or rows on the wind-chest. Each of these ranks is called a stop or register. It's important to keep in mind that the term stop refers to the row of pipes, and not to the stop-knobs by the keyboard that operate the mechanism bringing the row of pipes into action. A lot of confusion arises over this point, and cheap builders often took advantage of it by providing two stop-knobs for each row of pipes, making their instruments look like they had more pipes than they actually did. This practice used to be quite common in the United States.
The early organ-builders to obtain variety of tone divided the pipes into groups placed in various positions, each playable from a separate keyboard, and this practice prevails to this day. An average church organ will contain three or four wind-chests, each with its quota of pipes and designated as follows:
The early organ builders who wanted to create different tones arranged the pipes into groups placed in various positions, each playable from a separate keyboard, and this practice continues today. An average church organ will have three or four wind-chests, each with its set of pipes and labeled as follows:
1. The Great organ, consisting of the front pipes and other loud-speaking stops. Back of this and usually elevated above the level of the Great organ pipes is
1. The Great organ, made up of the front pipes and other loud stops. Behind this and typically raised above the height of the Great organ pipes is
2. The Swell organ, all the pipes of which are contained in a wooden box with Venetian shutters in front, the opening or closing of which modifies the tone; below the Swell box is placed
2. The Swell organ, with all its pipes housed in a wooden box featuring Venetian shutters in front, which can be opened or closed to change the tone; below the Swell box is placed
3. The Choir organ, containing soft speaking pipes suitable for accompanying the human voice; and back of all or on the sides is
3. The Choir organ has soft-spoken pipes that are perfect for accompanying the human voice; and behind or on the sides is
4. The Pedal organ, containing the large pipes played by the pedals.
4. The pedal organ, which has the big pipes operated by the pedals.
Larger instruments have still another wind-chest called the Solo organ, the pipes of which are very loud and are usually placed high above the Great organ.
Larger instruments have another wind-chest called the Solo organ, whose pipes are very loud and are typically positioned high above the Great organ.
In some large English organs, notably that in the Town Hall of Leeds, a further division was effected, the pipes of the Great organ being placed on two wind-chests, one behind the other. They were known as Front Great and Back Great.
In some large English organs, especially the one in the Town Hall of Leeds, there was an additional division made, with the pipes of the Great organ placed on two wind-chests, one behind the other. They were called Front Great and Back Great.
The original reason for dividing a church organ in this manner seems to have been the impossibility of supplying a large number of stops with wind from a single wind-chest.
The original reason for splitting a church organ like this appears to have been the difficulty of providing a large number of stops with air from a single wind chest.
It will thus be seen that our average church organ is really made up of three or four smaller organs combined.
It will therefore be clear that our average church organ is actually made up of three or four smaller organs combined.
The wind-chest is an oblong box supplied with air under pressure from the bellows and containing the valves (called pallets) controlling the access of the wind to the pipes. Between the pallet and the foot of the pipe comes another valve called the slider, which controls the access of the wind to the whole row of pipes or stop. The pallet is operated from the keyboard by the key action. Every key on the keyboard has a corresponding pallet in the wind-chest, and every stop-knob operates a slider under the pipes, so that both a slider must be drawn and a pallet depressed before any sound can be got from the pipes. The drawings will make this plain.
The wind-chest is a rectangular box that gets air under pressure from the bellows and contains the valves (called pallets) that control the airflow to the pipes. Between the pallet and the pipe foot is another valve called the slider, which controls the airflow to an entire row of pipes or stops. The pallet is activated from the keyboard by the key action. Each key on the keyboard has a matching pallet in the wind-chest, and each stop-knob operates a slider under the pipes, so both a slider must be pulled and a pallet pressed down before any sound can be produced by the pipes. The drawings will clarify this.
Fig. 1 is a front view and Fig. 2 a side view of the wind-chest. A is the wind-chest into which compressed atmospheric air has been introduced, either through the side or bottom, from the end of the wind-trunk B. The pallets, C C C, are held against the openings, D D D, leading from the wind-chest to the mouth of the pipes, by springs underneath them.
Fig. 1 shows a front view and Fig. 2 shows a side view of the wind-chest. A is the wind-chest where compressed air has been pumped in, either from the side or the bottom, through the wind-trunk B. The pallets, C C C, are kept pressed against the openings, D D D, that connect the wind-chest to the pipe mouths by springs located underneath them.

Fig. 1. The Wind-chest. Front View
The spring S (Fig. 2) keeps the pallet C against the opening into D. The wires called pull-downs (P, P, P), which pass through small holes in the bottom of the wind-chest and are in connection with the keyboard, are attached to a loop of wire called the pallet-eye, fastened to the movable end of the pallet. A piece of wire is placed on each side of every pallet to steady it and keep it in the perpendicular during its ascent and descent, and every pallet is covered at top with soft leather, to make it fit closely and work quietly. When P is pulled down (Fig. 1) the pallet C descends, and air from the wind-chest A rushes through D into the pipe over it. But the slider f is a narrow strip of wood, so placed between the woodwork g and h that it may be moved backwards and forwards from right to left, and is pierced with holes corresponding throughout to those just under the pipes. If the apertures in the slider are under the pipes, the opening of a pallet will make a pipe speak; if, however, the slider has been moved so that the apertures do not correspond, even if the pallet be opened and the chest full of air from the trunks, no sound will be produced.
The spring S (Fig. 2) keeps the pallet C against the opening into D. The wires called pull-downs (P, P, P), which go through small holes in the bottom of the wind-chest and connect to the keyboard, are attached to a wire loop called the pallet-eye, which is fastened to the movable end of the pallet. A piece of wire is placed on each side of every pallet to stabilize it and keep it upright during its rise and fall, and each pallet is covered on top with soft leather to ensure a snug fit and quiet operation. When P is pulled down (Fig. 1), the pallet C descends, and air from the wind-chest A rushes through D into the pipe above it. The slider f is a narrow strip of wood positioned between the woodwork g and h so that it can move back and forth from right to left, and it has holes that line up with the ones directly under the pipes. If the openings in the slider are under the pipes, opening a pallet will produce sound from a pipe; however, if the slider has been moved so that the openings do not line up, even if the pallet opens and the chest is full of air from the trunks, no sound will come out.

Fig. 2. The Wind-chest. Side View
When the apertures in the slider are under those below the pipe, the "stop," the handle of which controls the position of the slider, is said to be out, or drawn. When the apertures do not correspond, the stop is said to be in. Thus it is that when no stops are drawn no sound is produced, even although the wind-chest be full of air and the keys played upon.
When the openings in the slider are positioned below the pipe, the "stop," which is controlled by the handle that adjusts the slider's position, is referred to as out or drawn. When the openings do not match, the stop is referred to as in. Therefore, when no stops are drawn, no sound is produced, even if the wind-chest is filled with air and the keys are played.
This wind-chest with the slider stop control is about all that is left to us of the old form of key action. The pallets were connected to the keys by a series of levers, known as the tracker action.
This wind-chest with the slider stop control is pretty much all that's left of the old type of key action. The pallets were linked to the keys by a set of levers, known as the tracker action.
There were usually six joints or sources of friction, between the key and the pallet. To overcome this resistance and close the pallet required a strong spring. Inasmuch as it would never do to put all the large pipes (because of their weight) at one end of the wind-chest, they were usually divided between the two ends and it became necessary to transfer the pull of the keys sideways, which was done by a series of rollers called the roller-board. This, of course, increased the friction and necessitated the use of a still stronger spring. That with the increased area of the pallet is why the lower notes of the organ were so hard to play. And to the resistance of the spring must also be added the resistance of the wind-pressure, which increased with every stop drawn. When the organ was a large one with many stops, and the keyboards were coupled together, it required considerable exertion to bring out the full power of the instrument; sometimes the organist had to stand on the pedals and throw the weight of his body on the keys to get a big chord. All kinds of schemes were tried to lighten the "touch," as the required pressure on the keys is called, the most successful of which was dividing the pallet into two parts which admitted a small quantity of wind to enter the groove and release the pressure before the pallet was fully opened; but even on the best of organs the performance of music played with ease upon modern instruments was absolutely impossible.
There were usually six joints or sources of friction between the key and the pallet. To overcome this resistance and close the pallet required a strong spring. Because it wouldn't be practical to place all the heavy pipes at one end of the wind-chest, they were typically split between the two ends, making it necessary to transfer the pull of the keys sideways. This was done by a series of rollers called the roller-board. This setup, of course, increased friction and required an even stronger spring. The larger area of the pallet also made the lower notes of the organ difficult to play. Additionally, the resistance of the spring had to be considered, along with the wind pressure, which increased with every stop drawn. When the organ was large, with many stops, and the keyboards were coupled together, it took considerable effort to unleash the full power of the instrument; sometimes the organist had to stand on the pedals and lean their weight onto the keys to get a strong chord. Various methods were attempted to lighten the "touch," which refers to the required pressure on the keys. The most successful approach was splitting the pallet into two parts that allowed a small amount of wind to enter the groove and relieve the pressure before the pallet fully opened. However, even on the best organs, it was impossible to play music with the same ease found on modern instruments.
CHAPTER III.
THE DAWN OF A NEW ERA—THE PNEUMATIC LEVER.
Just as we no longer see four men tugging at the steering wheel of an ocean steamer, the intervention of the steam steering gear rendering the use of so much physical force unnecessary, so it now occurred to an organ-builder in the city of Bath, England, named Charles Spachman Barker,[1] to enlist the force of the organ wind itself to overcome the resistance of the pallets in the wind-chest. This contrivance is known as the pneumatic lever, and consists of a toy bellows about nine inches long, inserted in the middle of the key action. The exertion of depressing the key is now reduced to the small amount of force required to open a valve, half an inch in width, which admits wind to the bellows. The bellows, being expanded by the wind, pulls down the pallet in the wind-chest; the bellows does all the hard work. The drawing on the next page, which shows the lever as improved by the eminent English organ-builder, Henry Willis, shows the cycle of operation.
Just like we no longer see four men fighting over the steering wheel of a steamship, thanks to the steam steering gear making all that effort unnecessary, an organ-builder from Bath, England, named Charles Spachman Barker, thought to use the force of the organ wind itself to tackle the resistance of the pallets in the wind-chest. This invention is called the pneumatic lever and consists of a toy bellows about nine inches long, positioned in the middle of the key action. Now, the effort needed to press the key is reduced to the small force required to open a half-inch-wide valve that lets wind into the bellows. When the bellows expand with the wind, it pulls down the pallet in the wind-chest; the bellows does all the heavy lifting. The drawing on the next page, which shows the lever as improved by the notable English organ-builder Henry Willis, illustrates the cycle of operation.
When either the finger or foot is pressed upon a key connected with k, the outer end of the back-fall gg is pulled down, which opens the pallet p. The compressed air in a then rushes through the groove bb into the bellows cc, which rises and lifts with it all the action attached to it by l. As the top of the bellows cc rises, it lifts up the throttle-valve d (regulated by the wire m) which prevents the ingress of any more compressed air by bb. But the action of the key on gg, which opened the pallet p, also allowed the double-acting waste-valve e to close, and the tape f hangs loose. The compressed air, therefore, as it is admitted through bb cannot escape, but on the other hand when the key releases the outer end of g, and lets it rise up again, the tape f becomes tightened and opens the waste-valve, the bellows cc then drops into its closed position.
When you press a key connected to k with either your finger or foot, the outer end of the back-fall gg gets pulled down, which opens the pallet p. The compressed air in a then rushes through the groove bb into the bellows cc, causing it to rise along with all the action linked to it by l. As the top of the bellows cc goes up, it lifts the throttle-valve d (controlled by the wire m), which stops any more compressed air from entering through bb. However, when the key activates gg, which opened the pallet p, it also allowed the double-acting waste-valve e to close, leaving the tape f loose. So, the compressed air that comes in through bb can't escape, but when the key releases the outer end of g and allows it to rise again, the tape f tightens and opens the waste-valve, making the bellows cc drop back to its closed position.

Fig. 3. The Pneumatic Lever
The organ touch could now be made as light as that of a pianoforte, much lighter than ever before.
The organ touch could now be made as light as that of a piano, much lighter than ever before.
This epoch-making invention, introduced in 1832, rendered possible extraordinary developments. It was at first strangely ignored and opposed. The English organ-builders refused to take it up. Barker was at length driven to France, where, in the person of Aristide Cavaillé-Coll, he found a more far-seeing man.
This groundbreaking invention, introduced in 1832, enabled incredible advancements. At first, it was oddly overlooked and met with resistance. The English organ builders wouldn’t embrace it. Eventually, Barker moved to France, where he found a more visionary ally in Aristide Cavaillé-Coll.
After Cavaillé-Coll had fully demonstrated the practical value of Barker's invention, Willis and others joined in its development, and they contemporaneously overcame all difficulties and brought the pneumatic action into general favor.
After Cavaillé-Coll fully showcased the practical value of Barker's invention, Willis and others got involved in its development, and they simultaneously tackled all the challenges and made the pneumatic action widely accepted.
This process, of course, took time, and up to about fifty years ago pneumatic action was found only in a few organs of large calibre.
This process, of course, took time, and up until about fifty years ago, pneumatic action was only seen in a few large organs.
The recent revolution in organ building and in organ tone, of which this book treats, was founded upon the pneumatic and electro-pneumatic actions invented by Barker.[2]
The recent changes in organ building and sound, which this book discusses, were based on the pneumatic and electro-pneumatic actions created by Barker.[2]
It is safe to say that the art of organ building has advanced more during the last fifty years than in any previous three centuries. We are literally correct in saying that a veritable revolution has already been effected—and the end is not yet.
It’s fair to say that the art of organ building has progressed more in the last fifty years than in any previous three centuries. We can literally say that a true revolution has already taken place—and it’s not over yet.
As leaders in this revolutionary movement, three names stand out with startling prominence—Henry Willis, Aristide Cavaillé-Coll and Robert Hope-Jones.
As leaders in this groundbreaking movement, three names stand out with impressive prominence—Henry Willis, Aristide Cavaillé-Coll, and Robert Hope-Jones.
Others have made contributions to detail (notably Hilborne L. Roosevelt), but it is due to the genius, the inventions and the work of those three great men that the modern organ stands where it does to-day.
Others have contributed to the details (notably Hilborne L. Roosevelt), but it is thanks to the genius, the inventions, and the efforts of those three great men that the modern organ is where it is today.
We propose:
We're suggesting:
1. To enumerate and describe the inventions and improvements that have so entirely transformed the instrument;
1. To list and explain the inventions and upgrades that have completely changed the instrument;
2. To trace the progress of the revolution in our own country; and,
2. To follow the progress of the revolution in our country; and,
3. To describe the chief actors in the drama.
3. To describe the main characters in the story.
In the middle of the last century all organs were voiced on light wind pressure,[3] mostly from an inch and a half to three inches. True, the celebrated builder, William Hill, placed in his organ at Birmingham Town Hall, England, so early as 1833, a Tuba voiced on about eleven inches wind pressure, and Willis, Cavaillé-Coll, Gray and Davison, and others, adopted high pressures for an occasional reed stop in their largest organs; yet ninety-nine per cent. of the organs built throughout the world were voiced on pressures not exceeding three and one-half inches.
In the middle of the last century, all organs were set up to use light wind pressure, typically between an inch and a half and three inches. It's true that the well-known builder, William Hill, installed a Tuba in his organ at Birmingham Town Hall, England, as early as 1833, which was voiced on about eleven inches of wind pressure. Builders like Willis, Cavaillé-Coll, Gray and Davison, among others, also used high pressures for certain reed stops in their largest organs. However, ninety-nine percent of the organs made around the world were voiced using pressures that didn't exceed three and a half inches.
In those days most organs that were met with demanded a finger force of some twenty ounces before the keys could be depressed, when coupled, and it was no uncommon thing for the organist to have to exert a pressure of fifty ounces or more on the bass keys. (The present standard is between three and four ounces. We are acquainted with an organ in New York City which requires a pressure of no less than forty ounces to depress the bass keys.)
In those days, most organs required a finger pressure of about twenty ounces to press the keys down when coupled, and it wasn't uncommon for organists to need to apply fifty ounces or more on the bass keys. (The current standard is between three and four ounces. We know of an organ in New York City that needs at least forty ounces to press the bass keys.)
The manual compass on these organs seldom extended higher than f2 or g3, though it often went down to GG.[4]
The manual compass on these instruments rarely went above f2 or g3, although it often went down to GG.[4]
It was common to omit notes from the lower octave for economy's sake, and many stops were habitually left destitute of their bottom octaves altogether. Frequently the less important keyboards would not descend farther than tenor C.[5]
It was common to leave out notes from the lower octave to save resources, and many stops were often missing their bottom octaves entirely. Often, the less important keyboards would not go lower than tenor C.[5]
The compass of the pedal board (when there was a pedal board at all) varied anywhere from one octave to about two and a quarter octaves. The pedal keys were almost invariably straight and the pedal boards flat.
The range of the pedal board (when there was one) varied from one octave to about two and a quarter octaves. The pedal keys were usually straight, and the pedal boards were flat.

Fig. 4. Nomenclature of Organ Keyboard
[1] The invention of the pneumatic lever has been claimed for Mr. Hamilton, of Edinburgh, Scotland. It is, however, generally credited to Barker and known as the "Barker pneumatic lever." (See also note about Joseph Booth, page 129.)
[1] The invention of the pneumatic lever has been attributed to Mr. Hamilton from Edinburgh, Scotland. However, it is mostly recognized as the work of Barker and is commonly referred to as the "Barker pneumatic lever." (See also note about Joseph Booth, page 129.)
[2] Barker was also associated with Péschard, who in 1864 patented jointly with him the electro-pneumatic action. (See page 37.)
[2] Barker was also linked with Péschard, who in 1864 co-patented the electro-pneumatic action with him. (See page 37.)
[3] The pressure of the wind supplied by the old horizontal bellows is regulated by the weights placed on top. The amount of this pressure is measured by a wind-gauge or anemometer invented by Christian Förmer about 1677. It is a bent glass tube, double U shaped, into which a little water is poured. On placing one end of it fitted with a socket into one of the holes in the wind-chest (in place of a pipe) and admitting the wind from the bellows the water is forced up the tube, and the difference between the level of the surface of the water in the two legs of the tube is measured in inches. Thus, we always talk of the pressure of wind in an organ as being so many inches.
[3] The air pressure generated by the old horizontal bellows is controlled by weights placed on top. This pressure is measured using a wind gauge or anemometer that Christian Förmer invented around 1677. It consists of a bent glass tube shaped like a double U, into which a small amount of water is added. When one end, fitted with a socket, is placed into one of the holes in the wind chest (instead of a pipe), and wind from the bellows is allowed in, the water is pushed up the tube. The difference in water levels in the two sides of the tube is measured in inches. Therefore, we always refer to the pressure of air in an organ as a specific number of inches.
[4] The organ in Great Homer Street Wesleyan Chapel, Liverpool, England, had manuals extending down to CCC. It was built for a man who could not play the pedals and thus obtained 16 ft. tone from the keys. The old gallery organ in Trinity Church, New York, also has this compass.
[4] The organ in Great Homer Street Wesleyan Chapel, Liverpool, England, had manuals that went down to CCC. It was made for someone who couldn't play the pedals and therefore got 16 ft. tone from the keys. The old gallery organ in Trinity Church, New York, also has this range.
[5] Tenor C is the lowest note of the tenor voice or the tenor violin (viola). It is one octave from the bottom note of a modern organ keyboard, which is called CC. The lowest note of the pedal-board is CCC. Counting from the bottom upwards on the manual we have, therefore, CC (double C), C (tenor C), c (middle C), c1 (treble C), c2 (C in alt) and c3 (C in altissimo). This is the highest note on the keyboard of 61 keys. According to the modern nomenclature of the pianoforte keyboard this note is c4, and is frequently so stated erroneously in organ specifications.
[5] Tenor C is the lowest note in the tenor voice or on the tenor violin (viola). It is one octave above the lowest note on a modern organ keyboard, which is called CC. The lowest note on the pedal-board is CCC. Counting from the bottom up on the manual, we have CC (double C), C (tenor C), c (middle C), c1 (treble C), c2 (C in alt), and c3 (C in altissimo). This is the highest note on a 61-key keyboard. In modern terms, this note is c4, and it's often incorrectly referred to as such in organ specifications.
GG is four notes below CC, the break in the scale coming between GG and FFF. Tenor C is an important note to remember. Here is where the cheap builder came in again. He cut his stops short at tenor C, trusting to the pedal pipes to cover the deficiency.
GG is four notes below CC, the break in the scale coming between GG and FFF. Tenor C is a crucial note to keep in mind. This is where the budget builder cut corners again. He ended his stops early at tenor C, hoping the pedal pipes would make up for it.

PROSPER-ANTOINE MOITESSIER, INVENTOR OF TUBULAR PNEUMATIC ACTION
In the year 1845, Prosper-Antoine Moitessier, an organ-builder of Montpellier, France, patented what he called "abrégé pneumatique," an organ action in which all back-falls and rollers were replaced by tubes operated by exhaust air. In 1850 he built with this action an organ of 42 speaking stops for the church of Notre Dame de la Dalbade at Toulouse. This organ lasted 33 years. In 1866 Fermis, schoolmaster and village organist of Hanterire, near Toulouse, improved on Moitessier's action by combining tubes conveying compressed air with the Barker lever. An organ was built on this system for the Paris Exhibition of 1867, which came under the notice of Henry Willis, by which he was so struck that he was stimulated to experiment and develop his action, which culminated in the St. Paul's organ in 1872. (From article by Dr. Gabriel Bédart in Musical Opinion, London, July, 1908.)
In 1845, Prosper-Antoine Moitessier, an organ builder from Montpellier, France, patented what he called "abrégé pneumatique," an organ action that replaced all back-falls and rollers with tubes operated by exhaust air. In 1850, he built an organ with this action that had 42 speaking stops for the church of Notre Dame de la Dalbade in Toulouse. This organ lasted for 33 years. In 1866, Fermis, the schoolmaster and village organist of Hanterire, near Toulouse, improved upon Moitessier's action by combining tubes that conveyed compressed air with the Barker lever. An organ was built using this system for the Paris Exhibition of 1867, which caught the attention of Henry Willis, who was so impressed that he was motivated to experiment and develop his action, leading to the St. Paul's organ in 1872. (From the article by Dr. Gabriel Bédart in Musical Opinion, London, July, 1908.)
CHAPTER IV.
PNEUMATIC AND ELECTRO-PNEUMATIC ACTIONS.
Undoubtedly the first improvements to be named must be the pneumatic and electro-pneumatic actions.
Undoubtedly, the first improvements to mention must be the pneumatic and electro-pneumatic systems.
Without the use of these actions most of the advances we are about to chronicle would not have been effected.
Without these actions, many of the advancements we’re about to discuss wouldn’t have happened.
As before stated, Cavaillé-Coll and Willis worked as pioneers in perfecting and in introducing the pneumatic action.
As mentioned earlier, Cavaillé-Coll and Willis were pioneers in developing and introducing pneumatic action.
The pneumatic action used by Willis, Cavaillé-Coll and a score of other builders leaves little to be desired. It is thoroughly reliable and, where the keys are located close by the organ, is fairly prompt both in attack and repetition. Many of the pneumatic actions made to-day, however, are disappointing in these particulars.
The pneumatic action used by Willis, Cavaillé-Coll, and many other builders is highly reliable. When the keys are positioned close to the organ, it responds quickly in both attack and repetition. However, many of the pneumatic actions made today fall short in these areas.
TUBULAR PNEUMATICS.[1]
In the year 1872 Henry Willis built an organ for St. Paul's Cathedral, London, which was divided in two portions, one on each side of the junction of the Choir with the Dome at an elevation of about thirty feet from the floor. The keyboards were placed inside one portion of the instrument, and instead of carrying trackers down and under the floor and up to the other side, as had hitherto been the custom in such cases, he made the connection by means of tubes like gaspipes, and made a pulse of wind travel down and across and up and into the pneumatic levers controlling the pipes and stops. Sir John Stainer describes it as "a triumph of mechanical skill." He was organist of St. Paul's for many years and ought to know. This was all very well for a cathedral, where
In 1872, Henry Willis built an organ for St. Paul's Cathedral in London that was split into two sections, one on each side of where the Choir meets the Dome, about thirty feet above the floor. The keyboards were placed inside one section of the instrument, and instead of running trackers down and under the floor to the other side, which had been the usual practice, he connected them using tubes like gas pipes, allowing a pulse of wind to travel down, across, and up into the pneumatic levers that controlled the pipes and stops. Sir John Stainer called it "a triumph of mechanical skill." He was the organist of St. Paul's for many years and should know. This was all very well for a cathedral, where
". . . . the long-drawn aisles
The melodious strains prolong"
". . . . the lengthy aisles
The sweet music lingers"
but here is what the eminent English organist, W. T. Best, said about tubular pneumatic action as applied to another organ used for concert purposes: "It is a complete failure; you cannot play a triplet on the Trumpet, and I consider it the most d——nable invention ever placed inside an organ." Notwithstanding these drawbacks this action became very fashionable after its demonstration at St. Paul's, and was used even in small organs in preference to the Barker lever. One builder confessed to the writer that he had suffered severe financial loss through installing this action. After expending considerable time (and time is money) in getting it to work right, the whole thing would be upset when the sexton started up the heating apparatus. The writer is acquainted with organs in New York City where these same conditions prevail.
but here is what the well-known English organist, W. T. Best, said about tubular pneumatic action applied to another organ used for concerts: "It is a complete failure; you cannot play a triplet on the Trumpet, and I consider it the most damnable invention ever placed inside an organ." Despite these issues, this action became very popular after its demonstration at St. Paul's and was used even in small organs instead of the Barker lever. One builder admitted to the writer that he faced significant financial loss from installing this action. After spending a lot of time (and time is money) trying to get it to work properly, everything would fall apart when the sexton turned on the heating system. The writer knows of organs in New York City where these same problems exist.
The writer, however, will admit having seen some tubular actions which were fairly satisfactory, one in particular in the factory of Alfred Monk, London, England, where for demonstration purposes the tubes were fifty feet long. Dr. Bédart informs us that Puget, the famous organ builder of Toulouse, France, sets fifty feet as the limit of usefulness of this action.
The writer, however, acknowledges having witnessed some tubular actions that were quite satisfactory, especially one at Alfred Monk's factory in London, England, where the tubes measured fifty feet long for demonstration purposes. Dr. Bédart tells us that Puget, the renowned organ builder from Toulouse, France, considers fifty feet to be the maximum useful length for this action.
Henry Willis & Sons in their description of the organ in the Lady Chapel of Liverpool Cathedral state that their action has been tested to a repetition of 1,000 per minute, quicker than any human finger can move. This is a square organ in one case, but we note they have adopted the electric action for the great cathedral organ where the distance of the pipes from the keys is too great for satisfactory response.
Henry Willis & Sons, in their description of the organ in the Lady Chapel of Liverpool Cathedral, state that their mechanism has been tested to perform 1,000 times per minute, faster than any human finger can move. This is a square organ in a single case, but we observe they have chosen electric action for the large cathedral organ where the distance between the pipes and the keys is too far for a satisfactory response.
In view of the wide use at present of this action we give a drawing and description of its operation as patented and made by Mr. J. J. Binns, of Bramley, Leeds, England. J. Matthews, in his "Handbook of the Organ," says that this action is very good and free from drawbacks.
In light of the current widespread use of this mechanism, we provide a diagram and explanation of how it works, as patented and created by Mr. J. J. Binns, of Bramley, Leeds, England. J. Matthews, in his "Handbook of the Organ," states that this mechanism is excellent and has no significant issues.

Fig. 5. Tubular Pneumatic Action
The tubes, N, from each key are fixed to the hole connected to the small puffs P in the puff-board E. Air under pressure is admitted by the key action and conveyed by the tubes N which raises the corresponding button valves S1, lifting their spindles S and closing the apertures T2 in the bottom of the wind-chest A, and opening a similar aperture T in the bottom of the cover-board F, causing the compressed air to escape from the exhaust bellows M, which closes, raising the solid valve H in the cover-board F and closing the aperture J1 in the wind-chest A, shuts off the air from the bellows, which immediately closes, drawing down the pallet B, which admits air (or wind) to the pipes.
The tubes, N, from each key are attached to the hole linked to the small puffs P in the puff-board E. When a key is pressed, air under pressure is let in and sent through the tubes N, which lifts the corresponding button valves S1, raising their spindles S and closing the openings T2 at the bottom of the wind-chest A. This also opens a similar opening T at the bottom of the cover-board F, allowing the compressed air to escape from the exhaust bellows M. The bellows close, lifting the solid valve H in the cover-board F and sealing the opening J1 in the wind-chest A, cutting off the air from the bellows, which then immediately closes, pulling down the pallet B, which allows air (or wind) into the pipes.
No tubular-pneumatic action is entirely satisfactory when the distance between the keys and the organ is great. This is often due to a law of nature rather than to imperfection of design or workmanship.
No tubular-pneumatic action is completely effective when the distance between the keys and the organ is large. This is often due to a natural law rather than a flaw in design or craftsmanship.
Pneumatic pulses travel slowly—at a speed which does not reach 1,100 feet per second. In large organs where necessarily some of the tubes are short and some have to be long, it is impossible to secure simultaneous speech from all departments of the instrument, and in addition to this the crisp feeling of direct connection with his pipes, which the old tracker action secured for the organist, is lost.
Pneumatic pulses move slowly—at a speed that doesn’t exceed 1,100 feet per second. In large organs, where some tubes are short and others are long, it’s impossible to achieve simultaneous sound from all parts of the instrument. Additionally, the sharp connection to the pipes that the old tracker action provided for the organist is lost.
It is generally thought amongst the more advanced of the builders and organists qualified to judge, that the tubular-pneumatic action will sooner or later be entirely abandoned in favor of the electro-pneumatic action. Certain it is that the aid of electricity is now called in in practically every large instrument that is built in this country, and in an increasing proportion of those constructed abroad.
It’s widely believed among the more experienced builders and organists who are qualified to evaluate, that the tubular-pneumatic action will eventually be completely replaced by the electro-pneumatic action. It’s clear that electricity is now used in practically every large instrument made in this country, and in a growing number of those built overseas.
THE CRYING NEED FOR ELECTRIC ACTION.
The instance of St. Paul's Cathedral cited above shows the demand that existed at that time for means whereby the organ could be played with the keyboards situated at some distance from the main body of the instrument. In the Cathedrals the organ was usually placed on a screen dividing the Choir from the Nave, completely obstructing the view down the church. There was a demand for its removal from this position (which was eventually done at St. Paul's, Chester, Durham, and other Cathedrals). Then in the large parish churches the quartet of singers in the west gallery where the organ was placed had been abolished. Boy choirs had been installed in the chancel, leaving the organ and organist in the west gallery, to keep time together as best they could. In the Cathedrals, too, the organist was a long way off from the choir. How glorious it would be if he could sit and play in their midst! Henry Willis & Sons stated in a letter to the London Musical News, in 1890, that they had been repeatedly asked to make such arrangements but had refused, "because Dame Nature stood in the way,"—which she certainly did if tubular pneumatics had been used. The fact was that up to this time all the electric actions invented had proved more or less unreliable, and Willis, who had an artistic reputation to lose, refused to employ them. As an instance of their clumsiness we may mention that the best contact they could get was made by dipping a platinum point in a cell containing mercury! Other forms of contact rapidly oxidized and went out of business.
The example of St. Paul's Cathedral mentioned earlier highlights the need back then for ways to play the organ with the keyboards placed far from the main instrument. In the Cathedrals, the organ was typically installed on a screen that separated the Choir from the Nave, completely blocking the view down the church. There was a push to relocate it from this spot (which eventually happened at St. Paul's, Chester, Durham, and other Cathedrals). In large parish churches, the quartet of singers in the west gallery where the organ was placed had been removed. Boy choirs were now set up in the chancel, leaving the organ and organist in the west gallery, trying to sync up as best they could. In the Cathedrals, the organist was also far away from the choir. How wonderful it would be if he could sit and play among them! Henry Willis & Sons mentioned in a letter to the London Musical News in 1890 that they had been asked multiple times to create such setups but had declined, "because Dame Nature stood in the way,"—which she certainly did if tubular pneumatics were used. The reality was that until then, all the electric actions invented had been mostly unreliable, and Willis, who had a reputation to protect, refused to use them. As an example of their awkwardness, the best contact they could manage was by dipping a platinum point into a cell filled with mercury! Other types of contact quickly oxidized and became unusable.
Dr. Gauntlet, about the year 1852, took out a patent covering an electric connection between the keys and the pallets of an organ,[2] but the invention of the electro-pneumatic lever must be ascribed to Barker and Dr. Péschard. The latter seems to have suggested the contrivance and the former to have done the practical work.
Dr. Gauntlet, around 1852, obtained a patent for an electric connection between the keys and the pallets of an organ,[2] but the invention of the electro-pneumatic lever should be credited to Barker and Dr. Péschard. The latter appears to have proposed the idea, while the former took care of the practical implementation.
Bryceson Bros. were the first to introduce this action into English organs. They commenced work along these lines in 1868, under the Barker patents, their first organ being built behind the scenes at Her Majesty's Opera House, Drury Lane, London, the keys being in the orchestra. This organ was used successfully for over a year, after which it was removed and shown as a curiosity in the London Polytechnic Institute, recitals being given twice daily.
Bryceson Bros. were the first to bring this feature into English organs. They started working on this in 1868, using the Barker patents, with their first organ being built behind the scenes at Her Majesty's Opera House, Drury Lane, London, while the keys were in the orchestra. This organ was successfully used for over a year, after which it was taken out and displayed as a curiosity at the London Polytechnic Institute, where recitals were held twice daily.
Schmole and Molls, Conti, Trice and others took a leading part in the work on the European continent, and Roosevelt was perhaps its greatest pioneer in the United States.
Schmole and Molls, Conti, Trice, and others played a key role in the work on the European continent, and Roosevelt was arguably its most significant pioneer in the United States.
Various builders in many countries have more recently made scores of improvements or variations in form and have taken out patents to cover the points of difference, but none of these has done any work of special importance.
Various builders in many countries have recently made many improvements or variations in design and have taken out patents to cover the differences, but none of these has done any work of significant importance.
Not one of the early electric actions proved either quick or reliable, and all were costly to install and maintain.[3]
Not a single early electric action was quick or reliable, and all were expensive to install and maintain.[3]

The First Electric Organ Ever Built. In the Collegiate Church at Salon, Near Marseilles, France (1866).
This form of mechanism, therefore, earned a bad name and was making little advance, if not actually being abandoned, when a skilled electrician, Robert Hope-Jones, entered the field about 1886. Knowing little of organs and nothing of previous attempts to utilize electricity for this service, he made with his own hands and some unskilled assistance furnished by members of his voluntary choir, the first movable console,[4] stop-keys, double touch, suitable bass, etc., and an electric action that created a sensation throughout the organ world. In this action the "pneumatic blow" was for the first time attained and an attack and repetition secured in advance of anything thought possible at that time, in connection with the organ or the pianoforte.
This type of mechanism had a bad reputation and was making little progress, if not actually being abandoned, when a skilled electrician, Robert Hope-Jones, entered the scene around 1886. Knowing almost nothing about organs and nothing about previous attempts to use electricity for this purpose, he built the first movable console, stop-keys, double touch, suitable bass, and an electric action that created a sensation in the organ world, with some help from unskilled members of his choir. With this action, the "pneumatic blow" was achieved for the first time, allowing for an attack and repetition that surpassed anything thought possible at that time, in relation to both the organ and the piano.
Hope-Jones introduced the round wire contact which secures the ideally perfect "nibbing points," and he makes these wires of dissimilar non-corrosive metals (gold and platinum).
Hope-Jones introduced the round wire contact that secures the ideally perfect "nibbing points," and he makes these wires from different non-corrosive metals (gold and platinum).
He replaced previous rule-of-thumb methods by scientific calculation, recognized the value of low voltage, good insulation and the avoidance of self-induction, with the result that the electro-pneumatic action has become (when properly made) as reliable as the tracker or pneumatic lever mechanism.
He replaced old rule-of-thumb methods with scientific calculations, acknowledged the benefits of low voltage, effective insulation, and minimizing self-induction, resulting in electro-pneumatic action becoming as reliable as the tracker or pneumatic lever mechanism when properly constructed.
DESCRIPTION OF THE ELECTRIC ACTION.
The electric action consists substantially of a small bellows like the pneumatic lever, but instead of the valve admitting the wind to operate it being moved by a tracker leading from the key, it is opened by an electro-magnet, energized by a contact in the keyboard and connected therewith by a wire which, of course, may be of any desired length. We illustrate one form of action invented and used by Hope-Jones.[5]
The electric action mainly consists of a small bellows similar to the pneumatic lever, but instead of the valve being operated by a tracker from the key that lets air in, it's opened by an electromagnet, powered by a contact in the keyboard and connected by a wire that can be any length. We show one version of the action invented and used by Hope-Jones.[5]
Within the organ, the wires from the other end of the cable are attached to small magnets specially wound so that no spark results when the electric contact at the key is broken. This magnet attracts a thin disc of iron about 1/4 inch in diameter, (held up by a high wind pressure from underneath) and draws it downward through a space of less than 1/100 of an inch.
Within the organ, the wires from the other end of the cable are connected to small magnets that are specially wound to prevent sparks when the electric contact at the key is broken. This magnet pulls a thin iron disc that's about 1/4 inch in diameter (held up by high wind pressure from below) and draws it downward through a space of less than 1/100 of an inch.
The working is as follows: The box A is connected with the organ bellows and so (immediately the wind is put into the organ) is filled with air under pressure, which passes upwards between the poles of the magnet N. Lifting the small iron disc L it finds its way through the passage L into the small motor M, thus allowing the movable portion of the motor M to remain in its lower position, the pallet C1 being closed and the pallet C2 being open. Under these conditions, the large motor B collapses and the pull-down P (which is connected with the organ pallet) rises.
The process works like this: Box A is connected to the organ bellows, and as soon as wind is sent into the organ, it gets filled with pressurized air that flows upwards between the poles of magnet N. When the small iron disc L is lifted, air travels through passage L into the small motor M, allowing the movable part of motor M to stay in its lower position, with pallet C1 closed and pallet C2 open. In this state, the large motor B collapses and the pull-down P (which is attached to the organ pallet) rises.

Fig. 6. The Electro-Pneumatic Lever
When a weak current of electricity is caused to circulate round the coils of the electro-magnet N, the small armature disc J is drawn off the valve-seat H on to the zinc plate K.
When a weak electrical current runs through the coils of the electro-magnet N, the small armature disc J gets pulled away from the valve-seat H onto the zinc plate K.
The compressed air from within the small motor M escapes by way of the passage L, through the openings in the valve seat H into the atmosphere. The compressed air in the box A then acts upon the movable portion of the small motor M in such a manner that it is forced upwards and caused (through the medium of the pull-wire E) to lift the supply pallet C1 and close the exhaust pallet C2, thus allowing compressed air to rush from the box A into the motor B and so cause this latter motor to open and (through the medium of the pull down P) to pull the soundboard pallet from its seat and allow wind to pass into the pipes.
The compressed air inside the small motor M escapes through the passage L, moving through the openings in the valve seat H into the atmosphere. The compressed air in box A then pushes on the movable part of the small motor M, forcing it upward and using the pull-wire E to lift the supply pallet C1 and close the exhaust pallet C2. This action allows compressed air to rush from box A into motor B, causing this second motor to open and using the pull-down P to pull the soundboard pallet from its seat, allowing wind to flow into the pipes.

Fig. 7. Valve and Valve Seat, Hope-Jones Electric Action
The valve-seat H has formed on its lower surface two crescent shaped long and narrow slits. A very slight movement of the armature disc J, therefore, suffices to open to the full extent two long exhaust passages. The movement of this disc is reduced to something less than the 1/100 part of an inch. It is, therefore, always very close to the poles of the magnet, consequently a very faint impulse of electricity will suffice (aided by gravity) to draw the disc off the valve-seat H. The zinc plate K being in intimate contact with the iron poles of the magnet N, protects the latter from rust by well-known electrical laws. All the parts are made of metal, so that no change in the weather can affect their relative positions. R is the point at which the large motor B is hinged. G is a spring retaining cap in position; O the wires leading from the keys and conveying the current to the magnet N; Q the removable side of the box A.
The valve-seat H has two long, narrow crescent-shaped slits formed on its lower surface. A very slight movement of the armature disc J is enough to fully open two long exhaust passages. The movement of this disc is less than 1/100 of an inch. It is always very close to the magnet's poles, so a very small electrical impulse (with gravity's assistance) is enough to pull the disc off the valve-seat H. The zinc plate K, being in close contact with the iron poles of the magnet N, protects it from rust due to well-known electrical principles. All the parts are made of metal, ensuring that no change in the weather can affect their positions relative to each other. R is the point where the large motor B is hinged. G is a spring that holds the cap in place; O represents the wires coming from the keys that carry the current to the magnet N; Q is the removable side of the box A.
Fig. 7 represents a larger view of the plate K in which the magnet poles N are rigidly fixed—of a piece of very fine chiffon M (indicated by a slightly thicker line) which prevents particles of dust passing through so as to interfere with the proper seating of the soft Swedish charcoal iron armature disc J—of the distance piece L and of the valve seat H.
Fig. 7 shows a bigger view of plate K where the magnet poles N are securely attached— along with a piece of very fine chiffon M (shown by a slightly thicker line) that keeps dust particles from getting through and disrupting the proper placement of the soft Swedish charcoal iron armature disc J—along with the distance piece L and the valve seat H.
On the upper surface of this valve seat H another piece of fine chiffon is attached to prevent possible passage of dust to the armature valve J, from outside.
On the top surface of this valve seat H, another piece of fine chiffon is attached to stop any dust from getting through to the armature valve J from the outside.
As all parts of this apparatus are of metal changes in humidity or temperature do not affect its regulation.
Since all parts of this device are made of metal, changes in humidity or temperature don’t affect its performance.
The use of this action renders it possible for the console (or keyboards, etc.) to be entirely detached from the organ, moved to a distance and connected with the organ by a cable fifty or one hundred feet or as many miles long. This arrangement may be seen, for example, in the College of the City of New York (built by the E. M. Skinner Co.), where the console is carried to the middle of the platform when a recital is to be given, and removed out of the way when the platform is wanted for other purposes.
The use of this feature allows the console (or keyboards, etc.) to be completely separated from the organ, moved away, and linked to the organ by a cable that can be fifty, one hundred feet, or even several miles long. This setup can be seen, for instance, at the College of the City of New York (constructed by the E. M. Skinner Co.), where the console is placed in the center of the platform during a recital and moved out of the way when the platform is needed for other activities.
As all the old mechanism—the backfalls, roller-boards and trackers—is now swept away, it is possible by placing the bellows in the cellar to utilize the inside of the organ for a choir-vestry, as was indeed done with the pioneer Hope-Jones organ at St. John's Church, Birkenhead.
As all the old machinery—the backfalls, roller-boards, and trackers—is now gone, it's possible to use the space inside the organ for a choir room by putting the bellows in the cellar, just like they did with the first Hope-Jones organ at St. John's Church in Birkenhead.
DIVISION OF ORGANS.
Before the invention of pneumatic and electro-pneumatic action, organs were almost invariably constructed in a single mass. It was, it is true, possible to find instruments with tracker action that were divided and placed, say, half on either side of a chancel, but instances of the kind were rare and it was well nigh impossible for even a muscular organist to perform on such instruments.
Before the invention of pneumatic and electro-pneumatic action, organs were usually made as a single unit. While it was possible to find instruments with tracker action that were split and positioned, for example, on either side of a chancel, such cases were uncommon, and it was nearly impossible for even a strong organist to play on those instruments.
The perfecting of tubular pneumatic and especially of electro-pneumatic action has lent wonderful flexibility to the organ and has allowed of instruments being introduced in buildings where it would otherwise have been impossible to locate an organ. Almost all leading builders have done work of this kind, but the Aeolian Company has been quickest to seize the advantage of division in adapting the pipe organ for use in private residences.
The development of tubular pneumatic and especially electro-pneumatic action has given the organ incredible flexibility and has made it possible to include instruments in locations where it would have been hard to place an organ before. Almost all major builders have worked on this, but the Aeolian Company has been the fastest to take advantage of this innovation to adapt the pipe organ for use in private homes.
Sound reflectors have recently been introduced, and it seems likely that these will play an important part in organ construction in the future. So far they appear to be employed only by Hope-Jones and the firms with which he was associated. It has been discovered that sound waves may be collected, focussed or directed, much in the same way that light waves can. In the case of the Hope-Jones organ at Ocean Grove, N. J., the greatest part of the instrument has been placed in a basement constructed outside the original Auditorium. The sound waves are thrown upward and are directed into the Auditorium by means of parabolic reflectors constructed of cement lined with wood. The effect is entirely satisfactory. In Trinity Cathedral, Cleveland, Ohio,[6] Hope-Jones arranged for the Tuba to stand in the basement at the distant end of the nave. Its tone is directed to a cement reflector and from that reflector is projected through a metal grid set in the floor, till, striking the roof of the nave, it is spread and fills the entire building with tone. In St. Luke's Church, Montclair, N. J., he adopted a somewhat similar plan in connection with the open 38-foot pedal pipes which are laid horizontally in the basement. We believe that the first time this principle was employed was in the case of the organ rebuilt by Hope-Jones in 1892 at the residence of Mr. J. Martin White, Balruddery, Dundee, Scotland.
Sound reflectors have recently been introduced, and it seems likely that they will play an important role in organ construction in the future. So far, they appear to be used only by Hope-Jones and the companies he was associated with. It has been discovered that sound waves can be collected, focused, or directed, similar to how light waves can be handled. In the case of the Hope-Jones organ at Ocean Grove, N.J., most of the instrument has been placed in a basement built outside the original auditorium. The sound waves are reflected upward and directed into the auditorium using parabolic reflectors made of cement lined with wood. The effect is completely satisfactory. In Trinity Cathedral, Cleveland, Ohio,[6] Hope-Jones arranged for the Tuba to be positioned in the basement at the far end of the nave. Its tone is directed to a cement reflector, which then projects the sound through a metal grid set in the floor, ultimately striking the roof of the nave and filling the entire building with sound. In St. Luke's Church, Montclair, N.J., he adopted a somewhat similar design with the open 38-foot pedal pipes that are laid horizontally in the basement. We believe the first use of this principle was in the organ rebuilt by Hope-Jones in 1892 at the residence of Mr. J. Martin White, Balruddery, Dundee, Scotland.
OCTAVE COUPLERS.
In the days of mechanical action, couplers of any kind proved a source of trouble and added greatly to the weight of the touch. The natural result was that anything further than unison coupling was seldom attempted.
In the era of mechanical actions, any type of couplers caused issues and significantly increased the weight of the touch. The natural outcome was that anything beyond unison coupling was rarely attempted.
In some organs hardly any couplers at all were present.
In some organs, there were hardly any couplers at all.
In Schulze's great and celebrated organ in Doncaster, England, it was not possible to couple any of the manuals to the pedals, and (if we remember rightly) there were only two couplers in the whole instrument. Shortly after the introduction of pneumatic action, an organ with an occasional octave coupler, that is a coupler which depressed a key an octave higher or lower than the one originally struck, was sometimes met with.
In Schulze's famous organ in Doncaster, England, it wasn't possible to connect any of the manuals to the pedals, and (if we recall correctly) there were only two couplers in the entire instrument. Shortly after pneumatic action was introduced, an organ with an occasional octave coupler—one that pressed a key an octave higher or lower than the one originally played—was sometimes encountered.
In the pioneer organ built by Hope-Jones in Birkenhead, England (about 1887), a sudden advance was made. That organ contains no less than 19 couplers. Not only did he provide sub-octave and super-octave couplers freely, but he even added a Swell Sub-quint to Great coupler!
In the groundbreaking organ built by Hope-Jones in Birkenhead, England (around 1887), a major leap forward was achieved. That organ features 19 couplers. He not only included sub-octave and super-octave couplers generously, but he also added a Swell Sub-quint to Great coupler!
Octave couplers are now provided by almost all builders.
Octave couplers are now offered by nearly all manufacturers.
Though condemned by many theorists, there is no doubt that in practice they greatly add to the resources of the instruments to which they are attached. We know of small organs where the electric action has been introduced for no other reason than that of facilitating the use of octave couplers, which are now a mere matter of wiring and give no additional weight to the touch.
Though criticized by many theorists, there's no denying that in practice they significantly enhance the capabilities of the instruments they're connected to. We know of small organs where electric action has been added solely to make it easier to use octave couplers, which are now just a matter of wiring and don’t add any extra resistance to the touch.
Hope-Jones appears to have led in adding extra pipes to the wind-chest, which were acted upon by the top octave of the octave couplers, thus giving the organist a complete scale to the full extent of the keyboards. He made the practice common in England, and the Austin Company adopted it on his joining them in this country. The plan has since become more or leas common. This is the device we see specified in organ builders' catalogues as the "extended wind-chest," and explains why the stops have 73 pipes to 61 notes on the keyboard. An octave coupler without such extension is incomplete and is no more honest than a stop which only goes down to Tenor C.
Hope-Jones seems to have been the first to add extra pipes to the wind-chest, which were influenced by the top octave of the octave couplers, allowing the organist to have a complete scale covering the entire range of the keyboards. He made this practice common in England, and the Austin Company adopted it when he joined them in this country. The method has since become more or less standard. This is the feature we see noted in organ builders' catalogs as the "extended wind-chest," which explains why the stops have 73 pipes for 61 notes on the keyboard. An octave coupler without this extension is incomplete and is no more honest than a stop that only reaches down to Tenor C.
[1] The researches of Dr. Gabriel Bédart, Professeur agrégé Physiologie in the University of Lille, France, a learned and enthusiastic organ connoisseur, have brought to light the fact that the first tubular pneumatic action was constructed by Moitessier in France in 1835. It was designed upon the exhaust principle.
[1] The research of Dr. Gabriel Bédart, Associate Professor of Physiology at the University of Lille, France, a knowledgeable and passionate expert on organs, has revealed that the first tubular pneumatic action was built by Moitessier in France in 1835. It was based on the exhaust principle.
[2] Dr. Gauntlett's idea was to play all the organs shown in the Great Exhibition in London, in 1851, from one central keyboard. He proposed to place an electro-magnet inside the wind-chest under each pallet, which would have required an enormous amount of electric current. The idea was never carried out. This plan seems also to have occurred to William Wilkinson, the organ-builder of Kendal, as far back as 1862, but, after some experiments, was abandoned. An organ constructed on similar lines was actually built by Karl G. Weiglé, of Echterdingen, near Stuttgart, Germany, in 1870, and although not at all a success, he built another on the same principle which was exhibited at the Vienna Exhibition in 1873. Owing to the powerful current necessary to open the Pallets, the contacts fused and the organ was nearly destroyed by fire on several occasions.
[2] Dr. Gauntlett's idea was to play all the organs displayed at the Great Exhibition in London in 1851 from one central keyboard. He suggested placing an electro-magnet inside the wind-chest under each pallet, which would have needed a massive amount of electric current. This idea was never realized. This concept also seems to have occurred to William Wilkinson, the organ builder from Kendal, way back in 1862, but after some experiments, it was set aside. An organ built on similar lines was actually created by Karl G. Weiglé of Echterdingen, near Stuttgart, Germany, in 1870, and although it wasn't successful, he made another based on the same principle that was showcased at the Vienna Exhibition in 1873. Due to the strong current needed to open the pallets, the contacts melted and the organ nearly caught fire on several occasions.
[3] Sir John Stainer, in the 1889 edition of his "Dictionary of Musical Terms," dismisses the electric action in a paragraph of four lines as of no practical importance. In that same year the writer asked Mr. W. T. Best to come over and look at the organ in St. John's Church, Birkenhead, which was then beginning to be talked about, and he laughed at the idea that any good could come out of an electric action. He was a man of wide experience who gave recitals all over the country and was thoroughly acquainted with the attempts that had been made up to that time. He did not want to see any more electric organs.
[3] Sir John Stainer, in the 1889 edition of his "Dictionary of Musical Terms," brushes off electric action in a four-line paragraph as having no practical significance. That same year, I asked Mr. W. T. Best to come check out the organ at St. John's Church in Birkenhead, which was starting to gain some attention, and he laughed at the idea that anything good could come from electric action. He was a man with a lot of experience, giving recitals all over the country and well aware of the attempts that had been made up to that point. He didn't want to see any more electric organs.
[4] Console—the keyboards, pedals and stop action by which the organ is played; sometimes detached from the instrument.
[4] Console—the keyboards, pedals, and stop action used to play the organ; sometimes separate from the instrument.
[5] from Matthews' "Handbook of the Organ," p. 52 et seq.
[5] from Matthews' "Handbook of the Organ," p. 52 et seq.
[6] Organ built by the Ernest M. Skinner Co.
[6] Organ built by the Ernest M. Skinner Company.

DR. ALBERT PESCHARD. Inventor of Electro-Pneumatic Action.
Dr. Albert Péschard was born in 1836, qualified as an advocate (Docteur en droit), and from 1857 to 1875 was organist of the Church of St. Etienne, Caen, France. He commenced to experiment in electro-pneumatics in the year 1860, and early in 1861 communicated his discoveries to Mr. Barker. From that date until Barker left France, Péschard collaborated with him, reaping no pecuniary benefit therefrom. Péschard, however, was honored by being publicly awarded the Medal of Merit of the Netherlands; the Medal of Association Francaise pour l'Avancement de la Science; Gold Medal, Exhibition of Lyons; and the Gold Medal, Exhibition of Bordeaux. He died at Caen, December 23, 1903. (From Dr. Hinton's "Story of the Electric Organ.")
Dr. Albert Péschard was born in 1836, qualified as a lawyer (Docteur en droit), and served as the organist for the Church of St. Etienne in Caen, France, from 1857 to 1875. He began experimenting with electro-pneumatics in 1860, and early in 1861, he shared his discoveries with Mr. Barker. From that point until Barker left France, Péschard worked with him without receiving any financial compensation. However, Péschard was honored with several awards, including the Medal of Merit from the Netherlands, the Medal from the French Association for the Advancement of Science, a Gold Medal at the Exhibition of Lyons, and a Gold Medal at the Exhibition of Bordeaux. He passed away in Caen on December 23, 1903. (From Dr. Hinton's "Story of the Electric Organ.")
CHAPTER V.
STOP-KEYS.
On looking at the console of a modern organ the observer will be struck by the fact that the familiar draw-stop knobs have disappeared, or, if they are still there, he will most likely find in addition a row of ivory tablets, like dominoes, arranged over the upper manual. If the stop-knobs are all gone, he will find an extended row, perhaps two rows of these tablets. These are the stop-keys which, working on a centre, move either the sliders in the wind-chest, or bring the various couplers on manuals and pedals on or off.
When looking at the console of a modern organ, the observer will notice that the familiar draw-stop knobs have mostly disappeared, or if they’re still present, they’ll likely see an additional row of ivory tablets, like dominoes, arranged above the upper manual. If the stop knobs are completely gone, there will be an extended row—maybe two rows—of these tablets. These are the stop-keys, which, functioning on a center, either move the sliders in the wind-chest or turn the various couplers on the manuals and pedals on or off.

Fig. 8. Console, Showing the Inclined Keyboards First Introduced Into This Country by Robert Hope-Jones
We learn from Dr. Bédart that as early as 1804 an arrangement suggestive of the stop-key was in use in Avignon Cathedral. William Horatio Clarke, of Reading, Mass., applied for a patent covering a form of stop-key in 1877. Hope-Jones, however, is generally credited with introducing the first practical stop-keys. He invented the forms most largely used to-day, and led their adoption in England, in this country, and indeed throughout the world.
We learn from Dr. Bédart that as early as 1804, a system resembling the stop-key was used in Avignon Cathedral. William Horatio Clarke from Reading, Mass., applied for a patent for a type of stop-key in 1877. However, Hope-Jones is usually recognized as the one who introduced the first practical stop-keys. He created the designs that are most widely used today and promoted their use in England, the U.S., and around the world.

Fig. 9. Console on the Bennett System, Showing Indicator Discs
Our illustration (Fig. 8) gives a good idea of the appearance of a modern Hope-Jones console. The stop-keys will be seen arranged in an inclined semi-circle overhanging and just above the keyboards. Fig. 9 shows a console on the Bennett system. Figs. 10 and 11, hybrids, the tilting tablet form of stop-keys being used for the couplers only.
Our illustration (Fig. 8) shows what a modern Hope-Jones console looks like. The stop keys are arranged in a slanted semi-circle, hanging over and just above the keyboards. Fig. 9 displays a console using the Bennett system. Figs. 10 and 11 are hybrids, featuring the tilting tablet design of stop keys used only for the couplers.

Fig. 10. Console of Organ in Trinity Church, Boston, Mass. Built by Hutchings Organ Co.
There is much controversy as to whether stop-keys will eventually displace the older fashioned draw-knobs.
There is a lot of debate about whether stop-keys will eventually replace the old-fashioned draw-knobs.

Fig. 11. Console of Organ in College of City of New York. Built by The E. M. Skinner Co.
A few organists of eminence, notably Edwin H. Lemare, are strongly opposed to the new method of control, but the majority, especially the rising generation of organists, warmly welcome the change. It is significant that whereas Hope-Jones was for years the only advocate of the system, four or five of the builders in this country, and a dozen foreign organ-builders, are now supplying stop-keys either exclusively or for a considerable number of their organs. Austin, Skinner, Norman & Beard, Ingram and others use the Hope-Jones pattern, but Haskell, Bennett, Hele and others have patterns of their own. It is a matter of regret that some one pattern has not been agreed on by all the builders concerned.[1]
A few prominent organists, especially Edwin H. Lemare, strongly oppose the new method of control, but most, particularly the younger generation of organists, enthusiastically embrace the change. It’s notable that while Hope-Jones was the sole supporter of this system for many years, several builders in this country and about a dozen foreign organ builders are now offering stop-keys, either exclusively or for many of their organs. Austin, Skinner, Norman & Beard, Ingram, and others use the Hope-Jones design, but Haskell, Bennett, Hele, and others have their own designs. It’s unfortunate that a single design hasn’t been agreed upon by all the builders involved.[1]
CONTROL OF THE STOPS.
In older days all stop-keys were moved by hand, and as a natural consequence few changes in registration could be made during performance.
In the past, all stop-keys were operated manually, so it was difficult to make changes in registration during a performance.
Pedals for throwing out various combinations of stops were introduced into organs about 1809; it is generally believed that J. C. Bishop was the inventor of this contrivance.
Pedals for creating different combinations of stops were added to organs around 1809; it is widely thought that J. C. Bishop was the inventor of this device.
Willis introduced into his organs pneumatic thumb-pistons about the year 1851. These pistons were placed below the keyboard whose stops they affected.
Willis introduced pneumatic thumb-pistons into his organs around 1851. These pistons were positioned below the keyboard, influencing the stops.
T. C. Lewis, of England, later introduced short key-touches arranged above the rear end of the keys of the manual. Depression of these key-touches brought different combinations of stops into use on the keyboard above which they were placed. Somewhat similar key-touches were used by the Hope-Jones Organ Co. and by the Austin Organ Co.
T. C. Lewis from England later added short key-touches positioned above the back end of the keyboard. Pressing these key-touches activated different combinations of stops on the keyboard above them. Similar key-touches were also used by the Hope-Jones Organ Co. and the Austin Organ Co.
Metal buttons or pistons located on the toe piece of the pedal-board were introduced by the ingenious Casavant of Canada. They are now fitted by various builders and appear likely to be generally adopted. These toe-pistons form an additional and most convenient means for bringing the stops into and out of action.
Metal buttons or pistons on the toe piece of the pedal board were introduced by the clever Casavant from Canada. They are now installed by various builders and seem likely to be widely adopted. These toe pistons provide an extra and very convenient way to activate and deactivate the stops.
At first these various contrivances operated only such combinations as were arranged by the builder beforehand, but now it is the custom to provide means by which the organist can so alter and arrange matters that any combination piston or combination key shall bring out and take in any selection of stops that he may desire. Hilborne Roosevelt of New York, was the first to introduce these adjustable combination movements.
At first, these different devices only worked with combinations that the builder had preset, but now it's standard to include options that allow the organist to change and arrange things so that any combination piston or key can activate or deactivate any selection of stops they want. Hilborne Roosevelt of New York was the first to introduce these adjustable combination movements.
The introduction of the above means of rapidly shifting the stops in an organ has revolutionized organ-playing, and has rendered possible the performance of the orchestral transcriptions that we now so often hear at organ recitals.
The introduction of the above methods for quickly changing stops on an organ has transformed organ playing and made it possible to perform the orchestral transcriptions that we now frequently hear at organ recitals.
In order to economize in cost of manufacture, certain of the organ-builders, chiefly in America and in Germany, have adopted the pernicious practice of making the combination pedals, pistons or keys bring the various ranks of pipes into or out of action without moving the stop-knobs.
To save on manufacturing costs, some organ builders, mainly in America and Germany, have taken up the harmful practice of using the combination pedals, pistons, or keys to activate or deactivate the different ranks of pipes without adjusting the stop-knobs.
This unfortunate plan either requires the organist to remember which combination of stops he last brought into operation on each keyboard, or else necessitates the introduction of some indicator displaying a record of the pistons that he last touched. In the organ in the Memorial Church of the 1st Emperor William in Berlin, the builder introduced a series of electric lights for this purpose. This device can be seen in use in this country.
This unfortunate plan either requires the organist to remember which combination of stops he last used on each keyboard, or it needs some indicator showing a record of the pistons he last touched. In the organ at the Memorial Church of the 1st Emperor William in Berlin, the builder incorporated a series of electric lights for this purpose. This device is also in use in this country.
When this plan is adopted the player is compelled to preserve a mental image of the combinations set on every piston or pedal in the organ and identify them instantly by the numbers shown on the indicator—an impossibility in the case of adjustable combinations often changed—impracticable in any case.
When this plan is adopted, the player has to keep a mental picture of the combinations set on every piston or pedal of the organ and quickly identify them by the numbers displayed on the indicator—an impossible task for adjustable combinations that are frequently changed—impractical in any case.
Almost all the greatest organists agree in condemning the system of non-moving stop-knobs, and we trust and believe that it will soon be finally abandoned.
Almost all the top organists agree that the system of non-moving stop knobs is a problem, and we hope and believe that it will be completely abandoned soon.
[1] Organists find, after using them a short time, that a row of stop-keys over the manuals is wonderfully easy to control. It is possible to slide the finger along, and with one sweep either bring on or shut off the whole organ.
[1] Organists discover that after using them for a bit, a row of stop-keys above the manuals is really easy to manage. You can slide your finger along and with one move either turn the entire organ on or off.
CHAPTER VI.
RADIATING AND CONCAVE PEDAL BOARDS.
Pedal boards had always been made flat with straight keys until Willis and the great organist, Dr. S. S. Wesley, devised the radiating and concave board whereby all the pedal keys were brought within equal distance of the player's feet. This was introduced in the organ in St. George's Hall, Liverpool, in 1855, and Willis has refused to supply any other type of board with his organs ever since. Curiously enough, the advantages of this board were not appreciated by many players who preferred the old type of board and at a conference called by the Royal College of Organists in 1890 it was decided to officially recommend a board which was concave, but had parallel keys. The following letter to the author shows that the R. C. O. has experienced a change of heart in this matter:
Pedal boards used to be made flat with straight keys until Willis and the renowned organist, Dr. S. S. Wesley, created the radiating and concave board that placed all the pedal keys at an equal distance from the player's feet. This innovation was introduced in the organ at St. George's Hall, Liverpool, in 1855, and since then, Willis has refused to provide any other type of board with his organs. Interestingly, many players did not appreciate the benefits of this board and preferred the old style. At a conference organized by the Royal College of Organists in 1890, it was decided to officially recommend a board that was concave but featured parallel keys. The following letter to the author indicates that the R. C. O. has had a change of heart regarding this issue:
THE ROYAL COLLEGE OF ORGANISTS.
LONDON, S. W., 27th May, 1909.
THE ROYAL COLLEGE OF ORGANISTS.
LONDON, S. W., May 27, 1909.
Dear Sir: In answer to your inquiry the Resolutions and Recommendations to which you refer were withdrawn by my Council some years ago. No official recommendation is made by them now. It is stated in our Calendar that the Council wish it understood that the arrangements and measurements of the College organ are not intended to be accepted as authoritative or final suggestions. I am,
Dear Sir: In response to your inquiry, the Resolutions and Recommendations you mentioned were withdrawn by my Council several years ago. They are not making any official recommendations now. Our Calendar states that the Council wants it understood that the arrangements and measurements of the College organ are not meant to be considered as authoritative or final suggestions. I am,
Yours faithfully,
THOMAS SHINDLER,
Registrar.
Yours sincerely,
THOMAS SHINDLER,
Registrar.
The radiating and concave board has been adopted by the American Guild of Organists and has long been considered the standard for the best organs built in the United States and Canada. It is self-evident that this board is more expensive to construct than the other. That is why we do not find it in low-priced organs.
The curved and concave board has been embraced by the American Guild of Organists and has long been seen as the standard for the finest organs built in the United States and Canada. It's obvious that this board costs more to make than the others. That's why we don’t see it in budget-friendly organs.
In most American organs built twenty years ago, the compass of the pedal board was only two octaves and two notes, from CCC to D. Sometimes two octaves only. Later it was extended to F, 30 notes, which is the compass generally found in England. Following Hope-Jones' lead, all the best builders have now extended their boards to g, 32 notes, this range being called for by some of Bach's organ music and certain pieces of the French school where a melody is played by the right foot and the bass by the left. The chief reason is that g is the top note of the string bass, and is called for in orchestral transcriptions. Henry Willis & Sons have also extended the pedal compass to g in rebuilding the St. George's Hall organ in 1898.
In most American organs built twenty years ago, the pedalboard range was only two octaves and two notes, from CCC to D. Sometimes it was just two octaves. Later, it was extended to F, 30 notes, which is the range typically found in England. Following Hope-Jones' example, all the best builders have now extended their boards to g, 32 notes, as this range is needed for some of Bach's organ music and certain pieces from the French school, where a melody is played by the right foot and the bass by the left. The main reason for this is that g is the top note of the string bass and is needed in orchestral transcriptions. Henry Willis & Sons also extended the pedal range to g when they rebuilt the St. George's Hall organ in 1898.
PEDAL STOP CONTROL.
For a long time no means whatever of controlling the Pedal stops and couplers was provided, but in course of time it became the fashion to cause the combination pedals or pistons on the Great organ (and subsequently on the other departments also) to move the Pedal stops and couplers so as to provide a bass suited to the particular combination of stops in use on the manual. This was a crude arrangement and often proved more of a hindrance than of a help to the player. Unfortunately, unprogressive builders are still adhering to this inartistic plan. It frequently leads to a player upsetting his Pedal combination when he has no desire to do so. It becomes impossible to use the combination pedals without disturbing the stops and couplers of the Pedal department.
For a long time, there was no way to control the Pedal stops and couplers, but over time, it became common to connect the combination pedals or pistons on the Great organ (and later on other sections as well) to move the Pedal stops and couplers, creating a bass that matched the specific combination of stops being used on the manual. This was a basic setup and often ended up being more of a hindrance than a help to the player. Unfortunately, builders who don’t embrace progress are still sticking to this unartistic method. It often results in a player accidentally changing their Pedal combination when they didn’t intend to. It becomes impossible to use the combination pedals without affecting the stops and couplers of the Pedal department.
The great English organist, W. T. Best, in speaking of this, instanced a well-known organ piece, Rinck's "Flute Concerto," which called for quick changes from the Swell to the Great organ and vice versa, and said that he knew of no instrument in existence on which it could be properly played. An attempt had been made on the Continent to overcome this difficulty by the use of two pedal-boards, placed at an angle to each other, but it did not meet with success.
The great English organist, W. T. Best, when discussing this, referenced a famous organ piece, Rinck's "Flute Concerto," which required quick switches between the Swell and the Great organ and vice versa, and mentioned that he knew of no instrument that could play it properly. An effort had been made in Europe to solve this issue by using two pedal boards set at an angle to each other, but it wasn’t successful.
The Hope-Jones plan (patented 1889) of providing the combination pedals or pistons with a double touch was a distinct step in advance for it enabled the organist by means of a light touch to move only the manual registers and by means of a very much heavier touch on the combination pedal or piston to operate also his Pedal stops and couplers. Most large organs now built are furnished with a pedal for reversing the position of the Great to Pedal coupler. Though to a certain extent useful when no better means of control is provided, this is but a makeshift.
The Hope-Jones plan (patented 1889) introduced combination pedals or pistons with a double touch, marking a significant advancement. This innovation allowed the organist to use a light touch to operate only the manual registers, while applying a much heavier touch on the combination pedal or piston enabled control over the Pedal stops and couplers as well. Most large organs built today include a pedal for reversing the Great to Pedal coupler. While this can be somewhat useful when no better control options are available, it's really just a temporary solution.
Thomas Casson, of Denbigh, Wales, introduced an artistic, though somewhat cumbersome, arrangement. He duplicated the draw-knobs controlling the Pedal stops and couplers and located one set of these with the Great organ stops, another set with the Swell organ stops and a third with the Choir. He placed in the key slip below each manual what he called a "Pedal Help." When playing on the Great organ, he would, by touching the "Pedal Help," switch into action the group of Pedal stops and coupler knobs located in the Great department, switching out of action all the other groups of Pedal stops and couplers. Upon touching the "Pedal Help" under the Swell organ keys, the Great organ group of Pedal stops and couplers would be rendered inoperative and the Swell group would be brought into action. By this means it was easy to prepare in advance groups of Pedal stops and couplers suited to the combination of stops sounding upon each manual and by touching a Pedal Help, to call the right group of Pedal stops into action at any moment. The combination pedals affecting the Great stop-knobs moved also the Pedal stop-knobs belonging to the proper group. The Swell and Choir groups were similarly treated.
Thomas Casson, from Denbigh, Wales, came up with an artistic but somewhat bulky design. He duplicated the draw-knobs that controlled the Pedal stops and couplers, placing one set with the Great organ stops, another with the Swell organ stops, and a third with the Choir. He added what he called a "Pedal Help" below each manual in the key slip. When playing the Great organ, touching the "Pedal Help" would activate the group of Pedal stops and coupler knobs in the Great department, turning off all the other groups of Pedal stops and couplers. By touching the "Pedal Help" under the Swell organ keys, the Great organ group of Pedal stops and couplers would be disabled, while the Swell group would be activated. This setup made it easy to prearrange groups of Pedal stops and couplers that matched the combination of stops on each manual, allowing the right Pedal stops to be activated at any moment by pressing a Pedal Help. The combination pedals that affected the Great stop-knobs also moved the Pedal stop-knobs for the correct group. The Swell and Choir groups were set up in a similar way.
But the simplest and best means of helping the organist to control his Pedal department is the automatic "Suitable Bass" arrangement patented by Hope-Jones in 1891 and subsequently. According to his plan a "Suitable Bass" tablet is provided just above the rear end of the black keys on each manual.
But the simplest and best way to help the organist manage the pedal section is the automatic "Suitable Bass" system patented by Hope-Jones in 1891 and later. According to his design, a "Suitable Bass" button is placed just above the back end of the black keys on each manual.
Each of these tablets has a double touch. On pressing it with ordinary force it moves the Pedal stop keys and couplers, so as to provide an appropriate bass to the combination of stops in use on that manual at the moment. On pressing it with much greater force it becomes locked down and remains in that position until released by the depression of the suitable bass tablet belonging to another manual, or by touching any of the Pedal stop-knobs or stop-keys.
Each of these tablets has a dual function. When you press it with regular force, it activates the Pedal stop keys and couplers to provide the right bass for the stops currently in use on that manual. When you press it with significantly more force, it locks down and stays in that position until you release it by pressing the appropriate bass tablet from another manual or by touching any of the Pedal stop knobs or stop keys.
When the suitable bass tablet belonging to any manual is thus locked down, the stops and couplers of the Pedal department will automatically move so as to provide at all times a bass that is suitable to the combination of stops and couplers in use upon that particular manual.
When the right bass tablet for any manual is locked down, the stops and couplers in the Pedal department will automatically adjust to provide a bass that matches the combination of stops and couplers being used on that specific manual.
On touching the suitable bass tablet belonging to any other manual with extra pressure, the tablet formerly touched will be released and the latter will become locked down. The Pedal stops and couplers will now group themselves so as to provide a suitable bass to the stops in use on the latter-named manual, and will continue so to do until this suitable bass tablet is in turn released.
On pressing the appropriate bass key that belongs to any other manual with extra pressure, the key that was previously pressed will be released, and the new one will be locked down. The pedal stops and couplers will now adjust themselves to provide a suitable bass for the stops being used on the newly activated manual, and they will keep doing this until this bass key is released again.
This automatic suitable bass device does not interfere with the normal use of the stop-keys of the pedal department by hand. Directly any one of these be touched, the suitable bass mechanism is automatically thrown out of action.
This automatic bass device doesn’t interfere with the regular use of the pedal department's stop keys by hand. As soon as any of these are touched, the bass mechanism is automatically disabled.
The combination pedals and pistons are all provided with double touch. Upon using them in the ordinary way the manual stops alone are affected. If, however, considerable extra pressure be brought to bear upon them the appropriate suitable bass tablet is thereby momentarily depressed and liberated—by this means providing a suitable bass. In large organs two or three adjustable toe pistons are also provided to give independent control of the Pedal organ. On touching any of these toe pistons all suitable bass tablets are released, and any selection of Pedal stops and couplers that the organist may have arranged on the toe piston operated is brought into use. The Hope-Jones plan seems to leave little room for improvement. It has been spoken of as "the greatest assistance to the organist since the invention of combination pedals." [1]
The combination pedals and pistons come with double touch. When used normally, only the manual stops are affected. However, if you apply significant extra pressure, the appropriate bass tablet is momentarily pressed and released, creating a suitable bass sound. Large organs also include two or three adjustable toe pistons for independent control of the Pedal organ. When any of these toe pistons are activated, all suitable bass tablets are released, and any combination of Pedal stops and couplers that the organist has set up on the activated toe piston is engaged. The Hope-Jones design seems to have very little that can be improved upon. It has been described as "the greatest assistance to the organist since the invention of combination pedals." [1]
Compton, of Nottingham, England[2] (a progressive and artistic builder), already fits a suitable bass attachment to his organs and it would seem likely that before long this system must become universally adopted.
Compton, from Nottingham, England[2] (a forward-thinking and creative builder), already attaches a suitable bass system to his organs, and it seems likely that this approach will be adopted universally before long.
[1] Mark Andrews, Associate of the Royal College of Organists, England, President of the National Association of Organists and Sub-Warden of the American Guild of Organists.
[1] Mark Andrews, Associate of the Royal College of Organists, England, President of the National Association of Organists, and Sub-Warden of the American Guild of Organists.
[2] Mr. R. P. Elliott, organizer and late Vice-President of the Austin Co., said on his last return from England that Compton was at that time doing the most artistic work of any organ-builder in that country. He is working to a great extent on the lines laid down by Hope-Jones, and has the benefit of the advice and assistance of that well-known patron of the art, Mr. J. Martin White. His business has lately been reorganized under the title of John Compton, Ltd., in which company Mr. White is a large shareholder.
[2] Mr. R. P. Elliott, organizer and former Vice-President of the Austin Co., mentioned on his last trip back from England that Compton was currently doing the most artistic work of any organ builder in that country. He is largely following the principles established by Hope-Jones and is getting advice and support from the well-known art patron, Mr. J. Martin White. His business has recently been restructured under the name John Compton, Ltd., where Mr. White is a significant shareholder.
CHAPTER VII.
MEANS OF OBTAINING EXPRESSION.
CRESCENDO PEDAL.
To most organs in this country, to many in Germany, and to a few in other countries, there is attached a balanced shoe pedal by movement of which the various stops and couplers in the organ are brought into action in due sequence. By this means an organist is enabled to build up the tone of his organ from the softest to the loudest without having to touch a single stop-knob, coupler or combination piston. The crescendo pedal, as it is called, is little used in England. It is the fashion there to regard it merely as a device to help an incompetent organist. It is contended that a crescendo pedal is most inartistic, as it is certain to be throwing on or taking off stops in the middle, instead of at the beginning or end of a musical phrase. In spite of this acknowledged defect, many of the best players in this country regard it as a legitimate and helpful device.
To most organs in this country, to many in Germany, and to a few in other countries, there is a balanced shoe pedal that activates the various stops and couplers in the organ in the correct order. This allows an organist to build the tone from the softest to the loudest without having to touch a single stop knob, coupler, or combination piston. The crescendo pedal, as it's called, isn't commonly used in England. There, it's seen merely as a tool to assist an unskilled organist. Some argue that a crescendo pedal is quite unartistic since it tends to engage or disengage stops in the middle of a piece instead of at the beginning or end of a musical phrase. Despite this recognized flaw, many of the top players in this country view it as a legitimate and useful tool.
We believe the first balanced crescendo pedal in this country was put in the First Presbyterian Church organ at Syracuse, N. Y., by Steere, the builder of the instrument.
We think the first balanced crescendo pedal in the country was installed in the organ of the First Presbyterian Church in Syracuse, N.Y., by Steere, who built the instrument.
SFORZANDO PEDAL—DOUBLE TOUCH.
Under the name of Sforzando Coupler, the mechanism of which is described and illustrated in Stainer's Dictionary, a device was formerly found in some organs by which the keys of the Swell were caused to act upon the keys of the Great. The coupler being brought on and off by a pedal, sforzando effects could be produced, or the first beat in cadi measure strongly accented in the style of the orchestration of the great masters. Hope-Jones in his pioneer organ at St. John's Church, Birkenhead, England, provided a pedal which brought the Tuba on the Great organ. The pedal was thrown back by a spring on being released from the pressure of the foot. Some fine effects could be produced by this, but of course the whole keyboard was affected and only chords could be played. Various complicated devices to bring out a melody have been invented from time to time by various builders, but all have been superseded by the invention of the "Double Touch." On a keyboard provided with this device, extra pressure of the fingers causes the keys struck to fall an additional eighth inch (through a spring giving way), bringing the stops drawn on another manual into play. If playing on the Swell organ, the Choir stops will sound as well when the keys are struck with extra firmness; if playing on the Choir the Swell stops sound; and if playing on the Great the Double Touch usually brings on the Tuba or Trumpet. It is thus possible to play a hymn tune in four parts on the Swell and bring out the melody on the Choir Clarinet; to play on the Choir and bring out the melody on the Swell Vox Humana or Cornopean; or to play a fugue with the full power of the Great organ (except the Trumpet) and bring out the subject of the fugue every time it enters, whether in the soprano voice, the alto, tenor, or bass.
Under the name of Sforzando Coupler, which is described and illustrated in Stainer's Dictionary, there used to be a mechanism in some organs that allowed the keys of the Swell to operate the keys of the Great. The coupler could be turned on and off using a pedal, enabling sforzando effects or a strong accent on the first beat in a measured style like the orchestration of the great masters. Hope-Jones included a pedal in his pioneering organ at St. John's Church, Birkenhead, England, that activated the Tuba in the Great organ. The pedal would spring back once the foot pressure was released. This setup produced some impressive effects, but it affected the entire keyboard, allowing only chords to be played. Various builders have invented complicated devices over time to highlight a melody, but all have been replaced by the invention of the "Double Touch." On a keyboard equipped with this feature, increased finger pressure causes the keys to drop an additional eighth inch (as a spring gives way), activating the stops on another manual. When playing on the Swell organ, the Choir stops activate too when the keys are struck more firmly; when playing on the Choir, the Swell stops sound; and when playing on the Great, the Double Touch usually triggers the Tuba or Trumpet. This allows for the possibility of playing a hymn tune in four parts on the Swell while highlighting the melody on the Choir Clarinet; playing on the Choir with the melody sounding on the Swell Vox Humana or Cornopean; or performing a fugue with full power from the Great organ (except the Trumpet) while bringing out the subject of the fugue each time it enters, whether in soprano, alto, tenor, or bass.
In the latest Hope-Jones organs arrangements are made for drawing many of the individual stops on the second touch, independently of the couplers.
In the latest Hope-Jones organs, arrangements are made to operate many of the individual stops with the second touch, separately from the couplers.
BALANCED SWELL PEDAL
At the commencement of the period of which we are treating (some fifty years ago) the Swell shutters of almost all organs were made to fall shut of their own weight, or by means of a spring. The organist might leave his Swell-box shut or, by means of a catch on the pedal, hitch it full open.
At the beginning of the time we're discussing (about fifty years ago), the Swell shutters of nearly all organs were designed to close by their own weight or with a spring. The organist could leave the Swell box closed or, using a catch on the pedal, keep it fully open.
When, however, he wanted the shutters in any intermediate position, he had to keep his foot on the pedal in order to prevent its closing.
When he wanted the shutters in any position between open and closed, he had to keep his foot on the pedal to stop them from shutting.
The introduction of the balanced Swell pedal (Walcker, 1863) has greatly increased the tonal resources of the organ. It is used almost universally in this country, but strangely enough the country in which the Swell-box was invented (England, 1712) lags behind, and even to-day largely adheres to the old forms of spring pedal.
The introduction of the balanced Swell pedal (Walcker, 1863) has significantly enhanced the tonal capabilities of the organ. It is now used almost universally in this country, but oddly enough, the country where the Swell-box was invented (England, 1712) falls behind and even today mostly sticks to the old styles of spring pedal.
A further and great step in advance appears in recent organs built by the Hope-Jones Organ Company. The position of the swell shutters is brought under the control of the organist's fingers as well as his feet. Each balanced swell pedal is provided with an indicator key fixed on the under side of the ledge of the music desk, where it is most conspicuous to the eye of the performer. As the swell pedal is opened by the organist's foot, the indicator key travels in a downward direction to the extent of perhaps one inch and a quarter. As the organist closes his pedal, the indicator key again moves upward into its normal position. By means of this visible indicator key the organist is always aware of the position of the swell shutters. Through electric mechanism the indicator key is so connected with the swell pedal that the slightest urging of the key either upward or downward by the finger will shift the swell pedal and cause it to close or open as may be desired and to the desired extent. When an organ possesses four or five swell boxes, and when these swell boxes (as in the case of Hope-Jones' organs) modify the tone by many hundred per cent., it becomes highly important that the organist shall at all times have complete and instant control of the swell shutters and shall be conscious of their position without having to look below the keyboards. Hope-Jones also provides what he calls a general swell pedal. To this general swell pedal (and its corresponding indicator key) any or all of the other swell pedals may be coupled at will.
A significant advancement is evident in the recent organs made by the Hope-Jones Organ Company. The position of the swell shutters can now be controlled by the organist's fingers as well as their feet. Each balanced swell pedal has an indicator key attached to the underside of the music desk, making it highly visible to the performer. When the organist presses down the swell pedal with their foot, the indicator key moves down about an inch and a quarter. When the organist releases the pedal, the indicator key returns to its original position. This visible indicator key keeps the organist informed of the swell shutters' position at all times. The indicator key is electrically connected to the swell pedal so that even the slightest upward or downward push by the finger can adjust the swell pedal, opening or closing it as needed. When an organ has four or five swell boxes, and these boxes (as in Hope-Jones's organs) dramatically alter the tone, it's crucial for the organist to maintain complete and immediate control over the swell shutters without needing to look down at the keyboards. Hope-Jones also includes what he refers to as a general swell pedal. This general swell pedal (along with its corresponding indicator key) can be linked to any or all of the other swell pedals as desired.
Hope-Jones has also recently invented a means of controlling the swell shutters from the manual keys to a sufficient extent to produce certain sforzando effects.
Hope-Jones has also recently created a way to control the swell shutters from the manual keys enough to achieve certain sforzando effects.
When this contrivance is brought into use upon any manual and when no keys upon that manual are being played, the swell shutters assume a position slightly more open than normal in relation to the position of the swell pedal. Directly any key upon the manual in question is depressed, the swell shutters again resume their normal position in relation to the swell pedal. This results in a certain emphasis or attack at the commencement of each phrase or note that is akin to the effect obtained from many of the instruments of the orchestra.
When this device is used on any keyboard, and no keys on that keyboard are being played, the swell shutters open slightly more than usual compared to the swell pedal position. As soon as any key on that keyboard is pressed, the swell shutters return to their normal position in relation to the swell pedal. This creates a certain emphasis or attack at the start of each phrase or note that is similar to the effect produced by many orchestral instruments.
These contrivances are applicable only to such organs as have the balanced swell pedal.
These devices are only suitable for organs that have a balanced swell pedal.
SWELL BOXES.
The invention of the Swell is generally attributed to Abraham Jordan. He exhibited what was known as the nag's head Swell in St. Magnus' Church, London, England, in the year 1731.
The invention of the Swell is usually credited to Abraham Jordan. He showcased what was called the nag's head Swell in St. Magnus' Church, London, England, in 1731.
The "nag's head" Swell, with its great sliding shutter, rapidly gave place to the "Venetian" Swell shades, used almost universally to this day. At the beginning of the period under consideration Swell boxes were almost invariably made of thin boards and their effect upon the strength of the tone was small. Willis was one of the first to realize the artistic possibilities of the Swell organ and in almost all his organs we find thick wooden boxes and carefully fitted shutters, and often an inner swell box containing the delicate reeds, such as the Vox Humana and Oboe.
The "nag's head" Swell, with its large sliding shutter, quickly gave way to the "Venetian" Swell shades, which are used almost everywhere today. At the start of the period we're looking at, Swell boxes were usually made of thin boards, which didn’t have much impact on the tone's strength. Willis was one of the first to see the artistic potential of the Swell organ, and in nearly all his organs, you'll find thick wooden boxes and well-fitted shutters, often including an inner swell box for the delicate reeds like the Vox Humana and Oboe.
Many of the leading organ builders now employ this thicker construction, and it is no uncommon thing to find Swell boxes measuring three inches in thickness and "deadened" with sawdust or shavings between the layers of wood of which they are formed.
Many of the top organ builders now use this thicker construction, and it's quite common to see Swell boxes that are three inches thick and filled with sawdust or shavings between the layers of wood they’re made from.
A few organs of Hutchings and other makers are provided with a double set of shutters, so that sound waves escaping through the first set are largely arrested by the second. The crescendo and diminuendo are thus somewhat improved.
A few organs from Hutchings and other manufacturers come with a double set of shutters, so that sound waves escaping through the first set are mostly stopped by the second. The crescendo and diminuendo are therefore somewhat enhanced.
By the adoption of scientific principles Hope-Jones has multiplied the efficiency of Swell boxes tenfold. He points out that wood, hitherto used in their construction, is one of the best known conductors of sound and should, therefore, not be employed. The effects produced by his brick, stone and cement boxes (Worcester Cathedral, England; McEwan Hall, Edinburgh, Scotland, Ocean Grove, New Jersey, etc.) mark the dawn of a new era in Swell-box construction and effect. It is now possible to produce by means of scientific Swell boxes an increase or diminution of tone amounting to many hundred per cent.
By applying scientific principles, Hope-Jones has increased the efficiency of Swell boxes tenfold. He notes that wood, once used in their construction, is one of the best known conductors of sound and shouldn’t be used. The results achieved with his brick, stone, and cement boxes (Worcester Cathedral, England; McEwan Hall, Edinburgh, Scotland; Ocean Grove, New Jersey, etc.) represent the beginning of a new era in Swell box design and effectiveness. It is now possible to achieve an increase or decrease in tone by means of scientific Swell boxes amounting to several hundred percent.
We have heard the great Tuba at Ocean Grove, on 50-inch wind pressure, so reduced in strength that it formed an effective accompaniment to the tones of a single voice.
We experienced the impressive Tuba at Ocean Grove, under 50-inch wind pressure, so diminished in power that it created a fitting background for the sound of a single voice.
The Hope-Jones method seems to be to construct the box and its shutters (in laminated form) of brick, cement or other inert and non-porous material, and to substitute for the felt usually employed at the joints his patented "sound trap." This latter is so interesting and of such import in the history of organ building that we append, on the next page, illustrations and descriptions of the device.
The Hope-Jones method involves building the box and its shutters (in laminated form) out of brick, cement, or other non-porous, inert materials. Instead of using the felt typically found at the joints, he uses his patented "sound trap." This feature is quite fascinating and significant in the history of organ building, so we've included illustrations and descriptions of the device on the next page.
If a man should stand at one end of the closed passage (C) he will be able to converse with a friend at the other end of the passage (D). The passage will in fact act as a large speaking tube and a conversation can be carried on between the two individuals, even in whispers (Figure 12).
If a guy stands at one end of the closed passage (C), he can chat with a friend at the other end of the passage (D). The passage will actually work like a big speaking tube, allowing them to have a conversation, even in whispers (Figure 12).
This passage is analogous to the opening or nick between Swell shutters of the ordinary type.
This passage is similar to the opening or notch between standard Swell shutters.
If a man should stand in room 1 at A, he will be able to see a friend standing in room 4 at B, but the two friends will not be able to converse. When A speaks, the sound waves that he produces will spread out and will fill room 1. A very small percentage of them will strike the doorway or opening into room 2. In their turn these sound waves will be diffused all through room 2, and again but a small percentage of them will find access into room 3. The sound waves will by this time be so much attenuated that the voice of the man standing in room 1 will be lost. Any little tone, however, that may remain will become dissipated in room 3, and it will not be possible for a person standing in room 4 to hear the voice.
If a man stands in room 1 at A, he'll be able to see a friend in room 4 at B, but they won’t be able to talk. When A speaks, the sound waves he creates will spread out and fill room 1. A tiny percentage of them will hit the doorway or opening into room 2. These sound waves will then be spread throughout room 2, and again only a small portion will make it into room 3. By this time, the sound waves will have weakened so much that A's voice will be undetectable. Any remaining tone will dissipate in room 3, making it impossible for a person in room 4 to hear him.

Fig. 12. The Principle of the Sound Trap
This plan illustrates the principle of the sound trap joint.
This plan explains the concept of the sound trap joint.
Figure 13 shows in section the joint between two Swell shutters. A small proportion of the sound waves from inside the Swell box striking the sound trap joint, as indicated by the arrow, will pass through the nick between the two shutters, but these sound waves will become greatly weakened in charging the groove A. Such of the sound waves is pass through the second nick will become attenuated in charging the chamber B. They will be further lost in the chamber C, and practically none will remain by the time the chamber D is reached.
Figure 13 shows a cross-section of the joint between two Swell shutters. A small percentage of the sound waves from inside the Swell box that hit the sound trap joint, as shown by the arrow, will pass through the gap between the two shutters, but these sound waves will be significantly weakened as they enter groove A. The sound waves that pass through the second gap will be further diminished as they enter chamber B. They will lose even more energy in chamber C, and by the time they reach chamber D, virtually none will remain.
It is Hope-Jones' habit to place the shutters immediately above the pipes themselves, so that when they are opened the Swell box is left practically without any top. It is in such cases not his custom to fit any shutters in the side or front of the Swell box.
It’s Hope-Jones' routine to install the shutters right above the pipes, so when they’re opened, the Swell box is almost completely open at the top. In these situations, he doesn’t usually add any shutters to the sides or front of the Swell box.

Fig. 13. Sound Trap Joint
To relieve the compression of the air caused by playing for any length of time with the shutters closed, he provides escape valves, opening outside the auditorium. He also provides fans for driving all the cold air out of the box before using the organ, thus equalizing the temperature with the air outside—or he accomplishes this result through the medium of gas, electric or steam heaters, governed by thermostats.
To relieve the pressure of the air caused by playing for a long time with the shutters closed, he installs escape valves that open outside the auditorium. He also sets up fans to push all the cold air out of the box before using the organ, ensuring the temperature matches the air outside—or he achieves this by using gas, electric, or steam heaters controlled by thermostats.
The Hope-Jones Vacuum Swell Shutters, with sound-trap joints, are shown in Figures 14 and 15.
The Hope-Jones Vacuum Swell Shutters, featuring sound-trap joints, are displayed in Figures 14 and 15.
It is well known that sound requires some medium to carry it. Readers will doubtless be familiar with the well-known experiment illustrating this point. An electric bell is placed under a glass dome. So long as the dome is filled with air the sound of the bell can be heard, but directly the air is pumped out silence results, even though it can be seen that the bell is continuously ringing. As there is no air surrounding the bell there is nothing to convey its vibrations to the ear.
It is well known that sound needs a medium to travel through. Readers will likely be familiar with the famous experiment demonstrating this. An electric bell is placed under a glass dome. As long as the dome is filled with air, the sound of the bell can be heard, but as soon as the air is pumped out, it falls silent, even though the bell is still ringing. With no air around the bell, there’s nothing to carry its vibrations to the ear.
That is why the hollow swell shutter, from the interior of which the air has been pumped out, is such a wonderful non-conductor of sound.
That’s why the hollow swell shutter, from which the air has been pumped out, is such an excellent sound insulator.
The shutters shown in Figures 14 and 15 are aluminum castings.
The shutters shown in Figures 14 and 15 are made of aluminum castings.
Ribs R1 and R2 are provided to support the flat sides against the pressure of the atmosphere, but each of these ribs is so arranged that it supports only one flat side and does not form a means of communication between one flat side and the other. Thus R1 supports one flat side whilst R2 supports the other. The aluminum shutters are supported by means of pivot P.
Ribs R1 and R2 are designed to support the flat sides against atmospheric pressure, but each rib is set up to support only one flat side and doesn't connect the two sides. So, R1 supports one flat side while R2 supports the other. The aluminum shutters are held in place by pivot P.

Figs. 14-15. The Vacuum Shutter
They are very light and can therefore be opened and closed with great rapidity.
They are very lightweight, so they can be opened and closed quickly.
A very thin vacuum shutter forms a better interrupter of sound waves than a brick wall two or three feet in thickness.
A very thin vacuum shutter is a better sound barrier than a brick wall that is two or three feet thick.
When partially exhausted the aluminum shutters are dipped into a bath of shellac. This effectually closes any microscopic blow-hole that may exist in the metal.
When they're partially used up, the aluminum shutters are dipped in a shellac bath. This effectively seals any tiny defects that might exist in the metal.
The use of Swell boxes of this vastly increased efficiency permits the employment of larger scales and heavier pressures for the pipes than could otherwise be used, and enormously increases the tonal flexibility of the organ.
The use of Swell boxes with this greatly improved efficiency allows for larger scales and heavier pressures for the pipes than would otherwise be possible, and significantly enhances the tonal flexibility of the organ.
It also does away with the need for soft stops in an organ, thus securing considerable economy. Where all the stops are inclosed in cement chambers (as in the case of recent Hope-Jones organs) and where the sound-trap shutters are employed, every stop is potentially a soft stop.
It also eliminates the need for soft stops in an organ, resulting in significant savings. When all the stops are enclosed in cement chambers (like in the newer Hope-Jones organs) and when sound-trap shutters are used, every stop can be a soft stop.
CHAPTER VIII.
A REVOLUTION IN WIND SUPPLY.
Prior to the construction of the above-named organ at Birkenhead, England, it had been the custom to obtain or regulate the pressure of wind supplied to the pipes by means of loading the bellows with weights. Owing to its inertia, no heavy bellows weight can be set into motion rapidly. When, therefore, a staccato chord was struck on one of these earlier organs, with all its stops drawn, little or no response was obtained from the pipes, because the wind-chest was instantly exhausted and no time was allowed for the inert bellows weights to fall and so force a fresh supply of air into the wind-chests.
Before the construction of the organ mentioned above in Birkenhead, England, it was common to control the pressure of wind supplied to the pipes by using weights on the bellows. Because of their inertia, heavy bellows weights cannot be moved quickly. So, when a staccato chord was played on one of these earlier organs, with all its stops engaged, there was little to no response from the pipes, as the wind-chest would be quickly depleted and there wasn't enough time for the heavy bellows weights to drop and push a fresh supply of air into the wind-chests.
BELLOWS SPRINGS VERSUS WEIGHTS.
In one of Hope-Jones' earliest patents the weights indeed remain, but they merely serve to compress springs, which in turn, act upon the top of the bellows.
In one of Hope-Jones' earliest patents, the weights are still there, but they just compress springs, which then act on the top of the bellows.
Before this patent was granted he had, however, given up the use of weights altogether and relied entirely upon springs.
Before this patent was granted, he had, however, stopped using weights altogether and relied completely on springs.
This one detail—the substitution of springs for weights—has had a far-reaching effect upon organ music. It rendered possible the entire removal of the old unsteadiness of wind from which all organs of the time suffered in greater or less degree. It quickened the attack of the action and the speech of the pipes to an amazing extent and opened a new and wider field to the King of Instruments.
This single change—the switch from weights to springs—has greatly impacted organ music. It eliminated the old inconsistency of wind that affected all organs back then to varying degrees. It sped up the action and the sound of the pipes dramatically and expanded the possibilities for the King of Instruments.
In the year 1894 John Turnell Austin, now of Hartford, Conn., took out a patent for an arrangement known as the "Universal air-chest." In this, the spring as opposed to the weight is adopted. The Universal air-chest forms a perfect solution of the problem of supplying prompt and steady wind-pressure, but as practically the same effect is obtained by the use of a little spring reservoir not one hundredth part of its size, it is questionable whether this Universal air-chest, carrying, as it does, certain disadvantages, will survive.
In 1894, John Turnell Austin, who now lives in Hartford, Conn., secured a patent for a device called the "Universal air-chest." In this design, springs are used instead of weights. The Universal air-chest effectively addresses the challenge of providing quick and consistent wind pressure, but since a small spring reservoir that’s less than one-hundredth of its size can achieve nearly the same result, it's doubtful that this Universal air-chest, which has some drawbacks, will remain relevant.
INDIVIDUAL PALLETS.
Fifty years ago the pallet and slider sound-board was well nigh universally used, but several of the builders in Germany, and Roosevelt in this country, strongly advocated, and introduced, chests having an independent valve, pallet or membrane, to control the admission of wind to each pipe in the organ.[1]
Fifty years ago, the pallet and slider soundboard was almost universally used, but several builders in Germany, as well as Roosevelt in this country, strongly supported and introduced chests with an independent valve, pallet, or membrane to manage the airflow to each pipe in the organ.[1]
In almost all of these instances small round valves were used for this purpose.
In almost all of these cases, small round valves were used for this purpose.
A good pallet and slider chest is difficult to make, and those constructed by indifferent workmen out of indifferent lumber will cause trouble through "running"—that is, leakage of wind from one pipe to another. In poor chests of this description the slides are apt to stick when the atmosphere is excessively damp, and to become too loose on days when little or no humidity is present.
A good pallet and slider chest is tough to make, and those built by careless workers with low-quality wood will lead to issues with "running"—meaning air leaks from one pipe to another. In poorly made chests like this, the slides tend to stick when the air is really damp, and they can get too loose on days when there's not much humidity.
Individual pallet chests are cheaper to make and they have none of the defects named above. Most of these chests, however, are subject to troubles of their own, and not one of those in which round valves are employed permits the pipes to speak to advantage.
Individual pallet chests are less expensive to produce, and they don't have any of the issues mentioned earlier. However, most of these chests come with their own problems, and none of those that use round valves allow the pipes to function effectively.
Willis, Hope-Jones, Carlton C. Michell and other artists, after lengthy tests, independently arrived at the conclusion that the best tonal results cannot by any possibility be obtained from these cheap forms of chest. Long pallets and a large and steady body of air below each pipe are deemed essential.[2]
Willis, Hope-Jones, Carlton C. Michell, and other artists, after extensive testing, independently concluded that the best tonal results can't possibly be achieved with these cheap chest designs. Long pallets and a large, consistent body of air below each pipe are considered essential.[2]
HEAVY WIND PRESSURES.
As previously stated, the vast majority of organs built fifty years ago used no higher wind pressure than 3 inches. Hill, in 1833, placed a Tuba stop voiced on about 11 inches in an organ he built for Birmingham Town Hall (England), but the tone was so coarse and blatant that such stops were for years employed only in the case of very large buildings.[3] Cavaillé-Coll subsequently utilized slightly increased pressures for the trebles of his flue stops as well as for his larger reeds. As a pioneer he did excellent work in this direction.
As mentioned earlier, most organs made fifty years ago operated with a maximum wind pressure of 3 inches. Hill, in 1833, installed a Tuba stop with about 11 inches of pressure in an organ he built for Birmingham Town Hall (England), but the tone was so harsh and loud that these stops were typically only used in very large buildings for many years. Cavaillé-Coll later used slightly higher pressures for the treble notes of his flue stops and for his larger reed stops. As a pioneer, he made significant advancements in this area.
To Willis, however, must be attributed greater advance in the utilization of heavy pressures for reed work. He was the first to recognize that the advantage of heavy wind pressure for the reeds lay not merely in the increase of power, but also in the improvement of the quality of tone. Willis founded a new school of reed voicing and exerted an influence that will never die.
To Willis, however, we must credit a significant advancement in using high pressures for reed work. He was the first to realize that the benefit of heavy wind pressure on the reeds wasn't just about boosting power, but also about enhancing the quality of tone. Willis established a new approach to reed voicing and had an impact that will last forever.
In organs of any pretensions it became his custom to employ pressures of 8 to 10 inches for the Great and Swell chorus reeds and the Solo Tubas in his larger organs were voiced on 20 or 25 inches.
In organs of any significance, he usually used pressures of 8 to 10 inches for the Great and Swell chorus reeds, while the Solo Tubas in his larger organs were tuned to 20 or 25 inches.
He introduced the "closed eschallot" (the tube against which the tongue beats in a reed pipe) and created a revolution in reed voicing. He has had many imitators, but the superb examples of his skill, left in English Cathedral and town hall organs, will be difficult to surpass.
He introduced the "closed eschallot" (the tube that the tongue hits in a reed pipe) and started a revolution in reed voicing. He has had many imitators, but the amazing examples of his skill found in English Cathedral and town hall organs will be hard to beat.
Prior to the advent of Hope-Jones (about the year 1887) no higher pressure than 25 inches had, we believe, been employed in any organ, and the vast majority of instruments were voiced on pressures not exceeding 3 inches. Heavy pressure flue voicing was practically unknown, and in reeds even Willis used very moderate pressures, save for a Tuba in the case of really large buildings.
Before Hope-Jones came onto the scene (around 1887), no organ was believed to have used a pressure higher than 25 inches, and most instruments were voiced at pressures no more than 3 inches. High-pressure flue voicing was almost unheard of, and even Willis used fairly moderate pressures for reeds, except for a Tuba in the case of really large buildings.
Hope-Jones showed that by increasing the weight of metal, bellying all flue pipes in the centre, leathering their lips, clothing their flues, and reversing their languids, he could obtain from heavy pressures practically unlimited power and at the same time actually add to the sweetness of tone produced by the old, lightly blown pipes. He used narrow mouths, did away with regulation at the foot of the pipe, and utilized the "pneumatic blow" obtained from his electric action.
Hope-Jones demonstrated that by increasing the weight of metal, shaping all flue pipes to bulge in the center, adding leather to their edges, covering their flues, and reversing their languids, he could generate nearly limitless power from heavy pressures while also enhancing the sweetness of tone produced by the older, lightly blown pipes. He employed narrow mouths, removed regulations at the base of the pipe, and used the "pneumatic blow" achieved from his electric action.
He also inaugurated "an entirely new departure in the science of reed voicing." [4]
He also launched "a completely new approach in the science of reed voicing." [4]
He employs pressures as high as fifty inches and never uses less than six. His work in this direction has exercised a profound influence on organ building throughout the world, and leading builders in all countries are adopting his pressures or are experimenting in that direction.
He uses pressures as high as fifty inches and never goes below six. His contributions in this area have had a significant impact on organ building worldwide, and top builders in various countries are either adopting his pressure levels or experimenting with similar methods.
Like most revolutionary improvements, the use of heavy pressures was at first vigorously opposed, but organists and acousticians are now filled with wonder that the old low-pressure idea should have held sway so long, in view of the fact that very heavy wind is employed for the production of the best tone from the human voice and from the various wind instruments of the orchestra.
Like many groundbreaking changes, the use of heavy pressures faced strong opposition at first, but now organists and acousticians are amazed that the old low-pressure concept lasted so long, especially considering that very strong wind is used to produce the best sounds from the human voice and the different wind instruments in the orchestra.
Karl Gottlieb Weiglé, of Stuttgart, was a little in advance of many of his confrères in using moderately heavy pressures, but he departed from the leather lip and narrow mouth used by Hope-Jones and has obtained power without refinement.
Karl Gottlieb Weiglé, from Stuttgart, was slightly ahead of many of his peers in using moderately heavy pressures, but he moved away from the leather lip and narrow mouth favored by Hope-Jones and has achieved power without subtlety.
In employing these heavy pressures of wind, increased purity and beauty of tone should alone be aimed at. Power will take care of itself.
In using these strong wind pressures, the main goal should be to achieve greater clarity and beauty of tone. The power will take care of itself.
MECHANICAL BLOWERS.
The "organ beater" of bygone days was invariably accompanied by the "organ pumper," often by several of them. There is a well-known story of how the man refused to blow any longer unless the organist said that "we had done very well to-day." The organ pumper's vocation is now almost entirely gone, especially in this country, although we know of organs in England which require four men "to blow the same" unto this day.
The "organ beater" of the past was always joined by the "organ pumper," often with several others. There's a famous story about how the man refused to pump anymore unless the organist acknowledged that "we did very well today." The organ pumper's job has nearly disappeared now, especially in this country, although we know of organs in England that still need four men "to blow the same" even today.
When Willis built the great organ in St. George's Hall, Liverpool, in 1855, he installed an eight-horsepower steam engine to provide the wind supply. There is a six-horse steam engine in use in Chester Cathedral (installed 1876).
When Willis built the huge organ in St. George's Hall, Liverpool, in 1855, he set up an eight-horsepower steam engine to supply the wind. There's a six-horse steam engine in use at Chester Cathedral (installed 1876).
Gas and petrol (gasoline) engines have been used extensively in England, providing a cheaper, but, with feeders, a less controllable, prime mover. By far the commonest source of power has been the water motor, as it was economical and readily governed, and as water pressure was generally available, but the decline of the old-time bellows, with the fact that many cities to-day refuse to permit motors to be operated from the water mains, have given the field practically to the electric motor, now generally used in connection with some form of rotary fans. The principle of fans in series, first introduced by Cousans, of Lincoln, England, under the name of the Kinetic Blower, is now accepted as standard. This consists of a number of cleverly designed fans mounted in series on one shaft, the first delivering air to the second at, say, 3-inch pressure, to be raised another step and delivered to the next in series, etc., etc. This plan permits tapping off desired amounts of air at intermediate pressures with marked economy, and as it is slow speed, and generally direct connected with its motor on the same shaft, it is both quiet and mechanically efficient.
Gas and gasoline engines have been widely used in England, providing a cheaper but less controllable power source when used with feeders. The most common source of power has been the water motor, as it was economical and easy to regulate, and water pressure was usually available. However, the decline of traditional bellows and the fact that many cities today do not allow motors to operate from the water supply have largely shifted the field to electric motors, which are now typically used with some kind of rotary fans. The series fan principle, first introduced by Cousans from Lincoln, England, known as the Kinetic Blower, is now considered standard. This design includes several well-designed fans mounted in series on one shaft, with the first fan pushing air to the second at, for example, 3-inch pressure, which is then increased and delivered to the next fan in the series, and so on. This setup allows for the extraction of desired amounts of air at intermediate pressures with significant cost savings, and since it operates at a slow speed and is usually directly connected to its motor on the same shaft, it is both quiet and mechanically efficient.
[1] One object of this was to prevent what was called "robbing." While the pressure of the wind might be ample and steady enough with only a few stops drawn, it was found that when all the stops were drawn the large pipes "robbed" their smaller neighbors of their due supply of wind, causing them to sound flat. By giving each pipe a pallet or valve to itself, the waste of wind in the large grooves was prevented. Another object was to get rid of the long wooden slides, which in dry weather were apt to shrink and cause leakage, and in damp weather to swell and stick.
[1] One goal of this was to stop what was called "robbing." While the wind pressure might be strong and consistent with just a few stops open, it turned out that when all the stops were open, the larger pipes "robbed" their smaller neighbors of their fair share of wind, making them sound flat. By giving each pipe its own pallet or valve, the waste of wind in the large grooves was avoided. Another goal was to eliminate the long wooden slides, which in dry weather could shrink and cause leaks, and in damp weather would swell and get stuck.
[2] A striking instance of the difference between the two kinds of pallet can be seen in All Angels' Church, New York. The organ was built originally by Roosevelt, with two manuals and his patent wind-chest. In 1890 the church was enlarged and Jardine removed the organ to a chamber some thirty feet above the floor and fitted his electric action to the Roosevelt wind-chest. At the same time he erected an entirely new Choir organ, in the clerestory, with his electric action fitted to long pallets. The superiority of attack and promptness of speech, especially of the lower notes, of the Choir over the Great and Swell organs is marvelous. The same thing can be seen at St. James' Church, New York, where the Roosevelt organ was rebuilt with additions by the Hope-Jones Organ Co. in 1908.
[2] A clear example of the difference between the two types of pallets can be found in All Angels' Church in New York. The organ was originally built by Roosevelt, featuring two manuals and his patented wind-chest. In 1890, the church was expanded, and Jardine moved the organ to a chamber about thirty feet above the floor, fitting his electric action to the Roosevelt wind-chest. At the same time, he installed a completely new Choir organ in the clerestory, with his electric action connected to long pallets. The superior attack and quick response, especially of the lower notes, of the Choir organ compared to the Great and Swell organs is remarkable. A similar situation can be seen at St. James' Church in New York, where the Roosevelt organ was rebuilt with additions by the Hope-Jones Organ Co. in 1908.
[3] Some congregations could not stand them and had them taken out.
[3] Some congregations couldn't tolerate them and had them removed.
[4] Wedgwood: "Dictionary of Organ Stops," p. 167.
[4] Wedgwood: "Dictionary of Organ Stops," p. 167.
CHAPTER IX.
TRANSFERENCE OF STOPS.
At the commencement of the period of which we are treating, the stops belonging to the Swell organ could be drawn on that keyboard only; similarly the stops on the Great, Choir and Pedal organs could be drawn only on their respective keyboards. It is now becoming more and more common to arrange for the transference of stops from one keyboard to another.
At the start of the time we're discussing, the stops for the Swell organ could only be drawn from that keyboard; likewise, the stops for the Great, Choir, and Pedal organs could only be drawn from their own keyboards. It's becoming increasingly common to set up the ability to transfer stops from one keyboard to another.
If this plan be resorted to as an effort to make an insufficient number of stops suffice for a large building, it is bound to end in disappointment and cannot be too strongly condemned. On the other hand, if an organ-builder first provides a number stops that furnish sufficient variety of tonal quality and volume that is ample for the building in which the instrument is situated, and then arranges for the transference of a number of the stops to other manuals than their own, he will be adding to the tonal resources of the instrument in a way that is worthy of commendation. Many organs now constructed have their tonal effects more than doubled through adoption of this principle.
If this plan is used as a way to make an insufficient number of stops work for a large building, it’s definitely going to lead to disappointment and deserves strong criticism. On the flip side, if an organ builder starts by providing enough stops that offer a good variety of sound quality and sufficient volume for the building where the instrument is located, and then arranges to transfer some of those stops to other manuals, they’ll be enhancing the instrument’s tonal capabilities in a way that deserves praise. Many organs being built today have more than doubled their tonal effects by following this approach.
It is difficult to say who first conceived the idea of transference of stops, but authentic instances occurring in the sixteenth century can be pointed out. During the last fifty years many builders have done work in this direction, but without question the leadership in the movement must be attributed to Hope-Jones. While others may have suggested the same thing, he has worked the system out practically in a hundred instances, and has forced upon the attention of the organ world the artistic advantages of the plan.
It’s hard to pinpoint who first came up with the idea of transferring stops, but there are real examples from the sixteenth century. In the past fifty years, many builders have attempted this, but it’s clear that Hope-Jones is the leader in this movement. While others may have proposed similar ideas, he has successfully implemented the system in a hundred cases and has brought the artistic benefits of this approach to the attention of the organ community.
His scheme of treating the organ as a single unit and rendering it possible to draw any of the stops on any of the keyboards at any (reasonable) pitch, was unfolded before the members of the Royal College of Organists in London at a lecture he delivered on May 5, 1891.
His plan to treat the organ as a single unit and make it possible to control any of the stops on any of the keyboards at any (reasonable) pitch was presented to the members of the Royal College of Organists in London during a lecture he gave on May 5, 1891.
When adopting this system in part, he would speak of "unifying" this, that or the other stop, and this somewhat inapt phrase has now been adopted by other builders and threatens to become general.
When adopting this system in part, he would talk about "unifying" this, that, or the other stop, and this somewhat awkward term has now been taken up by other builders and risks becoming widely used.
Extraordinary claims of expressiveness, flexibility and artistic balance are made by those who preside at "unit (Hope-Jones) organs," but this style of instrument is revolutionary and has many opponents. Few, however, can now be found who do not advocate utilization of the principle to a greater or less degree in every organ. For instance, who has not longed at times that the Swell Bourdon could be played by the pedals? Or that the Choir Clarinet were also in the Swell?
Extraordinary claims of expressiveness, flexibility, and artistic balance are made by those who oversee "unit (Hope-Jones) organs," but this type of instrument is groundbreaking and has many critics. However, few can now be found who don't support using the principle to some extent in every organ. For example, who hasn't wished at times that the Swell Bourdon could be played with the pedals? Or that the Choir Clarinet were also included in the Swell?
Compton, of Nottingham, England, employs this plan of stop extension and transference, or unifying of stops, in all the organs he builds.
Compton, from Nottingham, England, uses this method of stop extension and transference, or unifying stops, in all the organs he constructs.
As additional methods facilitating in some cases the transfer of stops must be named the "double touch" and the "pizzicato touch." The former, though practically introduced by Hope-Jones and found in most of his organs built during the last fifteen years, was, we believe, invented by a Frenchman and applied to reed organs. The pizzicato touch is a Hope-Jones invention which, though publicly introduced nearly twenty years since, did not meet with the recognition it deserved until recently. The earliest example of this touch in the United States is found in the organ at Hanson Place Baptist Church, Brooklyn, N. Y., 1909.
As additional methods that sometimes help in transferring stops, we should mention the "double touch" and the "pizzicato touch." The double touch was practically introduced by Hope-Jones and can be found in most of his organs built in the last fifteen years, but we believe it was invented by a Frenchman and used in reed organs. The pizzicato touch is a creation of Hope-Jones that, although it was publicly introduced nearly twenty years ago, only recently received the recognition it deserved. The first example of this touch in the United States is in the organ at Hanson Place Baptist Church, Brooklyn, N.Y., 1909.
In the French Mustel reed organ the first touch is operated by depressing the keys about a sixteenth part of an inch. This produces a soft sound. A louder and different tone is elicited upon pushing the key further down. In the pipe organ the double touch is differently arranged. The first touch is the ordinary touch. Upon exerting a much heavier pressure upon the key it will suddenly fall into the second touch (about one-eighth of an inch deep) and will then cause an augmentation of the tone by making other pipes speak. The device is generally employed in connection with the couplers and can be brought into or out of action at the will of the organist. For instance, if the performer be playing upon his Choir Organ Flute and draws the Oboe stop on the Swell organ, he can (provided the double-touch action be drawn), by pressing any key or keys more firmly, cause those particular notes to speak on the Oboe, while the keys that he is pressing in the ordinary way will sound only the Flute.
In the French Mustel reed organ, the first touch is activated by pressing the keys about a sixteenth of an inch. This creates a soft sound. A louder and different tone is produced when the key is pushed further down. In the pipe organ, the double touch is set up differently. The first touch is the regular touch. By applying much heavier pressure to the key, it will suddenly drop into the second touch (about one-eighth of an inch deep), causing an increase in tone by activating other pipes. This mechanism is usually used with the couplers and can be turned on or off at the organist's discretion. For example, if the performer is playing on the Choir Organ Flute and pulls the Oboe stop on the Swell organ, they can (as long as the double-touch action is activated) press any key or keys harder to make those specific notes sound on the Oboe, while the keys being pressed normally will only play the Flute.
The pizzicato touch is also used mostly in connection with the couplers. When playing upon a soft combination on the Great, the organist may draw the Swell to Great "pizzicato" coupler. Whenever now he depresses a Great key the Swell key will (in effect) descend with it, but will be instantly liberated again, even though the organist continue to hold his Great key. By means of this pizzicato touch (now being fitted to all Hope-Jones organs built in this country) a great variety of charming musical effects can be produced.
The pizzicato touch is mainly used in relation to the couplers. When playing a soft combination on the Great, the organist can activate the Swell to Great "pizzicato" coupler. Whenever he presses a Great key, the Swell key will effectively drop with it, but it will be quickly released again, even if the organist keeps holding the Great key. With this pizzicato touch (now being added to all Hope-Jones organs made in this country), a wide range of delightful musical effects can be created.
THE UNIT ORGAN.
THE UNIT ORGANIZATION.
The Unit organ in its entirety consists of a single instrument divided into five tonal families, each family being placed in its own independent Swell box. The families are as follows: "Foundation"—this contains the Diapasons, Diaphones, Tibias, etc.; "woodwind"—this contains Flutes, Oboes, Clarinets, etc.; "strings"—this contains the Gambas, Viols d' Orchestre, Dulcianas, etc.; "brass"—this contains the Trumpets, Cornopeans and Tubas; "percussion"—this contains the Tympani, Gongs, Chimes, Glockenspiel, etc.
The Unit organ is a single instrument split into five tonal families, with each family housed in its own separate Swell box. The families are: "Foundation"—which includes the Diapasons, Diaphones, Tibias, and more; "woodwind"—which consists of Flutes, Oboes, Clarinets, and others; "strings"—which contains Gambas, Viols d'Orchestre, Dulcianas, and similar instruments; "brass"—which features Trumpets, Cornopeans, and Tubas; and "percussion"—which comprises Tympani, Gongs, Chimes, Glockenspiel, and others.
On each of the keyboards any of the stops, from the "foundation" group, the "woodwind" group, the "string" group, the "brass" group and the "percussion" group, may be drawn, and they may be drawn at 16 feet, at 8 feet, and, in some instances, at 4 feet, at 2 feet, at twelfth and at tierce pitches.
On each of the keyboards, any of the stops from the "foundation" group, the "woodwind" group, the "string" group, the "brass" group, and the "percussion" group can be activated, and they can be set to 16 feet, 8 feet, and, in some cases, 4 feet, 2 feet, twelfth, and tierce pitches.
Arranged in this way an organ becomes an entirely different instrument. It is very flexible, for not only can the tones be altered by drawing the various stops at different pitches, but the various groups may be altered in power of tone independently of each other. At one moment the foundation tone may entirely dominate, by moving the swell pedals the strings may be made to come to the front while the foundation tone disappears; then again the woodwind asserts itself whilst the string tone is moderated, till the opening of the box containing the brass allows that element to dominate. The variety of the tonal combinations is practically endless.
Arranged this way, an organ becomes a completely different instrument. It’s very versatile; not only can the tones be changed by adjusting the various stops to different pitches, but the different groups can also be adjusted in tone strength independently of each other. At one moment, the foundational tone can completely take over, then moving the swell pedals can bring the strings to the forefront while the foundational tone fades away; next, the woodwinds can make their presence known while the string tone is toned down, until opening the box containing the brass lets that element dominate. The variety of tonal combinations is practically limitless.
The adoption of this principle also saves needless duplication of stops. In the organ at St. George's Hall, England, there are on the manuals 5 Open Diapasons, 4 Principals, 5 Fifteenths, 3 Clarinets, 2 Orchestral Oboes, 3 Trumpets, 3 Ophicleides, 3 Trombas, 6 Clarions, 4 Flutes, etc., etc. In the Hope-Jones Unit organ at Ocean Grove effects equal to the above are obtained from only 6 stops. The organist of Touro Synagogue, New Orleans, has expressed the opinion that his ten-stop Unit organ is equal to an ordinary instrument with sixty stops.
The adoption of this principle also prevents unnecessary duplication of stops. In the organ at St. George's Hall in England, there are 5 Open Diapasons, 4 Principals, 5 Fifteenths, 3 Clarinets, 2 Orchestral Oboes, 3 Trumpets, 3 Ophicleides, 3 Trombas, 6 Clarions, 4 Flutes, and so on. In the Hope-Jones Unit organ at Ocean Grove, similar effects are achieved with just 6 stops. The organist of Touro Synagogue in New Orleans believes that his ten-stop Unit organ is equivalent to an ordinary instrument with sixty stops.
SYMPATHY.
Empathy.
A strong reason against the duplication of pipes of similar tone in an organ is that curious acoustical phenomenon, the bête noir of the organ-builder, known as sympathy, or interference of sound waves. When two pipes of exactly the same pitch and scale are so placed that the pulsations of air from the one pass into the other, if blown separately the tone of each is clear; blown together there is practically no sound heard, the waves of the one streaming into the other, and a listener hears only the rushing of the air. That the conditions which produce sound are all present may be demonstrated by conveying a tube from the mouth of either of the pipes to a listener's ear, when its tone will be distinctly heard. In other words, one sound destroys the other. Helmholtz explains this phenomenon by saying that "when two equal sound waves are in opposition the one nullifies the effect of the other and the result is a straight line," that is, no wave, no sound. "If a wave crest of a particular size and form coincides with another exactly like it, the result will be a crest double the height of each one" (that is, the sound will be augmented). * * * "If a crest coincides with a trough the result will be that the one will unify the other," and the sound will be destroyed.[1] That is why in the old-style organs the builder, when he used more than one Diapason, tried to avoid this sympathy by using pipes of different scale, but even then the results were seldom satisfactory; the big pipes seemed to swallow the little ones. In the big organ in Leeds Town Hall, England, there was one pipe in the Principal which nobody could tune. The tuner turned it every possible way in its socket without avail, and at last succeeded by removing it from the socket and mounting it on a block at a considerable distance from its proper place, the wind being conveyed to it by a tube. This is only one instance of what frequently occurred.
A strong reason against using duplicate pipes of the same pitch in an organ is a strange acoustic phenomenon, the bane of the organ builder, known as sympathy or interference of sound waves. When two pipes have the exact same pitch and size and are positioned so that the air vibrations from one flow into the other, they sound clear when played separately; however, when played together, there is almost no sound, as the waves from one cancel out the other, and the listener only hears the rush of air. This can be demonstrated by attaching a tube from the mouth of either pipe to a listener's ear, where its tone will be clearly heard. In other words, one sound cancels out the other. Helmholtz explains this phenomenon by stating that "when two equal sound waves are in opposition, one nullifies the effect of the other, resulting in a straight line," meaning no wave, no sound. "If a wave crest of a specific size and shape coincides with another exactly like it, the result will be a crest double the height of each" (which means the sound will be amplified). * * * "If a crest coincides with a trough, the result will be that one will cancel out the other," and the sound will be lost. That is why in old-style organs, when builders used more than one Diapason, they attempted to avoid this sympathy by using pipes of different sizes, but even then the results were rarely satisfying; the larger pipes seemed to overpower the smaller ones. In the large organ at Leeds Town Hall, England, there was one pipe in the Principal that no one could tune. The tuner tried every possible adjustment without success and eventually managed to get it to work by removing it from its socket and placing it on a block at a considerable distance, with the wind being supplied to it through a tube. This is just one example of what often happened.
In the Hope-Jones organ the usual plan of putting all the C pipes on one side of the organ and all the C# pipes on the other, is departed from. The pipes are alternated and in this ingenious way sympathy is largely avoided.
In the Hope-Jones organ, the typical layout of placing all the C pipes on one side of the organ and all the C# pipes on the other is changed. The pipes are alternated, and this clever approach significantly reduces dissonance.
[1] Broadhouse: "Musical Acoustics," p. 261.
[1] Broadhouse: "Musical Acoustics," p. 261.
CHAPTER X.
THE PRODUCTION OF ORGAN TONE.
We now come to the department of the organ which will be of more interest to the listener, viz., the various organ tones. The general shape and construction of the pipes now in use, judging from the earliest drawings obtainable, have not changed for hundreds of years. The ancients were not wanting in ingenuity and we have pictures of many funny-looking pipes which were intended to imitate the growling of a bear (this stop was sometimes labeled Vox Humana!), the crowing of a cock, the call of the cuckoo, the song of the nightingale, and the twitter of the canary, the ends of these pipes being bent over and inserted in water, just as the player blows into a glass of water through a quill in a toy symphony. Then there was the Hummel, a device which caused two of the largest pipes in the organ to sound at once and awake those who snored during the sermon! Finally there was the Fuchsschwanz. A stop-knob bearing the inscription, "Noli me tangere" (touch me not), was attached to the console. As a reward for their curiosity, persons who were induced to touch the knob thereby set free the catch of a spring, causing a huge foxtail to fly into their faces—to the great joy and mirth of the bystanders.
We now get to the part of the organ that’s probably more interesting to the listener: the different organ sounds. The overall design and construction of the pipes we use today, based on the earliest drawings we can find, haven’t changed in hundreds of years. The ancients were quite inventive, and we have images of many oddly shaped pipes that were meant to mimic the growling of a bear (this stop was sometimes called Vox Humana!), the crowing of a rooster, the call of a cuckoo, the song of a nightingale, and the chirping of a canary, with the ends of these pipes bent over and dipped in water, just like when you blow into a glass of water using a quill in a toy symphony. Then there was the Hummel, a feature that made two of the largest pipes in the organ play at the same time and wake up those who were snoring during the sermon! Finally, there was the Fuchsschwanz. A stop knob labeled "Noli me tangere" (touch me not) was attached to the console. For their curiosity, people who dared to touch the knob would release a spring catch, causing a large foxtail to whip into their faces—much to the delight and amusement of everyone watching.
In order to understand what follows we must make a short excursion into the realm of acoustics. We have already remarked upon the extreme antiquity of the Flute. The tone of the Flute is produced by blowing across a hole pierced in its side; in other words, like a stream of wind striking upon a cutting edge. It is possible to produce a tone in this way by blowing across the end of any tube made of any material, of glass, or iron, or rubber, or cane, or even the barrel of an old-fashioned door key. The primitive Flutes found in the Egyptian tombs and also depicted on the ancient hieroglyphics are made of reed or cane, about 14 inches long, possessing the usual six finger-holes. The top end is not stopped with a cork, as in the ordinary Flute, but is thinned off to a feather edge, leaving a sharp circular ring at right angles to the axis of the bore. By blowing across this ring a fair but somewhat feeble Flute tone is produced.
To understand what comes next, we need to take a brief look into acoustics. We've already noted how ancient the Flute is. The sound of the Flute is created by blowing across a hole in its side; in other words, like a stream of wind hitting a cutting edge. You can create a tone this way by blowing across the end of any tube made from any material, whether it's glass, iron, rubber, cane, or even the barrel of an old door key. The primitive Flutes discovered in Egyptian tombs and shown in ancient hieroglyphics are made of reed or cane, about 14 inches long, with the standard six finger-holes. Instead of being sealed with a cork like the typical Flute, the top end is tapered to a thin edge, creating a sharp circular ring that is perpendicular to the bore's axis. By blowing across this ring, a decent but somewhat weak Flute tone is produced.
The six holes being closed by the fingers, the ground tone of the tube is produced. On lifting the fingers in successive order from the bottom end, we get the seven notes of the major scale. Closing the holes again and blowing harder, we get the scale an octave higher. By blowing still harder we get an octave higher still. In other words, we are now producing harmonics.
The six holes covered by the fingers create the basic sound of the tube. When we lift the fingers one by one from the bottom, we play the seven notes of the major scale. By covering the holes again and blowing harder, we raise the scale an octave higher. If we blow even harder, we reach an even higher octave. In other words, we are now producing harmonics.
It is possible to produce from a plain tube without finger-holes or valves, such as the French Horn, by tightening the lips and increasing the pressure of the player's breath, the following series of harmonics:
It is possible to create a series of harmonics from a simple tube without finger holes or valves, like the French Horn, by tightening the lips and increasing the pressure of the player's breath:

Series of harmonics
The harmonics of a pianoforte string can be easily demonstrated by the following experiment: Depress the "loud" pedal and strike any note in the bass a sharp blow. On listening intently, the 3d, 5th, and 8th (the common chord) of the note struck will be heard sounding all the way up for several octaves. In this case the other strings of the piano act as resonators, enabling the harmonics to be heard.
The harmonics of a piano string can be easily shown with the following experiment: Press the "loud" pedal and hit any bass note sharply. If you listen closely, you will hear the 3rd, 5th, and 8th (the common chord) of the struck note resonating all the way up for several octaves. In this case, the other strings of the piano act as resonators, allowing the harmonics to be heard.
Coming back to our Flute again and applying the knowledge we have gained to an organ pipe, we observe:
Coming back to our Flute again and applying the knowledge we have gained to an organ pipe, we observe:
1. That the pitch of the sound depends on the length of the tube.
1. The pitch of the sound depends on the length of the tube.
2. That the pitch of the sound also depends on the amount of wind pressure.
2. That the pitch of the sound also depends on the amount of wind pressure.
From this last will be seen how important it is that the pressure of the wind in an organ should be steady and uniform. Otherwise the pipes will speak a harmonic instead of the sound intended—as, indeed, frequently happens.
From this, it will be clear how crucial it is for the wind pressure in an organ to be steady and uniform. Otherwise, the pipes will produce a harmonic sound instead of the intended tone, which often happens.
When a stop is labeled "8 ft.," that means that the bottom pipe, CC is 8 feet long and the pitch will be that of the key struck. A "16-ft." stop will sound an octave lower; a "4-ft." stop an octave higher. These measurements refer to pipes which are open at the top and are only correct in the case of very narrow pipes, such as the stop called Dulciana. Wider pipes do not require to be so long in order to produce 8-ft. tone.
When a stop is labeled "8 ft.," it means that the bottom pipe, CC, is 8 feet long, and the pitch will match the key being played. A "16-ft." stop will sound an octave lower, while a "4-ft." stop will sound an octave higher. These measurements refer to pipes that are open at the top and are only accurate for very narrow pipes, like the stop called Dulciana. Wider pipes don't need to be as long to produce an 8-ft. tone.
"If a tube * * * open at both ends be blown across at one end, the fundamental tone of the tube will be sounded; but if the hand be placed at one end of the tube, so as to effectually close it, and the open end be blown across as before, a sound will be heard exactly one octave below that which was heard when both ends of the tube were open. One of these pipes was an open pipe, the other a stopped pipe; and the difference between the two is that which constitutes the two great classes into which the flue pipes of organs are divided." [1]
"If a tube that is open at both ends is blown across at one end, it will produce its fundamental tone. However, if you place your hand over one end of the tube to close it off, and blow across the open end like before, you'll hear a sound that's exactly one octave lower than when both ends were open. One of these pipes is an open pipe, and the other is a stopped pipe; the difference between the two defines the two main categories into which organ flue pipes are classified." [1]
Thus by stopping up the end of an organ pipe we get 8-ft. tone from a pipe only 4 ft. long, 16-ft. tone from a pipe 8 ft. long, and so on, but with loss of power and volume. The harmonics produced from stopped pipes are entirely different from those of the open ones; their harmonic scale is produced by vibrations which are as 1, 2, 3, 4, etc., those of a stopped pipe by vibrations which are as 1, 3, 5, 7. All these harmonics are also called upper partials.
By closing the end of an organ pipe, we can produce an 8-foot tone from a pipe that's only 4 feet long, a 16-foot tone from an 8-foot pipe, and so on, but this comes with a loss of power and volume. The harmonics created by stopped pipes are completely different from those of open pipes; the harmonic scale for open pipes follows vibrations like 1, 2, 3, 4, etc., while for stopped pipes, it follows vibrations like 1, 3, 5, 7. All these harmonics are also known as upper partials.
The Estey Organ Company claim to have discovered a new principle in acoustics in their Open Bass pipes, of which we show a drawing opposite. This invention (by William E. Haskell) enables the builders to supply open bass tone in organ chambers and swell boxes where there is not room for full-length pipes.
The Estey Organ Company claims to have discovered a new principle in acoustics with their Open Bass pipes, which we illustrate in the drawing on the opposite page. This invention (by William E. Haskell) allows builders to provide an open bass tone in organ chambers and swell boxes where there isn’t enough space for full-length pipes.

Fig. 16. Estey's Open Bass Pipes—Wood and Metal
Referring to the illustration, it will be seen that the pipes are partly open and partly stopped, with a tuning slide in the centre. The builders write as follows:
Referring to the illustration, you can see that the pipes are partly open and partly closed, with a tuning slide in the middle. The builders say:
"The inserted tube, or complementing chamber, in the pipe is such in length as to complete the full length of the pipe. It is, as will be noted, smaller in scale than the outside pipe. The effect is to produce the vibration that would be obtained with a full-length pipe, and in no way does it interfere with the quality of tone. In fact, it assists the pipe materially in its speech. This is most noticeable in a pipe such as the 32-foot Open Diapason, which when made full length is quite likely to be slow in speech. With this arrangement the pipe takes its speech very readily and is no slower in taking its full speech than an ordinary 16-foot Open Diapason.
The inserted tube, or complementing chamber, in the pipe is long enough to match the full length of the pipe. It is, as you will see, smaller in size than the outer pipe. The result is a vibration similar to that produced by a full-length pipe, and it doesn’t affect the quality of the tone at all. In fact, it really helps the pipe in producing sound. This is especially noticeable in a pipe like the 32-foot Open Diapason, which is often slow to respond when made full length. With this setup, the pipe responds quickly and is just as prompt in producing sound as a typical 16-foot Open Diapason.
"We have worked this out for all classes of tone—string, flute and diapason—and the law holds good in every instance."
"We have figured this out for all types of tones—strings, flutes, and diapasons—and the rule applies in every case."
Helmholtz was the first to demonstrate that the quality of all musical tones depends entirely upon the presence or absence of their upper partials. In the hollow tone of the Flute they are almost entirely absent; in the clanging tone of the Trumpet many of the higher ones are present; and if we take an instrument like the Cymbals we get the whole of the upper lot altogether.
Helmholtz was the first to show that the quality of all musical tones depends completely on whether their upper partials are present or not. In the hollow sound of the flute, they are nearly absent; in the sharp sound of the trumpet, many of the higher ones are present; and if we consider an instrument like the cymbals, we have all of the upper partials at once.
The different qualities of tone of the organ pipes are therefore determined: (1) By the material of which the pipes are made; (2) by the shape of the pipe; (3) by the amount of wind pressure; (4) by the shape and size of the mouth, the relation of the lip to the stream of wind impinging on it from a narrow slit, and the shape and thickness of the lip itself. The manipulation of the mouth and lip to produce the tone desired is called voicing and calls for considerable artistic skill. The writer recollects an instance of a clever voicer (Gustav Schlette) taking a new organ in hand, which was not quite satisfactory, and on the following Sunday he hardly knew it again.
The different qualities of tone from the organ pipes are determined by: (1) the material the pipes are made from; (2) the shape of the pipe; (3) the amount of wind pressure; and (4) the shape and size of the mouth, including the relationship of the lip to the stream of wind coming from a narrow slit, as well as the shape and thickness of the lip itself. The process of adjusting the mouth and lip to produce the desired tone is called voicing and requires a lot of artistic skill. I remember a time when a skilled voicer, Gustav Schlette, took on a new organ that wasn't quite satisfactory, and by the following Sunday, it was almost unrecognizable.
Another kind of harmonics must now be described, called combinational or Tartini tones (from Tartini, a celebrated Italian violinist of the XVII century, who first described them). "These tones," says Helmholtz, "are heard whenever two musical tones of different pitches are sounded together loudly and continuously." There is no necessity for giving a table of all of their tones here; we select the two most useful. If two notes at an interval of a fifth are held down, a note one octave below the lower one will be heard. So organ builders take two pipes—one 16 feet long (CCC) and one 10 2/3 feet long (GG)—which make the interval of the fifth, and, by sounding them together, produce the tone of a pipe 33 feet long (CCCC). This is the stop which will be found labeled "32-ft. Resultant." Hope-Jones makes a stop which he calls Gravissima, 64-ft. Resultant, in his large organs. Many contend that this system produces better results than if pipes of the actual lengths of 32 or 64 feet were employed. Indeed, a pipe 64 feet long would be inaudible; the human ear has its limitations and refuses to recognize tone lower than 32 feet (just as we cannot lift water by a suction pump over 32 feet)—but, these great pipes produce harmonics which wonderfully reinforce the tone of the organ. Therefore their use is worth while.
Another type of harmonics needs to be explained, known as combinational or Tartini tones (named after Tartini, a famous Italian violinist from the 17th century who first described them). "These tones," Helmholtz says, "are heard whenever two musical tones of different pitches are played together loudly and continuously." There's no need to list all their tones here; we'll focus on the two most useful ones. When two notes a fifth apart are held down, a note one octave below the lower one can be heard. So, organ builders use two pipes—one 16 feet long (CCC) and one 10 2/3 feet long (GG)—which create a fifth interval, and by playing them together, they produce the tone of a pipe 33 feet long (CCCC). This is the stop labeled "32-ft. Resultant." Hope-Jones has a stop he calls Gravissima, 64-ft. Resultant, in his larger organs. Many argue that this system gives better results than actually using pipes that are 32 or 64 feet long. In fact, a 64-foot pipe would be inaudible; the human ear has its limits and can’t detect tones lower than 32 feet (just like we can't use a suction pump to lift water over 32 feet)—but, these large pipes produce harmonics that greatly enhance the organ's tone. So, their use is definitely worthwhile.
The other combinational tone to which we refer is that produced by the interval of a major third. It sounds two octaves below the lower note. The writer is not aware that this has ever been used as an organ stop, but it is found written in the organ compositions of Guilmant and other first-rate composers. It will be seen that a skilful organist, with a knowledge of these tones, can produce effects from small organs not available to the ordinary player.
The other combined tone we’re talking about is created by the interval of a major third. It sounds two octaves below the lower note. The author is not aware of this ever being used as an organ stop, but it appears in the organ works of Guilmant and other top composers. It will be clear that a skilled organist, who understands these tones, can create effects from small organs that the average player cannot.
Reverting once more to our Flute, whose tube is shortened by lifting the fingers from the holes, it is not generally known that this can be done with an organ pipe; the writer has met with instances of it in England. The two lowest pipes of the Pedal Open Diapason were each made to give two notes by affixing a pneumatic valve near the top of the pipe. When the valve was closed the pipe gave CCC. When the organist played CCC sharp, wind was admitted to the valve, which opened, and this shortened the pipe. The device worked perfectly, only that it was not possible to hold down both CCC and CCC sharp and make "thunder"! The organist of Chester Cathedral had been playing his instrument twice daily for ten years before he found this out, and then he only discovered it when the pipes were taken down to be cleaned. It is an admirable makeshift where a builder is cramped for room.
Reverting once again to our Flute, which shortens its tube by lifting the fingers from the holes, it's not widely known that this can also be done with an organ pipe; I've come across examples of it in England. The two lowest pipes of the Pedal Open Diapason were designed to produce two notes by attaching a pneumatic valve near the top of the pipe. When the valve was closed, the pipe produced CCC. When the organist played CCC sharp, air was allowed into the valve, which opened and shortened the pipe. The mechanism worked perfectly, but it was impossible to hold down both CCC and CCC sharp to create "thunder"! The organist at Chester Cathedral had been playing his instrument twice daily for ten years before he discovered this, and he only realized it when the pipes were taken down for cleaning. It's a clever workaround when a builder is short on space.
Organ pipes are divided into three families—Flues, Reeds and Diaphones. The flues are subdivided into Diapasons, Flutes, and Strings, and we now proceed to consider each of these groups separately.
Organ pipes are classified into three main types—Flues, Reeds, and Diaphones. The flues are further categorized into Diapasons, Flutes, and Strings, and we will now examine each of these groups individually.
DIAPASONS.
The pipes usually seen in the front of an organ belong to the Great organ Open Diapason, long regarded as the foundation tone of the instrument. The Open Diapason may vary in size (or scale) from 9 inches diameter at CC to 3 inches. The average size is about 6 inches.
The pipes you typically see at the front of an organ are part of the Great organ Open Diapason, which has long been considered the instrument's fundamental tone. The Open Diapason can range in size (or scale) from 9 inches in diameter at CC to 3 inches. The average size is around 6 inches.
The Diapasons of the celebrated old organ-builders, Father Schmidt, Renatus Harris, Green, Snetzler and others, though small in power, were most musical in tone quality. Though sounding soft near the organ, the tone from these musical stops seems to suffer little loss when traveling to the end of quite a large building. About the year 1862 Schulze, in his celebrated organ at Doncaster, England, brought into prominence a new and much more brilliant and powerful Diapason. The mouths of the pipes were made very wide and they were more freely blown. Schulze's work was imitated by T. C. Lewis, of England, and by Willis. It has also exercised very great influence on the work done by almost all organ-builders in this country, in Germany, and elsewhere. Schulze's method of treatment added largely to the assertiveness and power of the tone, but gave the impression of the pipes being overblown and led to the loss of the beautiful, musical, and singing quality of tone furnished by the older Diapasons. Hard-toned Diapasons became almost the accepted standard. Willis even went so far as to slot all of his Diapason pipes, and Cavaillé-Coll sometimes adopted a similar practice. Walker, in England, and Henry Erben, in this country, continued to produce Diapasons having a larger percentage of foundation tone and they and a few other builders thus helped to keep alive the old traditions.
The Diapasons from famous old organ builders like Father Schmidt, Renatus Harris, Green, Snetzler, and others, although not very powerful, had a beautiful tone quality. Even though they sounded soft near the organ, the sound from these musical stops didn't lose much strength when traveling to the end of a large building. Around 1862, Schulze showcased a new, brighter, and more powerful Diapason in his renowned organ in Doncaster, England. The pipes had much wider openings and were blown more freely. Schulze's approach was copied by T. C. Lewis and Willis in England. His work also greatly influenced almost all organ builders in this country, Germany, and beyond. Schulze's method increased the assertiveness and power of the tone but sometimes made the pipes sound overblown, sacrificing the beautiful, musical quality of tone from the older Diapasons. Hard-toned Diapasons became the norm. Willis even went so far as to slot all of his Diapason pipes, and Cavaillé-Coll occasionally did the same. Walker in England and Henry Erben in the U.S. continued to create Diapasons that maintained a larger foundation tone, helping to preserve the old traditions along with a few other builders.
In the year 1887 Hope-Jones introduced his discovery that by leathering the lips of the Diapason pipes, narrowing their mouths, inverting their languids and increasing the thickness of the metal, the pipes could be voiced on 10, 20, or even 30-inch wind, without hardness of tone, forcing, or windiness being introduced. He ceased to restrict the toe of the pipe and did all his regulation at the flue.
In 1887, Hope-Jones revealed his discovery that by applying leather to the lips of the Diapason pipes, narrowing their openings, inverting their languids, and increasing the thickness of the metal, the pipes could be voiced on 10, 20, or even 30-inch wind, without creating a harsh tone, forcing, or excessive wind noise. He stopped limiting the toe of the pipe and carried out all his adjustments at the flue.
His invention has proved of profound significance to the organ world. The old musical quality, rich in foundation tone, is returning, but with added power. Its use, in place of the hard and empty-toned Diapasons to which we had perforce become accustomed, is rapidly growing. The organs in almost all parts of the world show the Hope-Jones influence. Few builders have failed now to adopt the leathered lip.
His invention has been incredibly important to the world of organs. The classic musical quality, rich in fundamental tones, is making a comeback, but with more strength. Its use, instead of the harsh and hollow-sounding Diapasons we had to get used to, is quickly increasing. Organs in nearly every part of the world are showing the Hope-Jones influence. Few builders have not adopted the leathered lip now.
Wedgwood, in his "Dictionary of Organ Stops," pp. 44, 45, says:
Wedgwood, in his "Dictionary of Organ Stops," pp. 44, 45, says:
"Mr. Ernest Skinner, an eminent American organ-builder,[2] likens the discovery of the leathered lip to the invention by Barker of the pneumatic lever, predicting that it will revolutionize organ tone as surely and completely as did the latter organ mechanism, an estimate which is by no means so exaggerated as might be supposed. The leathered Diapason, indeed, is now attaining a zenith of popularity both in England and America.[3] A prominent German builder also, who, on the author's recommendation, made trial of it, was so struck with the refined quality of tone that he forthwith signified his intention of adopting the process. A few isolated and unsuccessful experimental attempts at improving the tone of the pipes by coating their lips with paper, parchment, felt, and kindred substances, have been recorded, but undoubtedly the credit of having been the first to perceive the value and inner significance of the process must be accorded to Mr. Robert Hope-Jones. It was only at the cost of considerable thought and labour that he was able to develop his crude and embryonic scientific theory into a process which bids fair to transform modern organ building. The names of Cavaillé-Coll and George Willis, and of Hope-Jones, will be handed down to posterity as the authors of the most valuable improvements in the domains of reed-voicing and flue-voicing, respectively, which have been witnessed in the present era of organ building."
"Mr. Ernest Skinner, a well-known American organ builder, compares the discovery of the leathered lip to Barker's invention of the pneumatic lever, predicting that it will change organ tone just as radically as that mechanism did, an assessment that isn't as exaggerated as one might think. The leathered Diapason is actually reaching new heights of popularity in both England and America. A well-known German builder, who tried it based on the author's recommendation, was so impressed by the refined quality of tone that he immediately expressed his intention to adopt the process. There have been a few isolated and unsuccessful attempts to enhance the tone of the pipes by covering their lips with paper, parchment, felt, and similar materials, but the credit for being the first to recognize the value and deeper significance of the process should go to Mr. Robert Hope-Jones. It took a lot of thought and effort for him to develop his basic scientific theory into a method that is likely to transform modern organ building. The names of Cavaillé-Coll, George Willis, and Hope-Jones will be remembered as the pioneers of the most significant improvements in reed voicing and flue voicing that we’ve seen in this current era of organ building."
The desire for power in Diapason tone first found expression in this country by the introduction into our larger organs of what was called a Stentorphone. This was a large metal Diapason of ordinary construction, voiced on heavy wind pressure. It was most harsh, unmusical and inartistic. It produced comparatively little foundation tone and a powerful chord of harmonics, many of them dissonant. In Germany, Weiglé, of Stuttgart, introduced a similar stop, but actually exaggerated its want of refinement by making the mouth above the normal width. As knowledge of the Hope-Jones methods spreads, these coarse and unmusical stops disappear. He is without question right in urging that the chief aim in using heavy pressure should be to increase refinement, not power of tone. Sweet foundation tone produced from heavy wind pressure always possesses satisfactory power. He is also unquestionably right in his contention that when great nobility of foundation tone is required, Diapasons should not be unduly multiplied, but Tibias or large Flutes should be used behind them.
The desire for power in Diapason tone was first expressed in this country with the introduction of what was called a Stentorphone in our larger organs. This was a large metal Diapason of standard design, voiced under high wind pressure. It was very harsh, unmusical, and lacking in artistry. It produced relatively little foundational tone and a strong chord of harmonics, many of which were dissonant. In Germany, Weiglé from Stuttgart introduced a similar stop but actually made it even less refined by widening the mouth beyond the normal size. As knowledge of the Hope-Jones methods spreads, these rough and unmusical stops are fading away. He is definitely correct in insisting that the main goal of using heavy pressure should be to enhance refinement, not just power of tone. A sweet foundational tone created from high wind pressure always has sufficient power. He is also undoubtedly right in his assertion that when great nobility of foundational tone is needed, Diapasons should not be overly multiplied; instead, Tibias or large Flutes should be used behind them.
Every epoch-making innovation raises adversaries.
Every groundbreaking innovation faces opposition.
We learn from these that pure foundation tone does not blend. True, there are examples of organs where the true foundation tone exists but does not blend with the rest of the instrument, but it is misleading to say that "pure foundation tone does not blend." Hope-Jones has proved conclusively that by exercise of the requisite skill it does and so have others who follow in his steps. A view of the mouth of a Hope-Jones heavy pressure Diapason, with inverted languid, leather lip and clothed flue, is given in Figure 17.
We learn from these that pure foundation tone doesn't blend. True, there are examples of organs where the true foundation tone exists but doesn't mix with the rest of the instrument, but it's misleading to say that "pure foundation tone doesn't blend." Hope-Jones has conclusively demonstrated that with the right skill, it does, and so have others who have followed in his footsteps. A view of the mouth of a Hope-Jones heavy pressure Diapason, featuring an inverted languid, leather lip and clothed flue, is shown in Figure 17.

Fig. 17. Diapason Pipe with Leathered Lip
The dull tone of the old Diapasons was due to the absence of the upper harmonics or partials. With the introduction of the Lutheran chorale and congregational singing it was found that the existing organs could not make themselves heard above the voices. But it was discovered empirically that by adding their harmonics artificially the organs could be brightened up and even made to overpower large bodies of singers. Hence the introduction of the Mixture stops (also called compound stops), which were compounded of several ranks of pipes. The simplest form was the Doublette sounding the 15th and 22nd (the double and treble octave) of the note struck. Other ranks added sounded the 12th, 19th, and so on, until it was possible to obtain not only the full common chord, but also some of the higher harmonics dissonant to this chord, from a single key.
The dull sound of the old Diapasons was because they lacked the higher harmonics or partials. When Lutheran chorales and congregational singing became popular, it turned out that the organs couldn’t be heard over the voices. However, it was discovered that by artificially adding their harmonics, the organs could be brightened up and even outshine large groups of singers. This led to the introduction of Mixture stops (also known as compound stops), which were compounded from several ranks of pipes. The simplest version was the Doublette, which produced the 15th and 22nd (the double and treble octave) of the note played. Other ranks added included the 12th, 19th, and so on, until it was possible to achieve not only the complete common chord but also some of the higher harmonics that sounded dissonant to this chord, all from a single key.
THE DECLINE OF MIXTURES.
Fifty years ago it was common to find the number of ranks of mixtures in an organ largely exceed the total number of foundation stops. Mixtures were inserted in the pedal departments of all large organs. Organists of the time do not seem to have objected and many of the leading players strongly opposed Hope-Jones when he came out as the champion of their abolition. These stops greatly excited the ire of Berlioz, who declaims against them in his celebrated work on orchestration.
Fifty years ago, it was common to see the number of mixture ranks in an organ far exceed the total number of foundation stops. Mixtures were added to the pedal sections of all large organs. Organists of that time didn’t seem to mind, and many leading players strongly opposed Hope-Jones when he emerged as the advocate for their removal. These stops greatly angered Berlioz, who criticizes them in his famous work on orchestration.
The tone of these old organs, when all the Mixture work is drawn, is well nigh ludicrous to modern ears, and it is hard to suppress a smile when reading the statements and arguments advanced in favor of the retention of Mixtures by well-known organists of the last generation. These mutation stops still have their place in large instruments, but it is no longer thought that they are necessary to support the singing of a congregation and that they should be voiced loudly. The decline of Mixture work has in itself entirely altered and very greatly improved the effect of organs when considered from a musical point of view. The tone is now bright and clear. Mr. James Wedgwood says:
The sound of these old organs, when all the Mixture stops are engaged, sounds almost silly to today’s ears, and it's hard not to grin when reading the claims and arguments made by well-known organists from the last generation about keeping Mixtures. These mutation stops still have a role in large instruments, but it’s no longer believed that they’re essential for supporting congregational singing or that they should be played loudly. The decline of Mixture work has completely changed and greatly improved the overall musical effect of organs. The sound is now bright and clear. Mr. James Wedgwood says:
"The tendency to exaggerate the 'upper work' of the organ reached a climax in the instrument built by Gabler, in 1750, for the Monastic Church at Weingarten, near Ravensburg. This organ comprised no less than ninety-five ranks of Mixture, including two stops of twenty-one and twenty ranks, respectively. Toward the close of the Eighteenth Century, the Abt Vögler (1749-1814) came forward with his 'Simplification System,' one feature of which consisted in the abolition of excessive Mixture work. The worthy Abbe, who was a capable theorist and a gifted player, and possessed of an eccentric and, therefore, attractive personality, secured many followers, who preached a crusade against Mixture work. The success of the movement can well be measured by the amount of apologetic literature it called forth, and by the fact that it stirred the theorists to ponder for themselves what really was the function of the Mixture. * * * The announcement by Mr. Hope-Jones at the beginning of the last decade of the past century of his complete discardment of all Mixture and mutation work may fairly be stated to have marked a distinct epoch in the history of the controversy."
"The tendency to exaggerate the 'upper work' of the organ peaked with the instrument built by Gabler in 1750 for the Monastic Church at Weingarten, near Ravensburg. This organ featured no fewer than ninety-five ranks of Mixture, including two stops of twenty-one and twenty ranks, respectively. Toward the end of the 18th Century, Abt Vögler (1749-1814) introduced his 'Simplification System,' which included the removal of excessive Mixture work. The respected Abbe, who was an able theorist and talented player with an eccentric and appealing personality, gained many followers who advocated against Mixture work. The success of this movement can be gauged by the volume of apologetic literature it generated and by how it prompted theorists to reflect on the true purpose of Mixture. * * * The announcement by Mr. Hope-Jones at the start of the last decade of the previous century that he would completely eliminate all Mixture and mutation work can rightly be seen as marking a significant turning point in the history of the controversy."
It is indeed strange to find that this man, who did much to discourage the use of mixtures, has never quite abandoned their employment and is to-day the sole champion of double sets of mixture pipes, which he puts in his organs under the name of Mixture Celestes! However, these are very soft and are of course quite different in object and scope from the old-fashioned mixture—now happily extinct.
It’s pretty strange that this guy, who did a lot to discourage the use of mixtures, has never fully stopped using them and is now the only supporter of double sets of mixture pipes, which he includes in his organs under the name Mixture Celestes! However, these are very soft and definitely different in purpose and function from the old-fashioned mixture—which is thankfully no longer around.
FLUTES.
The chief developments in Flutes that have taken place during the period under consideration are the popularization of the double length, or "Harmonic," principle,[4] by Cavaillé-Coll, by William Thynne and others, and the introduction of large scale leather-lipped "Tibias" by Hope-Jones.
The main advancements in Flutes during this time include the popularization of the double length, or "Harmonic," principle by Cavaillé-Coll, William Thynne, and others, as well as the introduction of large-scale leather-lipped "Tibias" by Hope-Jones.
Harmonic Flutes, of double length open pipes,[5] are now utilized by almost all organ builders. Speaking generally, the tone is pure and possesses considerable carrying power. Thynne, in his Zauber Flöte, introduced stopped pipes blown so as to produce their first harmonic (an interval of a twelfth from the ground tone). The tone is of quiet silvery beauty, but the stop does not seem to have been largely adopted by other builders. Perhaps the most beautiful stop of this kind produced by Thynne is the one in the remarkable organ in the home of Mr. J. Martin White, Balruddery, Dundee, Scotland.
Harmonic Flutes, featuring double-length open pipes, are now used by nearly all organ builders. Generally speaking, the tone is clear and has a strong carrying power. Thynne, in his Zauber Flöte, introduced stopped pipes designed to produce their first harmonic (an interval of a twelfth above the fundamental tone). The tone has a softly beautiful, silvery quality, but this stop doesn't appear to have been widely adopted by other builders. One of the most beautiful stops of this type made by Thynne can be found in the remarkable organ at the home of Mr. J. Martin White in Balruddery, Dundee, Scotland.
The Hope-Jones leathered Tibias have already effected a revolution in the tonal structure of large organs. They produce a much greater percentage of foundation tone than the best Diapasons and are finding their way into most modern organs of size. They appear under various names, such as Tibia Plena, Tibia Clausa, Gross Flöte, Flute Fundamentale and Philomela.
The Hope-Jones leather Tibias have already caused a revolution in the tonal structure of large organs. They produce a much higher percentage of foundational tone than the best Diapasons and are being incorporated into most modern large organs. They are found under various names, including Tibia Plena, Tibia Clausa, Gross Flöte, Flute Fundamentale, and Philomela.
"The word Tibia has consistently been adapted to the nomenclature of organ stops on the Continent (of Europe) for some centuries. The word Tibia is now used in this country to denote a quality of tone of an intensely massive, full and clear character, first realized by Mr. Hope-Jones, though faintly foreshadowed by Bishop in his Clarabella. It is produced from pipes of a very large scale, yielding a volume of foundation tone, accompanied by the minimum of harmonic development. Even from a purely superficial point of view, the tone of the Tibia family is most attractive; but, further, its value in welding together the constituent tones of the organ and coping with modern reed-work is inestimable." [6]
"The term Tibia has long been used in Europe to refer to the naming of organ stops. In this country, Tibia now describes a type of tone that is incredibly rich, full, and clear, a quality first realized by Mr. Hope-Jones, although it was somewhat anticipated by Bishop in his Clarabella. This tone comes from very large pipes that produce a strong foundational sound with minimal harmonic overtones. Even just looking at it superficially, the tone of the Tibia family is highly appealing; moreover, its ability to blend the various tones of the organ and work well with modern reed sounds is invaluable." [6]
"The Tibia Plena was invented by Mr. Hope-Jones, and first introduced by him into the organ at St. John's, Birkenhead, England, about 1887. It is a wood Flute of very large scale, with the mouth on the narrow side of the pipe. The block is sunk, and the lip, which is of considerable thickness, is usually coated with a thin strip of leather to impart to the tone the requisite smoothness and finish. It is voiced on any wind pressure from 4-inch upwards. The Tibia Plena is the most powerful and weighty of all the Tibia tribe of stops. It is, therefore, invaluable in large instruments. * * * The Tibia Profunda and Tibia Profundissima are 16-ft. and 33-ft. Pedal extensions of the Tibia Plena." [7]
"The Tibia Plena was created by Mr. Hope-Jones and was first introduced by him in the organ at St. John's in Birkenhead, England, around 1887. It is a wooden flute of very large scale, with the mouth located on the narrow side of the pipe. The block is sunk, and the lip, which is quite thick, is usually covered with a thin strip of leather to give the tone the necessary smoothness and finish. It can be voiced at any wind pressure starting from 4 inches and above. The Tibia Plena is the most powerful and robust among all the Tibia stops, making it essential for large instruments. * * * The Tibia Profunda and Tibia Profundissima are 16-ft. and 33-ft. pedal extensions of the Tibia Plena." [7]
"The Tibia Clausa is a wood Gedackt of very large scale (in other words, a stopped pipe), furnished with leather lips. It was invented by Mr. Hope-Jones. The tone is powerful and beautifully pure and liquid. The prevailing fault of the modern Swell organ is, perhaps, the inadequacy of the Flute work. * * * It was the recognition of this shortcoming which led to the invention of the Tibia Clausa." [8]
"The Tibia Clausa is a large wooden Gedackt (a type of stopped pipe) with leather lips. It was invented by Mr. Hope-Jones. The sound it produces is strong and beautifully clear and smooth. One common issue with modern Swell organs is the lack of quality in the Flute stops. * * * This understanding of the problem inspired the creation of the Tibia Clausa." [8]
The Tibia Dura is another of Mr. Hope-Jones' inventions. It is an open wood pipe of peculiar shape, wider at the top than the bottom, and described by Wedgwood as of "bright, hard, and searching" tone.
The Tibia Dura is another one of Mr. Hope-Jones' inventions. It's an open wooden pipe with a unique shape, wider at the top than at the bottom, and Wedgwood described it as having a "bright, hard, and penetrating" tone.
The Tibia Minor was invented by Mr. John H. Compton, of Nottingham, England, one of the most artistic builders in that country. "The Tibia Minor bears some resemblance to Mr. Hope-Jones' Tibia Clausa, but being destined more for use on an open wind-chest, differs in some important respects. The stop is now generally made of wood, though several specimens have been made of metal. In all cases the upper lip is leathered. The tone of the Tibia Minor is extraordinarily effective. In the bass it is round and velvety * * * in the treble the tone becomes very clear and full * * * it forms a solo stop of remarkably fine effect, and in combination serves to add much clearness and fulness of tone to the treble, and, in general, exercises to the fullest extent the beneficial characteristics of the Tibia class of stop already detailed. If only by reason of the faculty so largely exercised, of thus mollifying and enriching the upper notes of other stops—which too often prove hard and strident in tone—the Tibia Minor deserves recognition as one of the most valuable of modern tonal inventions." [9]
The Tibia Minor was invented by Mr. John H. Compton from Nottingham, England, who is one of the most skilled builders in the country. "The Tibia Minor resembles Mr. Hope-Jones' Tibia Clausa, but since it's designed for use on an open wind-chest, it has some key differences. The stop is usually made of wood, although some versions have been made of metal. In all cases, the upper lip is made of leather. The sound of the Tibia Minor is exceptionally effective. In the bass, it has a smooth and velvety tone; in the treble, the sound becomes very clear and full. It serves as a solo stop with a remarkably fine effect, and when combined, it greatly enhances the clarity and fullness of tone in the treble, and overall, it fully utilizes the beneficial qualities of the Tibia class of stops that were highlighted earlier. Simply for its ability to soften and enrich the upper notes of other stops—which often tend to be harsh and piercing—the Tibia Minor should be recognized as one of the most valuable modern tonal inventions." [9]
The Tibia Mollis, invented by Mr. Hope-Jones, is a Flute of soft tone, composed of rectangular wooden pipes. The name Tibia Mollis is also employed by Mr. John H. Compton to denote a more subdued variety of his Tibia Minor.
The Tibia Mollis, created by Mr. Hope-Jones, is a flute with a soft sound, made from rectangular wooden pipes. The name Tibia Mollis is also used by Mr. John H. Compton to refer to a quieter version of his Tibia Minor.
Other Flutes found in organs are the Stopped Diapason, Clarabella, Clarinet Flute, Rohrflöte ("Reed-flute"), Wald Flöte, Flauto Traverso, Suabe Flute, Clear Flute, Doppel Flöte (with two mouths), Melodia, Orchestral Flute, etc., each of a different quality of tone and varying in intensity. The Philomela as made by Jardine is a melodia with two mouths.
Other flutes found in organs include the Stopped Diapason, Clarabella, Clarinet Flute, Rohrflöte ("Reed-flute"), Wald Flöte, Flauto Traverso, Suabe Flute, Clear Flute, Doppel Flöte (with two mouths), Melodia, Orchestral Flute, and more, each offering a different tone quality and varying intensity. The Philomela made by Jardine is a melodia with two mouths.
STRINGS.
Under this head are grouped the stops which imitate the tones of such stringed instruments as the Viola, the Violoncello, the Double Bass, and more especially the old form of Violoncello, called the Viol di Gamba, which had six strings and was more nasal in tone.
Under this category are the stops that mimic the sounds of string instruments like the viola, cello, double bass, and especially the older version of the cello known as the viola da gamba, which had six strings and produced a more nasal tone.
At the commencement of the period herein spoken of string-toned stops as we know them to-day scarcely existed. This family was practically represented by the Dulciana and by the old slow-speaking German Gamba. These Gambas were more like Diapasons than strings.
At the beginning of the time being discussed, string-toned stops like we have today barely existed. This group was mostly represented by the Dulciana and the old, slowly speaking German Gamba. These Gambas were more similar to Diapasons than to strings.
Edmund Schulze made an advance and produced some Gambas and Violones which, though of robust and full-bodied type, were pleasant and musical in tone. They were at the time deemed capable of string-like effects.
Edmund Schulze made a move and showcased some Gambas and Violones that, despite being strong and full-bodied, had a nice and musical sound. At the time, they were considered capable of producing string-like effects.
To William Thynne belongs the credit of a great step in advance. The string tones heard in the Michell and Thynne organ at the Liverpool, England, exhibition in 1886 were a revelation of the possibilities in this direction, and many organs subsequently introduced contained beautiful stops from his hands—notably the orchestral-toned instrument in the residence of J. Martin White, Dundee, Scotland—an ardent advocate of string tone. Years later Thynne's partner, Carlton C. Mitchell, produced much beautiful work in this direction. Hope-Jones founded his work on the Thynne model and by introducing smaller scales, bellied pipes and sundry improvements in detail, produced the keen and refined string stops now finding their way into all organs of importance. His delicate Viols are of exceedingly small scale (some examples measuring only 1 1/8 inches in diameter at the 8-foot note). They are met with under the names of Viol d' Orchestre, Viol Celeste and Dulcet.[10] These stops have contributed more than anything else towards the organ suitable for the performance of orchestral music.
To William Thynne goes the credit for a significant advancement. The string sounds heard in the Michell and Thynne organ at the Liverpool exhibition in 1886 were a revelation of what was possible in this area, leading to many organs afterwards featuring beautiful stops crafted by him—most notably the orchestral-toned instrument in the home of J. Martin White in Dundee, Scotland, who was a passionate supporter of string tone. Years later, Thynne's partner, Carlton C. Mitchell, created much beautiful work in this realm. Hope-Jones based his work on the Thynne model and, by incorporating smaller scales, bellied pipes, and various improvements in detail, developed the sharp and refined string stops that are now common in all significant organs. His delicate Viols are of exceptionally small scale (with some examples measuring only 1 1/8 inches in diameter at the 8-foot note). They appear under names like Viol d' Orchestre, Viol Celeste, and Dulcet.[10] These stops have done more than anything else to make the organ suitable for performing orchestral music.
Haskell has introduced several beautiful varieties of wood and metal stops of keen tone, perhaps the best known being the labial Oboe and Saxophone, commonly found in Estey organs. His work is destined to exert considerable influence upon the art.
Haskell has introduced several beautiful types of wood and metal stops with a sharp tone, perhaps the most well-known being the labial Oboe and Saxophone, often found in Estey organs. His work is set to have a significant impact on the art.
Other string-toned stops found nowadays in organs are the Keraulophon, Aeoline, Gemshorn, Spitzflöte, Clariana, Fugara, Salicet, Salicional, and Erzähler.[11]
Other string-toned stops found today in organs are the Keraulophon, Aeoline, Gemshorn, Spitzflöte, Clariana, Fugara, Salicet, Salicional, and Erzähler.[11]
REEDS.
As remarked in our opening chapter, pipes with strips of cane or reeds in the mouthpiece are of great antiquity, being found side by side with the flutes in the Egyptian tombs. These reeds, as those used at the present day, were formed of the outer siliceous layer of a tall grass, Arundo donax, or sativa, which grows in Egypt and the south of Europe. They were frequently double, but the prototype of the reed organ-pipe is to be seen in the clarinet, where the reed is single and beats against the mouthpiece. Of course, an artificial mouthpiece has to be provided for our organ-pipe, but this is called the boot. See Figure 19, which shows the construction of a reed organ-pipe. A is the boot containing a tube called the eschallot B, partly cut away and the opening closed by a brass tongue C, which vibrates under pressure of the wind. D is the wire by which the tongue is tuned; E the body of the pipe which acts as a resonator.
As mentioned in our opening chapter, pipes with strips of cane or reeds in the mouthpiece are very old, being found alongside flutes in Egyptian tombs. These reeds, like those used today, were made from the outer siliceous layer of a tall grass, Arundo donax, or sativa, which grows in Egypt and southern Europe. They were often double, but the original design of the reed organ pipe can be seen in the clarinet, where the reed is single and vibrates against the mouthpiece. Of course, an artificial mouthpiece has to be used for our organ pipe, known as the boot. See Figure 19, which illustrates the construction of a reed organ pipe. A is the boot containing a tube called the eschallot B, which is partly cut away and has an opening covered by a brass tongue C, which vibrates under the pressure of the wind. D is the wire used to tune the tongue; E is the body of the pipe that acts as a resonator.

Fig. 18. Haskell's Clarinet Without Reed
In the last half-century the art of reed voicing has been entirely revolutionized. Prior to the advent of Willis, organ reeds were poor, thin, buzzy things, with little or no grandeur of effect, and were most unmusical in quality. Testimony to the truth of this fact is to be found in old instruction books for organ students. It is there stated that reeds should never be used alone, but that a Stopped Diapason or other rank of flue pipes must always be drawn with them to improve the tone quality.
In the last fifty years, the art of reed voicing has totally changed. Before Willis came along, organ reeds were weak, thin, and buzzy, lacking any sense of grandeur, and they sounded pretty unmusical. You can see proof of this in old instruction books for organ students, which say that reeds should never be used alone; instead, a Stopped Diapason or another rank of flue pipes should always be played alongside them to enhance the tone quality.

Fig. 19. Diagram of Reed Pipe
Willis created an entirely new school of reed voicing. He was the first to show that reeds could be made really beautiful and fit for use without help from flue stops. When he wanted power he obtained it by raising the pressure, in order that he might be able to afford still to restrain the tone and to consider only beauty of musical quality.
Willis developed a whole new approach to reed voicing. He was the first to demonstrate that reeds could be made truly beautiful and usable without relying on flue stops. When he needed more power, he achieved it by increasing the pressure, allowing him to still control the tone and focus solely on the beauty of the musical quality.
He was the first to show that every trace of roughness and rattle could be obviated by imparting to the reed tongue exactly the right curve.
He was the first to demonstrate that any roughness and rattling could be eliminated by giving the reed tongue the perfect curve.
He restrained too emphatic vibrations in the case of the larger reed tongues by affixing to them with small screws, weights made of brass. He quickly adopted the practice of using harmonic, or double-length tubes, for the treble notes, and secured a degree of power and brilliance never before dreamed possible.
He limited excessive vibrations in the larger reed tongues by attaching brass weights to them with small screws. He quickly started using harmonic, or double-length tubes, for the treble notes, achieving a level of power and brilliance that had never been imagined before.
Willis gave up the open eschallot in favor of the closed variety, thereby securing greater refinement of musical quality, though of course sacrificing power of tone. He designed many varieties of reed tubes, the most notable departure from existing standards being probably his Cor Anglais and Orchestral Oboe.
Willis chose the closed variety of eschallot over the open one, achieving a higher level of musical quality but obviously giving up some tone strength. He created many types of reed tubes, with his Cor Anglais and Orchestral Oboe being the most significant innovations from existing standards.
Under the guiding genius of Willis, the Swell organ—which had hitherto been a poor and weak department, entirely over-shadowed by the Great—became rich, powerful and alive with angry reeds, which were nevertheless truly musical in effect. Hope-Jones took up the work where Willis left it, and has not only pushed the Willis work to its logical conclusion, but has introduced a new school of his own.
Under the brilliant guidance of Willis, the Swell organ—which had previously been a weak and unimpressive section, completely overshadowed by the Great—became rich, powerful, and vibrant with sharp reeds that still produced genuinely musical sounds. Hope-Jones continued the work where Willis left off, not only finishing the projects started by Willis but also introducing his own innovative approach.
He has taken the Willis chorus reeds and by doubling the wind pressures and increasing the loading and thickness of tongues, has produced results of surpassing magnificence. From the Willis Cor Anglais he has developed his Double English Horn, from the Willis Oboe his Oboe Horn, and from the Willis Orchestral Oboe the thin-toned stops of that class now being introduced by Austin, Skinner and by his own firm. His chief claim to distinction in this field, however, lies in the production of the smooth reed tone now so rapidly coming into general use; in his 85-note Tuba; in the use of diminutive eschallots with mere saw-cut openings; in providing means for making reed pipes stand in tune almost as well as flue pipes; and in the utilization of "vowel cavities" for giving character to orchestral-toned reeds.
He has taken the Willis chorus reeds and by increasing the wind pressures and thickening the tongues, has achieved results of incredible beauty. From the Willis Cor Anglais, he developed his Double English Horn; from the Willis Oboe, his Oboe Horn; and from the Willis Orchestral Oboe, the delicate stops of that type now being introduced by Austin, Skinner, and his own company. His main claim to fame in this area, however, is the creation of the smooth reed tone that is quickly becoming popular; in his 85-note Tuba; in using tiny eschallots with simple saw-cut openings; in providing methods for keeping reed pipes in tune nearly as well as flue pipes; and in using "vowel cavities" to add character to orchestral-toned reeds.
The latter are of particular interest, as their possibilities are in process of development. The results already achieved have done much to make the most advanced organ rival the orchestra.
The latter are particularly interesting, as their potential is still being developed. The results achieved so far have done a lot to make the most advanced instrument rival the orchestra.
To exemplify the principle of the vowel cavities Hope-Jones was in the habit, in his factory in Birkenhead, England, in 1890, of placing the end of one of his slim Kinura reed pipes in his mouth and by making the shape of the latter favor the oo, ah, eh, or ee, entirely altered and modified the quality of tone emitted by the pipe.
To demonstrate the principle of vowel cavities, Hope-Jones regularly placed the end of one of his slim Kinura reed pipes in his mouth at his factory in Birkenhead, England, in 1890. By shaping his mouth to form the sounds oo, ah, eh, or ee, he completely changed the tone produced by the pipe.
Some years ago in an organ built for the Presbyterian Church, Irvington-on-Hudson, N. Y., Hope-Jones introduced a beating reed having no pipes or resonators of any kind. He is using this form of reed in most of his organs now building.
Some years ago, in an organ built for the Presbyterian Church in Irvington-on-Hudson, NY, Hope-Jones introduced a beating reed that doesn't have any pipes or resonators. He is now using this type of reed in most of the organs he's currently building.
In England this vowel cavity principle has been applied to Orchestral Oboes, Kinuras and Vox Humanas, but in this country it was introduced but seven years ago and has so far been adapted only to Orchestral Oboes. At the time of writing it is being introduced in connection with Hope-Jones' Vox Humanas and Kinuras. Examples are to be seen in the Wanamaker (New York) organ; in Park Church, Elmira; Buffalo Cathedral; Columbia College, St. James' Church, New York; College of the City of New York; Ocean Grove Auditorium, and elsewhere. There undoubtedly lies a great future before this plan for increasing the variety of orchestral tone colors. Figure 20 shows a vowel cavity applied to a Vox Humana (Norwich Cathedral, England), Figure 21 to an Orchestral Oboe (Worcester Cathedral, England), and Figure 22 to a Kinura (Kinoul, Scotland).
In England, this vowel cavity principle has been used for orchestral oboes, kinuras, and vox humanas, but it was only introduced in this country seven years ago and has so far been adapted only for orchestral oboes. At the time of writing, it's being implemented with Hope-Jones' vox humanas and kinuras. You can see examples in the Wanamaker organ (New York), Park Church in Elmira, Buffalo Cathedral, Columbia College, St. James' Church in New York, the College of the City of New York, Ocean Grove Auditorium, and other locations. There is undoubtedly a bright future for this approach to expanding the variety of orchestral tone colors. Figure 20 shows a vowel cavity applied to a vox humana (Norwich Cathedral, England), Figure 21 to an orchestral oboe (Worcester Cathedral, England), and Figure 22 to a kinura (Kinoul, Scotland).

Fig. 20. Vox Humana with Vowel Cavity Attached. Fig. 21. Orchestral Oboe with Vowel Cavity Attached Fig. 22. Kinura with Vowel Cavity Attached
Builders who have not mastered the art of so curving their reed tongues that buzz and rattle are impossible have endeavored to obtain smoothness of tone by leathering the face of the eschallot. This pernicious practice has unfortunately obtained much headway in the United States and in Germany. It cannot be too strongly condemned, for its introduction robs the reeds of their characteristic virility of tone. Reeds that are leathered cannot be depended upon; atmospheric changes affect them and put them out of tune.
Builders who haven't figured out how to shape their reed tongues for a smooth buzz and rattle have tried to achieve a better tone by covering the face of the eschallot with leather. This harmful practice has unfortunately gained a lot of traction in the United States and Germany. It's essential to condemn this approach strongly, as it takes away the reeds' natural strength of tone. Leathered reeds are unreliable; changes in the atmosphere affect them and throw them out of tune.
The French school of reed voicing, led by Cavaillé-Coll, has produced several varieties that have become celebrated. Many French Orchestral reeds are refined and beautiful in quality and the larger Trumpets and Tubas, though assertive and blatant, are not unmusical. The French school, however, does not appear to be destined to exercise any great influence upon the art in this country. (For further information regarding reeds see chapter on tuning.)
The French school of reed voicing, led by Cavaillé-Coll, has created several well-known varieties. Many French orchestral reeds are refined and beautifully crafted, and the larger trumpets and tubas, while bold and loud, still maintain musicality. However, the French school doesn't seem poised to have a significant impact on the art in this country. (For more information about reeds, see the chapter on tuning.)
UNDULATING STOPS—CELESTES.
The writer is not aware who first introduced into the organ a rank of soft-toned pipes purposely tuned a trifle sharp or flat to the normal pitch of the organ, so as to cause a beat or wave in the tone. Fifty years ago such stops were sparingly used and many organists condemned their employment altogether. Stops of the kind were hardly ever found in small organs and the largest instruments seldom contained more than one.
The writer doesn't know who was the first to add a set of soft-toned pipes to the organ that are intentionally tuned slightly sharp or flat from the standard pitch, creating a beat or wave in the sound. Fifty years ago, these stops were rarely used, and many organists completely disapproved of using them. Stops like these were hardly ever included in smaller organs, and the largest instruments typically had no more than one.
A great development in this direction has taken place and further advance seems to be immediate. Already most builders introduce a Celeste into their small organs and two or three into their larger instruments—whilst Hope-Jones' organs are planned with Vox Humana Celestes, Physharmonica Celestes, Kinura Celestes and even Mixture Celestes!
A significant advancement in this area has occurred, and further progress appears to be on the horizon. Most builders are now incorporating a Celeste into their small organs and two or three into their larger instruments—while Hope-Jones' organs are designed with Vox Humana Celestes, Physharmonica Celestes, Kinura Celestes, and even Mixture Celestes!
Most modern Celestes are tuned sharp, the effect being more animated than if it were tuned flat; but the aggregate effect and general utility of the stop are greatly enhanced by the use of two ranks of pipes, one being tuned sharp and the other flat to the organ pitch. A three-rank Celeste (sharp, flat, and unison) formed one of the novel features of the organ in Worcester Cathedral, England, built by Hope-Jones in 1896. Wedgwood credits its invention to Mr. Thomas Casson. The three-rank Celeste is also to be found in the organs of the Bennett Organ Company.
Most modern Celestes are tuned sharp, which makes them sound more vibrant than if they were tuned flat; however, the overall effect and usefulness of the stop are greatly improved by using two sets of pipes, one tuned sharp and the other flat to the organ pitch. A three-rank Celeste (sharp, flat, and unison) was one of the unique features of the organ at Worcester Cathedral in England, built by Hope-Jones in 1896. Wedgwood credits the invention to Mr. Thomas Casson. The three-rank Celeste is also found in the organs of the Bennett Organ Company.
Apart from the inherent beauty of the tones there is much to be said in favor of the presence of these stops—if the organ is to be used as an adjunct to, or a substitute for, the orchestra. The whole orchestra is one huge and ever-varying "Celeste." Were it not so its music would sound dead and cold. Few of the instrumentalists ever succeed in playing a single bar absolutely in tune with the other components of the band.
Aside from the natural beauty of the sounds, there’s a lot to appreciate about having these stops—if the organ is meant to complement or replace the orchestra. The entire orchestra acts as one massive and constantly changing "Celeste." If it didn’t, its music would feel lifeless and cold. Few instrumentalists manage to play even a single measure perfectly in tune with the rest of the group.
PERCUSSION STOPS.
This class of stop is also now finding its way into organs more generally than heretofore. Resonating gongs giving, when skillfully used, effects closely resembling a harp have been introduced freely by the Aeolian Company in its house organs, and there seems no possible objection to such introduction. The tone is thoroughly musical and blends perfectly with the other registers. Under the name of "Chimes" these resonant gongs are now finding place in many Church and Concert organs. Tubular bells are also used in a similar capacity by all the leading organ-builders,
This type of stop is now becoming more common in organs than before. Resonating gongs that, when used skillfully, create effects similar to a harp have been widely incorporated by the Aeolian Company in its home organs, and there seem to be no objections to this addition. The sound is completely musical and blends seamlessly with the other registers. Under the name "Chimes," these resonant gongs are now being included in many church and concert organs. Tubular bells are also being used in a similar way by all the leading organ builders.
The greatest development in this direction is found in the Hope-Jones Unit Orchestra. In these instruments fully one-third of the speaking stops rely on percussion for production of their tones. Even small instruments of this type have all got the following percussion stops: Chimes, Chrysoglott, Glockenspiel, Electric Bells (with resonators), Xylophone, and carefully-tuned Sleigh Bells—in addition to single percussive instruments, such as Snare-drum, Bass-drum, Kettle-drum, Tambourine, Castanets, Triangle, Cymbals, and Chinese Gong.
The biggest advancement in this area is seen in the Hope-Jones Unit Orchestra. In these instruments, about one-third of the speaking stops depend on percussion to produce their sounds. Even the smaller instruments in this category include the following percussion stops: Chimes, Chrysoglott, Glockenspiel, Electric Bells (with resonators), Xylophone, and finely-tuned Sleigh Bells—along with individual percussion instruments like Snare-drum, Bass-drum, Kettle-drum, Tambourine, Castanets, Triangle, Cymbals, and Chinese Gong.
As all these tone producers are enclosed in a thick Swell box, an artist is able to employ them with as much refinement of effect as is heard when they are heard in a Symphony Orchestra.
As all these tone producers are housed in a thick Swell box, an artist can use them with just as much finesse as what you hear in a Symphony Orchestra.
Mr. Hope-Jones informs the writer that he has just invented an electric action which strikes a blow accurately proportioned to the force employed in depressing the key, thus obtaining expression from the fingers as in the pianoforte. He will apply this to the percussion stops in organs he may build in the future.
Mr. Hope-Jones tells the writer that he has just invented an electric mechanism that delivers a blow precisely matched to the pressure applied to the key, allowing for expression from the fingers like in the piano. He plans to use this for the percussion stops in organs he might create in the future.
When skilfully employed many of these percussion stops blend so perfectly with the flue and reed pipes that they become an important integral part of the instrument—not merely a collection of fancy stops for occasional use.
When used skillfully, many of these percussion stops blend so perfectly with the flue and reed pipes that they become an essential part of the instrument—not just a bunch of fancy stops for occasional use.
THE DIAPHONE.
The invention of the Diaphone by Hope-Jones in 1894 will some day be regarded as the most important step in advance hitherto achieved in the art of organ building. The existence of patents at present prevents general adoption of the invention and limits it to the instruments made by one particular builder. In addition to this the Diaphone takes so many forms and covers so large a field that time must necessarily pass before its full possibilities are realized.
The invention of the Diaphone by Hope-Jones in 1894 will someday be seen as the most significant advancement made in organ building so far. Right now, existing patents keep it from being widely adopted and restrict it to instruments made by a specific builder. Plus, the Diaphone exists in so many variations and encompasses such a broad range that it will take time before its full potential is understood.
Enough was, however, done by Hope-Jones in connection with the organs he built in England a dozen or eighteen years ago to leave the experimental stage and prove the invention to be of the greatest practical importance to the future of organ building. The author's opinion that before long every new large organ will be built upon the Diaphone as a foundation, is shared by all who have had opportunity to judge. By no other means known to-day can anything approaching such grand and dignified Diapason tone be produced. Were twenty large Diapasons added to the instrument in Ocean Grove, N. J., or to that in the Baptist Temple, Philadelphia, and were the Diaphone removed, the instrument would suffer most seriously. In the Pedal department no reed or flue pipe can begin to compare with a Diaphone, either in attack or in volume of tone.
However, Hope-Jones did enough with the organs he built in England about twelve to eighteen years ago to move beyond the experimental stage and demonstrate that his invention is extremely important for the future of organ building. The author believes that soon every new large organ will be based on the Diaphone, and this view is shared by everyone who has had the chance to evaluate it. No other method known today can produce a tone that comes close to the grand and dignified sound of the Diapason. If twenty large Diapasons were added to the organ in Ocean Grove, N.J., or the one in the Baptist Temple, Philadelphia, and the Diaphone were removed, the instrument would be seriously diminished. In the Pedal section, no reed or flue pipe can compare to a Diaphone in terms of both attack and volume of sound.
In Figure 23 we give a sectional view of the first large Diaphone made, namely that constructed for the Hope-Jones organ in Worcester Cathedral, Eng., 1896.
In Figure 23, we show a cross-section of the first large Diaphone ever made, specifically the one built for the Hope-Jones organ at Worcester Cathedral, England, in 1896.

Fig. 23. Diaphone in Worcester Cathedral, Eng.
M is a pneumatic motor or bellows to which is attached a rod bearing the compound and spring valve V, V1, working against the spring S. On the admission of wind (under pressure) to the box A, the motor M is caused to collapse, and thereby to open the valves V, V1. Wind then rushes into the chamber B, and entering the interior of motor M through the passage C, equalizes the pressure in the motor. The action of the springs now serves to close the valves V, V1, and to open out the motor M, whereupon the process is repeated.
M is a pneumatic motor or bellows connected to a rod that holds the compound and spring valve V, V1, which operates against the spring S. When air (under pressure) is let into box A, the motor M collapses, opening the valves V, V1. Air then rushes into chamber B and flows into the interior of motor M through passage C, equalizing the pressure in the motor. The action of the springs then shuts the valves V, V1, and expands the motor M, repeating the process.

Fig. 24. Diaphone in Aberdeen University.
In Fig. 24 we illustrate the Diaphone in the Hope-Jones organ built for Aberdeen University, Scotland. The action is as follows:
In Fig. 24, we show the Diaphone in the Hope-Jones organ made for Aberdeen University, Scotland. The action is as follows:
Wind from the organ bellows enters the pipe foot F, and raises the pressure in the chamber C. The air in the chamber will press upon the back of the valve V, tending to keep it closed. It will press also upon the bellows or motor M, and as this bellows has a much larger area than that of the valve, it will instantly collapse, and, through the medium of the tail piece T, will pull the valve V off its seat and allow the compressed air in the chamber C to rush into the resonator or pipe P. Owing to the inertia of the column of air contained in the pipe P, a momentary compression will take place at the lower end of the pipe, and the pressure of the air inside the motor M will, in consequence, be raised. The motor having now increased pressure both sides, will no longer keep the valve off its seat, and the spring S will open the motor and close the valve. The compression caused by the admission of the puff of air into the lower parts of the pipe P will be followed by the usual rarefaction, and as this rarefaction will exhaust or suck the air from the inside of the motor M, the valve will again be lifted from its seat, and the cycle of operations will be repeated as long as the wind supply is kept up. A series of regular puffs of wind will thus be delivered into the lower part of the resonator or pipe, resulting in a musical note.
Wind from the organ bellows flows into the pipe foot F, increasing the pressure in chamber C. The air in the chamber presses against the back of valve V, trying to keep it closed. It also pushes against the bellows or motor M, and since this bellows has a much larger area than the valve, it will immediately collapse. Through the tail piece T, it will pull valve V off its seat, allowing the compressed air in chamber C to rush into the resonator or pipe P. Due to the inertia of the air column in pipe P, there will be a brief compression at the lower end of the pipe, which will increase the air pressure inside the motor M. With higher pressure on both sides now, the motor won't keep the valve off its seat, and spring S will open the motor and close the valve. The compression caused by the puff of air entering the lower part of pipe P will be followed by the usual rarefaction, which will exhaust or suck air from inside the motor M, causing the valve to lift off its seat again, and the cycle will repeat as long as the wind supply continues. A series of regular puffs of wind will thus be sent into the lower part of the resonator or pipe, resulting in a musical note.
Figs. 25, 26, 27 represent the first Diaphone heard in a public building in this country, namely that of a model sounded in St. Patrick's Cathedral, New York City, in 1905. In this form of Diaphone the pressure of air operating the Diaphone has been varied between 10 inches and 500 inches, without perceptible variation in the pitch of the note emitted.
Figs. 25, 26, 27 show the first Diaphone used in a public building in the U.S., specifically one that was tested in St. Patrick's Cathedral, New York City, in 1905. In this type of Diaphone, the air pressure used ranges from 10 inches to 500 inches, with no noticeable change in the pitch of the sound produced.

Figs. 25, 26, 27. Diaphone in St. Patrick's Cathedral, New York
Referring to Fig. 25, the chamber WW is supplied with air under pressure whenever the organist presses a key or pedal calling into use this particular note. The pressure of air enters through the circular engine supply port S, thus raising the pressure in the chamber C and forcing in an upward direction the aluminum piston P through the medium of the division D (colored black), which forms a portion of the aluminum piston.
Referring to Fig. 25, the chamber WW receives pressurized air every time the organist presses a key or pedal for that specific note. The air pressure comes in through the circular engine supply port S, increasing the pressure in chamber C and pushing the aluminum piston P upward through the division D (colored black), which is part of the aluminum piston.
When the lower edge of the piston has risen a certain distance it will uncover the circular engine exhaust port E, and will allow the compressed air to escape into the atmosphere. At this moment the rise of the piston will have closed the engine supply port S.
When the bottom edge of the piston has moved up a certain distance, it will open the circular engine exhaust port E and let the compressed air escape into the atmosphere. At this point, the piston’s upward movement will have closed the engine supply port S.
The momentum acquired by the piston (see Fig. 27) will cause it to travel upward a little further, and this upward travel of the division D will cause a compression of air to take place at the foot of the resonator or pipe R. This compression will be vastly increased through the simultaneous opening of the eight circular speaking ports SP.
The momentum gained by the piston (see Fig. 27) will make it move upward a bit more, and this upward movement of division D will compress the air at the bottom of the resonator or pipe R. This compression will significantly increase with the simultaneous opening of the eight circular speaking ports SP.
The pressure of the compressed air at the foot of the resonator E will now by acting on the upper surface of the division D depress the aluminum piston until the engine supply port S is again opened.
The pressure of the compressed air at the bottom of the resonator E will now push down on the top surface of the divider D, causing the aluminum piston to lower until the engine supply port S is open again.
By this time the compression at the foot of resonator R will have traveled up the pipe in the form of a sound wave, and will have been followed by the complementary rarefaction. This rarefaction on the upper side will render more effective the pressure of the compressed air again admitted through the engine supply port S on the underside of division D.
By this point, the compression at the end of resonator R will have moved up the pipe as a sound wave, followed by the corresponding rarefaction. This rarefaction on the upper side will make the pressure of the compressed air, which is again coming in through the engine supply port S on the underside of division D, more effective.
It will be seen that this cycle of operations will be repeated as long as the organist holds down his pedal or key admitting compressed air to the chamber W.
It will be clear that this cycle of operations will continue as long as the organist keeps the pedal or key pressed down, allowing compressed air into chamber W.
As the aluminum piston P is very light and is in no way impeded in its movement or swing, the speed of its vibration, and consequently the pitch of the note emitted, will be governed by the length of the resonator or pipe R.
As the aluminum piston P is super light and moves freely without any restrictions, the speed of its vibration, and therefore the pitch of the sound it produces, will be determined by the length of the resonator or pipe R.
The tone given by this particular form of Diaphone possesses a peculiar sweetness in quality, while the power is limited only by the pressure of air used to operate it.
The tone produced by this specific type of Diaphone has a unique sweetness to it, while the volume is only restricted by the air pressure used to run it.

Fig. 28. Diaphone in the Auditorium, Ocean Grove, N. J.
In Fig. 28 we give an illustration of the form of Diaphone used in the Hope-Jones Unit organ at the Auditorium, Ocean Grove, N. J.
In Fig. 28, we show an illustration of the Diaphone design used in the Hope-Jones Unit organ at the Auditorium in Ocean Grove, NJ.
P is a pallet controlling the admission of air into the body of the pipe P1. M is a motor adapted for plucking open the pallet P through the medium of strap s. The box B is permanently supplied with air under pressure from the bellows. When the valves V and V1 are in the position shown in the drawing, the Diaphone is out of action, for the wind from the box B will find its way through the valve V (which is open) into the interior of the motor M.
P is a flap that controls how air enters the body of the pipe P1. M is a motor designed to pull open the flap P using the strap s. The box B is constantly filled with pressurized air from the bellows. When the valves V and V1 are in the position shown in the diagram, the Diaphone is not working, because the air from the box B will flow through valve V (which is open) into the motor M.
When it is desired to make the note speak, the small exterior motors M1 and M2 are simultaneously inflated by the electro-pneumatic action operated by depressing the pedal key. The valve V will thereupon be closed and the valve V1 be opened. As the pressure of air inside the motor M will now escape into the pipe or resonator P1, the motor will collapse and the pallet P will be opened in spite of the action of the spring S which tends to keep it closed.
When you want the note to sound, the small external motors M1 and M2 are inflated at the same time through the electro-pneumatic system activated by pressing the pedal key. The valve V will then close, and valve V1 will open. As the air pressure inside motor M escapes into the pipe or resonator P1, the motor will collapse, causing the pallet P to open despite the spring S pushing to keep it closed.
The wind in the box B will now suddenly rush into the lower end of the pipe P1, and by causing a compression of the air at that point will again raise the pressure of the air inside the motor M. The pallet will thereupon close and the cycle of operations will be repeated—thus admitting a series of puffs of wind into the foot of the pipe P1 and thereby producing a musical tone of great power.
The wind in box B will suddenly rush into the lower end of pipe P1, causing the air to compress at that point and increasing the air pressure inside motor M. The pallet will then close, and the cycle will repeat—allowing a series of bursts of wind into the base of pipe P1, generating a powerful musical tone.
As the valve V1 is open, the sound waves formed in the pipe P1 will govern the speed of vibration of the motor M. It will thus be obvious that the Diaphone will always be in perfect tune with the resonator or pipe P1, and that the pitch of the note may be altered by varying the length of the pipe.
As the valve V1 is open, the sound waves created in the pipe P1 will determine the vibration speed of the motor M. It's clear that the Diaphone will always be perfectly in tune with the resonator or pipe P1, and the pitch of the note can be changed by adjusting the length of the pipe.

Fig. 29. Diaphone in St. Paul's Cathedral, Buffalo, N. Y.
In Fig. 29 will be found an illustration of the Diaphone (or valvular reed) used in the Hope-Jones organ at St. Paul's Cathedral, Buffalo, N. Y.
In Fig. 29, you'll find an illustration of the Diaphone (or valvular reed) used in the Hope-Jones organ at St. Paul's Cathedral, Buffalo, NY.
Upon depressing a key, wind is admitted into the box B. Pressing upon the valve V it causes it to close against its seat in spite of the action of the spring S. This, however, does not take place until a pulse of air has passed into the foot of the pipe P, thereby originating a sound wave which in due time liberates the valve V and allows the spring S to move it off its seat and allow another puff of air to enter the pipe P. By this means the valve V is kept in rapid vibration and a powerful tone is produced from the pipe P. At Middlesborough, Yorkshire, England, Hope-Jones fitted a somewhat similar Diaphone of 16 feet pitch about 1899, but in this case the resonator or pipe was cylindrical in form and measured only 8 feet in length.
When a key is pressed down, air flows into box B. This pushes against valve V, causing it to close against its seat, despite the pressure from spring S. However, this only happens after a burst of air travels into the bottom of pipe P, creating a sound wave that eventually releases valve V, allowing spring S to lift it off its seat and let another puff of air enter pipe P. This keeps valve V vibrating rapidly, producing a strong tone from pipe P. In Middlesborough, Yorkshire, England, Hope-Jones installed a similar Diaphone with a 16-foot pitch around 1899, but in this case, the resonator or pipe was cylindrical and only 8 feet long.
In Fig. 30 will be found another type of Diaphone in which the tone is produced through the medium of a number of metal balls, covering a series of holes or openings into the bottom of a resonator or pipe, and admitting intermittent puffs of air.
In Fig. 30, you'll see another kind of Diaphone where the sound is created by a number of metal balls that cover a series of holes or openings at the bottom of a resonator or pipe, allowing bursts of air to come through.

Fig. 30. Diaphone Producing Foundation Tone
The action is as follows. Air under pressure enters the chamber B through the pipe foot A, and passing up the ports C, C1, C2, etc., forces the metal balls D, D1, D2, etc., upwards into the chamber E; the bottom end of the resonator or pipe. The pressure of air above the balls in the resonator E, then rises until it equals or nearly equals the pressure of air in chamber B. This is owing to the fact that the column of air in the pipe or resonator E possesses weight and inertia, and being elastic, is momentarily compressed at its lower end. This increased pressure above the balls allows them to return to their original position, under the influence of gravity. By the time they have returned to their original position, the pulse of air compression has traveled up the pipe in the form of a sound wave, and the complementary rarefaction follows.
The process works like this: Pressurized air enters chamber B through pipe foot A and moves upward through ports C, C1, C2, etc. This forces the metal balls D, D1, D2, etc., upwards into chamber E, which is the bottom end of the resonator or pipe. The air pressure above the balls in resonator E then rises until it nearly matches the pressure of the air in chamber B. This happens because the column of air in pipe or resonator E has weight and inertia, and since it's elastic, it gets temporarily compressed at the lower end. This increased pressure above the balls lets them fall back to their original position due to gravity. By the time they settle back, the pulse of compressed air has traveled up the pipe as a sound wave, followed by a complementary rarefaction.
The cycle of movement will then be repeated numerous times per second, with the result that a very pure foundation tone musical note will be produced.
The cycle of movement will then repeat many times per second, resulting in a very pure foundation tone musical note being produced.
The Diaphone is tuned like ordinary flue pipes and will keep in tune with them; the pressure of wind (and consequently the power of the tone) may be varied without affecting the pitch. The form of the pipe or resonator affects the quality of the tone; it may be flue-like or reedy in character, or even imitate a Pedal Violone, a Hard and Smooth Tuba, an Oboe, or a Clarinet.
The Diaphone is tuned like regular flue pipes and will stay in tune with them; the wind pressure (and thus the strength of the sound) can be adjusted without changing the pitch. The shape of the pipe or resonator influences the sound quality; it can have a flue-like or reedy tone, or even mimic a Pedal Violone, a Hard and Smooth Tuba, an Oboe, or a Clarinet.
In closing this chapter, the writer desires to express indebtedness for much of the material therein to the comprehensive "Dictionary of Organ Stops," by James Ingall Wedgwood, Fellow of the Society of Antiquaries, Scotland, and Fellow of the Royal Historical Society (published by the Vincent Music Co., London, England). Although the title is somewhat forbidding, it is a most interesting book and reveals an amount of original research and personal acquaintance with organs in England and the Continent that is simply marvelous. It ought to be in the library of every organist.
In closing this chapter, the author wants to express gratitude for much of the material included here to the detailed "Dictionary of Organ Stops" by James Ingall Wedgwood, a Fellow of the Society of Antiquaries in Scotland and a Fellow of the Royal Historical Society (published by the Vincent Music Co., London, England). Even though the title sounds a bit intimidating, it's actually a fascinating book that showcases a wealth of original research and personal experience with organs in England and across the continent, which is truly impressive. It should be a staple in every organist's library.
[1] Broadhouse, J., "Musical Acoustics," p. 27.
[1] Broadhouse, J., "Musical Acoustics," p. 27.
[2] Mr. Skinner has built some of the finest organs in this country.
[2] Mr. Skinner has built some of the best organs in this country.
[3] Much of Roosevelt's finest work is now being improved by various builders by leathering the lips.
[3] Many of Roosevelt's best achievements are now being enhanced by different builders by adding leather to the edges.
[4] The "Harmonic" principle is described in Dom Bedos' book, published in 1780, as applied to reeds, and Dr. Bédart states that this principle was applied to flutes as early as 1804.
[4] The "Harmonic" principle is explained in Dom Bedos' book, published in 1780, regarding reeds, and Dr. Bédart mentions that this principle was used for flutes as early as 1804.
[5] That is to say, the pipes are made double the length actually required, but are made to sound an octave higher by means of a hole pierced half-way up the pipe.
[5] In other words, the pipes are twice as long as needed, but they produce a sound that’s an octave higher due to a hole drilled halfway up the pipe.
[6] Wedgwood; "Dictionary of Organ Stops," p. 150.
[6] Wedgwood; "Dictionary of Organ Stops," p. 150.
[7] Wedgwood: Ibid., p. 153.
Wedgwood: Ibid., p. 153.
[8] Wedgwood: Ibid., p. 151.
[8] Wedgwood: Same source., p. 151.
[9] Wedgwood: Ibid. p. 153.
[9] Wedgwood: Same source. p. 153.
[10] "The Hope-Jones pattern of Muted Viol is one of the most beautiful tones conceivable."—Wedgwood: "Dictionary of Organ Stops," p. 173.
[10] "The Hope-Jones pattern of Muted Viol is one of the most beautiful tones imaginable."—Wedgwood: "Dictionary of Organ Stops," p. 173.
[11] The Erzähler, a modified Gemshorn, is found only in organs built by Ernest M. Skinner.
[11] The Erzähler, a modified Gemshorn, is only found in organs made by Ernest M. Skinner.
CHAPTER XI.
TUNING.
Having described the improvements in pipes, we now consider how they are tuned, and the first thing we must notice is the introduction of equal temperament.
Having described the advancements in pipes, we now look at how they are tuned, and the first thing to note is the introduction of equal temperament.
About fifty years ago most organs were so tuned that the player had to limit himself to certain key signatures if his music was to sound at all pleasant. Using excessive modulation or wandering into forbidden keys resulted in his striking some discordant interval, known as the "wolf." The writer remembers being present at a rehearsal of Handel's "Messiah" in St. George's Hall, Liverpool, Eng., in 1866, when the organ was tuned on the unequal temperament system, and there was a spirited discussion between the conductor and Mr. W. T. Best, who wanted the orchestra to play "Every Valley" in the key of E flat so as to be in better tune with the organ.
About fifty years ago, most organs were tuned in a way that forced the player to stick to certain key signatures if they wanted their music to sound good. If they used too much modulation or ventured into unusable keys, they would hit a dissonant interval known as the "wolf." The author recalls being at a rehearsal of Handel's "Messiah" in St. George's Hall, Liverpool, England, in 1866, where the organ was tuned using the unequal temperament system. There was a lively debate between the conductor and Mr. W. T. Best, who wanted the orchestra to perform "Every Valley" in the key of E flat to match the organ's tuning better.
The modern keyboard is imperfect. One black key is made to serve, for instance, for D sharp and for E flat, whereas the two notes are in reality not identical.[1] To secure correct tuning and tone intervals throughout, forty-eight keys per octave are required, instead of the twelve now made to suffice.
The modern keyboard isn't perfect. One black key, for example, serves for both D sharp and E flat, even though the two notes aren't actually the same.[1] To achieve accurate tuning and tone intervals across the board, we need forty-eight keys per octave, instead of the twelve we currently have.
In what is called the equal temperament system the attempt is made to divide the octave into twelve equal parts or semi-tones, thus rendering all keys alike. To do this it is necessary to slightly flatten all the fifths and sharpen the major thirds. The difference from just intonation is about one-fiftieth of a semi-tone. Although recommended and used by J. S. Bach, equal temperament was not introduced into English organs until 1852.
In the equal temperament system, the goal is to split the octave into twelve equal parts, or semi-tones, making all keys sound the same. To achieve this, the fifths are slightly flattened and the major thirds are sharpened. The difference from just intonation is about one-fiftieth of a semi-tone. Although J. S. Bach recommended and used equal temperament, it wasn’t adopted in English organs until 1852.
Much has been lost by adopting equal temperament, but more has been gained. To a sensitive ear, the sharp thirds and fourths, the flat fifths and other discordant intervals of our modern keyed instrument, are a constant source of pain; but the average organist has become so accustomed to the defect that he actually fails to notice it!
Much has been lost by switching to equal temperament, but more has been gained. To a sensitive ear, the sharp thirds and fourths, the flat fifths, and other dissonant intervals of our modern keyboard instruments are a constant source of discomfort; however, the average organist has become so used to this flaw that he genuinely doesn’t notice it!
The change to equal temperament has on the other hand greatly increased the scope of the organ and has rendered possible the performance of all compositions and transcriptions regardless of key or modulation.
The shift to equal temperament has significantly expanded the capabilities of the organ and has made it possible to perform all compositions and transcriptions, no matter the key or modulation.
The tuning of an organ is seriously affected by the temperature of the surrounding air. Increased heat causes the air in the open pipes to expand and sound sharp contrasted with the stopped pipes through which the air cannot so freely circulate. The reeds are affected differently, the expansion of their tongues by heat causing them to flatten sufficiently to counteract the sharpening named above. Hence the importance of an equable temperature and the free circulation of air through swell-boxes, as described on page 59, ante.
The tuning of an organ is greatly influenced by the temperature of the surrounding air. Higher temperatures make the air in the open pipes expand, causing them to sound sharp compared to the stopped pipes where air can't circulate as freely. The reeds respond differently; the heat causes their tongues to expand and flatten enough to offset the sharpening mentioned earlier. This highlights the importance of a stable temperature and proper air circulation through swell-boxes, as explained on page 59, ante.
NEW METHOD OF REED TUNING.
Organ reed pipes, especially those of more delicate tone, fail to stand well in tune, especially when the tuner is in a hurry or when he does not know enough of his business to take the spring out of the reed wire after the note has been brought into tune.
Organ reed pipes, especially those with a more delicate tone, struggle to stay in tune, particularly when the tuner is rushed or doesn't know enough to remove the spring from the reed wire after the note has been tuned.
Few persons fully understand the reason why reeds fail to stand in tune as they ought to.
Few people truly understand why reeds don't stay in tune like they should.

Figs. 31-35. New Method of Tuning Reeds
Figures 31, 32, and 33 will serve to make clear the chief cause for reeds going out of tune. Figure 31 may be taken to represent a reed block, eschallot, tongue and tuning wire at rest.
Figures 31, 32, and 33 will clarify the main reason why reeds go out of tune. Figure 31 can be viewed as showing a reed block, eschallot, tongue, and tuning wire in a resting position.
In this case the tuning wire will be pressing firmly against the tongue at the point B, but said tuning wire will not be subjected to any abnormal strain.
In this situation, the tuning wire will press firmly against the tongue at point B, but it won't experience any unusual stress.
Turning to Figure 32, if we use the reed knife and slightly lift the tuning wire at the point C, friction against the tongue at the point B will prevent said point B from moving upward. (In this connection it must be borne in mind that the co-efficient of friction in repose is much greater than the co-efficient of friction in motion.)
Turning to Figure 32, if we use the reed knife and slightly lift the tuning wire at point C, the friction against the tongue at point B will stop point B from moving upward. (It’s important to remember that the coefficient of friction at rest is much greater than the coefficient of friction in motion.)
In consequence of the drawing up of the tuning wire at point C, and the frictional resistance at point B holding the latter steady, the lower part of the tuning wire will assume the shape shown in Figure 32, and point A will in consequence move farther away from the tongue.
As a result of pulling the tuning wire at point C, and the friction at point B keeping it in place, the lower part of the tuning wire will take on the shape shown in Figure 32, causing point A to move further away from the tongue.
Now, if the reeds be left in this state and the organ be used for any length of time, it will be found that point B of the tuning wire will have risen upward until the abnormal strain upon the tuning-wire spring has been satisfied. In consequence of this, this particular note will be sounding flatter in pitch than it ought to do.
Now, if the reeds are left like this and the organ is used for a long time, you'll notice that point B of the tuning wire will have moved up until the unusual tension on the tuning-wire spring is balanced out. As a result, this specific note will sound flatter than it should.
Conversely, if the portion of the tuning wire lettered C be slightly driven down, as in Figure 33, the retarding effect of the friction of repose at point B will cause the lower portion of the tuning wire to approach nearer the tongue than it should do.
Conversely, if the part of the tuning wire labeled C is pushed down slightly, like in Figure 33, the friction at point B will cause the lower part of the tuning wire to get closer to the tongue than it should.
If now this reed be left in this state, after the pipe has been used for some time and the tongue has been vibrating, it will be found that point B on this tuning wire will have traveled nearer to the tip of the tongue, in order to relieve the abnormal strain upon the lower portion of the tuning wire. Point A will then have resumed its normal position.
If the reed is left in this condition after the pipe has been used for a while and the tongue has been vibrating, you will notice that point B on this tuning wire has moved closer to the tip of the tongue to relieve the unusual strain on the lower part of the tuning wire. Point A will then have returned to its normal position.
In Figures 32 and 33, the defective action of the lower portion of the tuning spring has been purposely exaggerated in order to make the point clear. This bending of the tuning wires, however, takes place to a much larger extent than most organ builders imagine. It is the chief reason why reeds fail to stand in tune.
In Figures 32 and 33, the faulty operation of the lower part of the tuning spring has been intentionally exaggerated to clarify the point. However, this bending of the tuning wires occurs to a much greater degree than most organ builders realize. It's the main reason why reeds struggle to stay in tune.
When point A on the reed tuning wires is rigidly supported and held by force in its normal position, reeds can be made to stand in tune almost as well as flue pipes.
When point A on the reed tuning wires is firmly supported and held in its normal position, reeds can be tuned nearly as accurately as flue pipes.
Figure 34 represents the Hope-Jones method of supporting the tuning wire at point A. It consists of having a brass tube T inserted in the block moulds before the block is cast. This tube T therefore becoming an integral part of the block itself. The inside bore of tube T is of such diameter that the tuning wire fits snugly therein.
Figure 34 shows the Hope-Jones method of supporting the tuning wire at point A. It involves inserting a brass tube T into the block molds before the block is cast. This tube T then becomes an integral part of the block itself. The inner diameter of tube T is sized so that the tuning wire fits snugly inside it.
In Figure 35 another method used by him for accomplishing the same purpose is shown. In this case a lug L is cast upon the block, forming, indeed, a portion of said block. The lower end of lug L is formed into a V, which partly embraces a tuning wire and supports it in such manner as to prevent improper movement of said tuning wire at point A.
In Figure 35, another method he used to achieve the same goal is shown. In this case, a lug L is cast onto the block, actually becoming part of the block. The lower end of lug L is shaped into a V, which partly holds a tuning wire and supports it in a way that prevents any unwanted movement of the tuning wire at point A.
When this method of construction is employed, the reeds are very much easier to tune, and, when once tuned, will stand infinitely better than reeds made in the ordinary way.
When this construction method is used, the reeds are much easier to tune, and once tuned, they'll hold up far better than reeds made in the usual way.
[1] Some organs have been made (notably that in Temple Church, London) with separate keys for the flats and sharps.
[1] Some organs have been made (especially the one in Temple Church, London) with separate keys for the flats and sharps.
CHAPTER XII.
PROGRESS OF THE REVOLUTION IN OUR OWN COUNTRY.
In the study of the art of organ-building one cannot fail to be struck by the fact that almost all the great steps in advance have been due to Englishmen: the compound horizontal bellows, the concussion bellows, the swell box, the pneumatic lever, the tubular-pneumatic action, the electro-pneumatic action, the Universal air chest, the leathered lip, the clothed flue, the diaphone, smooth reed tone, imitative string tone, the vowel cavity, tone reflectors, cement swell boxes, the sound trap joint, suitable bass, the unit organ, movable console, radiating and concave pedal board, combination pedals, combination pistons and keys, the rotary blower—and many other items—were the inventions and work of Englishmen.
In the study of organ-building, it's noticeable that almost all significant advancements have come from English inventors: the compound horizontal bellows, the concussion bellows, the swell box, the pneumatic lever, the tubular-pneumatic action, the electro-pneumatic action, the Universal air chest, the leathered lip, the clothed flue, the diaphone, smooth reed tone, imitative string tone, the vowel cavity, tone reflectors, cement swell boxes, the sound trap joint, suitable bass, the unit organ, movable console, radiating and concave pedal board, combination pedals, combination pistons and keys, the rotary blower—and many other innovations—were all created by Englishmen.
Speaking in general terms, this country lagged very far behind not only England, but also behind France, and even Germany, in the art of organ-building until comparatively a few years ago.
Speaking in general terms, this country was far behind not only England but also France and even Germany in the art of organ building until just a few years ago.
It has recently advanced with extraordinary rapidity, and if it be not yet in the position of leader, it is certainly now well abreast of other nations.
It has recently progressed at an incredible pace, and while it may not be the leader yet, it is definitely on par with other countries.
Hilborne Roosevelt constructed a number of beautiful organs in this country, beginning his work about the year 1874. While his organs altogether lacked the impressive dignity of the best European instruments of the period, they were marked by beauty of finish and artistic care in construction. He invented the adjustable combination action, and this forms about all his original contribution destined to live and influence the organ of the future. Nevertheless, his marks on organ-building in this country were great and wholly beneficial. He studied the art in Europe (especially France) and introduced into this country many features at that time practically unknown here. Several of the organs constructed by his firm are in use to-day and are in a good state of repair. They contain Flutes that it would be hard to surpass, Diapasons that are bold and firm, and far above the average, though thought by some to lack weight and dignity of effect. The action is excellent and the materials employed and the care and workmanship shown throughout cannot be too highly praised.
Hilborne Roosevelt built a number of beautiful organs in the U.S., starting around 1874. While his organs didn't have the impressive nobility of the best European instruments of the time, they were known for their beautiful finish and artistic craftsmanship. He invented the adjustable combination action, which is his main original contribution that has influenced the future of organ design. Nonetheless, his impact on organ-building in this country was significant and entirely positive. He studied the craft in Europe, especially in France, and brought many features to the U.S. that were almost unknown at the time. Several organs built by his company are still in use today and are well-maintained. They have Flutes that are hard to beat, strong and bold Diapasons that are above average, although some believe they lack depth and majesty. The action is excellent, and the materials used along with the care and craftsmanship throughout are deserving of high praise.
Roosevelt must be set down as the leader of the revolution which, by the introduction of foreign methods, has in the last twenty years so completely transformed organ-building in the United States.
Roosevelt should be recognized as the leader of the revolution that, through the adoption of foreign techniques, has completely transformed organ-building in the United States over the past twenty years.
Roosevelt was also the pioneer in using electro-pneumatic action here. Accounts had reached England of his wonderful organ in Garden City Cathedral, part of which was in the gallery, part in the chancel, part in the roof, and part in the choir vestry in the basement. The author, on arriving in Philadelphia in 1893, as organist of St. Clement's Church there, was anxious to see a Roosevelt electric organ and was invited to see one in the concert hall of Stetson's hat factory. He was shown one of the magnets, which was about six inches long! Here is an account of the organ in Grace Church, New York City, which appeared in the American Correspondence of the London Musical News, February 15, 1896:
Roosevelt was also the first to use electro-pneumatic action here. News had reached England about his amazing organ in Garden City Cathedral, which was partly in the gallery, partly in the chancel, partly in the roof, and partly in the choir vestry in the basement. When the author arrived in Philadelphia in 1893 as the organist of St. Clement's Church, he was eager to see a Roosevelt electric organ and was invited to check one out in the concert hall of Stetson's hat factory. He was shown one of the magnets, which was about six inches long! Here's a report about the organ in Grace Church, New York City, that was published in the American Correspondence of the London Musical News on February 15, 1896:
There are three organs in this church by Roosevelt—in the chancel, in the west gallery, and an echo in the roof, electrically connected and playable from either of the keyboards, one in the chancel and one in the gallery. The electric action is of an old and clumsy pattern, operated from storage batteries filled from the electric-light main, and requiring constant attention. The "full organs" and "full swells" go off slowly, with a disagreeable effect, familiar to players on faulty pneumatic instruments.
There are three organs in this church by Roosevelt—one in the chancel, one in the west gallery, and an echo in the roof, all electrically connected and playable from either of the keyboards, one in the chancel and one in the gallery. The electric action is of an outdated and awkward design, powered by storage batteries charged from the electric-light supply, and needing constant maintenance. The "full organs" and "full swells" shut off slowly, creating an unpleasant effect known to players of malfunctioning pneumatic instruments.
This organ has lately been entirely rebuilt with new action and vastly improved by Mr. E. M. Skinner.
This organ has recently been completely rebuilt with new mechanics and greatly improved by Mr. E. M. Skinner.
In 1894 the writer made the acquaintance of the late Mr. Edmund Jardine, who was then building a new organ for Scotch Presbyterian Church in Central Park West, with an entirely new electric action that had been invented by his nephew. Of course by this time Mr. Hope-Jones' inventions were well known over here, and Mr. Jardine told the writer that some of the other organ-builders had been using actions which were as close imitations of the Hope-Jones as it was possible to get without infringement of patents. The Jardine action seemed to the writer a very close imitation also, and he can testify to its being a good one, as he later on had nearly three years experience of it at All Angels' Church.
In 1894, the writer met the late Mr. Edmund Jardine, who was then constructing a new organ for the Scotch Presbyterian Church on Central Park West, featuring entirely new electric action invented by his nephew. By this time, Mr. Hope-Jones' inventions were already well-known here, and Mr. Jardine mentioned to the writer that some other organ builders had been using actions that closely mimicked the Hope-Jones designs, all while avoiding patent infringement. The Jardine action also seemed to the writer to be a very close imitation, and he can confirm that it was a good one, as he later had nearly three years of experience with it at All Angels' Church.
But the pioneers had troubles of their own, no doubt, caused by using too large and heavy magnets, which exhausted the batteries faster than the current could be produced. The writer had this experience with the batteries at two different churches and had some difficulty in getting the organ-builders to see what was the matter. The steady use of the organ for an hour-and-a-half's choir rehearsal would exhaust the batteries. The organ-builder would be notified, and, on coming next day, would not find anything the matter, the batteries having recovered themselves in the interim. Finally, two sets of batteries were installed with a switch by the keyboard, so that the fresh set could be brought into use on observing signs of exhaustion. Many churches have installed small dynamos to furnish current for the key action. Even in these cases signs of weakness are often apparent—the organist in playing full does not get all the notes he puts down. Same cause of trouble—too heavy magnets. Here is where the Hope-Jones action has the whip-hand over all others, all the current it requires being supplied by a single cell! At the writer's churches there were six and eight cells. Most of the electric organs erected in this country, 1894-1904, have had to be entirely rebuilt.
But the pioneers had their own issues, likely from using magnets that were too large and heavy, which drained the batteries faster than they could generate power. The author experienced this with the batteries at two different churches and had some trouble getting the organ builders to understand what was going on. Using the organ for an hour and a half of choir rehearsal would drain the batteries. The organ builder would be notified, and when they came the next day, they wouldn't find anything wrong, as the batteries had recovered in the meantime. Eventually, two sets of batteries were installed with a switch by the keyboard, so that a fresh set could be activated at the first signs of exhaustion. Many churches have now installed small dynamos to provide power for the key action. Even in those cases, signs of weakness often show up—the organist doesn’t get all the notes they play when using full power. It's the same problem—too heavy magnets. This is where the Hope-Jones action excels over all others, as it only requires a single cell for all its power! At the author's churches, there were six and eight cells. Most of the electric organs built in this country between 1894 and 1904 have had to be completely rebuilt.
About the year 1894 Ernest M. Skinner (at that time Superintendent of the Hutchings Organ Co., of Boston, Mass.), went over to England to study the art in that country. He was well received by Hope-Jones, by Willis and others. He introduced many of the English inventions into this country—the movable console (St. Bartholomew's, New York; Symphony Hall, Boston, etc.), increased wind pressure and the leathered lip (Grace Church, Plymouth Church, Columbia College, College of the City of New York, Cleveland Cathedral, etc.), smooth heavy pressure reeds, Tibias (Philomela) small scale strings, etc. In this work Skinner eventually had the advantage of Hope-Jones' services as Vice-President of his own company and of the assistance of a number of his men from England.
Around 1894, Ernest M. Skinner, who was the Superintendent of the Hutchings Organ Co. in Boston, Massachusetts, traveled to England to study the craft there. He was warmly welcomed by Hope-Jones, Willis, and others. He brought many English innovations back to the U.S., such as the movable console (for St. Bartholomew's in New York, Symphony Hall in Boston, etc.), increased wind pressure, and the leathered lip (used in Grace Church, Plymouth Church, Columbia College, College of the City of New York, Cleveland Cathedral, etc.), along with smooth heavy pressure reeds, Tibias (Philomela), small scale strings, and more. Eventually, Skinner benefited from Hope-Jones serving as Vice-President of his own company, alongside support from several of Hope-Jones' team members from England.
About the year 1895 Carlton C. Michell, an English organ-builder, who had been associated with Thynne and with Hope-Jones, and who had as the latter's representative set up new-type organs in Baltimore, Md., and Taunton, Mass., joined the Austin Organ Co., Hartford, Conn. He rapidly introduced modern string tone and other improvements there.
About 1895, Carlton C. Michell, an English organ builder who had worked with Thynne and Hope-Jones, and who had set up new-type organs in Baltimore, MD, and Taunton, MA, as Hope-Jones's representative, joined the Austin Organ Co. in Hartford, CT. He quickly introduced modern string tones and other improvements there.
In 1903 Hope-Jones came to this country and also joined the Austin Organ Co. as its Vice-President, whereupon that company adopted his stop-keys, wind pressures, scales, leathered lip, smooth reeds, orchestral stops, etc. (Albany Cathedral, Wanamaker's organ, New York, the organs now standing in the Brooklyn Academy of Music, and others.)
In 1903, Hope-Jones arrived in this country and became Vice-President of the Austin Organ Co., which then started using his stop-keys, wind pressures, scales, leathered lip, smooth reeds, orchestral stops, and more. (Albany Cathedral, Wanamaker's organ in New York, the organs currently in the Brooklyn Academy of Music, and others.)
In 1907 the Hope-Jones Organ Co., Elmira, N. Y., commenced the construction of organs containing all these and other English improvements (Ocean Grove, N. J.; Buffalo Cathedral, N. Y.; New Orleans, La., etc.).
In 1907, the Hope-Jones Organ Co. in Elmira, N.Y., started building organs that incorporated all these and other English enhancements (Ocean Grove, N.J.; Buffalo Cathedral, N.Y.; New Orleans, La., etc.).
The influence of the work already done by the aforenamed pioneers in this country is being manifested in a general improvement in organ tone and mechanism throughout the United States.
The impact of the work already accomplished by the previously mentioned pioneers in this country is showing in an overall enhancement of organ sound and mechanics across the United States.
Musical men, hearing the new tones and musical effects now produced, realize for the first time the grandeur and refinement and amazing variety of musical effects that the organ is capable of yielding; on returning to their own churches they are filled with "divine discontent," and they do not rest until a movement for obtaining a new organ, or at least modernizing the old one, is set on foot. The abandonment of old ideas as to the limitations of the organ is begun, new ideals are being set up, and a revolution which will sweep the whole country has now obtained firm foothold.
Musical people, upon hearing the new sounds and effects now produced, realize for the first time the greatness, sophistication, and incredible variety of musical effects that the organ can create. When they return to their own churches, they feel a "divine discontent" and won't stop until there's a push to get a new organ or at least update the old one. They start to let go of outdated beliefs about the organ's limitations, new standards are being established, and a revolution that will impact the entire country has taken solid root.
Until recently England unquestionably led in the development of the organ, and Hope-Jones led England. Now that his genius is at work in this country, who shall set limit to our progress? Even when expressing himself through other firms, his influence entirely altered the standard practice of the leading builders, and now, since direct expression has been obtained, improvements have appeared with even greater rapidity.
Until recently, England was clearly at the forefront of organ development, and Hope-Jones was leading the way. Now that his talent is making an impact here, who knows how far we can go? Even when he was collaborating with other companies, his influence completely changed the standard practices of the leading builders, and now that we are able to express his ideas directly, improvements are happening even faster.
It is the author's opinion (based on a wide knowledge of the instruments in both countries) that in the course of the last ten years this country has made such great strides in the art that it may now claim ability to produce organs that are quite equal to the best of these built in England. And he ventures to prophesy that in less than another ten years, American-built organs will be accepted as the world's highest standard.
It is the author's view (based on extensive knowledge of the instruments in both countries) that over the past ten years, this country has made significant progress in the craft, to the point that it can now produce organs that are comparable to the finest ones made in England. He dares to predict that in less than another ten years, organs made in America will be recognized as the world's highest standard.
At a banquet given in his honor in New York in 1906, the late Alexandre Guilmant complained that no organ that he had played in this country possessed majesty of effect. The advent of Hope-Jones has entirely changed the situation. Tertius Noble, late of York Minster, England, who has just come to this country, asserts that organs can be found here equal to or superior to any built in England, and the celebrated English organist, Edwin Lemare, pronounced the reeds at Ocean Grove, N. J., the finest he had ever heard.
At a banquet held in his honor in New York in 1906, the late Alexandre Guilmant expressed that no organ he had played in this country had a majestic sound. The arrival of Hope-Jones has completely transformed this situation. Tertius Noble, formerly of York Minster, England, who has just arrived in this country, claims that organs can be found here that are equal to or even better than any built in England. Additionally, the renowned English organist, Edwin Lemare, stated that the reeds at Ocean Grove, N.J., were the best he had ever heard.

ARISTIDE CAVAILLE-COLL.
CHAPTER XIII.
THE CHIEF ACTORS IN THE DRAMA.
We now purpose to give a brief account of the leaders in revolutionizing the King of Instruments, the men whose genius and indomitable perseverance in the face of prejudice, discouragement and seemingly insurmountable obstacles, financial and otherwise, have made the modern organ possible. First of all these comes
We now aim to provide a brief overview of the pioneers who transformed the King of Instruments, the individuals whose talent and relentless determination in the face of bias, setbacks, and seemingly overwhelming challenges, both financial and otherwise, have made the modern organ a reality. First among these is
CHARLES SPACHMAN BARKER,
who was born at Bath, England, on Oct. 10, 1806. Left an orphan when five years old, he was brought up by his godfather, who gave him such an education as would fit him for the medical profession, and he was in due time apprenticed to an apothecary and druggist in Bath. This apothecary used to draw teeth, and it was Barker's duty to hold the heads of the patients, whose howls and screams unnerved him so that he refused to learn the business and left before his term of apprenticeship expired.
who was born in Bath, England, on October 10, 1806. Orphaned at the age of five, he was raised by his godfather, who provided him with an education suitable for a career in medicine. Eventually, he was apprenticed to an apothecary and druggist in Bath. This apothecary performed tooth extractions, and it was Barker's job to hold the patients' heads. Their howls and screams made him so anxious that he refused to continue learning the trade and left before completing his apprenticeship.
Dr. Hinton does not credit the story that Barker, accidentally witnessing the operations of an eminent organ-builder (Bishop, of London) who was erecting an organ in his neighborhood, determined on following that occupation, and placed himself under that builder for instruction in the art. It seems to be admitted, however, that after spending most of the intervening time in London, he returned to Bath two years afterwards and established himself as an organ-builder there.
Dr. Hinton doesn’t believe the story that Barker, by chance, saw the work of a famous organ-builder (Bishop, from London) who was setting up an organ in his area, decided to pursue that career, and apprenticed himself to that builder to learn the craft. However, it is generally accepted that after spending most of that time in London, he returned to Bath two years later and started his own organ-building business there.
About 1832 the newly built large organ in York Minster attracted general attention, and Barker, impressed by the immense labor occasioned to the player by the extreme hardness of touch of the keys, turned his thoughts toward devising some means of overcoming the resistance offered by the keys to the fingers. The result was the invention of the pneumatic lever by which ingenious contrivance the pressure of the wind which occasioned the resistance to the touch was skilfully applied to lessen it. He wrote to Dr. Camidge, then the organist of the Cathedral, begging to be allowed to attach one of his levers in a temporary way to one of the heaviest notes of his organ. Dr. Camidge admitted that the touch of his instrument was "sufficient to paralyze the efforts of most men," but financial difficulties stood in the way of the remedy being applied. Barker offered his invention to several English organ-builders, but finding them indisposed to adopt it, he went to Paris, in 1837, where he arrived about the time that Cavaillé-Coll was building a large organ for the Church of St. Denis. M. Cavaillé-Coll had adopted the practice of making his flue and reed pipes produce harmonic tones by means of wind of heavy pressure; but he encountered difficulty as the touch became too heavy for practical use. Mr. Barker's apparatus, which simply overpowered the resistance that could not be removed, was therefore an opportune presentation; he took out a brevet d' invention for it in 1839, and M. Cavaillé-Coll immediately introduced it, together with several harmonic stops, into the St. Denis organ. Besides the organ of St. Denis, Barker's pneumatic lever was applied to those of St. Roch, La Madeleine, and other churches in Paris.
Around 1832, the newly built large organ in York Minster caught everyone's attention. Barker, noticing how difficult it was for the player to press the extremely hard keys, started thinking about how to reduce the resistance the keys offered to the fingers. This led to his invention of the pneumatic lever, which skillfully used the wind pressure that caused the resistance to lighten the touch. He wrote to Dr. Camidge, the organist of the Cathedral at the time, asking if he could temporarily attach one of his levers to one of the heaviest notes of the organ. Dr. Camidge admitted that the touch of his instrument was "enough to paralyze the efforts of most men," but financial issues prevented any solution from being implemented. Barker offered his invention to several English organ builders, but when they showed no interest, he traveled to Paris in 1837, arriving just as Cavaillé-Coll was building a large organ for the Church of St. Denis. M. Cavaillé-Coll was using high-pressure wind to make his flue and reed pipes produce harmonic tones, but he ran into problems since the touch became too heavy for practical use. Mr. Barker's device, which effectively overcame the resistance that couldn’t be eliminated, came at just the right time; he patented it in 1839, and M. Cavaillé-Coll quickly incorporated it, along with several harmonic stops, into the St. Denis organ. In addition to the organ at St. Denis, Barker's pneumatic lever was also applied to those in St. Roch, La Madeleine, and other churches in Paris.
"Barker's connection with Cavaillé was not of long duration, and we next find him in the Daublaine & Callinet organ-building company. At this time the company was rebuilding the magnificent organ at St. Sulpice, the acknowledged masterpiece of Cliquot, the French 'Father Schmidt.' * * *
"Barker's connection with Cavaillé didn't last long, and next we find him at the Daublaine & Callinet organ-building company. At this time, the company was rebuilding the magnificent organ at St. Sulpice, which was the acknowledged masterpiece of Cliquot, the French 'Father Schmidt.' * * *
"During the time this restoration of the organ was in hand, Louis Callinet experienced acute financial difficulties, and, failing to induce Daublaine, his partner, to advance him a relatively small sum, * * * Callinet became so bitterly incensed that one day, going to the organ on some trifling pretext, he entirely wrecked it with axe and handsaw.
"While the organ was being restored, Louis Callinet faced serious financial problems. After failing to convince his partner Daublaine to lend him a relatively small amount of money, Callinet became so furious that one day, under the guise of a trivial reason, he completely destroyed the organ with an axe and a handsaw."
"This act of vengeance or criminal folly involved Daublaine in the same financial ruin as himself, and through this tragic occurrence the firm in which Barker was beginning to be securely established came to an end. Callinet, being absolutely penniless, was not prosecuted, but ended his days in the employ of Cavaillé as voicer and tuner.
"This act of revenge or foolish crime led to Daublaine experiencing the same financial downfall as himself, and through this tragic event, the company where Barker was starting to find his footing came to an end. Callinet, being completely broke, wasn't prosecuted but spent the rest of his life working for Cavaillé as a voicer and tuner."
"Nor was this the only disaster which occurred during the time Barker was with Daublaine & Callinet. In 1844 (December 16th), it was Barker's ill-fortune to kick over a lighted candle while trying to remove a cipher in the organ his firm had recently erected in St. Eustache, which occasioned the total destruction of the organ. * * *
"Nor was this the only disaster that happened while Barker was with Daublaine & Callinet. On December 16, 1844, Barker accidentally kicked over a lit candle while trying to remove a cipher from the organ his firm had just installed in St. Eustache, which led to the complete destruction of the organ. * * *"
"The outlook seemed unpromising for Barker when the firm of Daublaine & Callinet came to an end. The good will of that concern was, however, purchased by M. Ducroquet (a capitalist), who entrusted him with its management.
The outlook didn't look good for Barker when the firm of Daublaine & Callinet shut down. However, M. Ducroquet (an investor) bought the goodwill of that business and put him in charge of its management.
"J. B. Stoltz, Daublaine & Callinet's foreman, a very able man and a splendid workman, feeling aggrieved at Barker's promotion, seceded and set up for himself, his place in the new firm being filled by M. Verschneider, in whom Barker found efficient support in matters of technical knowledge and skill.
"J. B. Stoltz, the foreman at Daublaine & Callinet, a highly capable man and an excellent worker, felt upset about Barker's promotion, so he left to start his own business. His position in the new company was taken over by M. Verschneider, who provided Barker with valuable technical expertise and support."
"During the time Barker was with M. Ducroquet the present organ at St. Eustache was built, to replace that so unfortunately destroyed by fire; also an organ which was exhibited at the great exhibition of London in 1851. * * *
"While Barker was working with M. Ducroquet, the current organ at St. Eustache was built to replace the one that had tragically been destroyed by fire; there was also an organ showcased at the Great Exhibition in London in 1851. * * *
"In the Paris exhibition of 1855 Barker was admitted as an exhibitor, independently of M. Ducroquet (who was in bad health and on the eve of retiring from business), obtaining a first-class medal and nomination as Chevalier of the Legion of Honor.
"In the Paris exhibition of 1855, Barker was allowed to exhibit on his own, separate from M. Ducroquet (who was unwell and about to retire from business), winning a first-class medal and being named a Chevalier of the Legion of Honor."
"At the death of M. Ducroquet, which occurred shortly afterwards, Merklin took over the business carried on by Ducroquet, and Barker remained with him until 1860, when he set up on his own account in partnership with M. Verschneider, before named, and it was during the decade 1860-70 that the electric organ came into being."
"After M. Ducroquet passed away shortly after, Merklin took over the business that Ducroquet ran, and Barker stayed with him until 1860, when he started his own venture in partnership with M. Verschneider, as mentioned earlier. It was during the 1860-70 decade that the electric organ was created."
The story of Dr. Péschard's invention has been already set forth in this book (see page 37). Barker seems to have been somewhat jealous of him and always described the action as "Pneumato-electrique," objecting to the term "Electro-pneumatic," although this was putting the cart before the horse. Dr. Hinton says: "Though I was much in touch with Barker during part of his brief period of activity in electric work, Péschard's name was rarely mentioned and carried little meaning to me. I did not know if Péschard were a living or a dead scientist, and if I (a mere youth at the time) ever thought of him, it was as being some kind of bogie Barker had to conciliate."
The story of Dr. Péschard's invention has already been discussed in this book (see page 37). Barker seemed to be a bit jealous of him and always referred to the action as "Pneumato-electrique," opposing the term "Electro-pneumatic," even though that made no sense. Dr. Hinton says: "Although I was often in touch with Barker during his short time in electric work, Péschard's name rarely came up and didn't mean much to me. I didn’t know whether Péschard was alive or dead, and if I (just a young guy back then) ever thought of him, it was as if he was some sort of ghost that Barker had to placate."
Bryceson Brothers, of London, exhibited an organ at the Paris Exposition Universelle in the Champ de Mars in 1867, on which daily recitals were given by Mons. A. L. Tamplin, who induced Mr. Henry Bryceson to visit the electric organ then being erected in the Church of St. Augustin. Mr. Bryceson, being convinced that this was the action of the future, lost no time in investigating the system thoroughly, and arranged with Barker for the concession of the sole rights of his invention as soon as he should obtain his English patent, which he got in the following year. Barker, however, repented him of his bargain, and the exclusive rights were eventually waived by the Brycesons, although they retained the right to use the patent themselves. They made considerable improvements on Barker's action, the chief defects of which seem to have been the resistance of the pallets (which had to be plucked from their seats; he did not even use the split pallet) and the cost of maintenance of the batteries, which rapidly deteriorated from the action of the powerful acids employed. A full description and drawing of Péschard's and Barker's action will be found in Dr. Hinton's "Story of the Electric Organ."
Bryceson Brothers from London showcased an organ at the 1867 Paris Exposition Universelle in the Champ de Mars, where Mons. A. L. Tamplin performed daily recitals. He encouraged Mr. Henry Bryceson to check out the electric organ being installed in the Church of St. Augustin. Mr. Bryceson, convinced this was the future of organ music, quickly researched the system and made arrangements with Barker to secure exclusive rights to his invention as soon as he received his English patent, which he obtained the following year. However, Barker later had second thoughts about the deal, and the Brycesons eventually gave up the exclusive rights, though they kept the ability to use the patent themselves. They made significant improvements to Barker's action, which had major issues like the pallets' resistance (which needed to be pried from their seats; he didn't even use the split pallet) and high maintenance costs for the batteries, which quickly deteriorated due to the powerful acids used. A detailed description and illustration of Péschard's and Barker's action can be found in Dr. Hinton's "Story of the Electric Organ."
This same Paris Exposition of 1867 is also responsible for the introduction of tubular-pneumatic action into England by Henry Willis. He there saw the organ by Fermis which induced him to take up that mechanism and develop it to its present perfection.
This same Paris Exposition of 1867 is also responsible for introducing tubular-pneumatic action to England by Henry Willis. He saw the organ by Fermis there, which inspired him to adopt that mechanism and refine it to its current level of perfection.
The Franco-Prussian War of 1870 drove Barker from Paris, his factory was destroyed in the bombardment, and thus at the age of 64 he was again cast adrift. He came to England and found, on attempting to take out a patent for his pneumatic lever, that all the organ-builders were using what they had formerly despised!
The Franco-Prussian War of 1870 forced Barker to leave Paris, his factory was destroyed in the bombing, and so at 64, he was once again left without direction. He went to England and discovered, when trying to secure a patent for his pneumatic lever, that all the organ builders were now using what they had previously rejected!
He succeeded, however, in obtaining the contract for a new organ for the Roman Catholic Cathedral in Dublin, Ireland, and it was arranged that he should receive a certain sum in advance, and a monthly allowance up to the amount of the estimated cost of the instrument. He seems to have had trouble in obtaining expert workmen and only succeeded in getting a motley crowd of Frenchmen, Germans, Dutch and Americans. They spoke so many different languages that a Babel-like confusion resulted. Hilborne Roosevelt, the great American organ-builder, was at that time in Europe, and in response to Barker's earnest entreaty, came to Dublin incognito, so as not to detract from Barker's reputation as the builder. Roosevelt's direction and advice were most invaluable, being moreover given in the most chivalrous and generous spirit; but, notwithstanding this and the excellent material of which the organ was constructed, the result was anything but an artistic or financial success.
He managed to secure the contract for a new organ for the Roman Catholic Cathedral in Dublin, Ireland, and it was decided that he would receive a certain amount in advance, along with a monthly allowance up to the estimated cost of the instrument. He struggled to find skilled workers and only managed to assemble a mixed group of French, German, Dutch, and American workers. They spoke so many different languages that it created a chaotic scene. Hilborne Roosevelt, the renowned American organ builder, was in Europe at the time, and in response to Barker's urgent request, he came to Dublin incognito so that Barker's reputation as the builder would not be overshadowed. Roosevelt's guidance and advice were incredibly valuable and given in a chivalrous and generous spirit; however, despite this and the high-quality materials used in the organ's construction, the outcome was far from an artistic or financial success.

CHARLES SPACHMAN BARKER.
Barker built an organ for the Roman Catholic Cathedral at Cork, which was no better, and this was his last work. These misfortunes culminated in an appeal to his countrymen for subscriptions on his behalf in the musical papers. In his old age he had married the eighteen-year-old daughter of M. Ougby, his late foreman. He died at Maidstone, Eng., November 26, 1879.
Barker built an organ for the Roman Catholic Cathedral in Cork, which turned out to be no better than his previous work, and this was his final project. These setbacks led him to ask his fellow countrymen for donations in the music journals. In his later years, he married the eighteen-year-old daughter of M. Ougby, his former foreman. He passed away in Maidstone, England, on November 26, 1879.
This sketch of Barker's career is taken partly from Grove's Dictionary of Music, from Hopkins and Rimbault's History, and from Dr. Hinton's "Story of the Electric Organ." The paragraphs within quotation marks are verbatim from this book by kind permission of Dr. Hinton, whom we have to thank also for the portrait of Barker which appears on another page.
This overview of Barker's career is partly sourced from Grove's Dictionary of Music, Hopkins and Rimbault's History, and Dr. Hinton's "Story of the Electric Organ." The sections in quotation marks are quoted directly from this book with the kind permission of Dr. Hinton, to whom we also owe thanks for the portrait of Barker featured on another page.
ARISTIDE CAVAILLE-COLL.
The following sketch of the life of this eminent artist is taken from Dr. Bédart's forthcoming book on "Cavaillé-Coll and His Times," and from Le Monde Musical, of Paris, October 30, 1899, translated by Mr. Robert F. Miller, of Boston. The portrait is from the same magazine.
The following overview of the life of this renowned artist is sourced from Dr. Bédart's upcoming book titled "Cavaillé-Coll and His Times," and from Le Monde Musical, published in Paris on October 30, 1899, translated by Mr. Robert F. Miller, of Boston. The portrait is also from the same magazine.
Aristide Cavaillé-Coll was born at Montpellier, France, on the 4th day of February, 1811. He was the son of Dominique Cavaillé-Coll, who was well known as an organ-builder in Languedoc, and grandson of Jean Pierre Cavaillé, the builder of the organs of Saint Catherine and Merci of Barcelona. The name of Coll was that of his grandmother. If we should go back further we find at the commencement of the Eighteenth Century at Gaillac three brothers—Cavaillé-Gabriel, the father of Jean Pierre; Pierre, and Joseph, who also was an organ-builder. Aristide Cavaillé, therefore, came honestly by his profession and at the age of 18 years was entrusted by his father to direct the construction of the organ at Lerida, in which he introduced for the first time the manual to pedal coupler and the system of counter-balances in the large wind reservoirs.
Aristide Cavaillé-Coll was born in Montpellier, France, on February 4, 1811. He was the son of Dominique Cavaillé-Coll, who was well known as an organ builder in Languedoc, and the grandson of Jean Pierre Cavaillé, the builder of the organs at Saint Catherine and Merci in Barcelona. The name Coll came from his grandmother. If we go back even further, at the beginning of the 18th century in Gaillac, there were three brothers—Cavaillé-Gabriel, the father of Jean Pierre; Pierre; and Joseph, who was also an organ builder. Aristide Cavaillé, therefore, came by his profession honestly, and at the age of 18, he was entrusted by his father to lead the construction of the organ in Lerida, where he introduced the manual-to-pedal coupler and the system of counterbalances in the large wind reservoirs for the first time.
In 1834 Aristide, realizing the necessity of cultivating his knowledge of physics and mechanics, went to Paris, where he became the pupil of Savart and of Cagnard-Latour. The same year a competition was opened for the construction of a large organ in the royal church of St. Denis; Aristide submitted his plan and succeeded in obtaining the contract. This success decided the Messrs. Cavaillé to remove their organ factory to Paris, where they established themselves in the Rue Neuve St. George. On account of repairs being made to the church building, the organ of St. Denis was not finished until 1841, but it showed improvements of great importance, first and foremost of which was the Barker pneumatic lever (see ante, page 120). The wind pressure was on a new system, whereby increased pressure was applied to the upper notes, giving more regularity of tone to each stop. The wind reservoirs were provided with double valves, insuring a more steady supply, whether all the stops were played together or separately. The introduction of Harmonic stops was practically an innovation, as their use hitherto had been almost prohibited by the difficulty of playing on a high wind pressure (see ante, page 21). This enriched the organ with a new group of stops of a superior quality on account of the roundness and volume of sound.
In 1834, Aristide realized he needed to expand his knowledge of physics and mechanics, so he went to Paris, where he studied under Savart and Cagnard-Latour. That same year, a competition was announced to build a large organ for the royal church of St. Denis; Aristide submitted his design and won the contract. This success led the Cavaillé brothers to move their organ factory to Paris, setting up shop on Rue Neuve St. George. Due to repairs being made to the church, the St. Denis organ wasn’t completed until 1841, but it featured significant improvements, the most notable being the Barker pneumatic lever (see ante, page 120). The wind pressure used a new system that applied more pressure to the higher notes, resulting in a more consistent tone for each stop. The wind reservoirs were equipped with double valves, ensuring a steadier supply whether all the stops were played together or individually. The introduction of Harmonic stops was a significant innovation since their use had previously been nearly impossible due to the challenges of playing with high wind pressure (see ante, page 21). This enhanced the organ with a new group of high-quality stops characterized by a richer and fuller sound.
In 1840 Cavaillé-Coll submitted to the Académie des Sciences the result of his experimental studies of organ pipes; on the normal tone of the organ and its architecture; the length of pipes in regard to intonation and precision in blowing. He made many experiments and improvements in wind supply. He was also the inventor of "Poikilorgue," an expressive organ, which was the origin of the harmonium.
In 1840, Cavaillé-Coll presented his experimental studies on organ pipes to the Académie des Sciences. His work focused on the normal tone of the organ and its design, as well as the relationship between pipe length, tuning, and blowing accuracy. He conducted numerous experiments and made enhancements to wind supply. He also invented the "Poikilorgue," an expressive organ that led to the creation of the harmonium.
Between 1834 and 1898 he built upward of 700 organs, including Saint Sulpice, Notre Dame, Saint Clotilde, la Madeleine, le Trocadero, Saint Augustin, Saint Vincent de Paul, la Trinite (all in Paris); Saint Ouen at Rouen, Saint Sernin at Toulouse; the Cathedrals at Nancy, Amsterdam, and Moscow; the Town Halls of Sheffield and Manchester, England. The most celebrated of these is Saint Sulpice, which contains 118 stops and was opened in April 29, 1862.[1]
Between 1834 and 1898, he built over 700 organs, including those at Saint Sulpice, Notre Dame, Saint Clotilde, la Madeleine, le Trocadero, Saint Augustin, Saint Vincent de Paul, and la Trinité (all in Paris); Saint Ouen in Rouen, Saint Sernin in Toulouse; the Cathedrals in Nancy, Amsterdam, and Moscow; and the Town Halls in Sheffield and Manchester, England. The most famous of these is Saint Sulpice, which has 118 stops and was opened on April 29, 1862.[1]
The fine period of Cavaillé-Coll was during the Empire, about 1850. The Emperor Napoleon III, to flatter the clergy and the bishops, ordered the Cathedral organs to be rebuilt, and gave the order to Cavaillé-Coll. He in many instances preserved the old soundboards, dividing them on two ventils for reeds and for flues, increased the wind pressures, introduced pneumatic levers, and transformed the small Tenor C Swells into large 15 to 20 stop Swells, with 16-foot reeds included, and so crowned the fine flue work and mixture work of these Cathedral organs.
The heyday of Cavaillé-Coll was during the Empire, around 1850. Emperor Napoleon III, wanting to win over the clergy and bishops, ordered the Cathedral organs to be rebuilt and tasked Cavaillé-Coll with the job. In many cases, he kept the old soundboards, splitting them into two sections for reeds and flues, increased the wind pressures, added pneumatic levers, and upgraded the small Tenor C Swells into larger 15 to 20 stop Swells, including 16-foot reeds, which enhanced the beautiful flue and mixture work of these Cathedral organs.
We all know the fine effect of a large Swell. The French Cathedral organs were deprived of this tonal resonance in 1850, and Cavaillé-Coll, by judicious overhauling, use of good materials, and by the addition of large Swells, transformed the sonority of these large instruments located in splendid positions above the grand west entrance doors of these fine Gothic buildings.
We all know the great impact of a large Swell. The French Cathedral organs lost this tonal resonance in 1850, and Cavaillé-Coll, through careful revisions, use of quality materials, and the addition of large Swells, transformed the sound of these large instruments situated in impressive locations above the grand west entrance doors of these beautiful Gothic buildings.
Cavaillé-Coll, during his long career, received from the Universal Expositions the highest honors. He was appointed a Chevalier of the Legion of Honor in 1849, and officer of the same order in 1878. He was also Honorary President of the Chamber of Syndicates of Musical Instruments.
Cavaillé-Coll, throughout his extensive career, received the highest honors from the Universal Expositions. He was named a Knight of the Legion of Honor in 1849 and became an Officer of the same order in 1878. He also served as Honorary President of the Chamber of Syndicates of Musical Instruments.
Much enfeebled by age, he in 1898 relinquished the direction of his factories to one of his best pupils, M. Charles Mutin, who has never ceased to maintain the high integrity of the house.
Much weakened by age, he in 1898 handed over the management of his factories to one of his best students, M. Charles Mutin, who has never stopped upholding the high standards of the company.
Aristide Cavaillé-Coll died peacefully and without suffering on October 13, 1899, in his 89th year. He was interred with military honors. A simple service was held at Saint Sulpice and M. Charles Widor played once more, for the last time to the illustrious constructor, the grand organ which was the most beautiful conception of his life.
Aristide Cavaillé-Coll passed away peacefully and without pain on October 13, 1899, at the age of 89. He was buried with military honors. A simple service took place at Saint Sulpice, and M. Charles Widor played for the last time on the grand organ, which was the most extraordinary creation of his life.
We have in the course of our review mentioned some of Cavaillé-Coll's principal contributions to the progress of organ-building, his development of harmonic stops and use of increased wind pressures. Mr. W. T. Best, in 1888, in a report to the Liverpool Philharmonic Society as to the purchase of a new organ for their Hall, recommended Cavaillé-Coll as "the best producer of pure organ tone" at that time. Next to him he placed T. C. Lewis & Sons, then W. Hill & Son.
We have mentioned during our review some of Cavaillé-Coll's key contributions to the advancement of organ-building, including his development of harmonic stops and the use of greater wind pressures. In 1888, Mr. W. T. Best reported to the Liverpool Philharmonic Society about purchasing a new organ for their Hall and recommended Cavaillé-Coll as "the best producer of pure organ tone" at that time. He placed T. C. Lewis & Sons next on the list, followed by W. Hill & Son.
But the organists of the world have to thank Cavaillé-Coll chiefly for the assistance he gave Barker in developing the pneumatic lever, without which the present tonal system with its heavy wind pressures would have been impossible of attainment.
But organists around the world owe a big thanks to Cavaillé-Coll for the support he gave Barker in creating the pneumatic lever, without which our current tonal system with its high wind pressures wouldn’t have been possible.
"Blest be the man," said Sancho Panza, "who first invented sleep! And what a mercy he did not keep the discovery to himself!" Joseph Booth, of Wakefield, England, put what he called a "puff bellows" to assist the Pedal action in the organ of a church at Attercliffe, near Sheffield, in 1827. But he kept the invention to himself, and it only came to light 24 years after his death! Note on the other hand the perseverance of Barker. For five weary years he kept on trying one builder after another to take up his idea without avail, and then took it beyond the seas. Which reminds us of the Rev. William Lee, the inventor of the stocking-knitting frame in the time of Queen Elizabeth, whose countrymen "despised him and discouraged his invention. * * * Being soon after invited over to France, with promises of reward, privileges and honor by Henry IV * * * he went, with nine workmen and as many frames, to Rouen, in Normandy, where he wrought with great applause." Thus does history repeat itself.
"Blessed be the man," said Sancho Panza, "who first invented sleep! And what a blessing he didn’t keep the discovery to himself!" Joseph Booth, from Wakefield, England, created what he called a "puff bellows" to assist the pedal action in the organ of a church at Attercliffe, near Sheffield, in 1827. But he kept the invention to himself, and it only became known 24 years after his death! Note, on the other hand, the perseverance of Barker. For five exhausting years, he tried one builder after another to take up his idea without success, and then took it overseas. This reminds us of Rev. William Lee, the inventor of the stocking-knitting frame during Queen Elizabeth’s reign, whose fellow countrymen "despised him and discouraged his invention." Soon after, he was invited over to France, with promises of rewards, privileges, and honors by Henry IV, so he went, with nine workers and as many frames, to Rouen, in Normandy, where he worked with great acclaim." Thus, history repeats itself.
HENRY WILLIS.
The following sketch of the greatest organ-builder of the Victorian Era has been condensed from an interview with him as set forth in the London Musical Times for May, 1898.
The following outline of the greatest organ-builder of the Victorian Era has been shortened from an interview with him published in the London Musical Times for May 1898.
Henry Willis was born in London on April 27, 1821. His father was a builder, a member of the choir of Old Surrey Chapel, and played the drums in the Cecilian Amateur Orchestral Society. The subject of this sketch began to play the organ at very early age; he was entirely self-taught and never had a lesson in his life.
Henry Willis was born in London on April 27, 1821. His father was a builder, a member of the choir at Old Surrey Chapel, and played the drums in the Cecilian Amateur Orchestral Society. The focus of this sketch started playing the organ at a very young age; he was completely self-taught and never took a lesson in his life.
In 1835, when he was fourteen years of age, he was articled for seven years to John Gray (afterwards Gray & Davidson), the organ-builder. During his apprenticeship he invented the special manual and pedal couplers which he used in all his instruments for over sixty years. He had to tune the organ in St. George's Chapel, Windsor, where he made the acquaintance of Sir George Elvey, who took a great fancy to the boy tuner.
In 1835, when he was fourteen, he started a seven-year apprenticeship with John Gray (later Gray & Davidson), the organ builder. During his training, he invented the unique manual and pedal couplers that he used in all his instruments for over sixty years. He had to tune the organ in St. George's Chapel, Windsor, where he met Sir George Elvey, who took a liking to the young tuner.
While still "serving his time" and before he was out of his teens, Henry Willis was appointed organist of Christ Church, Hoxton. In the early fifties he was organist of Hampstead Parish Church, where he had built a new organ, and for nearly thirty years he was organist at Islington, Chapel-of-Ease, which post he only resigned after he had passed the Psalmist's "three score years and ten." In spite of the engrossing claims of his business, Mr. Willis discharged his duties as organist with commendable faithfulness; he would often travel 150 miles on a Saturday in order to be present at the Sunday services. In his younger days he also played the double-bass and played at the provincial Musical Festivals of 1871 and 1874.
While still "serving his time" and before he was out of his teens, Henry Willis was appointed organist of Christ Church, Hoxton. In the early fifties, he became the organist at Hampstead Parish Church, where he built a new organ, and for nearly thirty years, he was the organist at Islington, Chapel-of-Ease, a position he only resigned after he reached the Psalmist's "three score years and ten." Despite the demanding nature of his work, Mr. Willis fulfilled his duties as organist with impressive dedication; he would often travel 150 miles on a Saturday just to attend the Sunday services. In his younger days, he also played the double-bass and performed at the provincial Musical Festivals of 1871 and 1874.
After his apprenticeship expired he lived in Cheltenham for three years, where he assisted an organ-builder named Evans, who afterwards became known as a manufacturer of free reed instruments. They produced a model of a two-manual free reed instrument with two octaves and a half of pedals which was exhibited at Novello's, in London. Here Willis met the celebrated organist, Samuel Sebastian Wesley.
After his apprenticeship ended, he lived in Cheltenham for three years, where he helped an organ builder named Evans, who later became known for making free reed instruments. They created a model of a two-manual free reed instrument with two and a half octaves of pedals, which was shown at Novello's in London. Here, Willis met the famous organist Samuel Sebastian Wesley.

Henry Willis
About the year 1847 Henry Willis started in business for himself as an organ-builder, and his first great success was in rebuilding the organ in Gloucester Cathedral. "It was my stepping-stone to fame," he says. "The Swell, down to double C, had twelve stops and a double Venetian front. The pianissimo was simply astounding. I received 400 pounds for the job, and I was presumptuous enough to marry."
About 1847, Henry Willis started his own business as an organ builder, and his first big success was rebuilding the organ in Gloucester Cathedral. "It was my stepping-stone to fame," he says. "The Swell, down to double C, had twelve stops and a double Venetian front. The pianissimo was absolutely amazing. I received 400 pounds for the job, and I was bold enough to get married."
For the Great Exhibition of 1851 in the Crystal Palace (then in Hyde Park), Mr. Willis erected a magnificent organ which attracted extraordinary attention and was visited by the Queen and Prince Consort. It had three manuals and pedals, seventy sounding stops and seven couplers. There were twenty-two stops on the Swell, and the Swell bellows was placed inside the Swell box. The manual compass extended to G in altissimo and the pedals from CCC to G—32 notes. There were other important features in this remarkable instrument which went a long way towards revolutionizing the art of organ-building. First, the introduction of pistons, inserted between the key-slips, which replaced the clumsy composition pedals then in vogue. Again, to use Mr. Willis' own words, "that Exhibition organ was the great pioneer of the improved pneumatic movement. A child could play the keys with all the stops drawn. It never went wrong."
For the Great Exhibition of 1851 in the Crystal Palace (then located in Hyde Park), Mr. Willis built an impressive organ that captured a lot of attention and was visited by the Queen and Prince Consort. It had three manuals and pedals, seventy sounding stops, and seven couplers. There were twenty-two stops on the Swell, and the Swell bellows was located inside the Swell box. The manual range extended to G in altissimo and the pedals ranged from CCC to G—32 notes. This remarkable instrument had other significant features that greatly influenced the art of organ-building. First, it introduced pistons, placed between the key-slips, that replaced the bulky composition pedals that were common at the time. Furthermore, in Mr. Willis' own words, "that Exhibition organ was the great pioneer of the improved pneumatic movement. A child could play the keys with all the stops drawn. It never went wrong."
This organ was afterwards re-erected in Winchester Cathedral in 1852, and was in constant use for forty years before being renovated. It was also the means of procuring Willis the order for the organ in St. George's Hall, Liverpool. "The Town Clerk of Liverpool wrote to me," said Mr. Willis, "to the effect that a committee of the Corporation would visit the Exhibition on a certain day at 6 A. M., their object being to test the various organs with a view to selecting a builder for the proposed new instrument in St. George's Hall. He asked me if I could be there. I was there—all there! The other two competing builders, X and Z, in anticipation of the visit, tuned their organs in the afternoon of the previous day, with the result that, owing to the abnormal heat of the sun through the glass roof, the reeds were not fit to be heard! I said nothing. At five o'clock on the following morning my men and I were there to tune the reeds of my organ in the cool of the morning of that lovely summer's day. At six o'clock the Liverpool committee, which included the Mayor and the Town Clerk in addition to S. S. Wesley and T. A. Walmisley, their musical advisers, duly appeared. Messrs. X and Z had specially engaged two eminent organists to play for them. I retained nobody. But I had previously said to Best, who had given several recitals on my organ at the Exhibition, 'It would not be half a bad plan if you would attend to-morrow morning at six o'clock, as you usually do for practice.' Best was there. After the two other organs had been tried, the Town Clerk came up and said: 'We have come to hear your organ, Mr. Willis. Are you going to play it yourself?' I said, 'There's one of your own townsmen standing there (that was Best); ask him.' He did ask him. 'Mr. Best has no objection to play,' said the Town Clerk, 'but he wants five guineas!' 'Well, give it to him; the Corporation can well afford it.' The matter was arranged. Best played the overture to 'Jessonda' by Spohr, and it was a splendid performance." The organ was quite a revelation to the Liverpudlians, and after talking it over in private for twenty minutes the committee decided to recommend Willis to the Council to build the organ in St. George's Hall. He had, however, serious differences with Dr. S. S. Wesley, who wanted both the manuals and pedals to begin at GG. "I gave in to him in regard to the manuals," said Mr. Willis, "but I said, 'unless you have the pedal compass to C, I shall absolutely decline to build your organ.'" And so the matter was compromised. But Willis lived to see the manual compass of his magnificent Liverpool organ changed to CC (in 1898). When the organ was finished he recommended that Best should be appointed organist, although Dr. Wesley officiated at the opening ceremony in 1855. Not only did Willis practically get Best appointed to Liverpool, but he had previously coached him up in his playing of overtures and other arrangements for the organ. "I egged him on," said the veteran organ-builder, and we all know with what results. Notwithstanding all that Best owed to Willis, he quarreled with him violently towards the close of his career over the care of the St. George's Hall organ. As Best told the writer, "not because Willis could not, but because he would not" do certain things in the way of repairs, that he claimed did not come under his contract. This led to the care of the organ being transferred to T. C. Lewis & Sons, but it was given back to Willis after Best's death.
This organ was later reinstalled in Winchester Cathedral in 1852 and was actively used for forty years before being renovated. It also helped Willis secure the order for the organ in St. George's Hall, Liverpool. "The Town Clerk of Liverpool wrote to me," Mr. Willis said, "stating that a committee from the Corporation would visit the Exhibition on a certain day at 6 A.M., intending to test the various organs to select a builder for the proposed new instrument in St. George's Hall. He asked if I could be there. I was there—fully present! The other two competing builders, X and Z, anticipating the visit, tuned their organs the afternoon before, which resulted in the reeds being unplayable due to the excessive heat from the sun shining through the glass roof! I said nothing. At five o'clock the next morning, my team and I were there to tune the reeds of my organ in the cool morning of that beautiful summer day. At six o'clock, the Liverpool committee, including the Mayor and the Town Clerk, along with S. S. Wesley and T. A. Walmisley, their musical advisers, arrived. Messrs. X and Z had hired two well-known organists to play for them. I didn’t hire anyone. But I had previously asked Best, who had given several recitals on my organ at the Exhibition, 'It wouldn’t be a bad idea if you could come tomorrow morning at six o'clock, like you usually do for practice.' Best showed up. After the other two organs were tried, the Town Clerk approached and said, 'We’ve come to hear your organ, Mr. Willis. Are you going to play it yourself?' I replied, 'There’s one of your townsmen standing there (that was Best); ask him.' He did ask him. 'Mr. Best has no objection to play,' said the Town Clerk, 'but he wants five guineas!' 'Well, give it to him; the Corporation can easily afford it.' They arranged it. Best played the overture to 'Jessonda' by Spohr, and it was a magnificent performance." The organ impressed the Liverpudlians greatly, and after discussing it privately for twenty minutes, the committee decided to recommend Willis to the Council to construct the organ in St. George's Hall. However, he had serious disagreements with Dr. S. S. Wesley, who wanted both the manuals and pedals to start at GG. "I agreed to his demands regarding the manuals," said Mr. Willis, "but I stated, 'unless you have the pedal compass to C, I will absolutely refuse to build your organ.'" Thus, a compromise was reached. But Willis later saw the manual compass of his remarkable Liverpool organ changed to CC (in 1898). When the organ was done, he recommended that Best be appointed as the organist, although Dr. Wesley officiated at the opening ceremony in 1855. Not only did Willis practically get Best appointed to Liverpool, but he had also previously trained him in playing overtures and other arrangements for the organ. "I urged him on," said the veteran organ-builder, and we all know the outcome. Despite all that Best owed to Willis, he had a fierce falling out with him towards the end of his career regarding the maintenance of the St. George's Hall organ. As Best told the writer, "not because Willis could not, but because he would not" do certain repairs that he claimed were not part of his contract. This resulted in the organ's care being handed over to T. C. Lewis & Sons, but it was returned to Willis after Best's death.
Mr. Willis gained a wide and deservedly high reputation as the builder of many Cathedral organs—upwards of sixteen. His largest instrument is that in the Royal Albert Hall, London. He designed it entirely himself; he had not to compete for the building of it, but had carte blanche in regard to every detail.
Mr. Willis earned a broad and well-deserved reputation as the builder of numerous cathedral organs—more than sixteen. His largest instrument is located in the Royal Albert Hall in London. He designed it completely by himself; he didn't have to compete for the construction of it, but had carte blanche concerning every detail.
There was an amusing incident in connection with deciding upon the pitch of the instrument. The authorities arranged that Sir Michael Costa, Mr. R. K. Bowley, then general manager of the Crystal Palace, and some of the leading wind-instrument players of the day, including Lazarus (a famous clarinetist), should attend at the factory to settle the question of the pitch of the organ. "They also brought a violinist," said Mr. Willis; "but I couldn't see what a fiddler, who is a very useful man in his way, had to do with settling the pitch. (I should tell you," added Mr. Willis, sotto voce, "that I had formulated some idea of the proper pitch before these gentlemen arrived.) However, we duly proceeded, Costa presiding over the conclave. When they began to blow into their different instruments each man had a different pitch! It was a regular pandemonium! By and by we settled upon something which was considered satisfactory, and we bade each other good morning." The sequel need not be told. We leave it to our readers to draw their own conclusions as to whether the Royal Albert Hall organ was actually tuned to the pitch of Messrs. Costa, Bowley, Lazarus & Co., or to that previously decided upon by Mr. Willis.
There was a funny incident related to deciding on the pitch of the instrument. The authorities arranged for Sir Michael Costa, Mr. R. K. Bowley, who was the general manager of the Crystal Palace at the time, and some of the top wind-instrument players, including Lazarus (a well-known clarinetist), to come to the factory to settle the issue of the organ's pitch. "They also brought a violinist," Mr. Willis said; "but I couldn't figure out what a fiddler, who is quite useful in his own way, had to do with determining the pitch. (I should mention," Mr. Willis added, sotto voce, "that I had already thought of the right pitch before these gentlemen arrived.) Anyway, we proceeded with Costa leading the meeting. When they started playing their different instruments, each person had a different pitch! It was complete chaos! After a while, we agreed on something that everyone found acceptable, and we said our goodbyes." The follow-up doesn’t need to be explained. We’ll let our readers decide whether the Royal Albert Hall organ was actually tuned to the pitch of Messrs. Costa, Bowley, Lazarus & Co., or to what Mr. Willis had previously determined.
He erected two large organs for the Alexandra Palace, and one in Windsor Castle with two keyboards, one in St. George's Hall, and one in His Majesty's Private Chapel, whereby the instrument is available for use in both places.
He set up two large organs for Alexandra Palace and one at Windsor Castle with two keyboards, one in St. George's Hall and one in His Majesty's Private Chapel, so the instrument can be used in both locations.
It was entirely owing to Willis' dominating personality that the organ in St. Paul's Cathedral was rebuilt in its present form. He had the old screen taken down and the old organ case, which happened to be alike on both sides, he cut in two and re-erected on each side of the choir. The change also involved the removal of the statues of Lord Nelson and Lord Cornwallis. When one of the committee asked him if he proposed to have two organists for his divided organ, he replied, "You leave that to me." And proceeded to invent[2] his tubular pneumatic action (see page 25). When this organ was used for the first time at the Thanksgiving service for the recovery of the Prince of Wales from typhoid fever in 1873, the pneumatic action for the pedals was not finished. Willis rigged up a temporary pedal board inside the organ near the pedal pipes and played the pedal part of the service music himself while George Cooper was at the keys in the regions above. After the service Goss said to Ousley, who was present, "What do you think of the pedal organ?" "Magnificent!" replied the Oxford Professor. "You know that the pipes are a long way off; did the pedals seem to go exactly together with the manuals?" Goss asked. "Perfectly," replied Ousley, "but why do you ask me in that way?" Then Goss let out the secret—for it was really a great secret at the time.
It was entirely due to Willis' strong personality that the organ in St. Paul's Cathedral was rebuilt in its current form. He had the old screen removed and the old organ case, which was identical on both sides, cut in half and reinstalled on either side of the choir. This change also required removing the statues of Lord Nelson and Lord Cornwallis. When one of the committee members asked him if he planned to have two organists for his divided organ, he replied, "You leave that to me." He then went on to invent his tubular pneumatic action (see page 25). When this organ was first used during the Thanksgiving service for the recovery of the Prince of Wales from typhoid fever in 1873, the pneumatic action for the pedals wasn't complete. Willis set up a temporary pedal board inside the organ near the pedal pipes and played the pedal part of the service music himself while George Cooper managed the keys above. After the service, Goss turned to Ousley, who was there, and asked, "What do you think of the pedal organ?" "Magnificent!" replied the Oxford Professor. "Considering that the pipes are quite far away, did the pedals seem to match up perfectly with the manuals?" Goss inquired. "Absolutely," Ousley replied, "but why do you ask me like that?" Then Goss revealed the secret—because it was truly a big secret at the time.
Willis' great hobby was yachting. He owned a 54-ton yacht named the Opal, and attributed the wonderful health he enjoyed to his numerous sea voyages. "I have circumnavigated the whole of England and Scotland," he said, "and I am my own captain. Those two men over there" (pointing to two of his employees working in the factory) "are my steward and shipwright. The steward is a fisherman—a fisherman being very useful as a weather prophet. * * * I do all the repairs to the yacht myself and have re-coppered her bottom two or three times. I also put entirely new spars into her, and there stands her old mast. Some years ago I injured the third and fourth fingers of both my hands with the ropes passing through them. These four fingers became bent under, and for a long time I had to play my services with only the thumb and two fingers of each hand. But Dr. Macready, a very clever surgeon, begged me to allow him to operate on my disabled fingers, with the result that I can use them as of old, or nearly so."
Willis' big hobby was yachting. He owned a 54-ton yacht named the Opal and credited his great health to his many sea voyages. "I’ve sailed all around England and Scotland," he said, "and I’m the captain of my own ship. Those two guys over there" (pointing to two of his employees working in the factory) "are my steward and shipwright. The steward is a fisherman, which is really helpful for predicting the weather. * * * I handle all the repairs on the yacht myself and have re-coppered the bottom two or three times. I've also replaced all the spars, and there’s her old mast. A few years ago, I injured the third and fourth fingers on both hands with the ropes. Those four fingers bent under, and for a long time, I could only use my thumb and two fingers on each hand. But Dr. Macready, a very skilled surgeon, insisted that I let him operate on my injured fingers, and now I can use them like before, or almost."
Henry Willis died in London on February 11, 1900, in his 80th year, deeply mourned by all who knew him, and was interred in Highgate cemetery. In the course of this work we have referred to the many improvements he effected in organ construction and reed voicing. As Sir George Grove said, his organs are celebrated for "their excellent engineering qualities." Clever, ingenious, dauntless and resourceful—qualities blended together with a plentiful supply of sound judgment and good common sense—were some of the striking characteristics of this remarkable man. He gave his personal attention to every department of his factory; nothing was too insignificant to claim his notice; his thoroughness was extraordinary—every pipe went through his hands. An organist himself, he was always thinking of the player in laying out his instruments. He had a remarkably inventive genius, which he turned to good account in the mechanical portions of his organs. He took infinite pains with everything and his enthusiasm knew no bounds. But, above all, he possessed in a striking degree that attribute which a similar successful worker once aptly described as "obstinate perseverance." He had a strong aversion to newspaper men and sent them away without ceremony. While free from conceit, he was not always amenable to dictation, especially when he had disputes with architects—in which the architects were generally worsted.
Henry Willis died in London on February 11, 1900, at the age of 80, deeply mourned by everyone who knew him, and he was buried in Highgate Cemetery. Throughout this work, we've mentioned the many improvements he made in organ construction and reed voicing. As Sir George Grove noted, his organs are known for "their excellent engineering qualities." Clever, inventive, fearless, and resourceful—qualities combined with a healthy dose of sound judgment and common sense—were some of the standout traits of this remarkable man. He personally oversaw every area of his factory; nothing was too small to escape his attention; his thoroughness was exceptional—every pipe passed through his hands. Being an organist himself, he always considered the player when designing his instruments. He had an extraordinary inventive genius that he effectively applied to the mechanical aspects of his organs. He took great care with everything and his enthusiasm was boundless. But above all, he had a remarkable degree of what a similarly successful worker once aptly described as "obstinate perseverance." He had a strong dislike for journalists and would send them away without hesitation. While he wasn't conceited, he wasn’t always open to being told what to do, especially during disputes with architects—in which the architects generally came out worse.
He regarded his organ in St. Paul's Cathedral (rebuilt in 1899), as his magnum opus. "There is nothing like it in the world," he remarked, with pardonable pride, one Saturday when Sir George Martin was playing that kingly king of instruments. To paraphrase the inscription on Purcell's monument in Westminster Abbey:—
He viewed his organ in St. Paul's Cathedral (rebuilt in 1899) as his greatest work. "There's nothing like it in the world," he said with justifiable pride one Saturday while Sir George Martin was playing that majestic instrument. To rephrase the inscription on Purcell's monument in Westminster Abbey:—
"He has gone where only his own Harmony can be excelled,"
"He has gone where only his own Harmony can be surpassed,"
leaving behind him many noble specimens of his remarkable achievements.
leaving behind many impressive examples of his remarkable achievements.
ROBERT HOPE-JONES.
Robert is the third son of the late William Hope-Jones, Hooton Grange, Cheshire, England.
Robert is the third son of the late William Hope-Jones from Hooton Grange, Cheshire, England.
His father, a man of means, was prominent as one of the pioneers in organizing the volunteer army of Great Britain. He was musical, playing the cornet and having an unusual tenor voice. His mother (Agnes Handforth)—also musical and a gifted singer—was a daughter of the Rector of Ashton-under-Lyne, Lancashire,—a highly nervous woman.
His father, a wealthy man, was well-known as one of the pioneers in setting up the volunteer army of Great Britain. He was musical, played the cornet, and had an exceptional tenor voice. His mother (Agnes Handforth)—also musical and a talented singer—was the daughter of the Rector of Ashton-under-Lyne, Lancashire, and was a very nervous woman.

Robert Hope-Jones
There were nine children of the marriage—two girls and seven boys. Robert appeared on the ninth of February, 1859. He inherited in exaggerated degree his mother's highly strung nervous nature. Melancholy, weak and sickly as a child, he was not expected to live. To avoid the damp and cold of English winters he was periodically taken to the south of France. Deemed too delicate for school, a private tutor was provided. Joining in sports or games was out of the question for so sensitive and delicate a youth,—what more natural, therefore, than that he should become a dreamer—a thinker? Too ill for any real study, his musical instincts drove him to the organ, and we find him playing for occasional services at Eastham Parish Church at the age of nine. After his father's death, when he was about fourteen, he spent a couple of years in irregular attendance at school, and at the time of his confirmation was persuaded that by superhuman effort of will his physical disabilities might be disregarded and a life of some value be worked out. Then began the desperate struggle that gradually overcame every obstruction and resulted in the establishment of an iron will and determination to succeed that no misfortunes have been able to quell. His want of health greatly interfered with his career till he was nearly thirty years of age.
There were nine children from the marriage—two girls and seven boys. Robert was born on February 9, 1859. He inherited his mother's highly strung nervous nature in an extreme way. Melancholy, weak, and sickly as a child, he wasn’t expected to live. To escape the damp and cold of English winters, he was periodically taken to the south of France. Considered too delicate for school, he was given a private tutor. Participating in sports or games was out of the question for such a sensitive and fragile youth—so it’s no surprise that he became a dreamer—a thinker. Too ill for any serious study, his musical instincts led him to play the organ, and by the age of nine, he was playing for occasional services at Eastham Parish Church. After his father's death, when he was around fourteen, he spent a couple of years attending school irregularly, and during his confirmation, he was convinced that with extraordinary willpower, he could overcome his physical limitations and create a meaningful life. Thus began the intense struggle that gradually overcame every obstacle and led to a strong will and determination to succeed that no misfortune could suppress. His ill health significantly impacted his career until he was nearly thirty years old.
When fifteen he became voluntary organist and choir-master to the Birkenhead School Chapel. Two or three years later he simultaneously held a similar office at St. Luke's Church, Tranmere, where he trained a boy choir that became widely celebrated. For this Church he bought and set up a fine organ. He subsequently served as Churchwarden and was active in many other Church offices. He erected an organ in the Claughton Music Hall and organized and conducted oratorio performances in aid of various Church funds; training a large voluntary chorus and orchestra for the purpose. For Psalms whose verses are arranged in groups of three, he wrote what he called "triple chants"—a form of composition since adopted by other Church writers; he also composed Canticles, Kyries and other music for the services of the Church.
At fifteen, he became the volunteer organist and choir master at the Birkenhead School Chapel. Two or three years later, he held a similar position at St. Luke's Church in Tranmere, where he trained a boys' choir that gained widespread recognition. For this church, he purchased and installed a beautiful organ. He later served as Churchwarden and was involved in many other church roles. He set up an organ in the Claughton Music Hall and organized oratorio performances to raise money for various church funds, training a large volunteer chorus and orchestra for this purpose. For Psalms with verses arranged in sets of three, he created what he called "triple chants," a style of composition that has since been adopted by other church composers. He also wrote Canticles, Kyries, and other music for church services.
Though St. Luke's Church was situated in a poor neighborhood, the men and boys forming his choir not only gave their services but also gratuitously rang the Church bell, pumped the organ bellows, bought all the music used at the services, paid for the washing of the surplices and helped raise money for the general Church fund. Hope-Jones' enthusiasm knew no bounds and he had the knack of imparting it to those who worked under him.
Though St. Luke's Church was located in a low-income area, the men and boys in his choir not only volunteered their time but also rang the church bell for free, pumped the organ bellows, purchased all the music used during services, covered the cost of washing the surplices, and helped raise funds for the overall church budget. Hope-Jones' enthusiasm was limitless, and he had a talent for inspiring those who worked with him.
So earnest and energetic was this young man that in spite of indifferent health and without at once resigning his work at St. Luke's, he became choirmaster and honorary organist of St. John's Church, Birkenhead, doing similar work in connection with that institution. He trained both the latter-named choir together, and the writer (whose son was in St. John's choir) frequently assisted him by playing the organ at the services on Sunday. It was at this Church and in connection with this organ that Hope-Jones did his first great work in connection with organ-building. The improved electric action, movable console and many other matters destined to startle the organ world, were devised and made by him there, after the day's business and the evening's choir rehearsals. He had voluntary help from enthusiastic choirmen and boys, who worked far into the night—on some occasions all night. Certain of these men and boys are to-day occupying responsible positions with the Hope-Jones Organ Company.
So committed and passionate was this young man that, despite having poor health and without immediately stepping down from his job at St. Luke's, he took on the role of choirmaster and honorary organist at St. John's Church in Birkenhead, doing similar work there. He trained the choir at St. John's, and the writer (whose son sang in that choir) often helped him by playing the organ during Sunday services. It was at this church and with this organ that Hope-Jones carried out his first significant work in organ-building. The improved electric action, movable console, and many other innovations that would surprise the organ world were developed and built by him there, after finishing his day job and the evening choir practices. He received volunteer help from enthusiastic choir members and boys, who sometimes worked late into the night—on some occasions, they worked all night. Several of these men and boys now hold important positions at the Hope-Jones Organ Company.
All this merely formed occupation for his spare time. About the age of seventeen he began his business career. He was bound apprentice to the large firm of Laird Bros., engineers and shipbuilders, Birkenhead, England. After donning workman's clothes and going through practical training in the various workshops and the drawing office, he secured appointment as chief electrician of the Lancashire and Cheshire (afterwards the National) Telephone Company. In connection with telephony he invented a multitude of improvements, some of which are still in universal use. About this time he devised a method for increasing the power of the human voice, through the application of a "relay" furnished with compressed air. The principle is now utilized in the best phonographs and other voice-producing machines. He also invented the "Diaphone," now being used by the Canadian Government for its fog signal stations and declared to be the most powerful producer of musical sound known (in a modified form also adapted to the church organ).
All this just kept him busy in his free time. Around the age of seventeen, he started his career. He became an apprentice at the big firm of Laird Bros., engineers and shipbuilders, in Birkenhead, England. After putting on workman's clothes and completing practical training in different workshops and the drawing office, he was appointed as the chief electrician of the Lancashire and Cheshire (later known as the National) Telephone Company. In relation to telephony, he invented many improvements, some of which are still widely used today. Around this time, he came up with a method to amplify the human voice by using a "relay" powered by compressed air. This principle is now utilized in high-quality phonographs and other voice-producing machines. He also invented the "Diaphone," which is currently used by the Canadian Government for its fog signal stations and is considered the most powerful musical sound producer known (in a modified version also suitable for church organs).
About 1889 he resigned his connection with the telephone company in order that he might devote a greater part of his attention to the improvement of the church organ, a subject which, as we have seen, was beginning to occupy much of his spare time. He had private practice as a consulting engineer, but gradually his "hobby"—organ building—crowded out all other employment—much to his financial disadvantage and to the gain of the musical world.
About 1889, he quit his job with the telephone company so he could focus more on improving the church organ, a topic that was starting to take up a lot of his free time. He worked as a consulting engineer on the side, but over time, his "hobby"—organ building—took over, leaving him with little other work. This hurt his finances but benefited the music community greatly.
His organ at St. John's Church, Birkenhead, became famous. It was visited by thousands of music lovers from all parts of the world. Organs built on the St. John's model were ordered for this country (Taunton, Mass., and Baltimore, Md.), for India, Australia, New Zealand, Newfoundland, France, Germany, Malta, and for numbers of English cathedrals, churches, town halls, etc. Nothing whatever was spent on advertisement. The English musical press for years devoted columns to somewhat heated discussion of Hope-Jones' epoch-making inventions, and echoes appeared in the musical periodicals of this and other countries.
His organ at St. John's Church in Birkenhead became widely renowned. It attracted thousands of music enthusiasts from around the globe. Organs modeled after the one at St. John's were commissioned for locations in the U.S. (Taunton, Mass., and Baltimore, Md.), along with India, Australia, New Zealand, Newfoundland, France, Germany, Malta, and numerous English cathedrals, churches, town halls, and more. No money was spent on advertising. For years, the English music press dedicated columns to passionate debates about Hope-Jones' groundbreaking inventions, and similar discussions appeared in musical publications from this country and beyond.
In spite of every form of opposition, and in spite of serious financial difficulties, Hope-Jones built organs that have influenced the art in all parts of the globe. He proved himself a prolific inventor and can justly claim as his work nine-tenths of the improvements made in the organ during the last twenty years. Truly have these words been used concerning him—"the greatest mind engaged in the art of organ-building in this or in any other age."
In spite of all the opposition and significant financial struggles, Hope-Jones created organs that have shaped the art all over the world. He proved himself to be a prolific inventor and can rightly claim that nine-tenths of the improvements made to the organ in the last twenty years are his work. It’s truly been said of him—"the greatest mind involved in the art of organ-building in this era or any other."
Every organist fully acquainted with his work endorses it, and upwards of thirty organ-builders have honored themselves by writing similar testimony. The Austin Organ Company, of Hartford, Conn., says: "We have taken considerable pains to study his system and to satisfy ourselves as to the results he has achieved. There is, we find, no doubt whatever that he has effected a complete revolution in the development of tone."
Every organist who knows their stuff supports it, and more than thirty organ builders have proudly shared similar testimonials. The Austin Organ Company from Hartford, Conn. states: "We've put in a lot of effort to understand his system and make sure of the results he's achieved. We have no doubt that he's brought about a complete revolution in tone development."
Sir George Grove, in his "Dictionary of Music and Musicians" (p. 551), says: "No reference to this description of action [electric] as set up in recent years would be complete without mentioning the name of Mr. Robert Hope-Jones. * * * The researches in the realm of organ tone by Mr. Hope-Jones and others who are continually striving for excellence and the use of an increased and more varied wind-pressure (ranging from 3 to 25 inches) all combine to produce greater variety and superiority in the quality of organ tone than has ever existed before."
Sir George Grove, in his "Dictionary of Music and Musicians" (p. 551), says: "Any discussion of this type of electric action wouldn't be complete without mentioning Mr. Robert Hope-Jones. * * * The studies in organ tone by Mr. Hope-Jones and others, who are always aiming for excellence and using higher and more varied wind pressure (ranging from 3 to 25 inches), all come together to create a greater diversity and quality of organ sound than has ever been achieved before."
Elliston in his book on Organ Construction devotes considerable space to a description of the organs built by Hope-Jones in England and Scotland, and says: "The Hope-Jones system embraces many novelties in tone and mechanism."
Elliston in his book on Organ Construction dedicates a significant amount of space to describing the organs built by Hope-Jones in England and Scotland, stating: "The Hope-Jones system includes many innovations in sound and mechanics."
Matthews, in his "Handbook of the Organ," referring to the Hope-Jones instruments, says:
Matthews, in his "Handbook of the Organ," talking about the Hope-Jones instruments, says:
"In his electric action Mr. Hope-Jones sought not only to obtain a repetition of the utmost quickness, but also to throw the reeds and other pipes into vibration by a 'percussive blow,' so to speak; being in this way enabled to produce certain qualities of tone unobtainable from ordinary actions. Soundness and smoothness of tone from the more powerful reeds, and great body and fullness of tone as well as depth from the pedal stops, are also noticeable features in these organs."
"In his dynamic technique, Mr. Hope-Jones aimed not only to achieve the fastest repetition but also to make the reeds and other pipes vibrate with a 'percussive blow,' which allowed him to create certain tonal qualities that regular methods couldn't produce. Richness and smoothness of tone from the stronger reeds, as well as a heavy, full sound and depth from the pedal stops, are also notable characteristics of these organs."
Ernest M. Skinner, of Boston, used the following words: "Your patience, research and experiment have done more than any other one agency to make the modern organ tone what it is. I think your invention of the leathered lip will mean as much to organ tone as the Barker pneumatic lever did to organ action, and will be as far-reaching in its effect.
Ernest M. Skinner, of Boston, used the following words: "Your patience, research, and experimentation have done more than any other single factor to shape the modern organ sound as we know it. I believe your invention of the leathered lip will have as significant an impact on organ tone as the Barker pneumatic lever had on organ action, and its effects will be just as extensive."
"I believe you were the first to recognize the importance of a low voltage of electric action, and that the world owes you its thanks for the round wire contact and inverted magnet.
"I think you were the first to see how important it is to have a low voltage of electric action, and the world should be grateful to you for the round wire contact and inverted magnet."
"Since I first became familiar with your work and writing I have found them full of helpful suggestions."
"Since I first got to know your work and writing, I've found them full of helpful suggestions."
At first Hope-Jones licensed a score of organ-builders to carry out his inventions, but as this proved unsatisfactory, he entered the field as an organ-builder himself, being liberally supported by Mr. Thomas Threlfall, chairman of the Royal Academy of Music; J. Martin White, Member of the British Parliament, and other friends.
At first, Hope-Jones authorized a number of organ builders to implement his inventions, but since that didn't work out, he decided to become an organ builder himself, receiving generous support from Mr. Thomas Threlfall, the chairman of the Royal Academy of Music; J. Martin White, a Member of Parliament, and other friends.
It was, perhaps, too much to expect that those who had so far profited from Hope-Jones' contracts and work should remain favorably disposed when he became a rival and a competitor.
It was probably too much to expect that those who had benefited from Hope-Jones' contracts and work would stay friendly when he became a rival and competitor.
For nearly twenty years he has met concerted opposition that would have crushed any ordinary man—attacks in turn against his electrical knowledge, musical taste, voicing ability, financial standing, and personal character. His greatest admirers remain those who, like the author, have known him for thirty years; his greatest supporters are the men of the town in which he lives; his warmest friends, the associates who have followed him to this country after long service under him in England.
For almost twenty years, he has faced relentless opposition that would have defeated anyone else—criticism directed at his expertise in electricity, musical taste, vocal skills, financial situation, and personal character. His biggest supporters are still those who, like the author, have known him for thirty years; his strongest backers are the men from the town where he lives; and his closest friends are the colleagues who followed him to this country after working with him for a long time in England.
Long before Hope-Jones reached his present eminence, and dealing with but one of his inventions, Wedgwood, a Fellow of the Royal Historical Society and a learned student of organ matters, classed him with Cavaillé-Coll and Willis, as one whose name "will be handed down to posterity"—the author of most valuable improvements.[3]
Long before Hope-Jones achieved his current status, and focusing on just one of his inventions, Wedgwood, a member of the Royal Historical Society and a knowledgeable researcher in organ matters, placed him in the same category as Cavaillé-Coll and Willis, calling him someone whose name "will be remembered by future generations"—the creator of significant improvements.[3]
Early in his organ-building career, Hope-Jones had the good fortune to meet J. Martin White, of Balruddery, Dundee, Scotland. Mr. White, a man of large influence and wealth, not only time and again saved him from financial shipwreck and kept him in the organ-building business, but rendered a far more important service in directing Hope-Jones' efforts toward the production of orchestral effects from the organ.
Early in his organ-building career, Hope-Jones was fortunate to meet J. Martin White from Balruddery, Dundee, Scotland. Mr. White, a man of considerable influence and wealth, not only repeatedly saved him from financial disaster and kept him in the organ-building business, but also provided an even more significant service by guiding Hope-Jones' efforts to create orchestral effects from the organ.
Mr. White, in spite of his duties as a member of the British Parliament, and in spite of the calls of his business in Scotland and in this country, has managed to devote much time and thought to the art of organ playing and organ improvement.
Mr. White, despite his responsibilities as a member of the British Parliament and the demands of his business in Scotland and here, has managed to dedicate a lot of time and thought to the art of playing the organ and improving it.
Thynne, who did pioneer work in the production of string tone from organ pipes, owes not a little to Martin White; while Hope-Jones asserts that he derived all his inspiration in this field from listening to the large and fine organ in Mr. White's home.
Thynne, who did groundbreaking work in producing string tones from organ pipes, owes a lot to Martin White; meanwhile, Hope-Jones claims that he got all his inspiration in this area from listening to the large and impressive organ in Mr. White's home.
Mr. White argued that the Swell Organ should be full of violin tone and be, as the strings in the orchestra, the foundation of accompaniment as well as complete in themselves. He lent to Hope-Jones some of his "string" pipes to copy in Worcester Cathedral, whence practically all the development of string tone in organs has come. Mr. White further urged that the whole organ should be in swell boxes.
Mr. White argued that the Swell Organ should have a rich violin-like sound and serve as the core of accompaniment, while also being complete on its own. He lent some of his "string" pipes to Hope-Jones to replicate in Worcester Cathedral, which is where most of the development of string tone in organs originated. Mr. White also emphasized that the entire organ should be housed in swell boxes.
It is extraordinary that an outsider like Mr. White, a man busy in so many other lines of endeavor, should exert such marked influence on the art of organ building, but it remains a fact that but for his artistic discernment and for the encouragement so freely given, the organ would not to-day be supplanting the orchestra in theatres and hotels, nor be what it is in the churches and halls.
It’s remarkable that someone like Mr. White, who is involved in so many different pursuits, has had such a significant impact on organ building. The reality is that without his artistic insight and generous support, the organ wouldn’t be taking the place of the orchestra in theaters and hotels today, nor would it hold the same status in churches and halls.
Mr. White has for nearly thirty years helped, enthused and encouraged, not only artistic organ-builders like Casson, Thynne, Hope-Jones and Compton, but also the more progressive of the prominent organists.
Mr. White has spent nearly thirty years helping, inspiring, and encouraging not just artistic organ builders like Casson, Thynne, Hope-Jones, and Compton, but also the more progressive prominent organists.
All honor to Martin White!
All respect to Martin White!
In the spring of 1903 Hope-Jones visited this country. At the instigation of Mr. R. P. Elliot, the organizer, Vice-President and Secretary of the Austin Organ Company, of Hartford, Conn., he decided to remain here and join that corporation, taking the office of Vice-president. Subsequently a new firm—Hope-Jones & Harrison—was tentatively formed at Bloomfield, N. J., in July, 1904, but as sufficient capital could not be obtained, Hope-Jones and his corps of skilled employees joined the Ernest M. Skinner Company, of Boston, Hope-Jones taking the office of Vice-president, in 1905. Working in connection with the Skinner Company, Hope-Jones constructed and placed a fine organ in Park Church, Elmira, N. Y., erected in memory of the late Thomas K. Beecher. He there met, as chairman of the committee, Mr. Jervis Langdon (Treasurer of the Chamber of Commerce, Elmira). That gentleman secured the industry for his city by organizing a corporation to build exclusively Hope-Jones organs.
In the spring of 1903, Hope-Jones visited the U.S. At the suggestion of Mr. R. P. Elliot, the organizer, Vice-President, and Secretary of the Austin Organ Company in Hartford, Connecticut, he decided to stay and join the company as Vice-President. Later, a new firm—Hope-Jones & Harrison—was tentatively created in Bloomfield, N.J., in July 1904, but since they couldn't secure enough funding, Hope-Jones and his skilled team joined the Ernest M. Skinner Company in Boston, where Hope-Jones became Vice-President in 1905. While working with the Skinner Company, Hope-Jones built and installed a beautiful organ in Park Church, Elmira, N.Y., in memory of the late Thomas K. Beecher. There, he met Mr. Jervis Langdon, the chairman of the committee and Treasurer of the Chamber of Commerce in Elmira. Mr. Langdon helped establish the industry in his city by forming a corporation dedicated to building only Hope-Jones organs.
This "Hope-Jones Organ Company" was established in February, 1907, the year of the financial panic. It failed to secure the capital it sought and was seriously embarrassed throughout its three years' existence. It built about forty organs, the best known being the one erected in the great auditorium at Ocean Grove, N. J.
This "Hope-Jones Organ Company" was founded in February 1907, the year of the financial panic. It struggled to get the funding it needed and faced serious challenges during its three years of operation. The company produced around forty organs, with the most famous being the one installed in the large auditorium at Ocean Grove, NJ.
The patents and plant of the Elmira concern were acquired by the Rudolph Wurlitzer Co. in April, 1910, and Mr. Hope-Jones entered its employ, with headquarters at its mammoth factory at North Tonawanda, N. Y., continuing to carry on the business under his own name.
The patents and plant of the Elmira company were bought by the Rudolph Wurlitzer Co. in April 1910, and Mr. Hope-Jones started working there, based at its huge factory in North Tonawanda, N.Y., while still running the business under his own name.
Robert Hope-Jones is a member of the British Institute of Electrical Engineers; of the Royal College of Organists, London, England; of the American Guild of Organists; and of other bodies.
Robert Hope-Jones is a member of the British Institute of Electrical Engineers, the Royal College of Organists in London, England, the American Guild of Organists, and other organizations.
In 1893 he married Cecil Laurence, a musical member of one of the leading families of Maid stone, England. This lady mastered the intricacies of her husband's inventions, and to her help and encouragement in times of difficulty he attributes his success.
In 1893, he married Cecil Laurence, a musically talented member of one of the prominent families in Maidstone, England. She understood the complexities of her husband's inventions, and he credits his success to her support and encouragement during challenging times.
We suppose that the reason "history repeats itself" is to be found in the fact that human nature does not vary, but is much the same from generation to generation. From the Bible we learn that one Demetrius, a silversmith of Ephesus, became alarmed at the falling off in demand for silver shrines to Diana, caused by the preaching of the Apostle Paul, and called his fellow craftsmen together with the cry of "Our craft is in danger," and set the whole city in an uproar. (Acts xix-24.)
We think that the reason "history repeats itself" lies in the fact that human nature doesn't change much; it's pretty similar from one generation to the next. The Bible tells us about a man named Demetrius, a silversmith from Ephesus, who became worried about the drop in demand for silver shrines to Diana because of Paul’s preaching. He gathered his fellow craftsmen and shouted, "Our craft is in danger," which caused a huge uproar throughout the city. (Acts xix-24.)
In the year 1682 a new organ was wanted for the Temple Church in London, England, and "Father" Smith and Renatus Harris, the organ-builders of that day, each brought such powerful influence to bear upon the Benchers that they authorized both builders to erect organs in the church, one at each end. They were alternately played upon certain days, Smith's organ by Purcell and Dr. Blow, and Harris' organ by Baptist Draghi, organist to Queen Catherine. An attempt by the Benchers of the Middle Temple to decide in favor of Smith stirred up violent opposition on the part of the Benchers of the Inner Temple, who favored Harris, and the controversy raged bitterly for nearly five years, when Smith's organ was paid for and Harris' taken away. This is known in history as "The Battle of the Organs." In the thick of the fight one of Harris' partisans, who had more zeal than discretion, made his way inside Smith's organ and cut the bellows to pieces.
In 1682, a new organ was needed for the Temple Church in London, England, and "Father" Smith and Renatus Harris, the organ builders of the time, each had such strong influence with the Benchers that they allowed both builders to create organs in the church, one at each end. They were played on alternating days, with Purcell and Dr. Blow playing Smith's organ and Baptist Draghi, the organist for Queen Catherine, playing Harris' organ. When the Benchers of the Middle Temple tried to support Smith, it sparked fierce opposition from the Benchers of the Inner Temple, who backed Harris, and the dispute continued bitterly for almost five years, until Smith's organ was paid for and Harris' was removed. This event is known in history as "The Battle of the Organs." In the heat of the conflict, one of Harris' supporters, who was more enthusiastic than wise, sneaked into Smith's organ and destroyed the bellows.
In 1875-76 the organ in Chester Cathedral, England, was being rebuilt by the local firm of J. & C. H. Whiteley. The London silversmiths took alarm at the Cathedral job going to a little country builder and got together, with the result that, one by one, Whiteleys' men left their employ, tempted by the offer of work at better wages in London, and had there not been four brothers in the firm, all practical men, they would have been unable to fulfil their contract. The worry was partly responsible for the death of the head of the firm soon after.
In 1875-76, the organ in Chester Cathedral, England, was being rebuilt by the local company J. & C. H. Whiteley. The London silversmiths were alarmed that a small country builder was getting the Cathedral job and came together to take action. As a result, one by one, Whiteleys' workers left for better-paying jobs in London. If it hadn't been for the four brothers in the firm, all of whom were skilled, they wouldn't have been able to fulfill their contract. The stress of the situation contributed to the death of the firm's leader shortly after.
All this sounds like a chapter from the dark ages, of long, long ago, and we do not deem such things possible now.
All this sounds like a chapter from the dark ages, a long time ago, and we don't think such things are possible anymore.
But listen! In the year 1895 what was practically the first Hope-Jones electric organ sold was set up in St. George's Church, Hanover Square, London, England.
But listen! In 1895, what was basically the first Hope-Jones electric organ was installed in St. George's Church, Hanover Square, London, England.
The furor it created was cut short by a fire, which destroyed the organ and damaged the tower of the church. With curious promptitude attention was directed to the danger of allowing amateurs to make crude efforts at organ-building in valuable and historic churches, and to the great risk of electric actions. Incendiarism being more than suspected, the authorities of the church ordered from Hope-Jones a similar organ to take the place of the one destroyed.
The uproar it caused was quickly ended by a fire that destroyed the organ and damaged the church tower. With surprising speed, people began to focus on the risks of letting amateurs attempt to build organs in important and historic churches, as well as the significant dangers of electrical systems. With arson suspected, the church authorities ordered a similar organ from Hope-Jones to replace the one that was destroyed.
About the same time a gimlet was forced through the electric cable of a Hope-Jones organ at Hendon Parish Church, London, England. Shortly afterwards the cable connecting the console with the Hope-Jones organ at Ormskirk Parish Church, Lancashire, England, was cut through. At Burton-on-Trent Parish Church, sample pipes from each of his special stops were stolen.
About the same time, someone drilled a hole through the electric cable of a Hope-Jones organ at Hendon Parish Church in London, England. Shortly after that, the cable connecting the console to the Hope-Jones organ at Ormskirk Parish Church in Lancashire, England, was cut. At Burton-on-Trent Parish Church, sample pipes from each of his special stops were taken.
At the Auditorium, Ocean Grove, N. J., an effort to cripple the new Hope-Jones organ shortly before one of the opening recitals in 1908 was made. And in the same year, on the Sunday previous to Edwin Lemare's recital on the Hope-Jones organ in the First Universalist Church, Rochester, N. Y., serious damage was done to some of the pipes in almost each stop in the organ.
At the Auditorium in Ocean Grove, N.J., there was an attempt to sabotage the new Hope-Jones organ right before one of the opening recitals in 1908. That same year, on the Sunday before Edwin Lemare's recital on the Hope-Jones organ at the First Universalist Church in Rochester, N.Y., significant damage was done to several pipes in nearly every stop of the organ.
Robert Hope-Jones died at Rochester, N. Y., on September 13, 1914, aged 55 years, and was interred at Elm Lawn Cemetery, No. Tonawanda, near Niagara Falls, N. Y.
Robert Hope-Jones passed away in Rochester, NY, on September 13, 1914, at the age of 55, and was buried at Elm Lawn Cemetery in North Tonawanda, near Niagara Falls, NY.
Since his association with the Rudolph Wurlitzer Company in April, 1910, they have built under his personal supervision the organs in the Baptist Temple, Philadelphia; the rooms of the Ethical Culture Society, New York; and amongst others the unit orchestras in the Vitagraph Theatre, New York; the Crescent Theatre, Brooklyn; the Paris Theatre, Denver, Colo.; the Imperial Theatre, Montreal; and the Pitt Theatre, Pittsburgh, Pa., which last Hope-Jones considered his chef d'oeuvre.
Since he started working with the Rudolph Wurlitzer Company in April 1910, they have built organs under his direct supervision for the Baptist Temple in Philadelphia, the Ethical Culture Society in New York, and several unit orchestras in places like the Vitagraph Theatre in New York, Crescent Theatre in Brooklyn, Paris Theatre in Denver, Colorado, Imperial Theatre in Montreal, and Pitt Theatre in Pittsburgh, Pennsylvania, which Hope-Jones considered his masterpiece.
[1] Dr. W. C. Carl, of New York, who is well acquainted with these instruments, considers the one in Notre Dame to be better than St. Sulpice and more representative of Cavaillé-Coll's work, even if a little smaller. We therefore give that specification, page 157.
[1] Dr. W. C. Carl, from New York, who is very familiar with these instruments, thinks the one in Notre Dame is better than the one at St. Sulpice and more representative of Cavaillé-Coll's work, even though it's a bit smaller. So, we’ll provide that specification on page 157.
[2] Exhaust tubular pneumatic had been practically applied in France as early as 1849 and pressure tubular pneumatic in 1867. See page 23.
[2] Exhaust tubular pneumatic was actually used in France as early as 1849, and pressure tubular pneumatic was implemented in 1867. See page 23.
[3] "Dictionary of Organ Stops," p. 44 and elsewhere.
[3] "Dictionary of Organ Stops," p. 44 and elsewhere.
NOTE.—This book has been translated into French, and published with annotations by Dr. G. Bédart, Professor Agrégé à la Université de Lille, France, under the title of "Révolution Récente dans la Facture d'Orgue." Lille: Librairie Générale Tallandier, 5, Rue Faidherbe. Prix net 4 Fr.
NOTE.—This book has been translated into French and published with annotations by Dr. G. Bédart, Associate Professor at the University of Lille, France, under the title "Révolution Récente dans la Facture d'Orgue." Lille: Librairie Générale Tallandier, 5, Rue Faidherbe. Price: 4 Fr.
CHAPTER XIV.
HOW WE STAND TO-DAY.
Looking backward over the field we have traversed we find that the modern organ is an entirely different instrument from that of the Nineteenth Century.
Looking back over the path we've taken, we see that the modern organ is a completely different instrument from the one in the Nineteenth Century.
Tracker action, bellows weights, the multitude of weak, drab-toned stops, have disappeared, and in their place we have stops of more musical character, greater volume, under perfect and wide control; new families of string and orchestral tones; great flexibility, through transference of stops; an instrument of smaller bulk than the old one, but yet of infinitely greater resources.
Tracker action, bellows weights, and the many weak, dull-toned stops are gone, replaced by stops that are more musical, have greater volume, and are under perfect and broad control; new types of string and orchestral tones; amazing flexibility through the transfer of stops; an instrument that's smaller than the old one but has infinitely greater capabilities.
In his "Handbook of the Organ" (page 24), J. Matthews says: "There can be no finality in organ building. Whilst the violin fascinates by its perfection, the organ does so no less by its almost infinite possibilities, and modern science is fast transforming it into a highly sensitive instrument. The orchestral effects and overwhelming crescendos possible from such organs as those described in this work, 'double touch,' new methods of tone production, such as the Diaphone, the ease with which all the resources of a powerful instrument can now be placed instantaneously at the performer's command are developments of which Bach and Handel never dreamed."
In his "Handbook of the Organ" (page 24), J. Matthews states: "There can be no finality in organ building. While the violin captivates with its perfection, the organ does the same with its nearly endless possibilities, and modern science is quickly turning it into a highly sensitive instrument. The orchestral effects and stunning crescendos achievable with organs like those described in this work, 'double touch,' new methods of tone production like the Diaphone, and the ease with which all the capabilities of a powerful instrument can now be instantly accessed by the performer are advancements that Bach and Handel never imagined."
And the modern tendency of the best builders is to make the organ still more orchestral in character, by the addition of carillons and other percussion stops.
And today's trend among the top builders is to make the organ even more orchestral by adding carillons and other percussion stops.
The late W. T. Best, one of the finest executants who ever lived, stated to a friend of the writer who asked him why he never played the Overture to Tannhauser, that he considered its adequate rendition upon the organ impossible, "after having had the subject under review for a long time." Nowadays many organists find it possible to play the Overture to Tannhauser; the writer pleads guilty himself. Dr. Peace played it at the opening of Mr. White's organ at Balruddery and stated that he found the fine string tones it contained of peculiar value for Wagnerian orchestral effects. Dr. Gabriel Bédart says that music ought to be specially written for these new instruments.
The late W. T. Best, one of the greatest performers of all time, told a friend of the author, who asked why he never played the Overture to Tannhauser, that he believed doing it justice on the organ was impossible "after having considered the piece for a long time." Nowadays, many organists feel it's possible to play the Overture to Tannhauser; the author admits he is among them. Dr. Peace performed it at the unveiling of Mr. White's organ at Balruddery and noted that the beautiful string tones in the piece were particularly valuable for creating Wagnerian orchestral effects. Dr. Gabriel Bédart suggests that music should be specifically composed for these new instruments.
While we associate the organ chiefly with its use in Church services, a new field is opening up for it in Concert Halls, Theatres, Auditoriums, College and School Buildings, Ballrooms of Hotels, Public Parks and Seaside Resorts, not as a mere adjunct to an orchestra but to take the place of the orchestra itself. The Sunday afternoon recitals in the College of the City of New York are attended by upwards of 2,500 people, many hundreds being unable to gain admittance; and the daily recitals at Ocean Grove during July and August, 1909, reaped a harvest of upwards of $4,000 in admission fees. Organs have been installed in some of the palatial hotels in New York and other cities, and one is planned for an ocean pier, where the pipes will actually stand under sea level, the sound being reflected where wanted and an equable temperature maintained by thermostats.
While we mainly think of the organ being used in church services, a new opportunity is emerging for it in concert halls, theaters, auditoriums, schools and colleges, hotel ballrooms, public parks, and seaside resorts—not just as an addition to an orchestra, but as a replacement for the orchestra itself. The Sunday afternoon recitals at the College of the City of New York attract over 2,500 attendees, with many hundreds turned away; the daily recitals at Ocean Grove during July and August 1909 brought in more than $4,000 in admission fees. Organs have been installed in some luxurious hotels in New York and other cities, and one is planned for an ocean pier, where the pipes will actually be below sea level, reflecting sound as needed and keeping a stable temperature with thermostats.
Organists have found it necessary to make special study of these new instruments, and the University of the State of New York has thought the matter of sufficient importance to justify it in chartering the "Hope-Jones Unit Orchestra School" as an educational institution.
Organists have realized that it's important to study these new instruments, and the University of the State of New York has deemed the issue significant enough to officially establish the "Hope-Jones Unit Orchestra School" as an educational institution.
Our review would be incomplete without some mention of
Our review wouldn't be complete without mentioning
AUTOMATIC PLAYERS.
When one listens to the Welte-Mignon Piano Player, it seems difficult to believe that a skilled artist is not at the keyboard performing the music.
When you listen to the Welte-Mignon Piano Player, it’s hard to believe that a talented artist isn’t at the keyboard playing the music.
The exact instant of striking each note and the duration during which the key is held are faithfuly recorded and reproduced with absolute accuracy, and a pretty close approximation to the power of blow with which each key is struck is obtained.
The precise moment each note is played and how long the key is pressed are accurately captured and reproduced with complete precision, along with a fairly accurate representation of the force applied when each key is struck.
The first of these, that is, the time and duration of the note, is directly recorded from the artist who plays the piece to be reproduced. The second of these, that is, the power of tone, is subsequently added to the record either by the artist himself or by musicians who have carefully studied his manner of playing.
The first of these, which is the timing and length of the note, is directly captured from the artist performing the piece to be reproduced. The second, which is the tone quality, is later added to the recording either by the artist himself or by musicians who have closely studied his playing style.
The result of this is a very faithful reproduction of the original performance.
The result of this is a very accurate reproduction of the original performance.
In the case of the organ, the pressure with which the keys are struck does not need to be recorded or reproduced, but instead of this, we have to operate the various stops or registers and the various swell shades if we would obtain a faithful reproduction mechanically of the piece of music played by an artist on the organ.
In the case of the organ, the force used to press the keys doesn’t need to be noted or replicated. Instead, we have to use the different stops or registers and the various swell shades if we want to achieve an accurate mechanical reproduction of the music performed by an artist on the organ.
Automatic Players are attached to many pipe organs. They, for the most part, consist of ordinary piano players so arranged that they operate the keys, or the mechanism attached to the keys, of an organ.
Automatic Players are connected to many pipe organs. They mostly consist of regular piano players that are set up to operate the keys or the mechanisms linked to the keys of an organ.
This is a very poor plan, and the resulting effect is thoroughly mechanical and unsatisfactory. Only one keyboard is played upon at a time as a rule, and neither the stops nor the pedals, nor the expression levers are operated at all.
This is a really bad plan, and the outcome feels very mechanical and disappointing. Generally, only one keyboard is used at a time, and none of the stops, pedals, or expression levers are utilized at all.
The Aeolian Company, of New York, effected an improvement some years ago when they introduced what they term the double tracker bar. In this case, the holes in the tracker bar are made smaller than usual and they are staggered--or arranged in two rows. Every evenly numbered hole is kept on the lower row, and the oddly numbered holes are raised up to form a second row.
The Aeolian Company from New York made an improvement a few years ago when they introduced what they call the double tracker bar. In this design, the holes in the tracker bar are smaller than usual and arranged in two rows. Every even-numbered hole is positioned on the lower row, while the odd-numbered holes are elevated to create a second row.
Provided the paper be tracked very accurately, and be given careful attention, this plan adopted by the Aeolian Company allows of two manuals of an organ being played automatically; but still the stops and expression levers are left to be operated by hand.
As long as the paper is tracked very accurately and receives careful attention, this system used by the Aeolian Company allows two manuals of an organ to be played automatically; however, the stops and expression levers still have to be operated manually.
More recently a plan has been brought out by Hope-Jones that provides for the simultaneous performance of music upon two manuals and upon the pedals--each quite independent of the other. It also provides for the operation of all the stops individually in a large organ, and for the operation of the expression levers.
More recently, Hope-Jones has introduced a plan that allows music to be performed simultaneously on two manuals and the pedals, with each one operating independently. It also allows for the individual operation of all the stops on a large organ and the use of the expression levers.
A switch is furnished so that when desired the stops and expression levers may be cut off and left to be operated by hand. The Hope-Jones Tracker Bar has no less than ten lines of holes--it is, of course, correspondingly wide.
A switch is provided so that when needed, the stops and expression levers can be turned off and operated manually. The Hope-Jones Tracker Bar has at least ten lines of holes—it is also correspondingly wide.
We look for a great development in the direction of organs played by mechanical means.
We are looking for significant advancements in the use of mechanically operated organs.
The piano player has done a very great deal to popularize the pianoforte and in the same way it is believed that the automatic player will do a very great deal to popularize the organ.
The piano player has done a lot to make the piano popular, and similarly, it’s thought that the automatic player will do a lot to make the organ popular too.
Many people who cannot play the organ will be induced to have them in their homes if they knew that they can operate them at any time desired, even in the absence of a skilled performer.
Many people who can’t play the organ would be encouraged to have one in their homes if they knew they could use it whenever they wanted, even without a skilled player.
We now give specifications of some of the most notable organs of the world, all of which have been built or rebuilt since the year 1888, and embody modern ideas in mechanism, wind pressures, and tonal resources. First in the writer's estimation comes the
We now present details about some of the most remarkable organs in the world, all of which have been constructed or renovated since 1888, incorporating contemporary concepts in mechanics, wind pressures, and sound capabilities. First on the writer's list is the
ORGAN IN ST. GEORGE'S HALL, LIVERPOOL, ENG.
This noble instrument was built by Henry Willis to the specification of Dr. S. S. Wesley, by whom it was opened on the 29th and 30th of May, 1855. The writer made its acquaintance in 1866, when it was tuned on the unequal temperament system. In 1867 Mr. Best succeeded in getting it re-tuned in equal-temperament, several improvements were made, and the wind pressure on four of the reed stops on the Solo organ increased from 9 1/2 inches to 22 inches. In 1898 the organ was thoroughly rebuilt with tubular pneumatic action in place of the Barker levers. The compass of the manuals was changed from GG--a3 to CC--c4,[1] five octaves, and the pedals were carried up to g--33 notes. A Swell to Choir coupler was added (!) and various changes made in the stops, the Vox Humana transferred from the Swell to the Solo organ, and two of the Solo wind-chests were enclosed in a Swell-box. We note that the Tubas are still left outside. The cast-iron pipes of the lowest octave of the 32-ft. Double Open Diapason on the Pedal organ were replaced by pipes of stout zinc, and four composition pedals added to control the Swell stops.
This impressive instrument was built by Henry Willis to the specifications of Dr. S. S. Wesley, who officially opened it on May 29th and 30th, 1855. I first encountered it in 1866 when it was tuned using the unequal temperament system. In 1867, Mr. Best managed to have it retuned to equal temperament, implementing several improvements, including increasing the wind pressure on four of the reed stops on the Solo organ from 9 1/2 inches to 22 inches. In 1898, the organ underwent a complete rebuild, replacing the Barker levers with tubular pneumatic action. The keyboard range of the manuals changed from GG–a3 to CC–c4, covering five octaves, and the pedal range was extended to g–33 notes. A Swell to Choir coupler was added, along with various adjustments to the stops, including transferring the Vox Humana from the Swell to the Solo organ, and enclosing two of the Solo wind-chests in a Swell-box. Notably, the Tubas are still positioned outside. The cast-iron pipes of the lowest octave of the 32-ft. Double Open Diapason on the Pedal organ were replaced with robust zinc pipes, and four composition pedals were added to control the Swell stops.

Keyboards of Organ in St. George's Hall, Liverpool.
Two Rows of Stops at Left Omitted
The following is the specification of the organ as it now stands, in its revised form:
The following is the current specification of the organ, in its updated form:
FIRST MANUAL (CHOIR), 18 STOPS. FEET. FEET. Double Diapason 16 Gamba 4 Open Diapason 8 Twelfth 2 2/3 Clarabella 8 Fifteenth 2 Stopped Diapason 8 Flageolet 2 Dulciana 8 Sesquialtera, 3 ranks Viol da Gamba 8 Trumpet 8 Vox Angelica 8 Cremona 8 Principal 4 Orchestral Oboe 8 Harmonic Flute 4 Clarion 4 SECOND MANUAL (GREAT), 25 STOPS. FEET. FEET. Dble. Open Diap. (metal) 16 Twelfth 2 2/3 Open Diapason, No. 1 8 Fifteenth 2 Open Diapason, No. 2 8 Harmonic Piccolo 2 Open Diapason, wood 8 Doublette, 2 ranks Open Diapason, No. 3 8 Sesquialtera, 5 ranks Stopped Diapason 8 Mixture, 4 ranks Violoncello 8 Trombone 16 Quint 5 1/2 Trombone 8 Viola 4 Ophicleide 8 Principal, No. 1 4 Trumpet 8 Principal, No. 2 4 Clarion, No. 1 4 Flute 4 Clarion, No. 2 4 Tenth 3 1/2 THIRD MANUAL (SWELL), 25 STOPS. FEET. FEET. Double Diapason (metal) 16 Piccolo 2 Open Diapason, No. 1 8 Doublette, 2 ranks Open Diapason, No. 2 8 Fourniture, 5 ranks Dulciana 8 Trombone 16 Viol da Gamba 8 Contra Hautboy 16 Stopped Diapason 8 Ophicleide 8 Voix Celeste 8 Trumpet 8 Principal 4 Horn 8 Octave Viola 4 Oboe 8 Flute 4 Clarionet 8 Twelfth 2 2/3 Clarion, No. 1 4 Fifteenth, No. 1 2 Clarion, No. 2 4 Fifteenth, No. 2 2 FOURTH MANUAL (SOLO), 15 STOPS. FEET. FEET. Viol da Gamba 8 Vox Humana 8 Open Diapason, wood 8 Orchestral Oboe 8 Stopped Diapason 8 Corno di Bassetto 8 Flute (Orchestral) 4 *Ophicleide 8 Flute Piccolo 2 *Trumpet 8 Contra Fagotto 16 *Clarion, No. 1 4 Trombone 8 *Clarion, No. 2 4 Bassoon 8 These stops are all placed in a new swell-box, except those marked*, which are on the heavy wind pressure. PEDAL ORGAN (17 STOPS). FEET. FEET. Double Open Quint (metal) 5 1/2 Diapason (wood) 32 Fifteenth 4 Double Open Fourniture, 5 ranks Diapason (metal) 32 Mixture, 3 ranks Open Diapason (wood) 16 Posaune 32 Open Diapason (metal) 16 Contra Fagotto 16 Salicional (metal) 16 Ophicleide 16 Bourdon (wood) 16 Trumpet 8 Bass Flute (wood) 8 Clarion 4 Principal (wood) 8 COUPLERS. Solo Super-Octave. Choir to Great. Solo Sub-Octave. Choir Super-Octave. Solo to Great. Choir Sub-Octave. Swell to Great Super-Octave. Solo to Pedals. Swell to Great Unison. Swell to Pedals. Swell to Great Sub-Octave. Great to Pedals. Swell to Choir. Choir to Pedals.
FIRST MANUAL (CHOIR), 18 STOPS. FEET. FEET. Double Diapason 16 Gamba 4 Open Diapason 8 Twelfth 2 2/3 Clarabella 8 Fifteenth 2 Stopped Diapason 8 Flageolet 2 Dulciana 8 Sesquialtera, 3 ranks Viol da Gamba 8 Trumpet 8 Vox Angelica 8 Cremona 8 Principal 4 Orchestral Oboe 8 Harmonic Flute 4 Clarion 4 SECOND MANUAL (GREAT), 25 STOPS. FEET. FEET. Dble. Open Diap. (metal) 16 Twelfth 2 2/3 Open Diapason, No. 1 8 Fifteenth 2 Open Diapason, No. 2 8 Harmonic Piccolo 2 Open Diapason, wood 8 Doublette, 2 ranks Open Diapason, No. 3 8 Sesquialtera, 5 ranks Stopped Diapason 8 Mixture, 4 ranks Violoncello 8 Trombone 16 Quint 5 1/2 Trombone 8 Viola 4 Ophicleide 8 Principal, No. 1 4 Trumpet 8 Principal, No. 2 4 Clarion, No. 1 4 Flute 4 Clarion, No. 2 4 Tenth 3 1/2 THIRD MANUAL (SWELL), 25 STOPS. FEET. FEET. Double Diapason (metal) 16 Piccolo 2 Open Diapason, No. 1 8 Doublette, 2 ranks Open Diapason, No. 2 8 Fourniture, 5 ranks Dulciana 8 Trombone 16 Viol da Gamba 8 Contra Hautboy 16 Stopped Diapason 8 Ophicleide 8 Voix Celeste 8 Trumpet 8 Principal 4 Horn 8 Octave Viola 4 Oboe 8 Flute 4 Clarionet 8 Twelfth 2 2/3 Clarion, No. 1 4 Fifteenth, No. 1 2 Clarion, No. 2 4 Fifteenth, No. 2 2 FOURTH MANUAL (SOLO), 15 STOPS. FEET. FEET. Viol da Gamba 8 Vox Humana 8 Open Diapason, wood 8 Orchestral Oboe 8 Stopped Diapason 8 Corno di Bassetto 8 Flute (Orchestral) 4 *Ophicleide 8 Flute Piccolo 2 *Trumpet 8 Contra Fagotto 16 *Clarion, No. 1 4 Trombone 8 *Clarion, No. 2 4 Bassoon 8 These stops are all placed in a new swell-box, except those marked*, which are on the heavy wind pressure. PEDAL ORGAN (17 STOPS). FEET. FEET. Double Open Quint (metal) 5 1/2 Diapason (wood) 32 Fifteenth 4 Double Open Fourniture, 5 ranks Diapason (metal) 32 Mixture, 3 ranks Open Diapason (wood) 16 Posaune 32 Open Diapason (metal) 16 Contra Fagotto 16 Salicional (metal) 16 Ophicleide 16 Bourdon (wood) 16 Trumpet 8 Bass Flute (wood) 8 Clarion 4 Principal (wood) 8 COUPLERS. Solo Super-Octave. Choir to Great. Solo Sub-Octave. Choir Super-Octave. Solo to Great. Choir Sub-Octave. Swell to Great Super-Octave. Solo to Pedals. Swell to Great Unison. Swell to Pedals. Swell to Great Sub-Octave. Great to Pedals. Swell to Choir. Choir to Pedals.
In addition to these coupling movements there are other accessories, consisting of 36 pneumatic pistons, 6 to each manual, and 12 acting upon the Pedal stops. There are also 6 composition pedals acting upon the "Great" and "Pedal" stops simultaneously, and 4 pedals acting upon the Swell organ pistons. The Swell and Solo organs are each provided with tremulants.
In addition to these coupling movements, there are other components, including 36 pneumatic pistons, with 6 for each manual and 12 for the pedal stops. There are also 6 composition pedals that affect the "Great" and "Pedal" stops at the same time, and 4 pedals that impact the Swell organ pistons. Both the Swell and Solo organs come with tremulants.
Two large bellows in the basement of the Hall, and blown by two steam engines of 8 h.p. and 1/2 h.p. respectively, supply the wind, which passes from the bellows to 14 reservoirs in various positions in the instrument, the pressure varying from 3 1/2 to 22 inches.
Two big bellows in the Hall's basement, powered by two steam engines with 8 h.p. and 1/2 h.p. respectively, generate the wind that travels from the bellows to 14 reservoirs located throughout the instrument, with pressure levels ranging from 3 1/2 to 22 inches.
ORGAN IN THE CATHEDRAL OF NOTRE-DAME, PARIS, FRANCE.
The ancient organ in the Cathedral of Notre-Dame de Paris was built in the reign of Louis XV by Thierry Leselope and the best workmen of his time. In the Eighteenth Century repairs and additions were made by the celebrated Cliquot. Further repairs were made by Dalsey from 1832 to 1838, and in 1863 the French Government confided the complete reconstruction of the instrument to Aristide Cavaillé-Coll. He spent five years over the work, and the new organ was solemnly inaugurated on the 6th of March, 1868.
The ancient organ in the Cathedral of Notre-Dame de Paris was built during the reign of Louis XV by Thierry Leselope and the best craftsmen of his time. In the 18th century, repairs and additions were made by the famous Cliquot. Further repairs were done by Dalsey from 1832 to 1838, and in 1863, the French Government entrusted the complete reconstruction of the instrument to Aristide Cavaillé-Coll. He spent five years on the project, and the new organ was officially inaugurated on March 6, 1868.

Keyboards, Cathedral Notre Dame, Paris
It will be noticed that this illustration is not a photograph, but a wood engraving, drawn by hand, and the artist was evidently not a musician--he only shows 38 keys on each manual; there should be 56.
It will be noticed that this illustration is not a photograph, but a wood engraving, drawn by hand, and the artist was obviously not a musician—he only shows 38 keys on each keyboard; there should be 56.
It stands in a gallery over the west door of the Cathedral. It has five manuals of 56 notes each, CC to g3, pedal of 30 notes, CCC to F; 86 sounding stops "controlled by 110 registers"; 32 combination pedals, and 6,000 pipes, the longest being 32 feet. The action is Cavaillé-Coll's latest improvement on the Barker pneumatic lever. The wind reservoirs contain 35,000 litres of compressed air, fed by 6 pairs of pompes furnishing 600 litres of air per second. Here is the specification:
It’s located in a gallery above the west door of the Cathedral. It features five manuals with 56 notes each, ranging from CC to g3, and a pedal board with 30 notes, from CCC to F. There are 86 sounding stops controlled by 110 registers, 32 combination pedals, and a total of 6,000 pipes, with the longest measuring 32 feet. The action is the latest improvement by Cavaillé-Coll on the Barker pneumatic lever. The wind reservoirs hold 35,000 liters of compressed air, supplied by 6 pairs of pompes that provide 600 liters of air per second. Here's the specification:
PEDAL ORGAN (16 STOPS). FEET. FEET. Principal-Basse 32 Quinte 5 2/3 Contre-Basse 16 Septième 4 4/7 Grosse Quinte 10 2/3 Centre Bombarde 32 Sous-Basse 16 Bombarde 16 Flute 8 Trompette 8 Grosse Tierce 6 2/5 Basson 16 Violoncelle 8 Basson 8 Octave 4 Clairon 4 FIRST CLAVIER (GRAND CHOEUR), 12 STOPS. FEET. FEET. Principal 8 Larigot 1 1/3 Prestant 4 Septième 1 1/7 Bourdon 8 Piccolo 1 Quinte 2 2/3 Tuba Magna 16 Doublette 2 Trompette 8 Tierce 1 3/5 Clairon 4 SECOND CLAVIER (GBAND ORGUE), 14 STOPS. FEET. FEET. Violon-Basse 16 Octave 4 Montre 8 Doublette 2 Bourdon 16 Fourniture, 2 to 5 ranks Flute Harmonique 8 Cymbale, 2 to 5 ranks Viola de Gambe 8 Basson 16 Prestant 4 Basson-Hautbois 8 Bourdon 8 Clairon 4 THIRD CLAVIER (BOMBARDES), 14 STOPS. FEET. FEET. Principal-Basse 16 Quinte 2 2/3 Principal 8 Septième 2 1/7 Sous-Basse 16 Doublette 2 Flute Harmonique 8 Cornet, 2 to 5 ranks Grosse Quinte 5 1/3 Bombarde 16 Octave 4 Trompette 8 Grosse Tierce 3 1/5 Clairon 4 FOURTH CLAVIER (POSITIF), 14 STOPS. FEET. FEET. Montre 16 Flute Douce 4 Flute Harmonique 8 Doublette 2 Bourdon 16 Piccolo 1 Salcional 8 Plein Jeu, 3 to 6 ranks Prestant 4 Clarinette-Basse 16 Unda Maris 8 Cromorne 8 Bourdon 8 Clarinette Aigue 4 FIFTH CLAVIER (RECIT EXPRESSIF), 16 STOPS. FEET. FEET. Voix Humaine 8 *Prestant 4 *Basson-Hautbois 8 *Plein Jeu, 4 to 7 ranks *Diapason 8 Quinte 2 2/3 *Flute Harmonique 4 Octavin 2 Voix Celeste 8 Cornet, 3 to 5 ranks *Flute Octav 4 Bombarde 16 Voile de Gambe 8 Trompette 8 Quintaton 16 Clairon 4
PEDAL ORGAN (16 STOPS). FEET. FEET. Principal-Bass 32 Quint 5 2/3 Contrabass 16 Seventh 4 4/7 Great Quint 10 2/3 Center Bombarde 32 Subbass 16 Bombarde 16 Flute 8 Trumpet 8 Great Third 6 2/5 Bassoon 16 Cello 8 Bassoon 8 Octave 4 Clarion 4 FIRST KEYBOARD (GRAND CHOIR), 12 STOPS. FEET. FEET. Principal 8 Larigot 1 1/3 Prestant 4 Seventh 1 1/7 Bourdon 8 Piccolo 1 Quint 2 2/3 Tuba Magna 16 Doublette 2 Trumpet 8 Third 1 3/5 Clarion 4 SECOND KEYBOARD (GRAND ORGAN), 14 STOPS. FEET. FEET. Viola Bass 16 Octave 4 Show 8 Doublette 2 Bourdon 16 Fourniture, 2 to 5 ranks Harmonic Flute 8 Cymbals, 2 to 5 ranks Viola de Gambe 8 Bassoon 16 Prestant 4 High Bassoon 8 Bourdon 8 Clarion 4 THIRD KEYBOARD (BOMBARDES), 14 STOPS. FEET. FEET. Principal-Bass 16 Quint 2 2/3 Principal 8 Seventh 2 1/7 Subbass 16 Doublette 2 Harmonic Flute 8 Cornet, 2 to 5 ranks Great Quint 5 1/3 Bombarde 16 Octave 4 Trumpet 8 Great Third 3 1/5 Clarion 4 FOURTH KEYBOARD (POSITIF), 14 STOPS. FEET. FEET. Show 16 Soft Flute 4 Harmonic Flute 8 Doublette 2 Bourdon 16 Piccolo 1 Salicional 8 Full Play, 3 to 6 ranks Prestant 4 Bass Clarinet 16 Unda Maris 8 Cromorne 8 Bourdon 8 High Clarinet 4 FIFTH KEYBOARD (RECIT EXPRESSIF), 16 STOPS. FEET. FEET. Human Voice 8 *Prestant 4 *High Bassoon 8 *Full Play, 4 to 7 ranks *Diapason 8 Quint 2 2/3 *Harmonic Flute 4 Octavin 2 Celestial Voice 8 Cornet, 3 to 5 ranks *Octave Flute 4 Bombarde 16 Gambe Veil 8 Trumpet 8 Quintaton 16 Clarion 4
The printed specification kindly furnished to us by Dr. William C. Carl, of New York, who obtained it specially from Mr. Charles Mutin, of Paris, Cavaillé-Coll's successor in business, is not clear on the matter of couplers. Apparently all the manuals can be coupled to the Grand Choeur; the Grand Orgne and the Grand Choeur to the Pedals; and each manual has a suboctave coupler on itself. One of the combinations to the Pedal organ is designated, "Effets d'orage"--a thunder stop.
The printed specification provided to us by Dr. William C. Carl from New York, who got it specifically from Mr. Charles Mutin in Paris, Cavaillé-Coll's business successor, isn't clear about the couplers. It seems all the manuals can be coupled to the Grand Choeur; the Grand Orgne and the Grand Choeur can be coupled to the Pedals; and each manual has its own suboctave coupler. One of the combinations for the Pedal organ is labeled "Effets d'orage"—a thunder stop.
The organ was completely overhauled and renovated by Cavaillé-Coll shortly before his death (in 1899) and the stops marked * were inserted in the Swell (Recit Expressif) in place of others. The inauguration announcement states that it is one of the largest and most complete in Europe, and that independently of the perfection of the mechanism it possesses a power and variety of tone hitherto unknown in organ building, and now only realized for the first time. It is undoubtedly Cavaillé-Coll's finest work, and a lasting monument to his genius.
The organ was completely revamped and renovated by Cavaillé-Coll just before he passed away (in 1899), and the stops marked * were added to the Swell (Recit Expressif) in place of others. The inauguration announcement claims that it is one of the largest and most complete organs in Europe, and that aside from the perfection of the mechanism, it has a power and variety of tone that had never been seen in organ building before, and is now realized for the first time. It is undoubtedly Cavaillé-Coll's greatest work and a lasting tribute to his genius.
ST. PAUL'S CATHEDRAL ORGAN, LONDON, ENG.
The old organ in St. Paul's Cathedral, London, on which Sir John Goss played, and which had felt the magic touch of Mendelssohn, had 13 stops on the Great, 7 on the Swell, 8 on the Choir and only one on the Pedal. It stood in a case on the screen between the choir and the nave of the Cathedral. We have noted elsewhere in this book how Willis had this screen removed, and rebuilt the organ on each side in 1872. In 1891 it was rebuilt in its present form as noted below. The writer first saw and heard this organ in 1873, and never failed, on his frequent visits to London in later years, to attend a service in St. Paul's Cathedral, where there are two choral services daily all the year round. No summer vacations here. The effect of the Tuba ringing up into the dome is magnificent. Willis looked upon this organ as his chef d' oeuvre, saying "There is nothing like it in the whole world!"
The old organ in St. Paul's Cathedral, London, where Sir John Goss played and which had experienced Mendelssohn's magical touch, had 13 stops on the Great, 7 on the Swell, 8 on the Choir, and only one on the Pedal. It was housed in a case on the screen between the choir and the nave of the Cathedral. As noted earlier in this book, Willis had this screen removed and rebuilt the organ on each side in 1872. In 1891, it was rebuilt in its current form, as mentioned below. The writer first saw and heard this organ in 1873 and never missed an opportunity, on his frequent visits to London in the following years, to attend a service at St. Paul's Cathedral, where there are two choral services every day throughout the year. No summer breaks here. The sound of the Tuba resonating up into the dome is stunning. Willis regarded this organ as his chef d' oeuvre, declaring, "There's nothing like it in the whole world!"
The Great organ is situated on the north side of the chancel. The Swell and Choir organs are on the south side. The Solo organ and one-third of the Pedal organ are under the first arch on the north side of the chancel. The Altar organ, which can be played through the Solo organ keys, is under the second arch on the north side of the chancel. The remaining two-thirds of the Pedal organ and three Tuba stops occupy the northeast quarter gallery in the dome. The keyboards are on the north side of the chancel, inside the organ case, and can be seen from the "whispering gallery." There are five manuals, CC to c3, 61 notes; pedals CCC to g, 32 notes.
The Great organ is located on the north side of the chancel. The Swell and Choir organs are on the south side. The Solo organ and one-third of the Pedal organ are under the first arch on the north side of the chancel. The Altar organ, which can be played using the Solo organ keys, is under the second arch on the north side of the chancel. The remaining two-thirds of the Pedal organ and three Tuba stops are in the northeast quarter gallery of the dome. The keyboards are on the north side of the chancel, inside the organ case, and can be seen from the "whispering gallery." There are five manuals, CC to c3, 61 notes; pedals CCC to g, 32 notes.
PEDAL ORGAN (NORTHEAST GALLERY OF DOME), 10 STOPS FEET. FEET. Double Diapason 32 Octave 8 Open Diapason, No. 1 16 Mixture, 3 ranks Open Diapason, No. 2 16 Contra Posaune 32 Violone Open Diapason 16 Bombardon 16 Violoncello 8 Clarion 4 PEDAL ORGAN (UNDER ARCH, NORTH SIDE OF CHANCEL), 8 STOPS FEET. FEET. Violone 16 Octave 8 Bourdon 16 Ophicleide 16 Open Diapason 16 CHOIR ORGAN, 11 STOPS FEET. FEET. Contra Gamba 16 Flute Harmonique 4 Open Diapason 8 Principal 4 Dulciana 8 Flageolet 2 Violoncello 8 Corno di Bassetto 8 Claribel Flute 8 Cor Anglais 8 Lieblich Gedackt 8 GREAT ORGAN, 16 STOPS FEET. FEET. Double Diapason 16 Principal 4 Open Diapason, No. 1 8 Octave Quint 3 Open Diapason, No. 2 8 Super Octave 2 Open Diapason, No. 3 8 Fourniture, 3 ranks Open Diapason, No. 4 8 Mixture, 3 ranks Open Diapason 8 Trombone 16 Quint, metal 6 Tromba 8 Flûte Harmonique 4 Clarion 4 SWELL ORGAN, 13 STOPS FEET. FEET. Contra Gamba 16 Fifteenth 2 Open Diapason 8 Echo Cornet, 3 ranks Lieblich Gedackt 8 Contra Posaune 16 Salicional 8 Cornopean 8 Vox Angelica 8 Hautbois 8 Principal 4 Clarion 4 SOLO ORGAN (NOT IN SWELL BOX), 3 STOPS FEET. FEET. Flûte Harmonique 8 Piccolo 2 Concert Flûte Harmonique 4 SOLO ORGAN (IN SWELL BOX), 10 STOPS FEET. FEET. Open Diapason 8 Tuba 8 Gamba 8 Orchestral Oboe 8 Contra Fagotto 16 Corno di Bassetto 8 Contra Posaune 16 Cornopean 8 Cor Anglais 8 Flute 8 ALTAR ORGAN (PLAYED THROUGH SOLO ORGAN KEYS), 5 STOPS FEET. FEET. Contra Gamba 16 Vox Humana 8 Gamba 8 Tremulant Vox Angelica, 3 ranks 8 TUBA ORGAN, 6 STOPS FEET. FEET. Double Tuba (in Tuba (in quarter gallery) 4 quarter gallery) 16 Tuba Major (over Great organ) 8 Tuba, (in quarter gallery) 8 Clarion (over Great organ) 4 COUPLERS AND ACCESSORIES--PNEUMATIC Swell to Great Sub-octave. Dome Tubas to Great. Swell to Great Unison. Chancel Tubas to Great. Swell to Great Super-octave. Chancel Tubas to Great. Solo to Swell. COUPLERS--MECHANICAL Tuba Organ to Pedal. Great Organ to Pedal. Solo Organ to Pedal. Choir Organ to Pedal. Swell Organ to Pedal. Six Pistons operate on the whole Organ. About forty Adjustable Pistons and Composition Pedals.
PEDAL ORGAN (NORTHEAST GALLERY OF DOME), 10 STOPS FEET. FEET. Double Diapason 32 Octave 8 Open Diapason, No. 1 16 Mixture, 3 ranks Open Diapason, No. 2 16 Contra Posaune 32 Violone Open Diapason 16 Bombardon 16 Violoncello 8 Clarion 4 PEDAL ORGAN (UNDER ARCH, NORTH SIDE OF CHANCEL), 8 STOPS FEET. FEET. Violone 16 Octave 8 Bourdon 16 Ophicleide 16 Open Diapason 16 CHOIR ORGAN, 11 STOPS FEET. FEET. Contra Gamba 16 Flute Harmonique 4 Open Diapason 8 Principal 4 Dulciana 8 Flageolet 2 Violoncello 8 Corno di Bassetto 8 Claribel Flute 8 Cor Anglais 8 Lieblich Gedackt 8 GREAT ORGAN, 16 STOPS FEET. FEET. Double Diapason 16 Principal 4 Open Diapason, No. 1 8 Octave Quint 3 Open Diapason, No. 2 8 Super Octave 2 Open Diapason, No. 3 8 Fourniture, 3 ranks Open Diapason, No. 4 8 Mixture, 3 ranks Open Diapason 8 Trombone 16 Quint, metal 6 Tromba 8 Flûte Harmonique 4 Clarion 4 SWELL ORGAN, 13 STOPS FEET. FEET. Contra Gamba 16 Fifteenth 2 Open Diapason 8 Echo Cornet, 3 ranks Lieblich Gedackt 8 Contra Posaune 16 Salicional 8 Cornopean 8 Vox Angelica 8 Hautbois 8 Principal 4 Clarion 4 SOLO ORGAN (NOT IN SWELL BOX), 3 STOPS FEET. FEET. Flûte Harmonique 8 Piccolo 2 Concert Flûte Harmonique 4 SOLO ORGAN (IN SWELL BOX), 10 STOPS FEET. FEET. Open Diapason 8 Tuba 8 Gamba 8 Orchestral Oboe 8 Contra Fagotto 16 Corno di Bassetto 8 Contra Posaune 16 Cornopean 8 Cor Anglais 8 Flute 8 ALTAR ORGAN (PLAYED THROUGH SOLO ORGAN KEYS), 5 STOPS FEET. FEET. Contra Gamba 16 Vox Humana 8 Gamba 8 Tremulant Vox Angelica, 3 ranks 8 TUBA ORGAN, 6 STOPS FEET. FEET. Double Tuba (in Tuba (in quarter gallery) 4 quarter gallery) 16 Tuba Major (over Great organ) 8 Tuba, (in quarter gallery) 8 Clarion (over Great organ) 4 COUPLERS AND ACCESSORIES--PNEUMATIC Swell to Great Sub-octave. Dome Tubas to Great. Swell to Great Unison. Chancel Tubas to Great. Swell to Great Super-octave. Chancel Tubas to Great. Solo to Swell. COUPLERS--MECHANICAL Tuba Organ to Pedal. Great Organ to Pedal. Solo Organ to Pedal. Choir Organ to Pedal. Swell Organ to Pedal. Six Pistons operate on the whole Organ. About forty Adjustable Pistons and Composition Pedals.
The mechanism is entirely new. The quarter dome portion of the organ is playable by electric agency; the rest being entirely pneumatic. There are one hundred draw-stops. The most novel features are the new Altar and Tuba organs. The former, containing Vox Humana, Vox Angelica (3 ranks), and two Gambas (16 and 8 feet) serves for distant and mysterious effects and to support the priest while intoning at the altar; while the Tuba organ produces effects of striking brilliancy; three of the Tubas being located in the northeast quarter-gallery and speaking well into the body of the building. Among the accessories, also, may be noted the large supply of adjustable combination pistons, which bring the various sections of the instrument well under the player's control. Various wind pressures are employed, from 3 1/2 to 25 inches.
The mechanism is completely new. The quarter dome section of the organ is playable using electric control; the rest is fully pneumatic. There are one hundred draw stops. The most innovative features are the new Altar and Tuba organs. The Altar organ, which includes Vox Humana, Vox Angelica (3 ranks), and two Gambas (16 and 8 feet), is designed for creating distant and mysterious effects and to support the priest during intonations at the altar; meanwhile, the Tuba organ produces strikingly brilliant effects, with three Tubas located in the northeast quarter-gallery that project well into the main area of the building. Among the accessories, there is also a significant supply of adjustable combination pistons that allow the player to control the different sections of the instrument effectively. Various wind pressures are used, ranging from 3 1/2 to 25 inches.
WESTMINSTER ABBEY ORGAN, LONDON, ENG.
All good Americans when they visit London go to Westminster Abbey, and will be interested in the organ there; in fact we believe it was largely built with American money. The house of William Hill & Son, who built this organ, is the oldest firm of organ-builders in England, being descended from the celebrated artist, John Snetzler, whose business, founded in 1755, passed into the possession of Thomas Elliot, and to his son-in-law, William Hill (inventor of the Tuba), in the earlier part of the Nineteenth Century. The business has been in the Hill family nearly a hundred years and is now directed by William Hill's grandson. The firm has built many notable instruments in Great Britain and her colonies (Sydney) celebrated for the refinement and purity of their tone.
All good Americans visiting London go to Westminster Abbey and are usually interested in the organ there; in fact, we believe it was largely funded by American money. The company William Hill & Son, which built this organ, is the oldest organ-building firm in England, tracing its lineage back to the famous artist, John Snetzler, whose business was founded in 1755. It later passed to Thomas Elliot and then to his son-in-law, William Hill (the inventor of the Tuba), in the early part of the Nineteenth Century. The business has been in the Hill family for nearly a hundred years and is currently run by William Hill's grandson. The firm has created many well-known instruments in Great Britain and her colonies (Sydney), celebrated for their refined and pure tone.

The Console, Westminster Abbey
The organ in Westminster Abbey is placed at each side of the choir screen, except the Celestial organ, which is placed in the triforium of the south transept (Poets' Corner) and connected with the console by an electric cable 200 feet long. The form of action used is Messrs. Hill's own, and the "stop-keys" therefor (made to a pattern suggested by Sir Frederick Bridge) will be seen in the picture to the left of the music desk. Note that this organ can be played from two keyboards. The main organ has pneumatic action throughout. It was commenced in 1884, added to as funds were available, and finished in 1895. The specification (containing the additions made in 1908-9) follows:
The organ in Westminster Abbey is located on either side of the choir screen, except for the Celestial organ, which is situated in the triforium of the south transept (Poets' Corner) and is connected to the console by a 200-foot electric cable. The mechanism used is designed by Messrs. Hill, and the “stop-keys” for it (created based on a design suggested by Sir Frederick Bridge) can be seen in the picture to the left of the music desk. Keep in mind that this organ can be played from two keyboards. The main organ has pneumatic action throughout. It was started in 1884, expanded as funding became available, and completed in 1895. The specification (including the additions made in 1908-9) follows:
GREAT ORGAN (14 STOPS) FEET. FEET. Double Open Diapason 16 Harmonic Flute 4 Open Diapason, large scale 8 Twelfth 2 2/3 Open Diapason, No. 1 8 Fifteenth 2 Open Diapason, No. 2 8 Mixture, 4 ranks Open Diapason, No. 3 8 Double Trumpet 16 Hohl Flöte 8 Posaune 8 Principal 4 Clarion 4 CHOIR ORGAN (11 STOPS) FEET. FEET. Gedackt 16 Nason Flute 4 Open Diapason 8 Suabe Flute 4 Keraulophon 8 Harmonic Gemshorn 4 Dulciana 8 Contra Fagotto 16 Lieblich Gedackt 8 Cor Anglais 8 Principal 4 SWELL ORGAN (18 STOPS) FEET. FEET. Double Diapason, Bass 16 Dulcet 4 Double Diapason, Treble 16 Principal 4 Open Diapason, No. 1 8 Lieblich Flöte 4 Open Diapason, No. 2 8 Fifteenth 2 Rohr Flöte 8 Mixture, 3 ranks Salicional 8 Oboe 8 Voix Celestes 8 Double Trumpet 16 Dulciana 8 Cornopean 8 Hohl Flöte 8 Clarion 4 SOLO ORGAN (8 STOPS) FEET. FEET. Gamba 8 In a Swell Box Rohr Flöte 8 Orchestral Oboe 8 Lieblich Flöte 4 Clarinet 8 Harmonic Flute 4 Vox Humana 8 Tuba Mirabilis (heavy wind) 8 CELESTIAL ORGAN (17 STOPS) First Division-- FEET. FEET. Double Dulciana, Bass 16 Voix Celestes 8 Double Dulciana, Treble 16 Hohl Flöte 8 Flauto Traverso 8 Dulciana Cornet, 6 ranks Viola di Gamba 8 The following Stops are available, when desired, on the Solo keyboard, thus furnishing an independent Instrument of two Manuals; whilst in combination with Coupler Keys, Nos. 1 and 2, Coupler Keys Nos. 3 and 4 can be interchanged, thus reversing the Claviers. Second Division-- FEET. FEET. Cor de Nuit 8 Vox Humana 8 Suabe Flute 4 Spare Slide Flageolet 2 Glockenspiel, 3 ranks Harmonic Trumpet 8 Gongs (three octaves of Musette 8 brass gongs, struck by Harmonic Oboe 8 electro-pneumatic hammers). ORGAN (10 STOPS) FEET. FEET. Double Open Diapason 32 Bass Flute 8 Open Diapason 16 Violoncello 8 Open Diapason 16 Contra Posaune 32 Bourdon 16 Posaune 16 Principal 8 Trumpet 8 Manuals--CC to a|3|. Pedal--CCC to F. The entire instrument is blown by a gas engine, actuating a rotary blower and high pressure feeders. There are 24 Couplers; 10 Combination Pedals affecting Great, Swell, and Pedal stops; 24 Combination Pistons, and 3 Crescendo Pedals.
GREAT ORGAN (14 STOPS) FEET. FEET. Double Open Diapason 16 Harmonic Flute 4 Open Diapason, large scale 8 Twelfth 2 2/3 Open Diapason, No. 1 8 Fifteenth 2 Open Diapason, No. 2 8 Mixture, 4 ranks Open Diapason, No. 3 8 Double Trumpet 16 Hohl Flöte 8 Posaune 8 Principal 4 Clarion 4 CHOIR ORGAN (11 STOPS) FEET. FEET. Gedackt 16 Nason Flute 4 Open Diapason 8 Suabe Flute 4 Keraulophon 8 Harmonic Gemshorn 4 Dulciana 8 Contra Fagotto 16 Lieblich Gedackt 8 Cor Anglais 8 Principal 4 SWELL ORGAN (18 STOPS) FEET. FEET. Double Diapason, Bass 16 Dulcet 4 Double Diapason, Treble 16 Principal 4 Open Diapason, No. 1 8 Lieblich Flöte 4 Open Diapason, No. 2 8 Fifteenth 2 Rohr Flöte 8 Mixture, 3 ranks Salicional 8 Oboe 8 Voix Celestes 8 Double Trumpet 16 Dulciana 8 Cornopean 8 Hohl Flöte 8 Clarion 4 SOLO ORGAN (8 STOPS) FEET. FEET. Gamba 8 In a Swell Box Rohr Flöte 8 Orchestral Oboe 8 Lieblich Flöte 4 Clarinet 8 Harmonic Flute 4 Vox Humana 8 Tuba Mirabilis (heavy wind) 8 CELESTIAL ORGAN (17 STOPS) First Division-- FEET. FEET. Double Dulciana, Bass 16 Voix Celestes 8 Double Dulciana, Treble 16 Hohl Flöte 8 Flauto Traverso 8 Dulciana Cornet, 6 ranks Viola di Gamba 8 The following stops are available, when desired, on the Solo keyboard, thus providing an independent instrument with two manuals; in combination with Coupler Keys, Nos. 1 and 2, Coupler Keys Nos. 3 and 4 can be switched, thus reversing the keyboards. Second Division-- FEET. FEET. Cor de Nuit 8 Vox Humana 8 Suabe Flute 4 Spare Slide Flageolet 2 Glockenspiel, 3 ranks Harmonic Trumpet 8 Gongs (three octaves of Musette 8 brass gongs, struck by Harmonic Oboe 8 electro-pneumatic hammers). ORGAN (10 STOPS) FEET. FEET. Double Open Diapason 32 Bass Flute 8 Open Diapason 16 Violoncello 8 Open Diapason 16 Contra Posaune 32 Bourdon 16 Posaune 16 Principal 8 Trumpet 8 Manuals--CC to a|3|. Pedal--CCC to F. The entire instrument is powered by a gas engine, driving a rotary blower and high-pressure feeders. There are 24 couplers; 10 combination pedals affecting Great, Swell, and Pedal stops; 24 combination pistons, and 3 crescendo pedals.
In 1908-1909 the organ was refitted throughout with William Hill & Sons' latest type of tubular pneumatic action (excepting the Celestial organ, for which the electric action was retained), an entirely new console was provided, a large-scale Open Diapason added to the reed soundboard of the Great organ, and several additions made to the couplers and combination pistons.
In 1908-1909, the organ was completely upgraded with the newest type of tubular pneumatic action from William Hill & Sons (except for the Celestial organ, which kept the electric action). A brand-new console was put in, a large-scale Open Diapason was added to the reed soundboard of the Great organ, and several enhancements were made to the couplers and combination pistons.
William Hill & Sons are also the builders of the organ in the Town Hall, Sydney, Australia, once the largest in the world; it has 126 speaking stops. It may be looked upon as the apotheosis of the old style of organ-building, with low pressures, duplication, and mixtures. The highest pressure used is 12 inches and there are no less than 45 ranks of mixtures which were characterized by Sir J. F. Bridge as being "like streaks of silver." The writer saw this organ in the builder's factory in London before it was shipped to Sydney. A unique novelty was the Contra Trombone on the Pedal of 64 feet actual length. The bottom pipes were doubled up into three sections and the tongue of the reed of the CCCCC pipe was two feet long. Although almost inaudible when played alone this stop generated harmonics which powerfully reinforced the tone of the full organ. The organ is inclosed in a case designed by Mr. Arthur Hill after old renaissance examples.
William Hill & Sons also built the organ in the Town Hall, Sydney, Australia, which was once the largest in the world; it has 126 speaking stops. It can be seen as the pinnacle of the old style of organ-building, featuring low pressures, duplication, and mixtures. The highest pressure used is 12 inches, and there are 45 ranks of mixtures, which Sir J. F. Bridge described as "like streaks of silver." The writer saw this organ at the builder's factory in London before it was shipped to Sydney. A unique feature was the Contra Trombone on the Pedal, which was 64 feet long. The bottom pipes were divided into three sections, and the tongue of the reed of the CCCCC pipe was two feet long. Although almost inaudible when played alone, this stop produced harmonics that significantly enhanced the sound of the entire organ. The organ is housed in a case designed by Mr. Arthur Hill, inspired by old Renaissance examples.
ORGAN IN THE MANSION OF J. MARTIN WHITE, ESQ.,
BALRUDDERY, SCOTLAND
The organs heretofore described have been somewhat on the old lines, but we come now, in 1894, to "the dawn of a new era," and the star of Hope-Jones appears on the horizon. With the exception of an instrument rebuilt by Hope-Jones in Dundee Parish Church, this is the first organ with electric action in Scotland.
The organs described so far have been somewhat traditional, but now, in 1894, we are entering "the dawn of a new era," and the Hope-Jones innovation is on the horizon. Aside from an instrument rebuilt by Hope-Jones in Dundee Parish Church, this is the first organ with electric action in Scotland.

Organ in Hall of Balruddery Mansion, Dundee, Scotland
Balruddery mansion, the rural residence of Mr. J. Martin White, stands in a fair country seven miles to the west of Dundee. The grounds of the mansion are a dream of sylvan beauty, with the broad bosom of the River Tay within the vision and beyond that the blue line of the Fife shore.
Balruddery mansion, the country home of Mr. J. Martin White, is located seven miles west of Dundee. The estate is a vision of natural beauty, with the expansive River Tay in sight and beyond that, the blue outline of the Fife coast.
The organ is the work of three hands. It was originally built by Casson; the most notable characters in the voicing are due to Thynne; and it remained for Mr. Hope-Jones to entirely reconstruct it with his electric action, stop-keys, double touch, pizzicato touch and some of his new stops. The console is movable, connected with the organ by a cable about one inch thick, containing about 1,000 wires, enabling the player to hear the organ as the audience hears it.
The organ is the result of three people's efforts. It was initially built by Casson; Thynne contributed the most significant aspects of the voicing; and Mr. Hope-Jones completely rebuilt it with his electric action, stop-keys, double touch, pizzicato touch, and some of his new stops. The console is movable and connected to the organ by a cable about an inch thick, containing around 1,000 wires, allowing the player to hear the organ just like the audience does.
Referring to the view of the hall on page 167, the Great organ is in the chamber behind the pipes seen in the upper gallery. The Swell and Solo organs are in the attic above, and the sound of these can be made distant by shutting the Swell shutters, or brought near by opening them. The pedal pipes are put upside down so that their open ends may be toward the music room.
Referring to the view of the hall on page 167, the Great organ is located in the chamber behind the pipes seen in the upper gallery. The Swell and Solo organs are in the attic above, and their sound can be made distant by closing the Swell shutters, or brought closer by opening them. The pedal pipes are installed upside down so that their open ends face the music room.
SPECIFICATION. Three manuals, CC to a|3|, 58 notes. Pedal CCC to F, 30 notes. PEDAL ORGAN (G STOPS). FEET. FEET. Open Diapason 16 Principal 8 "Great" Bourdon 16 (Partly from 16 feet "Swell" Violone 16 open.) Ophicleide 16 Couplers: (First and second touch, Great to Pedal. partly from Tuba.) Swell to Pedal. "Swell" Viola 8 Solo to Pedal. GREAT ORGAN (9 STOPS). In swell box No. 2, except the Open Diapason, Clarabel and Sourdine. FEET. FEET. Bourdon 16 Principal 4 Open Diapason 8 Zauber Flöte 4 Clarabel 8 Piccolo 2 Sourdine 8 Mixture, 5 ranks Gedackt 8 Couplers: Swell to Great (first and second touch). " Swell to Great Sub-Octave. " Swell to Great Super-Octave. " Solo Unison to Great (first, second, and pizzicato touch). " Solo to Super-Octave to Great. 5 Composition Pedals. SWELL ORGAN (10 STOPS). In Swell Box No. 1. FEET. FEET. Violone 16 Geigen Principal 4 Geigen Open 8 Horn 8 Violes d' Orchestre 8 Oboe 8 Harmonic Flute 8 Violes Celestes (Tenor C) 8 Echo Salcional 8 Vox Angelica (Tenor C) 8 Couplers: Sub-Octave and Super-Octave. " Solo to Swell (second touch). " Great to Swell (second touch). 5 Composition Pedals. SOLO ORGAN (5 STOPS). In Swell Box No. 2. FEET. FEET. Harmonic Flute Tuba Mirabilis (8 inches wind) 8 (8 inches wind) 8 Violoncello 8 Cor Anglais 8 Clarionet 8 Couplers: Sub-Octave; Super-Octave. GENERAL ACCESSORIES. Three Pedal Studs p, f, ff. Sforzando Pedal f, ff. Stop Switch (Key and Pedal). Tremulant (Swell and Solo).
SPECIFICATION. Three manuals, CC to a|3|, 58 notes. Pedal CCC to F, 30 notes. PEDAL ORGAN (G STOPS). FEET. FEET. Open Diapason 16 Principal 8 "Great" Bourdon 16 (Partly from 16 feet "Swell" Violone 16 open.) Ophicleide 16 Couplers: (First and second touch, Great to Pedal. partly from Tuba.) Swell to Pedal. "Swell" Viola 8 Solo to Pedal. GREAT ORGAN (9 STOPS). In swell box No. 2, except the Open Diapason, Clarabel and Sourdine. FEET. FEET. Bourdon 16 Principal 4 Open Diapason 8 Zauber Flöte 4 Clarabel 8 Piccolo 2 Sourdine 8 Mixture, 5 ranks Gedackt 8 Couplers: Swell to Great (first and second touch). " Swell to Great Sub-Octave. " Swell to Great Super-Octave. " Solo Unison to Great (first, second, and pizzicato touch). " Solo to Super-Octave to Great. 5 Composition Pedals. SWELL ORGAN (10 STOPS). In Swell Box No. 1. FEET. FEET. Violone 16 Geigen Principal 4 Geigen Open 8 Horn 8 Violes d' Orchestre 8 Oboe 8 Harmonic Flute 8 Violes Celestes (Tenor C) 8 Echo Salcional 8 Vox Angelica (Tenor C) 8 Couplers: Sub-Octave and Super-Octave. " Solo to Swell (second touch). " Great to Swell (second touch). 5 Composition Pedals. SOLO ORGAN (5 STOPS). In Swell Box No. 2. FEET. FEET. Harmonic Flute Tuba Mirabilis (8 inches wind) 8 (8 inches wind) 8 Violoncello 8 Cor Anglais 8 Clarionet 8 Couplers: Sub-Octave; Super-Octave. GENERAL ACCESSORIES. Three Pedal Studs p, f, ff. Sforzando Pedal f, ff. Stop Switch (Key and Pedal). Tremulant (Swell and Solo).
ORGAN IN WORCESTER CATHEDRAL, ENGLAND.
Next in chronological order comes the epoch-making organ in Worcester Cathedral, England, built by Hope-Jones in 1896. Here he gave to the world the result of his researches into the production of organ tone, and we make bold to say that no other instrument has so revolutionized and exerted such an influence on the art of organ-building both in England and the United States. Here for the first time we find that wonderful invention, the Diaphone, and even the nomenclature of the various stops is new, however familiar they may be now, seventeen years later. Hope-Jones is reported to have spent several days in the Cathedral studying its acoustic properties before planning this organ, and the result was a marvelous ensemble of tone. The fame thereof spread abroad and eminent musicians made pilgrimages from all parts of the earth to see and hear it, as mentioned in our account of Yale University Organ later.
Next in chronological order is the groundbreaking organ in Worcester Cathedral, England, built by Hope-Jones in 1896. Here he shared the results of his research into how organ tone is produced, and we dare say that no other instrument has transformed and impacted the art of organ-building so much in both England and the United States. For the first time, we see the amazing invention, the Diaphone, and even the names of the various stops are new, no matter how familiar they may be now, seventeen years later. Hope-Jones reportedly spent several days in the Cathedral studying its acoustic properties before designing this organ, resulting in a stunning combination of sound. Its fame spread widely, and distinguished musicians traveled from all over the world to see and hear it, as noted in our account of the Yale University Organ later.
Charles Heinroth, Organist and Director of Music, Carnegie Institute, Pittsburgh, Pa., says:
Charles Heinroth, Organist and Director of Music, Carnegie Institute, Pittsburgh, PA, says:
"I don't believe I could forget my first impression on hearing the Worcester Cathedral organ, to me a perfect masterpiece. At once a sense of something out of the ordinary took hold of me at hearing the tone quality of the various stops and combinations--it seemed altogether uncommon."
"I don't think I could ever forget my first impression of the Worcester Cathedral organ, which felt like a true masterpiece to me. From the moment I heard the sound quality of the different stops and combinations, I felt a sense of something extraordinary—it was truly unique."
Similar opinions were expressed by many others.
Similar opinions were shared by many others.
There were two organs in Worcester Cathedral. The older of the two, standing on the north side of the choir, though it had been rebuilt by Hill & Son, contained pipes over 200 years old from the original instrument by Renatus Harris. The second organ, built by Hill & Son in 1875, stood in the south transept. It was a gift to the Cathedral from the late Earl of Dudley.
There were two organs in Worcester Cathedral. The older one, located on the north side of the choir, had been rebuilt by Hill & Son but still housed pipes that were over 200 years old from the original instrument by Renatus Harris. The second organ, constructed by Hill & Son in 1875, was situated in the south transept and was a gift to the Cathedral from the late Earl of Dudley.
In 1895-1896 Hope-Jones constructed a new organ retaining the Renatus Harris and some of the Hill pipes. It stands in three portions, part against the south wall of the transept and part on either side of the choir, all controlled from the console originally placed inside the screen just west of the choir stalls, but since moved into the north choir aisle. It was planned to have the Solo Tuba on a wind pressure of 100 inches, but we regret to say the funds for this have not been forthcoming. The specification follows; the compass of the manuals is from CC to c4, 61 notes; of the pedals, CCC to F, 30 notes.
In 1895-1896, Hope-Jones built a new organ that kept some of the Renatus Harris and Hill pipes. It consists of three sections: one part against the south wall of the transept and one part on each side of the choir, all operated from the console that was originally located inside the screen just west of the choir stalls but has since been moved into the north choir aisle. It was intended to have the Solo Tuba with a wind pressure of 100 inches, but unfortunately, the funds for this haven't been available. The specification follows; the range of the manuals is from CC to c4, 61 notes; for the pedals, CCC to F, 30 notes.
GREAT ORGAN (11 STOPS). FEET. FEET. Diapason Phonon 16 Octave Diapason 4 Tibia Plena 8 Quintadena 4 Diapason Phonon 8 Harmonic Piccolo 2 Open Diapason 8 Tuba Profunda 16 Hohl Flute 8 Tuba 8 Viol d'Amour 8 SWELL ORGAN (15 STOPS). FEET. FEET. Contra Viola 16 String Gamba 8 Violes Celestes 8 Quintaton 8 Tibia Clausa 8 Gambette 4 Horn Diapason 8 Harmonic flute 4 Harmonic Piccolo 2 Cor Anglais (free) 8 Double English Horn 16 Vox Humana 8 Cornopean 8 Clarinet 8 Oboe 8 CHOIR ORGAN (10 STOPS). FEET. FEET. Double Open Diapason 16 Dulciana 8 Open Diapason 8 Flute 4 Cone Leiblich Gedackt 8 Flautina 2 Viol d'Orchestre 8 Cor Anglais (beating) 8 Tiercina 8 Clarionet 8 SOLO ORGAN (5 STOPS). FEET. FEET. Rohr Flute 4 Tuba Sonora 8 Bombarde 16 Orchestral Oboe 8 Tuba Mirabilis 8 PEDAL ORGAN (13 STOPS). FEET. FEET. Gravissima 64 Octave Violone 8 Double Open Diapason 32 Flute 8 Contra Violone 32 Diaphone 32 Tibia Profunda 16 Diaphone 16 Open Diapason 16 Tuba Profunda 16 Violone 16 Tuba 8 Bourdon 16 Couplers: Choir, Great, Swell, Solo to Pedal; light wind Great Sub Oct (on itself); Great reeds Super Oct (on themselves); Solo to Great, Sub, Super and Unison; Swell to Great, Sub, Super and Unison; Choir to Great, Sub and Unison. Swell Sub and Super Octave (on itself); Solos to Swell; Choir to Swell. Choir Sub and Super Octave (on itself); Swell to Choir, Sub, Super and Unison. Solo Organ Sub and Super Octave (on itself). Solo Tuba to Great 2d touch. Swell to Great 2d touch. Swell to Choir 2d touch. Choir to Swell 2d touch. Solo and Pedal Tubas have double tongues and are voiced on 20 inches of wind. Accessories: 5 compound composition keys for Great and Pedal, Swell and Pedal, Solo; 3 for Choir and Pedal, and 2 to each manual for couplers; 2 combination keys; Tremulant to Swell; 5 composition pedals; Stop Switch, Key and Pedal. The composition keys between the manuals if touched in the centre give automatically an appropriate Pedal bass in addition to the particular stops acted upon; but if touched on one side do not disturb the Pedal department. All combination movements affect the stop keys themselves. The "stop switch" enables the player to prepare in advance any special combination of stops and couplers, bringing them into play at the moment desired. The organ is blown by a six-horse gas engine.
GREAT ORGAN (11 STOPS). FEET. FEET. Diapason Phonon 16 Octave Diapason 4 Tibia Plena 8 Quintadena 4 Diapason Phonon 8 Harmonic Piccolo 2 Open Diapason 8 Tuba Profunda 16 Hohl Flute 8 Tuba 8 Viol d'Amour 8 SWELL ORGAN (15 STOPS). FEET. FEET. Contra Viola 16 String Gamba 8 Violes Celestes 8 Quintaton 8 Tibia Clausa 8 Gambette 4 Horn Diapason 8 Harmonic flute 4 Harmonic Piccolo 2 Cor Anglais (free) 8 Double English Horn 16 Vox Humana 8 Cornopean 8 Clarinet 8 Oboe 8 CHOIR ORGAN (10 STOPS). FEET. FEET. Double Open Diapason 16 Dulciana 8 Open Diapason 8 Flute 4 Cone Leiblich Gedackt 8 Flautina 2 Viol d'Orchestre 8 Cor Anglais (beating) 8 Tiercina 8 Clarionet 8 SOLO ORGAN (5 STOPS). FEET. FEET. Rohr Flute 4 Tuba Sonora 8 Bombarde 16 Orchestral Oboe 8 Tuba Mirabilis 8 PEDAL ORGAN (13 STOPS). FEET. FEET. Gravissima 64 Octave Violone 8 Double Open Diapason 32 Flute 8 Contra Violone 32 Diaphone 32 Tibia Profunda 16 Diaphone 16 Open Diapason 16 Tuba Profunda 16 Violone 16 Tuba 8 Bourdon 16 Couplers: Choir, Great, Swell, Solo to Pedal; light wind Great Sub Oct (on itself); Great reeds Super Oct (on themselves); Solo to Great, Sub, Super and Unison; Swell to Great, Sub, Super and Unison; Choir to Great, Sub and Unison. Swell Sub and Super Octave (on itself); Solos to Swell; Choir to Swell. Choir Sub and Super Octave (on itself); Swell to Choir, Sub, Super and Unison. Solo Organ Sub and Super Octave (on itself). Solo Tuba to Great second touch. Swell to Great second touch. Swell to Choir second touch. Choir to Swell second touch. Solo and Pedal Tubas have double tongues and are voiced on 20 inches of wind. Accessories: 5 compound composition keys for Great and Pedal, Swell and Pedal, Solo; 3 for Choir and Pedal, and 2 for each manual for couplers; 2 combination keys; Tremulant to Swell; 5 composition pedals; Stop Switch, Key and Pedal. The composition keys between the manuals, when pressed in the center, automatically provide an appropriate Pedal bass in addition to the specific stops activated; but if pressed on one side, they won’t affect the Pedal department. All combination movements influence the stop keys directly. The "stop switch" allows the player to set up any special combination of stops and couplers in advance, activating them when needed. The organ is powered by a six-horse gas engine.
ORGAN IN WOOLSEY HALL, YALE UNIVERSITY,
NEW HAVEN, CONN.
This magnificent instrument, built by the Hutchings-Votey Organ Company in 1902, possesses increased foundation tone and higher wind pressures. The late Professor Samuel S. Sanford, devoted much time and interest in its design. He visited Worcester Cathedral, England, and was profoundly impressed with the new epoch in tone production heralded by that organ. He made an effort to have Mr. Hope-Jones voice one of his Tibias and Smooth Tubas for the Yale organ; and though his effort was not successful, leading features of the Worcester instrument were frankly imitated and generously acknowledged. It was largely due to the liberality of Mr. George S. Hutchings in interpreting the terms of the contract that such a complete instrument was secured for the University. In recognition of this and in view of Mr. Hutchings' artistic contributions to the art of organ-building, the University conferred upon him the honorary degree of Master of Arts. The Diapasons are voiced on pressures ranging from 3 1/2 to 22 inches; the reeds in the Great and Swell on 10 inches, and the Tuba on 22 inches. The builders state that the mixtures have been inserted at the request of many noted organists. There are now 78 sounding stops.
This impressive instrument, created by the Hutchings-Votey Organ Company in 1902, features a richer foundation tone and higher wind pressures. The late Professor Samuel S. Sanford dedicated a lot of time and interest to its design. He visited Worcester Cathedral in England and was deeply impressed by the new era of tone production introduced by that organ. He tried to have Mr. Hope-Jones voice one of his Tibias and Smooth Tubas for the Yale organ; although he was unsuccessful, key aspects of the Worcester instrument were openly imitated and generously acknowledged. It was largely thanks to Mr. George S. Hutchings' generous interpretation of the contract terms that such a complete instrument was obtained for the University. In recognition of this and Mr. Hutchings' artistic contributions to organ-building, the University awarded him the honorary degree of Master of Arts. The Diapasons are voiced at pressures ranging from 3 1/2 to 22 inches; the reeds in the Great and Swell at 10 inches, and the Tuba at 22 inches. The builders noted that the mixtures were added at the request of many prominent organists. There are now 78 sounding stops.
Compass of Manuals from CC to c|4|, 61 notes. Compass of Pedals from CCC to g, 32 notes. GREAT ORGAN (19 STOPS). FEET. FEET. Diapason 16 Octave 4 Quintaton 16 Wald Flute 4 Diapason 8 Gambette 4 Diapason 8 Twelfth 2 2/3 Diapason 8 Fifteenth 2 Doppel Floete 8 Mixture, 5 ranks Principal Flute 8 Trumpet 16 Gross Gamba 8 Trumpet 8 Viol d'Amour 8 Clarion 4 Gemshorn 8 SWELL ORGAN (21 STOPS). FEET. FEET. Contra Gamba 16 Vox Celestis 8 Bourdon 16 Harmonic Flute 4 Stentorphone 8 Principal 4 Diapason 8 Violina 4 Gamba 8 Flautino 2 Bourdon 8 Dolce Cornet, 6 ranks Flauto Traverso 8 Posaune 16 Salicional 8 Cornopean 8 Quintadena 8 Oboe 8 Unda Maris 8 Vox Humana 8 Aeoline 8 Tremolo CHOIR ORGAN (13 STOPS). (Inclosed in a Swell Box) FEET. FEET. Contra Dulciana 16 Violoncello 8 Diapason 8 Viola 4 Melodia 8 Flauto Traverse 4 Viol d'Orchestre 8 Piccolo Harmonique 2 Lieblich Gedacht 8 Clarinet 8 Dulciana 8 Contra Fagotto 16 Viol Celeste, 2 ranks 8 Tremolo SOLO ORGAN (6 STOPS). (In a Swell Box) FEET. FEET. Tibia Plena 8 Hohlpfeife 4 Tuba Sonora 8 Dolce 8 Gross Flute 8 Orchestral Oboe 8 PEDAL ORGAN (19 STOPS). FEET. FEET. Gravissima (Resultant) 64 Contra Bass (Resultant) 32 Diapason 32 Diapason 16 Contra Bourdon 32 Diapason 16 There are 20 Couplers; 29 Combination Pistons; 11 Composition Pedals; 3 Balanced Swell Pedals and Balanced Crescendo Pedal.
Compass of Manuals from CC to c|4|, 61 notes. Compass of Pedals from CCC to g, 32 notes. GREAT ORGAN (19 STOPS). FEET. FEET. Diapason 16 Octave 4 Quintaton 16 Wald Flute 4 Diapason 8 Gambette 4 Diapason 8 Twelfth 2 2/3 Diapason 8 Fifteenth 2 Doppel Floete 8 Mixture, 5 ranks Principal Flute 8 Trumpet 16 Gross Gamba 8 Trumpet 8 Viol d'Amour 8 Clarion 4 Gemshorn 8 SWELL ORGAN (21 STOPS). FEET. FEET. Contra Gamba 16 Vox Celestis 8 Bourdon 16 Harmonic Flute 4 Stentorphone 8 Principal 4 Diapason 8 Violina 4 Gamba 8 Flautino 2 Bourdon 8 Dolce Cornet, 6 ranks Flauto Traverso 8 Posaune 16 Salicional 8 Cornopean 8 Quintadena 8 Oboe 8 Unda Maris 8 Vox Humana 8 Aeoline 8 Tremolo CHOIR ORGAN (13 STOPS). (Inclosed in a Swell Box) FEET. FEET. Contra Dulciana 16 Violoncello 8 Diapason 8 Viola 4 Melodia 8 Flauto Traverse 4 Viol d'Orchestre 8 Piccolo Harmonique 2 Lieblich Gedacht 8 Clarinet 8 Dulciana 8 Contra Fagotto 16 Viol Celeste, 2 ranks 8 Tremolo SOLO ORGAN (6 STOPS). (In a Swell Box) FEET. FEET. Tibia Plena 8 Hohlpfeife 4 Tuba Sonora 8 Dolce 8 Gross Flute 8 Orchestral Oboe 8 PEDAL ORGAN (19 STOPS). FEET. FEET. Gravissima (Resultant) 64 Contra Bass (Resultant) 32 Diapason 32 Diapason 16 Contra Bourdon 32 Diapason 16 There are 20 Couplers; 29 Combination Pistons; 11 Composition Pedals; 3 Balanced Swell Pedals and a Balanced Crescendo Pedal.
ORGAN IN ST. PAUL'S CATHEDRAL, BUFFALO, N. Y.
This instrument, built by the Hope-Jones Organ Company and opened Christmas, 1908, in one of the finest churches in America, takes position among the great and important organs of the New World. It is built on the "Unit" principle, and is divided between the extreme ends of the lofty structure.
This instrument, created by the Hope-Jones Organ Company and inaugurated on Christmas, 1908, in one of the best churches in America, holds a place among the major and significant organs of the New World. It is designed based on the "Unit" principle and is spread out between the far ends of the tall structure.
The chancel organ, consisting of four extended stops, occupies the old organ chamber, which opens into the chancel and the transept of the church. This portion of the instrument stands in a cement swell box, its tone being thrown through the arch and into the chancel by means of reflectors. It contains a Diaphone, the full organ being very powerful, although its various tones can be reduced to whispers by closing the laminated lead shutters, which are electrically controlled through the general swell pedal at the console.
The chancel organ, featuring four extended stops, is located in the old organ chamber that connects to the chancel and the transept of the church. This part of the instrument is housed in a cement swell box, and its sound is projected through the arch and into the chancel using reflectors. It includes a Diaphone, and while the full organ is quite powerful, its various tones can be softened to whispers by closing the laminated lead shutters, which are controlled electronically via the general swell pedal at the console.
The other division of the instrument, the organ proper, is located in the gallery at the distant end of the nave of the church, and in an adjacent room. This gallery division, complete in itself, represents the latest type of Unit organ. Speaking generally, all the stops are common to all four manuals, and to the pedals, and can be drawn at various pitches. Following more or less the analogy of the orchestra, the organ is divided into four distinct portions, each enclosed in its own cement swell box with its laminated lead shutters, controlled electrically from the console swell pedals. These divisions represent, respectively: "Foundation," "wood wind," "string" and "brass."
The other part of the instrument, the organ itself, is situated in the gallery at the far end of the church nave and in a nearby room. This gallery section, which is complete on its own, showcases the latest style of Unit organ. Generally speaking, all the stops are shared among the four manuals and the pedals, and they can be activated at different pitches. Following a similar idea to the orchestra, the organ is split into four distinct sections, each housed in its own cement swell box with laminated lead shutters, controlled electrically from the console's swell pedals. These sections represent: "Foundation," "wood wind," "string," and "brass."
The entire instrument is played from one console, located in the nave, connected with the chancel organ by an electric cable sixty feet in length, and with the gallery organ by one of one hundred and sixty feet. This key desk is of the well-known Hope-Jones type, which appeals so strongly to most organists. It contains all the latest conveniences: Stop-keys, in semi-circular position above the manuals; combination keys, which move the stop-keys (with switch-board within easy reach for changing the selection of stops); suitable bass tablets, saving time and worry to the player; double touch, offering its wealth of tonal effects, etc. Through the operation of a small tablet the organs can be played separately or together.
The whole instrument is played from one console, located in the main body of the church, connected to the chancel organ by a sixty-foot electric cable, and to the gallery organ by a one-hundred-sixty-foot cable. This key desk is of the well-known Hope-Jones type, which many organists really like. It includes all the latest features: stop keys arranged in a semi-circular position above the manuals; combination keys that move the stop keys (with a switchboard within easy reach for changing the stop selections); appropriate bass tablets, which save time and hassle for the player; double touch, providing a variety of tonal effects, etc. By using a small tablet, the organs can be played separately or together.
COMPASS: MANUALS, 61 NOTES; PEDALS, 32 NOTES. PEDAL ORGAN (16 STOPS). FEET. FEET. _Foundation._ Cello 8 Tibia Profundissima 32 Cello Celeste 8 Resultant Bass 32 _Brass._ Tibia Profunda 16 Ophicleide 16 Contra Tibia Clausa 16 Trombone 16 Open Diapason 16 Tuba 8 Tibia Plena 8 Clarion 4 Tibia Clausa 8 Great to Pedal. _Wood Wind._ Swell to Pedal. Clarinet 16 Swell Octave to Pedal. _String._ Choir to Pedal. Contra Viola 16 One Stud to release all Dulciana 16 Suitable Basses. GREAT ORGAN (14 STOPS). FEET. FEET. _Foundation._ _Wood Wind._ Tibia Profunda 16 Concert Flute 8 Contra Tibia Clausa 16 Flute 4 Tibia Plena 8 _String._ Tibia Clausa 8 Dulciana 8 Open Diapason 8 _Brass._ Horn Diapason 8 Ophicleide 16 Octave 4 Tuba 8 Swell Octave to Great. Tromba 8 Swell Sub to Great. Clarion 4 Choir Unison to Great. Swell Sub to Great. Choir Octave to Great. Swell Unison to Great. Tuba to Great Second Touch. One Double Touch Tablet to cause the Pedal Stops and Couplers to move so as at all times to furnish automatically a Suitable Bass. Ten Double Touch Adjustable Combination Keys for Great Stops and Suitable Bass. CHOIR ORGAN (22 STOPS). FEET. FEET. _Foundation._ Quintadena 8 Contra Tibia Clausa 16 Quint Celeste (Ten C) 8 Tibia Clausa 8 Dulciana 8 Horn Diapason 8 Unda Maris (Ten C) 8 Gambette 4 _Wood Wind._ Octave Celeste 4 Orchestral Oboe (Ten C) 16 Quintadena 4 Concert Flute 8 Quint Celeste 4 Clarinet 8 _Brass._ Oboe Horn 8 Trombone 16 Orchestral Oboe 8 Tuba 8 Vox Humana 8 Tromba 8 Flute 4 _Percussion._ _String._ Harmonic Gongs 8 Contra Viola 16 Harmonic Gongs 4 Viole d' Orchestre 8 Unison Off. Sub-Octave. Octave Viole Celeste 8 Choir to Swell Second Touch. One Double Touch Tablet to cause the Pedal Stops and Couplers to move so as at all times to furnish automatically a Suitable Bass. Ten Double Touch Adjustable Combination Keys for Swell Stops and Suitable Bass. CHOIR ORGAN (22 STOPS). FEET. FEET. _Foundation._ Flute 4 Contra Tibia Clausa 16 Piccolo 2 Tibia Clausa 8 _String._ Horn Diapason 8 Dulciana 16 _Wood Wind._ Viole d' Orchestre 8 Clarinet 16 Viole Celeste 8 Vox Humana (Ten C) 16 Quintadena 8 Concert Flute 8 Quint Celeste 8 Clarinet 8 Dulciana 8 Oboe Horn 8 Unda Maris (Ten C) 8 Orchestral Oboe 8 Dulcet 4 Vox Humana 8 Unda Maris 4 FEET. Swell Sub to Choir _Percussion._ Swell Unison to Choir Harmonic Gongs 8 Swell Octave to Choir Unison Off. Sub-Octave. Octave. Swell to Choir second touch One Double Touch Tablet to cause the Pedal Stops and Couplers to move so as at all times to furnish automatically a Suitable Bass. Ten Double Touch Adjustable Combination Keys for Choir Stops and Suitable Bass. SOLO ORGAN (8 STOPS). FEET. FEET. _Foundation._ Clarion 4 Tibia Profunda 16 _Percussion._ Tibia Plena 8 Harmonic Gongs 8 Open Diapason 8 Great to Solo. _Brass._ Swell Sub to Solo. Ophicleide 16 Swell Unison to Solo. Tuba 8 Swell Octave to Solo. Tromba 8 Four Adjustable Combination Keys. CHANCEL PEDAL ORGAN (2 STOPS). FEET. FEET. Diaphonic Diapason 16 Bourdon 16 CHANCEL GREAT ORGAN (7 STOPS). FEET. FEET. Bourdon 16 Flote 4 Open Diapason 8 Octave Gamba 4 Doppel Flote 8 Horn 8 Gamba 8 CHANCEL CHOIR ORGAN (4 STOPS). FEET. FEET. Doppel Flote 8 Flote 4 Gamba 8 Horn 8 GENERAL. Sforzando Pedal, Balanced Swell Pedal for Foundation, Balanced Swell Pedal for Wood Wind, Balanced Swell Pedal for String, Balanced Swell Pedal for Brass. General Balanced Swell Pedal for all or any of the above. Five Keys for indicating and controlling the position of the various Swell Pedals. Tremulant for Wood Wind. Tremulant for String.
COMPASS: MANUALS, 61 NOTES; PEDALS, 32 NOTES. PEDAL ORGAN (16 STOPS). FEET. FEET. _Foundation._ Cello 8 Tibia Profundissima 32 Cello Celeste 8 Resultant Bass 32 _Brass._ Tibia Profunda 16 Ophicleide 16 Contra Tibia Clausa 16 Trombone 16 Open Diapason 16 Tuba 8 Tibia Plena 8 Clarion 4 Tibia Clausa 8 Great to Pedal. _Wood Wind._ Swell to Pedal. Clarinet 16 Swell Octave to Pedal. _String._ Choir to Pedal. Contra Viola 16 One Stud to release all Dulciana 16 Suitable Basses. GREAT ORGAN (14 STOPS). FEET. FEET. _Foundation._ _Wood Wind._ Tibia Profunda 16 Concert Flute 8 Contra Tibia Clausa 16 Flute 4 Tibia Plena 8 _String._ Tibia Clausa 8 Dulciana 8 Open Diapason 8 _Brass._ Horn Diapason 8 Ophicleide 16 Octave 4 Tuba 8 Swell Octave to Great. Tromba 8 Swell Sub to Great. Clarion 4 Choir Unison to Great. Swell Sub to Great. Choir Octave to Great. Swell Unison to Great. Tuba to Great Second Touch. One Double Touch Tablet to cause the Pedal Stops and Couplers to move so as at all times to furnish automatically a Suitable Bass. Ten Double Touch Adjustable Combination Keys for Great Stops and Suitable Bass. CHOIR ORGAN (22 STOPS). FEET. FEET. _Foundation._ Quintadena 8 Contra Tibia Clausa 16 Quint Celeste (Ten C) 8 Tibia Clausa 8 Dulciana 8 Horn Diapason 8 Unda Maris (Ten C) 8 Gambette 4 _Wood Wind._ Octave Celeste 4 Orchestral Oboe (Ten C) 16 Quintadena 4 Concert Flute 8 Quint Celeste 4 Clarinet 8 _Brass._ Oboe Horn 8 Trombone 16 Orchestral Oboe 8 Tuba 8 Vox Humana 8 Tromba 8 Flute 4 _Percussion._ _String._ Harmonic Gongs 8 Contra Viola 16 Harmonic Gongs 4 Viole d' Orchestre 8 Unison Off. Sub-Octave. Octave Viole Celeste 8 Choir to Swell Second Touch. One Double Touch Tablet to cause the Pedal Stops and Couplers to move so as at all times to furnish automatically a Suitable Bass. Ten Double Touch Adjustable Combination Keys for Swell Stops and Suitable Bass. CHOIR ORGAN (22 STOPS). FEET. FEET. _Foundation._ Flute 4 Contra Tibia Clausa 16 Piccolo 2 Tibia Clausa 8 _String._ Horn Diapason 8 Dulciana 16 _Wood Wind._ Viole d' Orchestre 8 Clarinet 16 Viole Celeste 8 Vox Humana (Ten C) 16 Quintadena 8 Concert Flute 8 Quint Celeste 8 Clarinet 8 Dulciana 8 Oboe Horn 8 Unda Maris (Ten C) 8 Orchestral Oboe 8 Dulcet 4 Vox Humana 8 Unda Maris 4 FEET. Swell Sub to Choir _Percussion._ Swell Unison to Choir Harmonic Gongs 8 Swell Octave to Choir Unison Off. Sub-Octave. Octave. Swell to Choir second touch One Double Touch Tablet to cause the Pedal Stops and Couplers to move so as at all times to furnish automatically a Suitable Bass. Ten Double Touch Adjustable Combination Keys for Choir Stops and Suitable Bass. SOLO ORGAN (8 STOPS). FEET. FEET. _Foundation._ Clarion 4 Tibia Profunda 16 _Percussion._ Tibia Plena 8 Harmonic Gongs 8 Open Diapason 8 Great to Solo. _Brass._ Swell Sub to Solo. Ophicleide 16 Swell Unison to Solo. Tuba 8 Swell Octave to Solo. Tromba 8 Four Adjustable Combination Keys. CHANCEL PEDAL ORGAN (2 STOPS). FEET. FEET. Diaphonic Diapason 16 Bourdon 16 CHANCEL GREAT ORGAN (7 STOPS). FEET. FEET. Bourdon 16 Flote 4 Open Diapason 8 Octave Gamba 4 Doppel Flote 8 Horn 8 Gamba 8 CHANCEL CHOIR ORGAN (4 STOPS). FEET. FEET. Doppel Flote 8 Flote 4 Gamba 8 Horn 8 GENERAL. Sforzando Pedal, Balanced Swell Pedal for Foundation, Balanced Swell Pedal for Wood Wind, Balanced Swell Pedal for String, Balanced Swell Pedal for Brass. General Balanced Swell Pedal for all or any of the above. Five Keys for indicating and controlling the position of the various Swell Pedals. Tremulant for Wood Wind. Tremulant for String.
ORGAN KNOWN AS THE HOPE-JONES UNIT ORCHESTRA,
IN THE PARIS THEATRE, DENVER, COLORADO.
This fine instrument was installed in May, 1913, and hailed by the people of Denver with great enthusiasm. The president of the Paris Theatre Company, writing under date of June 9, says:
This amazing instrument was set up in May 1913 and was greeted by the people of Denver with a lot of excitement. The president of the Paris Theatre Company, writing on June 9, says:
"The wonderful instrument * * * is proving a source of interest to the whole city and has materially added to the fame of 'The Paris' as the leading picture theatre of Denver. No thirty-piece orchestra could accompany the pictures so well as the Hope-Jones Unit Orchestra does. Neither would it so completely carry away with enthusiasm the crowd that flock to hear it."
"The amazing instrument * * * is becoming a source of fascination for the entire city and has significantly boosted the reputation of 'The Paris' as Denver's top movie theater. No thirty-piece orchestra could accompany the films as well as the Hope-Jones Unit Orchestra does. It also wouldn’t engage the audience with the same enthusiasm as they come to hear it."

The Author Playing a Hope-Jones Unit Orchestra.
Only the keyboards are visible from the auditorium; the instrument is placed on each side of the proscenium, occupying the place of the usual stage boxes, the tone being reflected into the theatre through ornamental case work. The 32-foot open diaphone is located behind the picture screen. The specification:
Only the keyboards can be seen from the auditorium; the instrument is positioned on each side of the proscenium, taking the spot where the usual stage boxes are, and the sound is reflected into the theater through decorative casing. The 32-foot open diaphone is placed behind the picture screen. The specification:
PEDAL ORGAN (32 NOTES). FEET. FEET. Diaphone 32 Octave 8 Ophicleide 16 Clarinet 8 Diaphone 16 Cello 8 Bass 16 Flute 8 Tuba Horn 8 Flute 4 Bass Drum, Kettle Drum, Crash Cymbals--Second Touches. Great to Pedal; Solo Octave to Pedal. Diaphone 32 ft. Second Touch; Ophicleide 16 ft. Pizzicato Touch. Six Adjustable Toe Pistons. ACCOMPANIMENT ORGAN (61 NOTES). FEET. FEET. Vox Humana (Ten C) 16 Octave Celeste 4 Tuba Horn 8 Flute 4 Diaphonic Diapason 8 Twelfth 2 2/3 Clarinet 8 Piccolo 2 Viole d'Orchestre 8 Chrysoglott 4 Viole Celeste 8 Snare Drum Flute 8 Tambourine Vox Humana 8 Castanets Viol 4 Triangle, Cathedral Chimes, Sleigh Bells, Xylophone, Tuba Horn, Solo to Accompaniment--Second Touches. Flute, Solo to Accompaniment--Pizzicato Touch. Ten Adjustable Combination Pistons. One Double Touch Tablet to cause the Pedal Stops and Couplers to move so as at all times to furnish automatically a Suitable Bass. GREAT ORGAN (61 NOTES). FEET. FEET. Ophicleide 16 Clarinet (Ten C) 16 Diaphone 16 Contre Viole (Ten C) 16 Bass 16 Tuba Horn 8 Diaphonic Diapason 8 Flute 4 Clarinet 8 Twelfth 2 2/3 Viole d'Orchestre 8 Viol 2 Viole Celeste 8 Piccolo 2 Flute 8 Tierce 1 3/5 Vox Humana 8 Chrysoglott 4 Clarion 4 Bells 4 Viol 4 Sleigh Bells 4 Octave Celeste 4 Xylophone 2 Octave, Solo to Great. Ophicleide, Solo to Great--Second Touches. Solo to Great Pizzicato Touch. Ten Adjustable Combination Pistons. One Double Touch Tablet to cause the Pedal Stops and Couplers to move so as at all times to furnish automatically a Suitable Bass. SOLO ORGAN (37 NOTES). FEET. FEET. Tibia Clausa 8 Quintadena 8 Trumpet 8 Cathedral Chimes 8 Orchestral Oboe 8 Bells 4 Kinura 8 Sleigh Bells 4 Oboe Horn 8 Xylophone 2 Six Adjustable Combination Pistons. GENERAL. Two Expression Levers, two Indicating and Controlling Keys, Thunder Pedal (Diaphone), Thunder Pedal (Reed), Two Tremulants, Re-Iterator for Strings, Re-Iterator for Solo. One Double Touch Sforzando Pedal, First Touch, Full Stops, Second Touch, Percussion. One Double Touch Sforzando Pedal, First Touch Snare Drum, Second Touch Bass Drum, and Crash Cymbals.
PEDAL ORGAN (32 NOTES). FEET. FEET. Diaphone 32 Octave 8 Ophicleide 16 Clarinet 8 Diaphone 16 Cello 8 Bass 16 Flute 8 Tuba Horn 8 Flute 4 Bass Drum, Kettle Drum, Crash Cymbals--Second Touches. Great to Pedal; Solo Octave to Pedal. Diaphone 32 ft. Second Touch; Ophicleide 16 ft. Pizzicato Touch. Six Adjustable Toe Pistons. ACCOMPANIMENT ORGAN (61 NOTES). FEET. FEET. Vox Humana (Ten C) 16 Octave Celeste 4 Tuba Horn 8 Flute 4 Diaphonic Diapason 8 Twelfth 2 2/3 Clarinet 8 Piccolo 2 Viole d'Orchestre 8 Chrysoglott 4 Viole Celeste 8 Snare Drum Flute 8 Tambourine Vox Humana 8 Castanets Viol 4 Triangle, Cathedral Chimes, Sleigh Bells, Xylophone, Tuba Horn, Solo to Accompaniment--Second Touches. Flute, Solo to Accompaniment--Pizzicato Touch. Ten Adjustable Combination Pistons. One Double Touch Tablet to cause the Pedal Stops and Couplers to move automatically to provide a Suitable Bass. GREAT ORGAN (61 NOTES). FEET. FEET. Ophicleide 16 Clarinet (Ten C) 16 Diaphone 16 Contre Viole (Ten C) 16 Bass 16 Tuba Horn 8 Diaphonic Diapason 8 Flute 4 Clarinet 8 Twelfth 2 2/3 Viole d'Orchestre 8 Viol 2 Viole Celeste 8 Piccolo 2 Flute 8 Tierce 1 3/5 Vox Humana 8 Chrysoglott 4 Clarion 4 Bells 4 Viol 4 Sleigh Bells 4 Octave Celeste 4 Xylophone 2 Octave, Solo to Great. Ophicleide, Solo to Great--Second Touches. Solo to Great Pizzicato Touch. Ten Adjustable Combination Pistons. One Double Touch Tablet to cause the Pedal Stops and Couplers to move automatically to provide a Suitable Bass. SOLO ORGAN (37 NOTES). FEET. FEET. Tibia Clausa 8 Quintadena 8 Trumpet 8 Cathedral Chimes 8 Orchestral Oboe 8 Bells 4 Kinura 8 Sleigh Bells 4 Oboe Horn 8 Xylophone 2 Six Adjustable Combination Pistons. GENERAL. Two Expression Levers, two Indicating and Controlling Keys, Thunder Pedal (Diaphone), Thunder Pedal (Reed), Two Tremulants, Re-Iterator for Strings, Re-Iterator for Solo. One Double Touch Sforzando Pedal, First Touch, Full Stops, Second Touch, Percussion. One Double Touch Sforzando Pedal, First Touch Snare Drum, Second Touch Bass Drum, and Crash Cymbals.
CATHEDRAL OF ST. JOHN THE DIVINE, NEW YORK CITY.
This organ was built by the Ernest M. Skinner Company, Boston, Mass., in 1911. It is the gift of Mr. and Mrs. Levi P. Morton, and is said to have cost $50,000. It is contained in two cases on each side of the triforium of the chancel and blown by an electric installation of 85 h.p.
This organ was built by the Ernest M. Skinner Company in Boston, MA, in 1911. It was a gift from Mr. and Mrs. Levi P. Morton and is reportedly worth $50,000. It's housed in two cases on either side of the triforium of the chancel and powered by an 85 h.p. electric blower.
GREAT ORGAN (21 STOPS). FEET. FEET. Diapason 16 Harmonic Flute 8 Bourdon 16 Octave 4 1st Diapason 8 Gambette 4 2d Diapason 8 Flute 4 3d Diapason 8 Fifteenth 2 Philomela 8 Mixture Grosse Floete 8 Trombone 8 Hohl Flute 8 Ophicleide 16 Gedackt 8 Harmonic Tuba 8 Gamba 8 Harmonic Clarion 4 Erzähler SWELL ORGAN (26 STOPS). FEET. FEET. Dulciana 16 1st Flute 4 Bourdon 16 2d Flute 4 1st Diapason 8 Violin 4 2d Diapason 8 Flautino 2 3d Diapason 8 Mixture Spitz Floete 8 Trumpet 16 Salicional 8 English Horn 16 Viola 8 Cornopean 8 Claribel Flute 8 French Trumpet 8 Aeoline 8 Oboe 8 Voix Celestes 8 Vox Humana 8 Unda Maris 8 Clarion 4 Gedackt 8 Tremolo Octave 4 CHOIR ORGAN (IN BOX) (18 STOPS). FEET. FEET. Gedackt 16 Piccolo 2 Gamba 16 Fagotto 16 Diapason 8 Saxaphone 8 Geigen Principal 8 Clarinet 8 Dulciana 8 English Horn 8 Dulcet 8 Orchestral Oboe 8 Concert Flute 8 Vox Humana 8 Quintadena 8 Carillons Flute 4 Tremolo Fugara 4 SOLO ORGAN (17 STOPS). FEET. FEET. Stentorphone 8 Gamba 8 Philomela 8 Hohl Pfeife 4 Claribel Flute 8 Flute 4 Harmonic Flute 8 Octave 4 Voix Celestes 8 Cymbal Ophicleide 16 Choir Clarinet 8 Tuba 8 Choir Orchestral Oboe 8 Tuba Mirabilis 8 Clarion 4 Flugel Horn 8 Tremolo PEDAL ORGAN (24 STOPS). FEET. FEET. Diapason 32 1st Octave 8 Contra Violone 32 2d Octave 8 Violone 16 Super Octave 4 1st Diapason 16 Bombarde 32 2d Diapason 16 Euphonium 16 Gamba 16 Ophicleide 16 1st Bourdon 16 English Horn 16 2d Bourdon 16 Tuba Mirabilis 8 Dulciana 16 Tuba 8 Gedackt 8 1st Clarion 4 Quinte 10 2/3 2d Clarion 4 'Cello 8 Pizzicato 8 There are 32 Couplers. Stop Knobs are used, with Stop Keys for the Couplers. (See illustration of the College of City of New York, page 45.) Suitable combination action adjustable at Console, and visibly affecting the registers. The organ is provided with the following Expression Pedals and appliances: Sforzando Pedal, Great to Pedal Reversible, Swell to Pedal Reversible, Balanced Swell Pedal, Balanced Choir Pedal, Balanced Solo Pedal, Crescendo Pedal.
GREAT ORGAN (21 STOPS). FEET. FEET. Diapason 16 Harmonic Flute 8 Bourdon 16 Octave 4 1st Diapason 8 Gambette 4 2d Diapason 8 Flute 4 3d Diapason 8 Fifteenth 2 Philomela 8 Mixture Grosse Floete 8 Trombone 8 Hohl Flute 8 Ophicleide 16 Gedackt 8 Harmonic Tuba 8 Gamba 8 Harmonic Clarion 4 Erzähler SWELL ORGAN (26 STOPS). FEET. FEET. Dulciana 16 1st Flute 4 Bourdon 16 2d Flute 4 1st Diapason 8 Violin 4 2d Diapason 8 Flautino 2 3d Diapason 8 Mixture Spitz Floete 8 Trumpet 16 Salicional 8 English Horn 16 Viola 8 Cornopean 8 Claribel Flute 8 French Trumpet 8 Aeoline 8 Oboe 8 Voix Celestes 8 Vox Humana 8 Unda Maris 8 Clarion 4 Gedackt 8 Tremolo Octave 4 CHOIR ORGAN (IN BOX) (18 STOPS). FEET. FEET. Gedackt 16 Piccolo 2 Gamba 16 Fagotto 16 Diapason 8 Saxophone 8 Geigen Principal 8 Clarinet 8 Dulciana 8 English Horn 8 Dulcet 8 Orchestral Oboe 8 Concert Flute 8 Vox Humana 8 Quintadena 8 Carillons Flute 4 Tremolo Fugara 4 SOLO ORGAN (17 STOPS). FEET. FEET. Stentorphone 8 Gamba 8 Philomela 8 Hohl Pfeife 4 Claribel Flute 8 Flute 4 Harmonic Flute 8 Octave 4 Voix Celestes 8 Cymbal Ophicleide 16 Choir Clarinet 8 Tuba 8 Choir Orchestral Oboe 8 Tuba Mirabilis 8 Clarion 4 Flugel Horn 8 Tremolo PEDAL ORGAN (24 STOPS). FEET. FEET. Diapason 32 1st Octave 8 Contra Violone 32 2d Octave 8 Violone 16 Super Octave 4 1st Diapason 16 Bombarde 32 2d Diapason 16 Euphonium 16 Gamba 16 Ophicleide 16 1st Bourdon 16 English Horn 16 2d Bourdon 16 Tuba Mirabilis 8 Dulciana 16 Tuba 8 Gedackt 8 1st Clarion 4 Quinte 10 2/3 2d Clarion 4 'Cello 8 Pizzicato 8 There are 32 Couplers. Stop Knobs are used, with Stop Keys for the Couplers. (See illustration of the College of City of New York, page 45.) Suitable combination action adjustable at Console, and visibly affecting the registers. The organ is equipped with the following Expression Pedals and features: Sforzando Pedal, Great to Pedal Reversible, Swell to Pedal Reversible, Balanced Swell Pedal, Balanced Choir Pedal, Balanced Solo Pedal, Crescendo Pedal.
ORGAN IN UNIVERSITY OF TORONTO, CANADA.
Many fine organs have been erected in Canada and the northern part of the United States by Casavant Frères, of St. Hyacinthe, Province of Quebec, among which we may mention the Church of Notre-Dame in Montreal, the Cathedrals of Montreal and Ottawa, the Northwestern University, Chicago, and the Grand Opera House, Boston. The organ in the Convocation Hall of the University of Toronto has 4 manuals of 61 notes, CC to c4; pedals of 32 notes, CCC to g; electro-pneumatic action; 76 speaking stops; 32 couplers, and 4,800 pipes.
Many excellent organs have been built in Canada and the northern U.S. by Casavant Frères from St. Hyacinthe, Quebec. Notable examples include the Church of Notre-Dame in Montreal, the Cathedrals in Montreal and Ottawa, Northwestern University in Chicago, and the Grand Opera House in Boston. The organ in the Convocation Hall at the University of Toronto features 4 manuals with 61 keys, ranging from CC to c4; pedals with 32 keys, from CCC to g; electro-pneumatic action; 76 speaking stops; 32 couplers, and 4,800 pipes.
The organ was inaugurated June 6, 1912.
The organ was officially opened on June 6, 1912.
The specification follows:
The specification follows:
GREAT ORGAN (10 STOPS). FEET. FEET. *Double Open Diapason 16 **Octave 4 *Bourdon 16 **Harmonic Flute 4 *Open Diapason (large) 8 *Principal 4 *Open Diapason (medium) 8 **Twelfth 2 2/3 **Violin Diapason 8 **Fifteenth 2 *Doppel Flöte 8 **Harmonics (15-17-10-b21-22) *Flûte Harmonique 8 **Double trumpet 16 **Gemshorn 8 **Tromba 8 * Stops marked * can be played by Coupler in Super Octave. ** Stops marked ** can be played by Coupler in Sub Octave. [Transcriber's note: in "Harmonics", the "b21" above, the "b" represents the music "flat" symbol.] SWELL ORGAN (17 STOPS). FEET. FEET. Gedeckt 16 Piccolo 2 Open Diapason 8 Mixture 3 rks. Clarabella 8 Cornet 4 rks. Stopped Diapason 8 Bassoon 16 Dolcissimo 8 Cornopean 8 Viola di Gamba 8 Oboe 8 Voix Celeste 8 Vox Humana 8 Fugara 4 Clarion 4 Flauto Traverso 4 Wind pressure 5 inches; Cornopean and Clarion 6 inches. Wind pressure 4 inches; Large Open Diapason and Reeds 6 inches. CHOIR ORGAN (ENCLOSED) (12 STOPS). FEET. FEET. Salicional 16 Suabe Flute 4 Open Diapason 8 Violina 4 Melodia 8 Quint 2 2/3 Gamba 8 Flageolet 2 Dulciana 8 Contra Fagotto 16 Lieblich Gedeckt 8 Clarinet 8 Wind pressure, 3 1/2 inches. SOLO ORGAN (DIVISION I, ENCLOSED) (8 STOPS). FEET. FEET. Rohr Flöte 8 Concert Flute 4 Quintadena 8 Orchestral Oboe 8 Viole d'Orchestre 8 Cor Anglais 8 Violes Célestes (2 rks.) 8 Célesta SOLO ORGAN (DIVISION II, ENCLOSED) (8 STOPS). FEET. FEET. Stentorphone 8 Harmonic Piccolo 2 Tibia Plena 8 Tuba Magna 16 Violoncello 8 Tuba Mirabilis 8 Octave 4 Tubular Chimes Wind pressure, 12 inches. PEDAL ORGAN (15 STOPS). FEET. FEET. Double Open 32 Violoncello 8 Open Diapason (wood) 16 Octave 8 Open Diapason (metal) 16 Bourdon 8 Violone 16 Super Octave 4 Dulciana 16 Trombone 16 Bourdon 16 Trumpet 8 Gedeckt 16 Clarion 4 Flute 8 Wind pressure, 5 inches; Reeds, 12 inches. There are 32 Couplers operated by Draw-stops, also by Pistons and reversible Pedals. Combination Pistons, 6 to each Manual, and 4 (Pistons) to the Pedals. Four Foot Pistons on all Stops and Couplers; one Foot Piston for Great to Pedal reversible; one Foot Piston for Full Organ. Balanced Swell Pedal to Swell, Choir, and Solo; Balanced Crescendo Pedal. Tremulants to Choir, Swell, and Solo.
GREAT ORGAN (10 STOPS). FEET. FEET. *Double Open Diapason 16 **Octave 4 *Bourdon 16 **Harmonic Flute 4 *Open Diapason (large) 8 *Principal 4 *Open Diapason (medium) 8 **Twelfth 2 2/3 **Violin Diapason 8 **Fifteenth 2 *Doppel Flöte 8 **Harmonics (15-17-10-b21-22) *Flûte Harmonique 8 **Double trumpet 16 **Gemshorn 8 **Tromba 8 * Stops marked * can be played by Coupler in Super Octave. ** Stops marked ** can be played by Coupler in Sub Octave. [Transcriber's note: in "Harmonics", the "b21" above, the "b" represents the music "flat" symbol.] SWELL ORGAN (17 STOPS). FEET. FEET. Gedeckt 16 Piccolo 2 Open Diapason 8 Mixture 3 rks. Clarabella 8 Cornet 4 rks. Stopped Diapason 8 Bassoon 16 Dolcissimo 8 Cornopean 8 Viola di Gamba 8 Oboe 8 Voix Celeste 8 Vox Humana 8 Fugara 4 Clarion 4 Flauto Traverso 4 Wind pressure 5 inches; Cornopean and Clarion 6 inches. Wind pressure 4 inches; Large Open Diapason and Reeds 6 inches. CHOIR ORGAN (ENCLOSED) (12 STOPS). FEET. FEET. Salicional 16 Suabe Flute 4 Open Diapason 8 Violina 4 Melodia 8 Quint 2 2/3 Gamba 8 Flageolet 2 Dulciana 8 Contra Fagotto 16 Lieblich Gedeckt 8 Clarinet 8 Wind pressure, 3 1/2 inches. SOLO ORGAN (DIVISION I, ENCLOSED) (8 STOPS). FEET. FEET. Rohr Flöte 8 Concert Flute 4 Quintadena 8 Orchestral Oboe 8 Viole d'Orchestre 8 Cor Anglais 8 Violes Célestes (2 rks.) 8 Célesta SOLO ORGAN (DIVISION II, ENCLOSED) (8 STOPS). FEET. FEET. Stentorphone 8 Harmonic Piccolo 2 Tibia Plena 8 Tuba Magna 16 Violoncello 8 Tuba Mirabilis 8 Octave 4 Tubular Chimes Wind pressure, 12 inches. PEDAL ORGAN (15 STOPS). FEET. FEET. Double Open 32 Violoncello 8 Open Diapason (wood) 16 Octave 8 Open Diapason (metal) 16 Bourdon 8 Violone 16 Super Octave 4 Dulciana 16 Trombone 16 Bourdon 16 Trumpet 8 Gedeckt 16 Clarion 4 Flute 8 Wind pressure, 5 inches; Reeds, 12 inches. There are 32 Couplers operated by Draw-stops, also by Pistons and reversible Pedals. Combination Pistons, 6 to each Manual, and 4 (Pistons) to the Pedals. Four Foot Pistons on all Stops and Couplers; one Foot Piston for Great to Pedal reversible; one Foot Piston for Full Organ. Balanced Swell Pedal to Swell, Choir, and Solo; Balanced Crescendo Pedal. Tremulants to Choir, Swell, and Solo.
CITY HALL, PORTLAND, MAINE.
This organ was built by the Austin Organ Company, of Hartford, Conn., in 1912. It was presented to the city of Portland by Mr. Cyrus K. Curtis, of the Saturday Evening Post, in memory of the late Hermann Kotschmar, whose "Te Deum" is well known in the United States. The organ is in a handsome case on the platform at one end of the hall and is entitled to take its place among the world's great instruments. It is certainly a coincidence that those who have been associated with Mr. Hope-Jones in business now rank as the foremost organ builders in America, as witness this fine organ and that in the Cathedral of St. John the Divine in New York.
This organ was built by the Austin Organ Company in Hartford, Connecticut, in 1912. It was donated to the city of Portland by Mr. Cyrus K. Curtis of the Saturday Evening Post, in memory of the late Hermann Kotschmar, whose "Te Deum" is famous across the United States. The organ is housed in an elegant case on the platform at one end of the hall and deserves its place among the world's great instruments. It's quite a coincidence that those who worked with Mr. Hope-Jones in business are now considered the top organ builders in America, as seen with this impressive organ and the one in the Cathedral of St. John the Divine in New York.
The Portland organ has four manuals of 61 notes, CC to c3, and pedal of 32 notes, CCC to g. There are 88 sounding stops and 33 couplers.
The Portland organ has four manuals with 61 keys each, ranging from CC to c3, and a pedalboard with 32 keys, from CCC to g. It features 88 sounding stops and 33 couplers.
GREAT ORGAN (18 STOPS). FEET. FEET. Sub Bourdon 32 2d Open Diapason 8 Bourdon 16 3d Open Diapason 8 Violone Dolce 16 Violoncello 8 1st Open Diapason 8 Gemshorn 8 Doppel Flute 8 Double Trumpet 16 Clarabella 8 Trumpet 8 Octave 4 Clarion 4 Hohl Flute 4 Cathedral Chimes (enclosed Octave Quint 3 in Solo Box). Super Octave 2 SWELL ORGAN (16 STOPS). FEET. FEET. Quintaton 16 Harmonic Flute 4 Diapason Phonon 8 Flautino 2 Horn Diapason 8 Mixture, 3 and 4 ranks Viole d'Gamba 8 Contra Fagotto 16 Rohr Flute 8 Cornopean 8 Flauto Dolce 8 Oboe 8 Unda Maris 8 Vox Humana 8 Muted Viole 8 Tremulant Principal 4 ORCHESTRAL ORGAN (13 STOPS). FEET. FEET. Contra Viole 16 Quintadena 8 Geigen Principal 8 Flute d'Amour 4 Concert Flute 8 Flageolet 2 Dulciana 8 French Horn 8 Viole d'Orchestra 8 Clarinet 8 Viole Celeste 8 Cor Anglais 8 Vox Seraphique 8 Tremulant SOLO ORGAN (12 STOPS) FEET. FEET. Violone 16 Concert Piccolo 2 Flaute Major, Open Chests 8 Tuba Profunda 16 Grand Diapason 8 Harmonic Tuba 8 Gross Gamba 8 Tuba Clarion 4 Gamba Celeste 8 Orchestral Oboe (enclosed) 8 Flute Overte 4 Tuba Magna 8 ECHO ORGAN (IN ROOF) (7 STOPS). FEET. FEET. Cor de Nuit 8 Echo Cornet, 3 ranks Gedackt 8 Vox Humana 8 Vox Angelica 8 Harp Viole Aetheria 8 Tremulant Fern Flute 4 PEDAL ORGAN (AUGMENTED) (21 STOPS). FEET. FEET. Contra Magnaton 32 Gross Flute 8 Contra Bourdon 32 Violoncello 8 Magnaton 16 Octave Flute 4 Open Diapason 16 Contra Bombarde 32 Violone 16 Bombarde (25-inch wind) 16 Dulciana (from Great) 16 Tuba Profunda 16 First Bourdon 16 Harmonic Tuba 8 Contra Viole 16 Tuba Clarion 4 Second Bourdon 16 (From Solo Enclosed) Lieblich Gedackt (Echo) 16 Contra Fagotto 16 Gross Quint 10 1/2 (From Swell) Flauto Dolce 8 There are 6 Composition Pedals to the Pedal Organ and 8 Adjustable Pistons to each Manual controlling the Stops and Couplers. Stop-keys are used. Accessory: Balanced Crescendo Pedal, adjustable, not moving registers; Balanced Swell Pedal; Balanced Orchestral Pedal; Balanced Solo and Echo Pedal; Great to Pedal, reversible; Solo and Echo to Great, reversible; Sforzando Pedal.
GREAT ORGAN (18 STOPS). FEET. FEET. Sub Bourdon 32 2d Open Diapason 8 Bourdon 16 3d Open Diapason 8 Violone Dolce 16 Violoncello 8 1st Open Diapason 8 Gemshorn 8 Doppel Flute 8 Double Trumpet 16 Clarabella 8 Trumpet 8 Octave 4 Clarion 4 Hohl Flute 4 Cathedral Chimes (enclosed Octave Quint 3 in Solo Box). Super Octave 2 SWELL ORGAN (16 STOPS). FEET. FEET. Quintaton 16 Harmonic Flute 4 Diapason Phonon 8 Flautino 2 Horn Diapason 8 Mixture, 3 and 4 ranks Viole d'Gamba 8 Contra Fagotto 16 Rohr Flute 8 Cornopean 8 Flauto Dolce 8 Oboe 8 Unda Maris 8 Vox Humana 8 Muted Viole 8 Tremulant Principal 4 ORCHESTRAL ORGAN (13 STOPS). FEET. FEET. Contra Viole 16 Quintadena 8 Geigen Principal 8 Flute d'Amour 4 Concert Flute 8 Flageolet 2 Dulciana 8 French Horn 8 Viole d'Orchestra 8 Clarinet 8 Viole Celeste 8 Cor Anglais 8 Vox Seraphique 8 Tremulant SOLO ORGAN (12 STOPS) FEET. FEET. Violone 16 Concert Piccolo 2 Flaute Major, Open Chests 8 Tuba Profunda 16 Grand Diapason 8 Harmonic Tuba 8 Gross Gamba 8 Tuba Clarion 4 Gamba Celeste 8 Orchestral Oboe (enclosed) 8 Flute Overte 4 Tuba Magna 8 ECHO ORGAN (IN ROOF) (7 STOPS). FEET. FEET. Cor de Nuit 8 Echo Cornet, 3 ranks Gedackt 8 Vox Humana 8 Vox Angelica 8 Harp Viole Aetheria 8 Tremulant Fern Flute 4 PEDAL ORGAN (AUGMENTED) (21 STOPS). FEET. FEET. Contra Magnaton 32 Gross Flute 8 Contra Bourdon 32 Violoncello 8 Magnaton 16 Octave Flute 4 Open Diapason 16 Contra Bombarde 32 Violone 16 Bombarde (25-inch wind) 16 Dulciana (from Great) 16 Tuba Profunda 16 First Bourdon 16 Harmonic Tuba 8 Contra Viole 16 Tuba Clarion 4 Second Bourdon 16 (From Solo Enclosed) Lieblich Gedackt (Echo) 16 Contra Fagotto 16 Gross Quint 10 1/2 (From Swell) Flauto Dolce 8 There are 6 Composition Pedals for the Pedal Organ and 8 Adjustable Pistons for each Manual controlling the Stops and Couplers. Stop-keys are used. Accessory: Balanced Crescendo Pedal, adjustable, does not move registers; Balanced Swell Pedal; Balanced Orchestral Pedal; Balanced Solo and Echo Pedal; Great to Pedal, reversible; Solo and Echo to Great, reversible; Sforzando Pedal.
LIVERPOOL CATHEDRAL, ENGLAND.
The firm of Henry Willis & Sons was established in 1845 by the late "Father" Willis, who took his two sons, Vincent Willis and Henry Willis, into partnership with him in 1878. The majority of the patents and improvements produced by the firm were solely the work of "Father" Willis, although his son Vincent was associated with him in certain of the later patents. Vincent Willis left the firm in 1894, six years previous to the death of "Father" Willis, which occurred in February, 1900, and the business has since been carried on by his son, Mr. Henry Willis, with whom is associated Mr. Henry Willis, Jr., the grandson of the founder.
The firm of Henry Willis & Sons was founded in 1845 by the late "Father" Willis, who brought his two sons, Vincent Willis and Henry Willis, into the partnership in 1878. Most of the patents and innovations created by the firm were entirely the work of "Father" Willis, although his son Vincent collaborated with him on some of the later patents. Vincent Willis left the firm in 1894, six years before the death of "Father" Willis, which occurred in February 1900. Since then, the business has been managed by his son, Mr. Henry Willis, along with Mr. Henry Willis, Jr., the grandson of the founder.
The famous traditions of the firm in the field of reed-voicing and flue tone have been maintained by the present partners, who are both experienced voicers; and in general up-to-date mechanical details the firm is in the forefront of the English organ-building industry; as is evidenced by their recently obtaining the contract for the magnificent divided organ which they have now under construction (1913) for the enormous New Cathedral of Liverpool, the specification of which is here appended.
The well-known traditions of the company in reed voicing and flue tone have been upheld by the current partners, who are both skilled voicers. Overall, with their modern mechanical details, the company is leading the English organ-building industry, as shown by their recent contract for the impressive divided organ they are currently building (1913) for the large New Cathedral of Liverpool, the specifications of which are attached here.
There are five manuals, of 61 notes, CC to c3, and a radiating and concave pedal board of 32 notes, CCC to g. There are no extensions or duplications. With the exception of the Celestes, which go down to FF only, every stop is complete, of full compass. There are 167 speaking stops and 48 couplers, making a total of 215 draw stop knobs.
There are five manuals with 61 keys, from CC to c3, and a radiating and concave pedal board with 32 keys, from CCC to g. There are no extensions or duplications. Except for the Celestes, which only go down to FF, every stop is complete with full range. There are 167 sounding stops and 48 couplers, which adds up to a total of 215 draw stop knobs.
PEDAL ORGAN (33 STOPS). FEET. FEET. Dble. Open Diapason, wood 32 *Violoncello, metal 8 Dble. Open Diapason, metal 32 Flute, metal 8 Contra Violone, metal 32 *Quintadena, metal 8 Double Quint, wood 21 1/3 Twelfth, metal 5 1/3 Open Diapason No. 1, wood 16 Fifteenth, metal 4 Open Diapason No. 2, wood 16 Mixture, 17th, 19th, 22d Open Diapason No. 3, wood 16 Fourniture, 19, b2l, 22, 26, 29 Open Diapason, metal 16 Contra Trombone 32 Contra Basso, metal 16 *Contra Ophicleide 32 *Geigen, metal 16 Trombone 16 Dolce, metal 16 Bombardon 16 *Violone, metal 16 *Ophicleide 16 Bourdon, wood 16 *Fagotto 16 *Quintaton, metal 16 Octave Trombone 8 Quint, wood 10 2/3 *Octave Bassoon 8 Octave, wood 8 Clarion 4 Principal, metal 8 * Stops marked * are in separate Swell Box. Wind pressures: 6, 7, 10, 15, and 25 inches. CHOIR ORGAN (23 STOPS). FEET. FEET. Contra Dulciana 16 *Gambette 4 *Contra Gamba 16 Dulciana 2 Open Diapason 8 *Flageolet 2 *Violin Diapason 8 *Dulciana Mixture, 10, 12, 17, Rohr Flute 8 19, 22 *Claribel Flute 8 *Bass Clarinet 16 Dulciana 8 *Baryton, dble. vox humana 16 *Gamba 8 *Corno di Bassetto 8 *Unda Maris (FF) 8 *Cor Anglais 8 Flute Ouverte 4 *Vox Humana 8 *Suabe Flute 4 *Trumpet (orchestral) 8 Dulcet 4 *Clarion 4 * Stops marked * in separate Swell Box. Wind pressures: 4 inches; Trumpet and Clarion, 7 inches. GREAT ORGAN (28 STOPS, 1 COUPLER). FEET. FEET. Double Open Diapason 16 Octave Diapason 4 Contra Tibia 16 Principal 4 Bourdon 16 Flute Couverte 4 Double Quint 10 2/3 Flute Harmonique 4 Open Diapason, No. 1 8 Twelfth 2 2/3 Open, No. 2 8 Fifteenth 2 Open, No. 3 8 Piccolo Harmonique 2 Open, No. 4 8 Mixture, 10, 12, 17, 19, 22 Open, No. 5 8 Sesquialtera, 19, b21, 22, 26, 29 Open, No. 6 8 Double Trumpet 16 Tibia Major 8 Trumpet 8 Tibia Minor 8 Trompette Harmonique 8 Stopped Diapason 8 Clarion 4 Doppel Flöte 8 Solo Trombas on Great Quint 5 1/3 (By Coupler) Wind pressures: 5, 10, and 15 inches. [Transcriber's note: in "Sesquialtera", the "b21" above, the "b" represents the music "flat" symbol.] SWELL ORGAN (31 STOPS). FEET. FEET. Contra Geigen 16 Lieblich Flöte 4 Contra Saliciona 16 Doublette 2 Lieblich Bordun 16 Lieblich Piccolo 2 Open Diapason, No. 1 8 Lieblich Mixture, 17, 19, 22 Open Diapason, No. 2 8 Full Mixture, 12, 17, 19, b21, 22 Geigen 8 Double Trumpet 16 Tibia 8 Wald Horn 16 Flauto Traverso 8 Contra Hautboy 16 Wald Flöte 8 Trumpet 8 Lieblich Gedackt 8 Trompette Harmonique 8 Echo Gamba 8 Cornopean 8 Salicional 8 Hautboy 8 Vox Angelica (FF) 8 Krummhorn 8 Octave 4 Clarion, No. 1 4 Geigen Principal 4 Clarion, No. 2 4 Salicet 4 Wind pressures: 5, 7, 10, and 15 inches. [Transcriber's note: in "Full Mixture", the "b21" above, the "b" represents the music "flat" symbol.] SOLO ORGAN (23 STOPS). FEET. FEET. *Contra Hohl Flöte 16 Concert Flute 4 Contra Viole 16 Octave Viole 4 *Hohl Flöte 8 Piccolo Harmonique 2 Flute Harmonique 8 Violette 2 Viol de Gambe 8 Cornet de Violes, 10, 12, 15 Viol d'Orchestre 8 Cor Anglais 16 Viole Celeste (FF) 8 Clarinet (orchestral) 8 *Octave Hohl Flöte 4 Bassoon (orchestral) 8 French Horn (orchestral) 8 Tromba Real 8 Oboe (orchestral) 8 Tromba Clarion 4 Contra Tromba 16 *Diapason Stentor 8 Tromba 8 All Stops in a Swell Box except Stops marked *. Wind pressures: 7, and 20 inches. CLAVIER DES BOMBARDES (TUBA ORGAN) (6 STOPS). FEET. FEET. Contra. Tuba 16 Octave Bombardon 4 Bombardon 8 Tuba Clarion 4 Tuba Mirabilis 8 Tuba Magna 8 Wind pressures: 30 inches; Tuba Magna, 50 inches. The Stops of this department will be played from the fifth Keyboard, the action being controlled by Draw-stop Knob marked "Tuba On." ECHO ORGAN (19 MANUAL AND 4 PEDAL STOPS). ECHO PEDAL. FEET. FEET. Salicional 16 Fugara 8 Echo Bass 16 Dulzian (reed) 16 ECHO MANUAL. FEET. FEET. Quintaton 16 Flautina 2 Echo Diapason 8 Harmonica Aetheria (flute Cor de Nuit 8 mixture), 10, 12, 15 Carillon (gongs) 8 Chalumeau 16 Flauto Amabile 8 Cor Harmonique 8 Muted Viole 8 Trompette 8 Aeoline Celeste (FF) 8 Musette 8 Celestina 4 Voix Humaine 8 Fernflöte 4 Hautbois d'Amour 8 Rohr Nasat 2 2/3 Hautbois Octaviante 4 Wind pressures: 3 1/2 and 7 inches. Both Pedal and Manual Stops in Swell Box. The Echo Manual Stops played from the fifth Keyboard, the action being controlled by Draw-stop Knob marked "Echo On." Arranged in two double columns on the left-hand or bass jamb are 48 draw-stop knobs for the Couplers and Tremulants. The principal Couplers may also be operated by reversible pistons and the Tremulants (3) by reversible pedals. There are also 5 reversible pedal pistons for the Manual to Pedal Couplers. In addition to the usual Inter-manual Couplers there are on the Choir, Swell, Solo, and Echo organs Sub and Super and Unison (off) Couplers, each on its own Manual. A novelty is a coupler labeled Solo Tenor to Pedal. By its use the upper 20 notes of the pedal-board are available for a tenor solo by the right foot, at the same time the Pedal tones are cut off from these notes and the remainder of the pedal-board is available for use by the left foot as a bass. The stop control is effected in the first place by 9 Adjustable Combination Pedals to the Pedal Organ. Then there are 9 Adjustable Combination Pistons to the Choir, Great, Swell, Solo and Echo organs and 5 to the Tuba organ. It is possible to couple each set of these Manual Pistons to the Pedal organ Combination Pedals, either by draw-stops or by piston, thus moving pedal and manual stops synchronously. All these Combination Pedals and Pistons move the draw-stop knobs, showing a valuable index of their position to the organist. There are 5 Adjustable Pistons on the treble key frame (and 5 duplicates on the bass key frame) for special combinations, on Manuals, Pedal, and Couplers. There are 5 pedals to operate the various swell boxes of the lever locking type--a locking movement allowing the performer to leave pedal in any position. The swell pedal for the Pedal stops can be coupled to any of the others. The Tremulants have attachments allowing the performer to increase or decrease the rapidity of the vibrato at will. The action throughout is electro-pneumatic and tubular-pneumatic (according to distance of pipes from keyboard), excepting the Manual to Pedal Couplers, which are mechanical to pull down the manual keys. There are seven separate blowing installations of electric motors.
PEDAL ORGAN (33 STOPS). FEET. FEET. Double Open Diapason, wood 32 *Violoncello, metal 8 Double Open Diapason, metal 32 Flute, metal 8 Contra Violone, metal 32 *Quintadena, metal 8 Double Quint, wood 21 1/3 Twelfth, metal 5 1/3 Open Diapason No. 1, wood 16 Fifteenth, metal 4 Open Diapason No. 2, wood 16 Mixture, 17th, 19th, 22nd Open Diapason No. 3, wood 16 Fourniture, 19, b21, 22, 26, 29 Open Diapason, metal 16 Contra Trombone 32 Contra Basso, metal 16 *Contra Ophicleide 32 *Geigen, metal 16 Trombone 16 Dolce, metal 16 Bombardon 16 *Violone, metal 16 *Ophicleide 16 Bourdon, wood 16 *Fagotto 16 *Quintaton, metal 16 Octave Trombone 8 Quint, wood 10 2/3 *Octave Bassoon 8 Octave, wood 8 Clarion 4 Principal, metal 8 * Stops marked * are in a separate Swell Box. Wind pressures: 6, 7, 10, 15, and 25 inches. CHOIR ORGAN (23 STOPS). FEET. FEET. Contra Dulciana 16 *Gambette 4 *Contra Gamba 16 Dulciana 2 Open Diapason 8 *Flageolet 2 *Violin Diapason 8 *Dulciana Mixture, 10, 12, 17, Rohr Flute 8 19, 22 *Claribel Flute 8 *Bass Clarinet 16 Dulciana 8 *Baryton, double vox humana 16 *Gamba 8 *Corno di Bassetto 8 *Unda Maris (FF) 8 *Cor Anglais 8 Flute Ouverte 4 *Vox Humana 8 *Suabe Flute 4 *Trumpet (orchestral) 8 Dulcet 4 *Clarion 4 * Stops marked * in a separate Swell Box. Wind pressures: 4 inches; Trumpet and Clarion, 7 inches. GREAT ORGAN (28 STOPS, 1 COUPLER). FEET. FEET. Double Open Diapason 16 Octave Diapason 4 Contra Tibia 16 Principal 4 Bourdon 16 Flute Couverte 4 Double Quint 10 2/3 Flute Harmonique 4 Open Diapason, No. 1 8 Twelfth 2 2/3 Open, No. 2 8 Fifteenth 2 Open, No. 3 8 Piccolo Harmonique 2 Open, No. 4 8 Mixture, 10, 12, 17, 19, 22 Open, No. 5 8 Sesquialtera, 19, b21, 22, 26, 29 Open, No. 6 8 Double Trumpet 16 Tibia Major 8 Trumpet 8 Tibia Minor 8 Trompette Harmonique 8 Stopped Diapason 8 Clarion 4 Doppel Flöte 8 Solo Trombas on Great Quint 5 1/3 (By Coupler) Wind pressures: 5, 10, and 15 inches. [Transcriber's note: in "Sesquialtera", the "b21" above, the "b" represents the music "flat" symbol.] SWELL ORGAN (31 STOPS). FEET. FEET. Contra Geigen 16 Lieblich Flöte 4 Contra Saliciona 16 Doublette 2 Lieblich Bordun 16 Lieblich Piccolo 2 Open Diapason, No. 1 8 Lieblich Mixture, 17, 19, 22 Open Diapason, No. 2 8 Full Mixture, 12, 17, 19, b21, 22 Geigen 8 Double Trumpet 16 Tibia 8 Wald Horn 16 Flauto Traverso 8 Contra Hautboy 16 Wald Flöte 8 Trumpet 8 Lieblich Gedackt 8 Trompette Harmonique 8 Echo Gamba 8 Cornopean 8 Salicional 8 Hautboy 8 Vox Angelica (FF) 8 Krummhorn 8 Octave 4 Clarion, No. 1 4 Geigen Principal 4 Clarion, No. 2 4 Salicet 4 Wind pressures: 5, 7, 10, and 15 inches. [Transcriber's note: in "Full Mixture", the "b21" above, the "b" represents the music "flat" symbol.] SOLO ORGAN (23 STOPS). FEET. FEET. *Contra Hohl Flöte 16 Concert Flute 4 Contra Viole 16 Octave Viole 4 *Hohl Flöte 8 Piccolo Harmonique 2 Flute Harmonique 8 Violette 2 Viol de Gambe 8 Cornet de Violes, 10, 12, 15 Viol d'Orchestre 8 Cor Anglais 16 Viole Celeste (FF) 8 Clarinet (orchestral) 8 *Octave Hohl Flöte 4 Bassoon (orchestral) 8 French Horn (orchestral) 8 Tromba Real 8 Oboe (orchestral) 8 Tromba Clarion 4 Contra Tromba 16 *Diapason Stentor 8 Tromba 8 All Stops in a Swell Box except Stops marked *. Wind pressures: 7, and 20 inches. CLAVIER DES BOMBARDES (TUBA ORGAN) (6 STOPS). FEET. FEET. Contra. Tuba 16 Octave Bombardon 4 Bombardon 8 Tuba Clarion 4 Tuba Mirabilis 8 Tuba Magna 8 Wind pressures: 30 inches; Tuba Magna, 50 inches. The Stops of this department will be played from the fifth Keyboard, the action being controlled by Draw-stop Knob marked "Tuba On." ECHO ORGAN (19 MANUAL AND 4 PEDAL STOPS). ECHO PEDAL. FEET. FEET. Salicional 16 Fugara 8 Echo Bass 16 Dulzian (reed) 16 ECHO MANUAL. FEET. FEET. Quintaton 16 Flautina 2 Echo Diapason 8 Harmonica Aetheria (flute Cor de Nuit 8 mixture), 10, 12, 15 Carillon (gongs) 8 Chalumeau 16 Flauto Amabile 8 Cor Harmonique 8 Muted Viole 8 Trompette 8 Aeoline Celeste (FF) 8 Musette 8 Celestina 4 Voix Humaine 8 Fernflöte 4 Hautbois d'Amour 8 Rohr Nasat 2 2/3 Hautbois Octaviante 4 Wind pressures: 3 1/2 and 7 inches. Both Pedal and Manual Stops in Swell Box. The Echo Manual Stops played from the fifth Keyboard, the action being controlled by Draw-stop Knob marked "Echo On." Arranged in two double columns on the left-hand or bass jamb are 48 draw-stop knobs for the Couplers and Tremulants. The principal Couplers may also be operated by reversible pistons, and the Tremulants (3) by reversible pedals. There are also 5 reversible pedal pistons for the Manual to Pedal Couplers. In addition to the usual Inter-manual Couplers, there are on the Choir, Swell, Solo, and Echo organs Sub and Super and Unison (off) Couplers, each on its own Manual. A novelty is a coupler labeled Solo Tenor to Pedal. By its use, the upper 20 notes of the pedal board are available for a tenor solo by the right foot, while the Pedal tones are cut off from these notes and the remainder of the pedal board is available for use by the left foot as a bass. The stop control is managed primarily by 9 Adjustable Combination Pedals for the Pedal Organ. Then there are 9 Adjustable Combination Pistons for the Choir, Great, Swell, Solo, and Echo organs, and 5 for the Tuba organ. It is possible to couple each set of these Manual Pistons to the Pedal organ Combination Pedals, either by draw-stops or by pistons, synchronizing pedal and manual stops. All these Combination Pedals and Pistons move the draw-stop knobs, providing a helpful index of their position to the organist. There are 5 Adjustable Pistons on the treble key frame (and 5 duplicates on the bass key frame) for special combinations, on Manuals, Pedal, and Couplers. There are 5 pedals to operate the various swell boxes of the lever locking type--a locking movement allowing the performer to leave the pedal in any position. The swell pedal for the Pedal stops can be coupled to any of the others. The Tremulants have attachments that allow the performer to increase or decrease the speed of the vibrato at will. The action throughout is electro-pneumatic and tubular-pneumatic (according to the distance of pipes from the keyboard), except the Manual to Pedal Couplers, which are mechanical to pull down the manual keys. There are seven separate blowing installations of electric motors.
The instrument occupied two special chambers on each side of the chancel, and a portion of the south chancel triforium. There are four fronts, two facing the chancel and two (32 feet) facing the transepts. The console is placed on the north side above the choir stalls. The organ is the gift of Mrs. James Barrow and cost (without cases) about $90,000. The specification was drawn up by Mr. W. J. Ridley, nephew of Mrs. Barrow, with the full approval of her committee, Mr. Charles Collins, Mr. E. Townsend Driffield, the Cathedral organist, Mr. F. H. Burstall, F. R. C. O., and Henry Willis & Sons.
The instrument is set up in two special chambers on either side of the chancel and a section of the south chancel triforium. There are four fronts: two facing the chancel and two (32 feet) facing the transepts. The console is positioned on the north side above the choir stalls. The organ was a gift from Mrs. James Barrow and cost about $90,000 (not including the cases). The specifications were created by Mr. W. J. Ridley, Mrs. Barrow's nephew, with the complete approval of her committee, which included Mr. Charles Collins, Mr. E. Townsend Driffield, the Cathedral organist, Mr. F. H. Burstall, F. R. C. O., and Henry Willis & Sons.
It is claimed that this organ is now "the largest in the world." We give the dimensions of some notable instruments for the sake of comparison:
It’s said that this organ is now "the largest in the world." We provide the dimensions of some notable instruments for comparison:
Paris, St. Sulpice, 118 stops; London, Albert Hall, 124; Sydney Town Hall, 144; St. Louis Exposition, 167; Hamburg, St. Michael's, 163, and Liverpool Cathedral, 215.
Paris, St. Sulpice, 118 stops; London, Albert Hall, 124; Sydney Town Hall, 144; St. Louis Exposition, 167; Hamburg, St. Michael's, 163; and Liverpool Cathedral, 215.
[1] This is really only c3 (see footnote, page 22), but we have decided to adopt the usual nomenclature.
[1] This is really only c3 (see footnote, page 22), but we’ve decided to go with the standard naming convention.
James Ingall Wedgwood, in writing his excellent "Dictionary of Organ Stops," felt it incumbent upon him to offer an apology, or rather, justification for introducing the name of Hope-Jones so frequently.
James Ingall Wedgwood, in writing his excellent "Dictionary of Organ Stops," felt it necessary to offer an apology, or rather, a justification for mentioning the name of Hope-Jones so often.
The author of this present volume feels the same embarrassment. He, however, does not see how it would be possible for him, or for any future writer, who values truth, to avoid reiteration of this man's name and work when writing about the modern organ.
The author of this volume feels the same awkwardness. He, however, doesn’t understand how it would be possible for him, or for any future writer who values honesty, to avoid repeating this man's name and work when discussing the modern organ.
The author's thanks are due to the Austin Organ Company, the Bennett Organ Company, Dr. W. C. Carl, the Estey Organ Company, the Hook & Hastings Company, the Hope-Jones Organ Company, the Hutchings Organ Company, Mr. M. P. Moller, Messrs. J. H. & S. C. Odell, and the E. M. Skinner Company, of the United States; to Messrs. Casavant Frères, of Canada; to Messrs. J. H. Compton, W. Hill & Son, Dr. J. W. Hinton, Alfred Kirkland, John Moncrieff Miller, and Henry Willis & Sons, of England; to Dr. Gabriel Bédart, of Lille, and M. Charles Mutin, of Paris, France, for valuable data, photographs and drawings, kindly furnished for this book.
The author would like to thank the Austin Organ Company, the Bennett Organ Company, Dr. W. C. Carl, the Estey Organ Company, the Hook & Hastings Company, the Hope-Jones Organ Company, the Hutchings Organ Company, Mr. M. P. Moller, Messrs. J. H. & S. C. Odell, and the E. M. Skinner Company from the United States; Messrs. Casavant Frères from Canada; and Messrs. J. H. Compton, W. Hill & Son, Dr. J. W. Hinton, Alfred Kirkland, John Moncrieff Miller, and Henry Willis & Sons from England; as well as Dr. Gabriel Bédart from Lille and M. Charles Mutin from Paris, France, for the valuable information, photographs, and drawings they provided for this book.
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