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.

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.

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.

There is much controversy as to whether stop-keys will eventually displace the older fashioned draw-knobs.

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]

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.

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.

Willis introduced into his organs pneumatic thumb-pistons about the year 1851. These pistons were placed below the keyboard whose stops they affected.

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.

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.

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.

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.

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.

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.

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.

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.

[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.