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.

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.

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."

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.

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.

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.

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.

Our review would be incomplete without some mention of

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.

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 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 result of this is a very faithful 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.

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.

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.

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.

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.

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.

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.

We look for a great development in the direction of organs played by mechanical means.

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.

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.

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

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--a|3| to CC--c|4|,[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.

The following is the specification of the organ as it now stands, in its revised 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.

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.

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.

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.

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 stands in a gallery over the west door of the Cathedral. It has five manuals of 56 notes each, CC to g|3|, 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:

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

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 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.

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 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 c|3|, 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.

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.

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.

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:

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.

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.

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.

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.

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.

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.

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.

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.

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."

Similar opinions were expressed 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.

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 c|4|, 61 notes; of 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.

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.

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.

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.

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 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 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.

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:

"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."

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:

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.

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.

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.

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 c|4|; pedals of 32 notes, CCC to g; electro-pneumatic action; 76 speaking stops; 32 couplers, and 4,800 pipes.

The organ was inaugurated June 6, 1912.

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.

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.

The Portland organ has four manuals of 61 notes, CC to c|3|, and pedal of 32 notes, CCC to g. There are 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.

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 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.

There are five manuals, of 61 notes, CC to c|3|, 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.

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.

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.

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:

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 c|3| (see footnote, page 22), but we have decided to adopt the usual nomenclature.

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.

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'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.