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7 6 DICTIONARY OF ORGAN STOPS. Free Reeds. The invention of free reeds is attributed to Kratzenstein, a German builder, domiciled at St. Petersburg under Katherine II (regnat 1762-96). Seidel states that they existed in an embryonic stage some two hundred years previously. " The Chinese,, however, had an instrument, the Tscheng, reputed to date from nearly 3000 years B.C. It consisted of thirteen, seventeen, nineteen or twenty-four pipes of bamboo, planted on a half gourd, with a mouth- piece attached. At the foot of the pipe was a metal free reed, set into vibration only when the hole at the foot of the pipe was closed by the finger, the breath being drawn in, and not exhaled, when playing."* The free reed was popularized by the celebrated Abt Vogler (1749-1814). But a Frenchman named Grenie" was the first to set the use of free reeds upon an equitable basis. He succeeded in manufacturing a five-octave compass "orgue expressif" with well- regulated free reeds in 1 810. An American citizen named Aaron Merril Peaseley, in 18 18; Bernhard Eschenbach, of Konigshofen, Gabfelde, in 1820; and Anton Hackel, of Vienna, in 1821, also built reed organs. Whereas Eschenbach's ^oline or ^Eolodikon was expressive, Hackel's original Physharmonika was not. The first examples of the modern type of free reed to be inserted in the organ were those introduced in 1827-29 at Beauvais Cathedral, France. Free reeds were practically perfected by M. Hamel (1786-1870)^ See Reed, Clarinet, Cor Anglais, Musette. Frein Harmonique-(Fr.) Frein, = bridle, curb. Harmonique = harmonic. See Beard. French Horn—8 ft. The accompanying illustration is that of a treble C French Horn pipe. This stop, the invention of Mr. John H. Compton, of Nottingham, gives a very faithful representation of the orchestral French Horn. The imitation of this instrument has been the ideal French Horn. for which organ builders have for many years been (Compton). striving. Its characteristic beauty of tone is such as * From "The Precentor," Aug. 15th, 1903. An article by the author. ) See Bibliography introductory to this work.
DICTIONARY OF ORGAN STOPS. 77 to amply justify the cost of the stop, which is rendered rather expensive by reason of the immense sound-board space occupied. The treble C pipe is 2 ft. 3 in. long (tube), and 6 in. across the bell. See Waldhorn, Dolce, Waldflote. Frontispicium— (Lat.) Frons = front. Specto {ab antiquo specio) = to view. cf. (Eng.) frontispiece. See Montre. Fuchsschwanz—Fuchsschwank. Schwank = joke. (Ger.) Fuchs = fox; Schwanz = tail One of the strange accessories sometimes found in old German organs. A stop-knob bearing the inscription ''Noli me tangere" (" Do not touch ") was attached to the console. As a reward for their curiosity, persons who, regardless of this injunction, touched the knob, thereby set free the catch of a spring, causing a huge foxtail to fly out into their faces. Sometimes the foxtail was simply attached to the stop knob. Having once drawn the tail out of the jamb, it was a matter of some difficulty to replace it. Meanwhile, the recalcitrant culprit was subject to the chaff of his comrades. There is a foxtail near the dwarf " Perkeo," guarding the great Tun at Heidelberg Castle. St. Andrea, Erfurt ; St. Gertrud, Hamburg. FUGARA—Horn Gamba. Formerly Tibia Aperta. Generally 4 ft. sometimes 8 ft. ; rarely 16 ft. A Gamba of horny, rather than keen, tone. It displays a quality much favoured in Germany but distinctly distasteful to the English ear. In former times, the Fugara occasionally possessed more of a Gemshorn quality; it was also sometimes composed of wooden pipes. The latter were variously shaped, being even tapering, or of triangular form. The Horn Gamba, as sometimes found in Hope-Jones organs, is of quite a different character. It is more musical. Though horny in a sense, it is not hard. It may be described as a Dolce pipe fitted with a beard, and " Gamba-ed " in tone. Roehampton Parish Church, (Hope-Jones). Fullflote—4 ft. A Flute of full tone. Triebel, Silesia. Pull Bdi3Ct«.l?e — A Mixture of Diapason scale intended to amplify and extend the organ tone, as opposed to Sharp Mixture which adds brilliancy. The ranks, therefore, are not pitched so high as those of the latter. Fundamen Reeds—The name originally applied by Mr. Hope-Jones to a very smooth and full-toned variety of reed, included in most of his instruments. See Tuba Sonora. Fundamentalis = Prinzipal. Canberry. Fui*niti'U.x*e—Fourniture. A full-toned Mixture of considerable power. -A possible (though, perhaps, rather far-fetched) derivation is (Fr.) fournir = to supply ; from the fact that the stop supplies great brilliancy, adding appreciably to the tone. ;
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DICTIONARY OF ORGAN STOPS JJ.WEDGWO
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Cornell University Library The orig
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THIRD EDITION. TO T. TERTIUS NOBLE,
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A WORK FOREWORD. of this kind will
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PREFACE. V frame a few constructive
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PREFACE. Vll from the facts that a
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PREFACE TO THE SECOND EDITION. THE
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PREFACE TO THE SECOND EDITION. XI c
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XIV BIBLIOGRAPHY. 1833 he went to P
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XVI TABLE OF HARMONIC SERIES. TABLE
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DICTIONARY OF ORGAN STOPS. A. Acous
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DICTIONARY OF ORGAN STOPS. 3 artist
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DICTIONARY OF ORGAN STOPS. 5 are st
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DICTIONARY OF ORGAN STOPS. J BARYTO
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DICTIONARY OF ORGAN STOPS. Beard—
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DICTIONARY OF ORGAN STOPS. B©11—
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DICTIONARY OF ORGAN STOPS. 13 the e
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DICTIONARY OF ORGAN STOPS. 1 Dr. Ha
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DICTIONARY OF ORGAN STOPS. 1 would
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DICTIONARY OF ORGAN STOPS. 1 IV ran
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DICTIONARY OF ORGAN STOPS. 21 is ra
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DICTIONARY OF ORGAN STOPS. 23 Clari
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Page 67 and 68: DICTIONARY OF ORGAN STOPS. 43 mouth
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Page 75 and 76: above stops are all of the bivalvul
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Page 81 and 82: DICTIONARY OF ORGAN STOPS. 57 made
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Page 85 and 86: DOUBLE - TONGUEO REED —Double-ton
Page 87 and 88: DICTIONARY OF ORGAN STOPS. 63 Dulci
Page 89 and 90: DICTIONARY OF ORGAN STOPS. 65 Echo
Page 91 and 92: DICTIONARY OF ORGAN STOPa. 67 Examp
Page 93 and 94: DICTIONARY OF ORGAN STOPS. 69 Flaut
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Page 111 and 112: DICTIONARY OF ORGAN STOPS. 87 Harmo
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Page 117 and 118: HORN GAMBA—See Fugara. DICTIONARY
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Page 121 and 122: RRUMMHORN—See Clarinet. DICTIONAR
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DICTIONARY OF ORGAN STOPS. 127 much
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DICTIONARY OF ORGAN STOPS. 129 or a
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DICTIONARY OF ORGAN STOPS. 13I orga
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DICTIONARY OF ORGAN STOPS. 133 Rega
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DICTIONARY OF ORGAN STOPS. 1 35 Mes
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DICTIONARY OF ORGAN STOPS. '37 chim
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Salicional .(rollered), with double
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DICTIONARY OF ORGAN STOPS. 141 empl
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DICTIONARY OF ORGAN STOPS. 1 43 Sha
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DICTIONARY OF ORGAN STOPS. 145 8 ft
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Subbass—See Bourdon. DICTIONARY O
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DICTIONARY OF ORGAN STOPS. 149 prop
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DICTIONARY OF ORGAN STOPS. 151 and
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154 Metal Tibia Minor
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156 DICTIONARY OF ORGAN STOPS. U P
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158 DICTIONARY OF ORGAN STOPS. of a
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i6o DICTIONARY OF ORGAN STOPS. Trom
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1 62 DICTIONARY OF ORGAN STOPS. Tro
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164 DICTIONARY OF ORGAN STOPS. util
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1 66 DICTIONARY OF ORGAN STOPS. 1 2
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170 DICTIONARY OF ORGAN STOPS. "Vio
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172 DICTIONARY OF ORGAN STOPS. due
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174 DICTIONARY OF ORGAN STOPS. Pari
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176 DICTIONARY OF ORGAN STOPS. them
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180 DICTIONARY OF ORGAN STOPS. rate
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182 DICTIONARY OF ORGAN STOPS. Vox
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1 86 DICTIONARY OF ORGAN STOPS. z\
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i88 PHONETIC PRONOUNCING VOCABULARY
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190 LIST OF SUBSCRIBERS. LIST OF SU
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192 LIST OF SUBSCRIBERS. Gordon & G
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194 LIST OF SUBSCRIBERS. Rollo, D.,
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THE SHEFFIELD DAILY TELEGRAPH. " Mr
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Works by the same Author. A HISTORY
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MUSICAL WORKS COMPOSED OR EDITED BY
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— MUSICAL WORKS BY FRANCIS BURGES
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The "JOHN HOLT" "PIONEER" PEDAL REE
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— — " Artis est Celare Artem" A
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ESTABLISHED 1869. TELEPHONE 673. Ab
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J. J. BINNS, BRAMLEY ORGAN WORKS, l
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ROBERT SPURDEN #rgan BSutltrer, RUT
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ESTABLISHED 1886. TUNINGS, &c, by Y
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Ssta.1blish.ecl 1888. High Class Ch
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