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A comprehensive dictionary of organ stops - Allen Organ Studio of ...

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86 DICTIONARY OF ORGAN STOPS.<br />

power and pre-eminently mellow and musical, are nevertheless possessed<br />

<strong>of</strong> far greater pervading and travelling power, and exercise a more beneficial<br />

influence on the general tone, than blustering <strong>stops</strong> <strong>of</strong> the Harmonic<br />

Diapason and Stentorphon type. Instead <strong>of</strong> amalgamating with the true<br />

<strong>organ</strong> tone the Harmonic Diapason cuts through it, being raucous and<br />

unduly self-assertive. St. Columb Major, Cornwall (1877)<br />

Hall (1882); Rugby Speech Room (1890). All by Bryceson.<br />

; Paisley Concert<br />

Harmonic Flute-(Fr.) Flute Harmonique ; (Ger.) Harmonieflote<br />

; (Sp.) Flauta Armdnica. 8 ft. ; 4 ft. Invented by<br />

Cavailld-Coll. See Harmonic Pipes and Flauto Traverso.<br />

The tone <strong>of</strong> the Harmonic Flute, as <strong>of</strong> most flue pipes, can be varied<br />

considerably in power, and to some extent in quality, by regulating the<br />

width <strong>of</strong> the mouth. In 4 ft. pitch on the Great <strong>organ</strong> it forms a stop<br />

invaluable for accompanimental usage, and, provided it is not unduly<br />

powerful, beneficial in combination. In 8 ft. pitch it is not very suitable<br />

to the Great <strong>organ</strong>, for, if sufficiently powerful to be serviceable, it is apt<br />

to render the Diapason tone "muddy," and certainly does not supply as<br />

much body and "filling" power as a Hohlflbte or Tibia. When incorporated<br />

in the Choir <strong>organ</strong> the stop is usually named Flauto Traverso, and<br />

made <strong>of</strong> 4 ft., though occasionally <strong>of</strong> 8 ft., pitch. The Choir <strong>organ</strong> Flauto<br />

Traverso is <strong>of</strong> quiet tone and voiced with more character than the larger-<br />

scaled Harmonic Flutes. The Solo <strong>organ</strong> Harmonic Flute is powerlul<br />

and legitimately somewhat hooting in tone. It is sometimes enclosed,<br />

sometimes not. It would certainly seem more satisfactory to enclose<br />

<strong>stops</strong> <strong>of</strong> this class, alike in resonant and unsympathetic buildings, for the<br />

sake <strong>of</strong> the expressive facilities thereby obtained. The Harmonic Flute<br />

combines effectively with such, imitative and orchestral reeds as the Vox<br />

Humana, Orchestral Oboe, Bassoon, etc. With certain types <strong>of</strong> the Vox<br />

Humana, indeed, most peculiar timbres may be built up. Many combinations<br />

<strong>of</strong> this class are enhanced by the use <strong>of</strong> the Tremulant, upon<br />

the speed and power <strong>of</strong> which their success is largely dependant. When<br />

enclosed there can scarcely be any objection to the lowest octave <strong>of</strong> the<br />

8 ft. variety being composed <strong>of</strong> stopped pipes. Harmonic Flutes may be<br />

<strong>of</strong> very full cloying tone, or liquid and bright. An instance <strong>of</strong> the former,<br />

with leathered lips, may be heard to advantage at St. Stephen, Wandsworth,<br />

S.W. (Whiteley), as a Great <strong>organ</strong> 4 ft. stop; whilst good examples <strong>of</strong> the<br />

latter variety may be <strong>of</strong>ten encountered in the work <strong>of</strong> Messrs. Walker<br />

(e.g., York Minster ; St. Margaret, Westminster). Specimens <strong>of</strong> each kind<br />

are useful in large <strong>organ</strong>s, though the fact must not be ignored that the<br />

liquid and hooting style <strong>of</strong> Harmonic Flute owes its successful effect to<br />

favourable acoustical conditions far more than to any peculiarly meritorious<br />

voicing. At the Parish Church, Hucknall Torkard, Nottingham (Musson<br />

& Compton), may be heard side by side an exceedingly full-toned Solo

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