A comprehensive dictionary of organ stops - Allen Organ Studio of ...
A comprehensive dictionary of organ stops - Allen Organ Studio of ... A comprehensive dictionary of organ stops - Allen Organ Studio of ...
122 DICTIONARY OF ORGAN STOPS. no means ineffective. Mixtures frequently comprise a Quint rank in the upper portions of their compass. For Pedal Quint see Acoustic Bass. Quint Coupler. In the organ at St. John, Birkenhead, in which Mr. Hope-Jones first developed his embryonic tonal ideas and electrical appliances, was inserted a Manual Quint Coupler by means of which the Swell organ could be coupled to any manual at the pitch of a fifth above unison (quint). Judiciously employed, the Quint Coupler was instrumental in the production of many curious and by no means displeasing effects. Herr Stahlhuth, of Aix-la-Chapelle, has a 1 so experimented with the Quint Coupler. On the pedal organ a Quint Coupler has frequently been employed for the production of mock 32 ft. effects (see Acoustic Bass). •Quintalophon— 32 ft. tone. The name applied to a three-rank Acoustic Bass stop at N6tre Dame Cathedral, Montreal, (Casavant). Quintflote—A Quint of light-toned Flute pipes. Quintaton—Quintadena. In mediaeval specifications, variously Quintaten, Quintaden, Quinta-ed-una, Quintitenens. A stop varying as much in tone and construction as in the supposed derivation of its names. Allihn is of opinion that it may be derived from the late Latin, Quintadenare, (Fr. Quintadiner). Others advance (Lat.) Quintam Tenens = holding the fifth (Lat.) Quinta ed (et) una = fifth and unison. (Lat.) Quinta a tono = fifth from the tone. Probably alt these derivations are correct, repiesenting distinct names. The Quintaton is a stopped pipe, the distinctive feature of which is that its first harmonic (the twelfth or octave fifth) is prominently developed. The pipe thus has the effect of speaking two separate notes simultaneously. Albeit they are so perfectly blended, and the average ear is so accustomed to synthesing harmonics with the fundamental as constituting one single musical note, that many people are unable, at first hearing, to distinguish two notes. Some worthy persons profess to be unable to tolerate the Quintaton because it incessantly gives rise to a succession of consecutive fifths. Prima facie the objection is rather chimerical, for all pipes speak consecutive fifths {i.e., twelfths), stopped and string-toned pipes more brazenly than others. Used in combination, the Quintaton, when viewed from this aspect, stands on precisely the same footing as the plain Gedeckt or Gamba. How wide indeed is the gulf fixed between the modern academical mind and the primitive organum of our forefathers ! Nor is the use of this stop for solo purposes open to any serious objection. We must, in point of fact, admit the vital distinction between the consecutive fifths of the harmonic series as producedfrom one pipe, and those emanating from two or more pipes, voices or other tone generating agents, each with :
DICTIONARY OF ORGAN STOPS. 123 its own individual conflicting set of overtones. As has already been observed, the two notes of the Quintaton are blended together in an ideal manner—far more perfectly, indeed, than those of any two separate pipes could possibly be. The real consecutive fifths of Mixture ranks are defensible solely on the ground that such stops are intended to corroborate the harmonic series of the foundation work. Nevertheless, amongst those who take exception to the Quintaton, there are, conceivably, many who would, forthwith, cry aloud against any suggested abolition of Mixtures. Vox et proeterea nihil. In many Dutch and German organs the Quintaton is nothing more than a badly voiced Bourdon, with the twelfth left prominent in the tone, coarse and unblending in character. Walcker of Ludwigsburg, amongst other German builders, makes Quintatons of the modern type. Many of the old English stopped Flutes were virtually Quintadenas ; e.g., Hamp- ton Court Palace (Father Smith), and Green's Nasons (St. Peter, Nottingham). It was the goodly proportion of the twelfth in these stops which so enhanced their blending properties (see Gedeckt). (See also Cor de Nuit). The Quintaton was practically re-introduced into this country by Cavailld-Coll in his organ built for the Albert Hall, Sheffield, in 1873. I' was subsequently adopted by Mr. Casson, (Longwood House, Nayland, 1897), to whose credit be it marked that he recognised early the value of the stop and has since consistently championed its use. Other examples : London Organ- School ; Chamber Organ, Cathcart House, Kensington, W. (Positive Organ Co.). The Quintaton likewise found an earnest advocate in Mr. Hope-Jones, undergoing at his hands improvements such as rendered it more suitable for combinational use, and adapted it to increased wind pressure. The Hope-Jones Quintadena —as he usually termed it—is often provided with a leathered lip, and, in some cases, is bearded. It possesses greater breadth of tone than the older variety. There are examples at : Worcester Cathedrai : Collegiate Church, Warwick ; Parish Church, Burton-on-Trent ; St. Mark, Brighton, etc. White haven (Harrison & Harrison, 1904). Another variety of Quintaton has been introduced into some of their organs by Messrs. Hill & Sons. In a resonant building it forms a solo stop or exquisite beauty, sometimes even resembling an orchestral reed of con- siderable piquancy. There is a good example at Peterborough Cathedral. The Quintaton, as now made, speaks the ground tone and twelfth in about equal proportion. Contrary to the generally prevalent idea, the main — Quintaton.
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DICTIONARY OF ORGAN STOPS. 123<br />
its own individual conflicting set <strong>of</strong> overtones. As has already been<br />
observed, the two notes <strong>of</strong> the Quintaton are blended together in an ideal<br />
manner—far more perfectly, indeed, than those <strong>of</strong> any two separate pipes<br />
could possibly be. The real consecutive fifths <strong>of</strong> Mixture ranks are<br />
defensible solely on the ground that such <strong>stops</strong> are intended to corroborate<br />
the harmonic series <strong>of</strong> the foundation work. Nevertheless,<br />
amongst those who take exception to the Quintaton, there are,<br />
conceivably, many who would, forthwith, cry aloud against any<br />
suggested abolition <strong>of</strong> Mixtures. Vox et proeterea nihil. In<br />
many Dutch and German <strong>organ</strong>s the Quintaton is nothing<br />
more than a badly voiced Bourdon, with the twelfth left<br />
prominent in the tone, coarse and unblending in character.<br />
Walcker <strong>of</strong> Ludwigsburg, amongst other German builders,<br />
makes Quintatons <strong>of</strong> the modern type. Many <strong>of</strong> the old<br />
English stopped Flutes were virtually Quintadenas ; e.g., Hamp-<br />
ton Court Palace (Father Smith), and Green's Nasons (St.<br />
Peter, Nottingham). It was the goodly proportion <strong>of</strong> the<br />
twelfth in these <strong>stops</strong> which so enhanced their blending properties<br />
(see Gedeckt). (See also Cor de Nuit). The<br />
Quintaton was practically re-introduced into this country by<br />
Cavailld-Coll in his <strong>organ</strong> built for the Albert Hall, Sheffield,<br />
in 1873. I' was subsequently adopted by Mr. Casson, (Longwood<br />
House, Nayland, 1897), to whose credit be it marked<br />
that he recognised early the value <strong>of</strong> the stop and has since<br />
consistently championed its use. Other examples : London<br />
<strong>Organ</strong>- School ; Chamber <strong>Organ</strong>, Cathcart House, Kensington,<br />
W. (Positive <strong>Organ</strong> Co.).<br />
The Quintaton likewise found an earnest advocate in Mr.<br />
Hope-Jones, undergoing at his hands improvements such as<br />
rendered it more suitable for combinational use, and adapted<br />
it to increased wind pressure. The Hope-Jones Quintadena<br />
—as he usually termed it—is <strong>of</strong>ten provided with a leathered<br />
lip, and, in some cases, is bearded. It possesses greater breadth<br />
<strong>of</strong> tone than the older variety. There are examples at :<br />
Worcester Cathedrai : Collegiate Church, Warwick ; Parish<br />
Church, Burton-on-Trent ; St. Mark, Brighton, etc. White<br />
haven (Harrison & Harrison, 1904). Another variety <strong>of</strong><br />
Quintaton has been introduced into some <strong>of</strong> their <strong>organ</strong>s by<br />
Messrs. Hill & Sons. In a resonant building it forms a solo stop or<br />
exquisite beauty, sometimes even resembling an orchestral reed <strong>of</strong> con-<br />
siderable piquancy. There is a good example at Peterborough Cathedral.<br />
The Quintaton, as now made, speaks the ground tone and twelfth in about<br />
equal proportion. Contrary to the generally prevalent idea, the main<br />
—<br />
Quintaton.
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