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

PREFACE TO THE SECOND EDITION.
THE
remarkably cordial reception of this work at the hands of the
Press and of the organ-loving public generally, has altogether
surpassed my anticipation. It has, in truth, revealed the existence
of a large and ever increasing body of organists who are taking an active
and intelligent interest in the tonal development of their instrument. Such
a state of affairs assuredly augurs well for future progress.
In preparing this second edition for the press, I meet a wish expressed
that I should gather up in a few words the threads of the several tonal
evolutionary tendencies manifested during the past century. References
to tonal achievements illustrative of the general trend of my remarks are
prominent in the text of this book ; I accordingly leave them largely out of
present consideration.
We move in an age marked by much clash and transience of opinion
as to what constitute the foundation principles of organ building. Small
matter this warring of beliefs : for when was there brought to birth a Wonderchild
without the preceding travail and anguish ? But if in scrying beyond
the ephemeralities of the moment one fact emerges clearly, it is that the
modern organ has come to stay, having won all but universal acceptance.
We have rounded the nadir point of the period of reaction which inevitably
succeeds the introduction of any new product of human ingenuity. The
modern organ no longer has need of any Apologia, it has vindicated its
claim to be regarded as a step forward in progress.
If we review in broad outline the history of the organ during the past
century— "the wonderful century," as the venerable Dr. Alfred Russel
Wallace has characterized it—we shall find that the tonal progress achieved
may be relegated to three distinct streams of influence. Two of these had
their source on the Continent, the third represented the adaptation to
organ building of those scientific methods which gradually permeated all
departments of industrial life during the latter half of the century. Dr.
John Camidge, of York, and William Hill were responsible for the first
influx of new ideas. From the various foreign musicians who frequented
the colossal pioneer Musical Festivals in York Minster—abiding witness to
the value of such institutions—Dr. Camidge learnt of the magnificence of