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 ...
148 DICTIONARY OF ORGAN STOPS. normal basis of tonal design would to the author seem to be entirely subversive of all true principles thereof. At the very outset we are confronted with the fact that not only would an entire revolution in the music written and arranged for the organ be rendered necessary, but that a fair-sized instrument constructed on such a system would be entirely beyond the control of any single performer. Nor can stops be en- closed in a swell box without suffering some deterioration of tone. The box acts as a kind of "wet blanket" on the tone of the pipes it encloses. Although this may to some extent be obviated by the employment of increased wind pressure, it nevertheless remains undesirable that enclosure be recognized as the normal practice; the fresh tone of the unenclosed Great organ should always dominate the instrument. Another flaw in the scheme rests in the nature of the crescendo itself. In the orchestra the crescendo involves not merely augmented power, but also, owing to the increased development of the upper partials, a very material change of timbre. In the swell crescendo we find certainly a fine increase of power, and- ('tis true) a slight variation of timbre, or "clang-tint" as Tyndall called it, for the swell shutters do influence the upper partials to a marked extent,* but not by any means sufficiently to free the crescendo of its all too dynamic attributes. It is curious to notice how this striving after true expression has unconsciously manifested itself in the introduction into the Swell organ of string-toned stops—stops rich in upper partials. It is on this account that the 4 ft. Geigen Principal, and the Quintaton family constitute such valuable Swell stops. But even if this catena of evidence be deemed insufficient, there remains the crowning objection that no facility exists for accentuating individual notes of a chord. Obviously, the swell crescendo increases the power of the whole chord. When it be recalled how objectionable is this drawback—only partially surmounted—in the case of the various mechani- cal pianoforte-playing attachments, it will at once be realized that the objection is fatal. " I do not depreciate the Swell-box ; as a matter of fact it is an excellent thing that an organ is not expressive in the sense referred to, for much of its dignity and sublimity would vanish. But I have invariably found that in acoustically magnificent edifices, such as at York, Ulm, Strassburg, Einsiedeln, above all Haarlem, the finest crescendo effects are obtained, not with swell boxes, but by the building up of stop upon stop in rapid succession."f In a building of unfavourable acoustical * This theory finds strong confirmation in the behaviour of the 8 ft. Solo Harmonic Flute in the new instrument at York Minster (Walker, 1903). With the box closed the stop appears tolerably free from overtones, but on opening the shutters the fifth upper partial (sounding a twelfth above the note speaking) is brought out most prominently. t Ibid, p. 21.
DICTIONARY OF ORGAN STOPS. 149 properties, on the other hand it is often an excellent expedient to enclose the greater portion of the organ. From the above remarks it is not by any means to be implied that the organ is a soulless, expressionless instrument, By means of the dynamic Swell crescendo, rapid stop manipulation, and bold phrasing, it is possible to infuse considerable vitality into organ music. Swiss Flute—See Schweizerflote. Syringa—4 ft. An ordinary metal 4 ft. Flute in the Exhibition organ, York, bears this name. Why it received such an extraordinary title is unknown ; it has even been suggested that the stop was provided in case of fire ! Possibly the name was a corruption of Syrinx, the Pandean Pipe, or (Gr.) avpiyyiov, diminutive of avpiyO,. T, Tambourine—Occasionally found in ancient specifications. Tapada— (Sp.) = stopped. Tapadillo—(Sp.) = Stopped Diapason. Tarantantara. A name for the Trumpet found in ancient German specifications. The onomatopoeic origin of this name is very apparent Tenoroon— 16 ft. A name frequently applied in the middle of the last century to a 16 ft. flue stop, usually Bourdon, extending only to tenor C on the manual of English organs. The instrument bearing this name was really a tenor Hautboy. Tenth—(Lat.) Decima. A Double Tierce, 3^ ft. on manual, ft. 6f on pedal. TERPODION—(Gr.) Tepweiv = to delight. wSri = a song. A Gamba with a very wide low mouth, of keen tone though defective speech. It was invented by the firm of Schulze and first inserted in their organ at Halberstadt Cathedral (1838). The instrument, invented by Buschmann, of Berlin, in 18 16, consisted of sticks of wood which were struck with a hammer. The "spit" accompanying the speech of the organ stop was supposed to be representative of this percussion. Such defective speech is fortunately no longer tolerated. Bremen; Wismar, 1840; Lubeck, 1854; Doncaster, 1862; (Schulze). St. Paul, Southport; Brunswick Chapel, Leeds ; (Booth, of Wakefield). !
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DICTIONARY OF ORGAN STOPS. 149<br />
properties, on the other hand it is <strong>of</strong>ten an excellent expedient to enclose<br />
the greater portion <strong>of</strong> the <strong>organ</strong>. From the above remarks it is not by any<br />
means to be implied that the <strong>organ</strong> is a soulless, expressionless instrument,<br />
By means <strong>of</strong> the dynamic Swell crescendo, rapid stop manipulation, and<br />
bold phrasing, it is possible to infuse considerable vitality into <strong>organ</strong><br />
music.<br />
Swiss Flute—See Schweizerflote.<br />
Syringa—4 ft. An ordinary metal 4 ft. Flute in the Exhibition <strong>organ</strong>,<br />
York, bears this name. Why it received such an extraordinary<br />
title is unknown ; it has even been suggested that the stop was<br />
provided in case <strong>of</strong> fire ! Possibly the name was a corruption <strong>of</strong><br />
Syrinx, the Pandean Pipe, or (Gr.) avpiyyiov, diminutive <strong>of</strong> avpiyO,.<br />
T,<br />
Tambourine—Occasionally found in ancient specifications.<br />
Tapada— (Sp.) = stopped.<br />
Tapadillo—(Sp.) = Stopped Diapason.<br />
Tarantantara.<br />
A name for the Trumpet found in ancient German specifications. The<br />
onomatopoeic origin <strong>of</strong> this name is very apparent<br />
Tenoroon— 16 ft.<br />
A name frequently applied in the middle <strong>of</strong> the last century to a 16 ft.<br />
flue stop, usually Bourdon, extending only to tenor C on the manual <strong>of</strong><br />
English <strong>organ</strong>s. The instrument bearing this name was really a tenor<br />
Hautboy.<br />
Tenth—(Lat.) Decima. A Double Tierce, 3^ ft. on manual, ft. 6f on pedal.<br />
TERPODION—(Gr.) Tepweiv = to delight. wSri = a song.<br />
A Gamba with a very wide low mouth, <strong>of</strong> keen tone though defective<br />
speech. It was invented by the firm <strong>of</strong> Schulze and first inserted in their <strong>organ</strong><br />
at Halberstadt Cathedral (1838). The instrument, invented by Buschmann,<br />
<strong>of</strong> Berlin, in 18 16, consisted <strong>of</strong> sticks <strong>of</strong> wood which were struck with a<br />
hammer. The "spit" accompanying the speech <strong>of</strong> the <strong>organ</strong> stop was<br />
supposed to be representative <strong>of</strong> this percussion. Such defective speech is<br />
fortunately no longer tolerated. Bremen; Wismar, 1840; Lubeck, 1854;<br />
Doncaster, 1862; (Schulze). St. Paul, Southport; Brunswick Chapel,<br />
Leeds ;<br />
(Booth, <strong>of</strong> Wakefield).<br />
!
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