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

164 DICTIONARY OF ORGAN STOPS.
utilized. The late Mr. Willis in his fine instruments at the Alexandra
Palace, London ; St. George's Hall, Liverpool ; Lincoln Cathedral ; used,
approximately, 20 ins. His Tubas at the Albert Hall, London, speak
on about 22 ins. In the organ at St. Paul's Cathedral, as finally
rebuilt by him in 1901, the treble of the Tuba in the Dome speaks
on a pressure of no less than 25 ins. In considering the question of
wind pressures it is absolutely essential, in the first place, summarily to
banish the false idea that heavy wind pressure is ordinarily employed for
the purpose of extracting the greatest possible amount of noise from the
stops planted on it, or, indeed, that it is necessarily productive of great
power. In a previous work of the author's, entitled "Tonal Design in
Modern Organ Building," it was pointed out that the main object in the
use of heavy wind pressure is the production of refined tone. This matter,
indeed, is so important a one, so far as modern organ building is concerned,
that the passage (relating alike to flue and reed work) may, profitably
perhaps, be here reproduced.
" The truth of this view of the wind pressure question is demonstrated
by the fact that Hope-Jones, for instance, has placed in chamber organs,
and small churches, reeds on 10 in. wind without any disagreeable effect
resulting. His Swell organs are normally voiced on 10 in. wind throughout
and, by the production of what are acknowledged to be some of the finest
Swells in the country, he has demonstrated that heavy wind can successfully
be used alike for reeds and flues. The softest stop in the new York
Minster organ (Walker), the Echo Dulciana—a mere whisper, inaudible
at the keys unless absolute quiet is reigning, and a stop of exquisite quality
—actually speaks on a pressure of about 8 ins. This pressure was required
for the orchestral reeds and Harmonic Flutes on the Solo organ, and,
therefore, was employed also for the Dulciana. It is a fact that the most
competent modern voicers find, that, on a wind pressure of moderate
strength, it is possible to obtain greater refinement of tone and promptitude
of speech, than on a low pressure. Heavy wind pressure is employed,
therefore, to secure refinement, not noise. In producing high notes of the
utmost delicacy, vocalists and performers on wind instruments constantly
employ an exceedingly high wind pressure." *
M. Vaucanson, who, in 1741, exhibited a most ingenious Flageolet,
playing automaton, calculated that the muscles of the chest of a human
player had to make an effort equivalent to fifty-six pounds, in order to
produce the highest notes ; whereas, a single ounce sufficed for the lower
notes, t
* p. 23.
f It is in accordance with experience such as this, that Cavaille-Coll first divided his
reed, and harmonic-flue soundboards, employing increased wind pressure for the treble
of such stops.
;