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

172 DICTIONARY OF ORGAN STOPS.
due moderation of power and proper treatment, the Viole d'Orchestre combines
well with other soft stops, and to the ensemble of the particular manual
on which it may happen to be located, contributes brightness without unde-
sirable prominence. Exception is sometimes taken to modern string tone,
and to the Viole d'Orchestre in particular, on the score that it lacks the faculty
of " blending " with other stops. And even should its bare introduction
into the organ grudgingly be tolerated, the strange assertion is sometimes
ventured, that the stop is idoneous solely to a rigidly isolated and separate
usage apart from other stops. In the face of the widespread introduction
of such tones and the encomiums bestowed on them by the most prominent
of modern organists, such an attitude may assuredly be ignored as merely
pedantic and ultra-puristic. In truth, the word blend is constantly handled
in a very loose manner. On the ordinary old-fashioned type of organ,
perhaps one of the most pleasing combinations is that of Gamba and
Stopped Diapason. Similarly on the modern organ, the Viole d'Orchestre
8 ft. with the Lieblich Gedeckt 8 ft., is productive of an effect of consider-
able beauty. The remarkably satisfactory nature of such combinations
depends solely and entirely on the fact that there is no sort or shadow of
blend. The combined stops stand out in marked contrast, each offering
to the other a background, the more perfect on account of its utter
dissimilarity. In such instances, of course, the stops combine effectively.
The association of an old-fashioned Diapason with a Gamba of similar
description, is generally attended by results of a painfully incongruous
nature, wherein is distinguishable neither blend nor agreeable combination.
On the other hand a Diapason and a Principal should display such a
homogenous cohesion of tone as may accurately be characterized as good
blend. Mr. Thos. Elliston, a distinguished organ connoisseur, aptly
remarks in his excellent handbook : " Stop combinations are in reality
problems in acoustics."
Yet another impeachment sometimes lodged against modern string
tone is that it rapidly becomes wearisome. The same objection may be
urged at will against all other stops of " positive " tone, particularly reeds.
Dissentients so constantly fail to recognize that their opprobrium applies
merely to the abuse of certain specific effects. Usum non tollit abusus.
In fine, orchestral effects, Celestes, Tremulants, Vox Humanas, et hoc genus
omne, are characteristic effects, and, as Profs. Locher of Berne, and Zellner
of Vienna sensibly affirm, when employed tastefully and with due restraint,
have a claim to recognition from an artistic standpoint. Gladly recog-
nizing, as we perforce must, that effects of this nature are peculiarly liable
to exaggeration and to unwarranted intrusion as the staple pabulum of
organ voluntaries, it is to be feared that nothing is easier than to earn
cheap notability or notoriety (as the case may be) by posing as a purist in
matters artistic. A superficial acquaintance with the works of J. S. B.