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 ...
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.
DICTIONARY OF ORGAN STOPS. 1 73 (not omitting the church cantatas), an indulgent attitude towards Mendel- ssohn, a veneer of haut godt and an artistically repressed shudder at the bare mention of a Celeste, and lo *. the guise is complete. " This genus is not uncommon" (as the text-books say) ! ! The upper notes of the Viole d'Orchestre do not individually resemble the Violin to the same extent as when used in chords, and in conjunction with the Celeste they convey the effect of "divided strings." Nor indeed is this a matter of surprise, considering how infinite the variety of expression or timbre, which alone checks the tone of the bowed string from becoming strident and wearisome to the ear. It is this facility of expression in the orchestra which raises an insur- mountable barrier between it and the organ, and which, together with the palpable imperfections of many orchestral instruments (e.g., Clarinet), lies at the basis of that autocephalous treatment of so-called orchestral organ stops, whereby an ultra-realistic and servile resemblance to their instrumental prototypes is of set purpose repudiated. (See also Swell Box). A scale for the Viole d'Orchestre successfully employed in some of the Hope- Jones organs is : CC i£ in. (bare), T.C yf in., Mid. C -j\ in., § mouth, cut up a bare £, and rollered. VIOLE SOURDINE—Muted Viol. (Lat.) Surdus = subdued or quiet (hence also deaf ). See also Viol. 8 ft. This stop, representative of muted strings, was introduced conjointly with the Viole d'Orchestre (q.v.), and Zauberflote by Messrs. Michell & Thynne in 1885. It is* a string-toned stop, made like the Viole d'Orchestre, of delicate and subdued tone. Examples voiced by the late Mr. Thynne exist at Tewkesbury Abbey; St. Katherine's Convent, Queen's Square, W. (Beale & Thynne), etc. The Hope-Jones type of Muted Viol is formed of pipes, usually of tin, tapering as they ascend. It had its origin in an attempt to suppress a slight " spit " often attendant on the speech of Viols of very small scale. The original specimens were voiced Mr. J. W. Whiteley. The Hope-Jones pattern of Muted Viol, when correctly treated, is one of the most beautiful tones conceivable. It is deliciously stringy, without evincing the least trace of roughness or horny quality. The Muted Viole may, indeed, be said to reproduce the "bloom" of the Salicional without the "body'' of the stop. It is scarcely necessary to observe that the satisfactory treatment of so delicate a stop demands very considerable skill on the part of the voicer, and when made, careful handling during tuning operations. Crompton Muted Fold, Bolton; Roehampton Parish Church (Hope-Jones); Burton Viol
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DICTIONARY OF ORGAN STOPS. 1 73<br />
(not omitting the church cantatas), an indulgent attitude towards Mendel-<br />
ssohn, a veneer <strong>of</strong> haut godt and an artistically repressed shudder at the<br />
bare mention <strong>of</strong> a Celeste, and lo *. the guise is complete. " This genus<br />
is not uncommon" (as the text-books say) ! ! The upper notes <strong>of</strong> the Viole<br />
d'Orchestre do not individually resemble the Violin to the same<br />
extent as when used in chords, and in conjunction with the Celeste<br />
they convey the effect <strong>of</strong> "divided strings." Nor indeed is this a<br />
matter <strong>of</strong> surprise, considering how infinite the variety <strong>of</strong> expression<br />
or timbre, which alone checks the tone <strong>of</strong> the bowed<br />
string from becoming strident and wearisome to the ear. It is<br />
this facility <strong>of</strong> expression in the orchestra which raises an insur-<br />
mountable barrier between it and the <strong>organ</strong>, and which, together<br />
with the palpable imperfections <strong>of</strong> many orchestral instruments<br />
(e.g., Clarinet), lies at the basis <strong>of</strong> that autocephalous treatment<br />
<strong>of</strong> so-called orchestral <strong>organ</strong> <strong>stops</strong>, whereby an ultra-realistic and<br />
servile resemblance to their instrumental prototypes is <strong>of</strong> set<br />
purpose repudiated. (See also Swell Box). A scale for the<br />
Viole d'Orchestre successfully employed in some <strong>of</strong> the Hope-<br />
Jones <strong>organ</strong>s is : CC<br />
i£ in. (bare), T.C yf in., Mid. C -j\ in.,<br />
§ mouth, cut up a bare £, and rollered.<br />
VIOLE SOURDINE—Muted Viol. (Lat.) Surdus = subdued<br />
or quiet (hence also deaf ). See also Viol. 8 ft.<br />
This stop, representative <strong>of</strong> muted strings, was introduced<br />
conjointly with the Viole d'Orchestre (q.v.), and Zauberflote by<br />
Messrs. Michell & Thynne in 1885. It is* a string-toned stop,<br />
made like the Viole d'Orchestre, <strong>of</strong> delicate and subdued tone.<br />
Examples voiced by the late Mr. Thynne exist at Tewkesbury<br />
Abbey; St. Katherine's Convent, Queen's Square, W. (Beale &<br />
Thynne), etc. The Hope-Jones type <strong>of</strong> Muted Viol is formed<br />
<strong>of</strong> pipes, usually <strong>of</strong> tin, tapering as they ascend. It had its origin<br />
in an attempt to suppress a slight " spit " <strong>of</strong>ten attendant on the<br />
speech <strong>of</strong> Viols <strong>of</strong> very small scale. The original specimens were<br />
voiced Mr. J. W. Whiteley. The Hope-Jones pattern <strong>of</strong> Muted<br />
Viol, when correctly treated, is one <strong>of</strong> the most beautiful tones<br />
conceivable. It is deliciously stringy, without evincing the least<br />
trace <strong>of</strong> roughness or horny quality. The Muted Viole may,<br />
indeed, be said to reproduce the "bloom" <strong>of</strong> the Salicional<br />
without the "body'' <strong>of</strong> the stop. It is scarcely necessary to<br />
observe that the satisfactory treatment <strong>of</strong> so delicate a stop<br />
demands very considerable skill on the part <strong>of</strong> the voicer, and<br />
when made, careful handling during tuning operations. Crompton Muted<br />
Fold, Bolton; Roehampton Parish Church (Hope-Jones); Burton Viol
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