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

THE SHEFFIELD DAILY TELEGRAPH.
" Mr. Wedgwood devotes an entertaining chapter to the quaint stops occasionally
found in English and Continental organs."
THE MUSICAL TIMES.
"Anyone who, judging from the mere title, might assume that this ' Dictionary ' is a
dry, technical book, would soon realise that its pages are as readable as they are
informing. That the work has been thoroughly done may be instanced by the space
devoted to main subjects, e.g.. Diapason, 12 pages, Mixture, 8 pages, Reed, 6 pages,
Tuba aDd Vox Humana, each 4 pages, and Swell Box, 2 pages. Research too, is
evident. . . . Mr. Wedgwood's erudition and investigations are productive of not
a little humour ... a book which is excellent in every way."
THE MUSICAL NEWS.
"A very useful and elaborately got-up volume. Its author is well-known as an
enthusiast in organ construction, and he has brought his wide knowledge to bear in
the compilation of this work. It is carried out in the most thorough manner
technical as such a task must necessarily be, Mr. Wedgwood writes with so much
historical knowledge and critical discernment that every page is of interest. Not
only are the measurements and scales given of the multitude of stops to be found in
old and modern organs, but, where necessary, these are fully illustrated with
excellent drawings . . . the mass of information to be found in Mr. Wedgwood's
useful volume."
THE MUSICAL WORLD.
"Mr. Wedgwood has long been known as an earnest, painstaking and thorough
investigator in all matters pertaining to the construction of organs and the production
of organ tone, and, indeed, has come to be regarded as one of our leading
authorities on this subject. The present volume furnishes abundant evidence of the
thoroughness with which he enters upon his researches, and of the wide area through
which he pursues them. It is not only a dictionary in the ordinary sense of the
word ; it contains also descriptions of every known organ stop, ancient and modern,
together with particulars of construction, scaling and voicing ; and by whom invented,
improved and perfected. Moreover, instances of organs are given in which
the different varieties may be found, so that the book becomes virtually a history
of the evolution of organ construction, regarded from a tonal point of view.
Mr. Wedgwood having visited and examined the various instruments referred to
both in this country and on the Continent, is well entitled to speak with authority
upon these matters. Many of the stops are treated of at considerable length
descriptions of such stops as the diapasons—with those modern developments of the
voicer's art—namely, the diaphones and Tibias of various forms'—mixtures, reeds as
a class, and in their numerous varieties, are in the nature of exhaustive essays, and
constitute valuable contributions to the literature of this important branch of the
organ builder's art. Modern developments and inventions, such as those of Hope-
Jones, Casson, Compton, Norman, etc., together with those of less recent date (as
Hill, Bishop, Willis, Cavaille'-Coll, etc.), are minutely, carefully, and, what is more,
lucidly described. The descriptions, too, are considerably enhanced by the addition
of excellent illustrations. One of the not least valuable features of the work is the
compendious summary of the ' bibliography ' of the subject. Combined with wide
and accurate knowledge and lucidity of expression, Mr. Wedgwood invests his
writing with a wealth of literary charm which makes his book a pleasure to read.
The volume is one that cannot fail to be of the utmost value to everyone interested
in organ matters, whether as executants or builders, and we have confidence and
pleasure in recommending this valuable work to the perusal of all such."
MUSICAL OPINION.
" If Mr. Wedgwood be a typical representative of the younger school of writers on
musical subjects, we feel that the age of ponderous pseudo-learning is passing and
is giving place to a type of scholarship which not only has the virtue of exactness
and accuracy of detail, but which also possesses the saving grace of toleration and
humour. . . . The work . . . marks a real epoch in the literature of the organ. It
is not so much that it contains a great deal that is new to most of us, but that it
includes everything that is old. . . . For our own part, we cannot help feeling that
the title of the work is altogether inadequate. It is a dictionary, and certainly the
most exhaustive one in existence, but it is much more. . . . The principles of reedvoicing
are dealt with (probably for the first time) in detail. We commend the
book to all lovers of the 'king of instruments,' and heartily do we congratulate
Mr. Wedgwood on the success which has crowned his painstaking labours."
: :