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 ...
12 DICTIONARY OF ORGAN STOPS. past been somewhat exaggerated. The main reason for the disuse of stops requiring to be tuned by means of the ears was the difficulty en- countered in getting at the latter. Sandwiched in between other stops, possibly on a crowded sound-board, it will be seen that delicate manipulation was a matter of no inconsiderable awkwardness. Under the same category as the Bell Gamba and Bell Diapason falls the old-fashioned type of Rohrflote and such Harmonic Flutes as are provided with long ears for tuning purposes. The author, personally, would be the last to disparage keen string Gambas, believing them to be amongst the most beautiful and valuable of modern achievements in voicing. There is, albeit, no valid reason why they should be cultivated to the exclusion ol other varieties, and be duplicated on both Swell and Choir organs. It is much to be desired that some attempt be made to reproduce the beautiful old-fashioned Viola-di-Gamba tone from a pipe of more practical form. A 1 6 ft. Glocken-G'amba occurs on the Pedal at Grace Church, New York (Roosevelt, 1878). Bells—See Campana, Carillons. Bible-Regal— (Ger.) Bibel-Regal. See Regal. Bifara—Bifra, Biffra, Tibia Bifara, Piffaro. (Late Lat.) Bifarius = two- wayed, double. Piffaro is an onomatopoeia suggested by the " piff or lip-tone of the orchestral Flute. 8 ft. ; 4 ft. The description of the Bifara given in ancient organ literature has puzzled modern writers not a little. It is said to have been a wooden double-mouthed pipe, with the block so set that one mouth was higher than the other, and with the bore so small as to admit but a limited supply of wind. As the result of these peculiarities a pleasant undulation, rather lighter than that of the Unda Maris, is said to have been obtained from the one pipe. St. Wenzeslaus, Naumberg: Walterhausen (1730). Seidel, commenting on the latter example, remarks that though he had several times played on the organ at Walterhausen, he had never had any such effect brought to his notice. If the effect occurred at all it could only have been a sort of "wobbling" of the tone. But Sponsel, in his "Orgelhistorie," (p. 105) utters the following remarks: "It is the quietest, softest and most charming register conceivable. The pipes are of Prinzipal scale, but the feet are plugged, having only a very small opening bored through them. Two of these pipes are apportioned to each key, but so tuned as to be slightly discordant to each other and give rise to an undulation. It can only be carried through the two upper octaves. In the two lower ones it is represented by a quiet Flute, so that, when the organ possesses but one manual, the stop can be played throughout the compass. It can only be played on very slowly, and serves instead of the Tremulant for conveying "
DICTIONARY OF ORGAN STOPS. 13 the effect of grief." This statement, emanating from a writer who was the contemporary of the learned Benedictine, Dom Be'dos, should suffice to account for the tradition that the Bifara was a stop of undulating tone. In Germany, the name Bifara is still occasionally found applied to the Doppelflote (Paulskirche, Frankfurt-am-Main, Walcker, 1833). Under the name Bifra, Walcker, of Ludwigsburg, has used two pipes to a note—the lower (of 8 ft. pitch) stopped, and the upper (of 4 ft. pitch) open and of slightly stringy tone and small scale. With separate Tremulant at Boston Music Hall (1857-63); Riga Cathedral (1883); Paulskirche, Frankfurt (1883); St. Stephensdom, Vienna (1886). As Piffaro this firm has also used a similar arrangement of 8 ft. and 2 ft. pipes at Riga, Vienna and Ulm. At Boston, 4 ft. and 2 ft. Blockflote—Corrupted to Bockflote or Plockflote. Tibia Vulgaris (Lat. = Common Flute). Anglice, Blockflute. 16 ft. ; 8 ft. ; 4 ft. ; 2 ft. Father Smith used the term, as did also his contemporary German builders, to designate a huge Fifteenth several scales larger (proportion- ately) than the Diapason. The Blockflote was sometimes composed of stopped pipes, at other of conical pipes. Originally imitative of the Flaut-a-becq. Blower—A signal to that worthy functionary by means of bell, clapper or whistle. Bock-Schwebung—(Ger.) Bock is sometimes loosely employed for Ziegenbock (= he-goat). The verb bocken signifies to buckjump. Schwebung = Tremulant. Bock-Schwebung was the term employed to describe a Tremulant of inordinately powerful beat. The derivation may relate simply to the jumping of the apparatus or to its resemblance in effect to the wavering of a goat's bleat. Bcehmflbte—Bcehmischefldte. An ordinary Flauto Traverso. Named after Theodore Boehm, who invented a new form of the Orchestral Flute in 1832. Not Bohemian Flute, as has erroneously been advanced. Bombarde—Bombardon. Bass-Bommer; Bass-Brummer; Bass- P.ommer (Pommer is old name for Oboe, and Bass-Pommer for Bassoon). Pedal 32 ft.; 16 ft. Manual 16 ft.; occasionally 8 ft. Very rarely abroad as pedal 8 ft. ; manual 4 ft. Synonymous with our word "bombard." As Dr. J. W. Hinton has not inaptly observed, the term appears to have been successively applied to that organ stop or instrument, which, for the time being, was capable of the most imposing and thrilling effect. The original derivation is onoma-
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DICTIONARY OF ORGAN STOPS. 13<br />
the effect <strong>of</strong> grief." This statement, emanating from a writer who was the<br />
contemporary <strong>of</strong> the learned Benedictine, Dom Be'dos, should suffice to<br />
account for the tradition that the Bifara was a stop <strong>of</strong> undulating tone.<br />
In Germany, the name Bifara is still occasionally found applied to the<br />
Doppelflote (Paulskirche, Frankfurt-am-Main, Walcker, 1833). Under the<br />
name Bifra, Walcker, <strong>of</strong> Ludwigsburg, has used two pipes to a note—the<br />
lower (<strong>of</strong> 8 ft. pitch) stopped, and the upper (<strong>of</strong> 4 ft. pitch) open and <strong>of</strong><br />
slightly stringy tone and small scale. With separate Tremulant at Boston<br />
Music Hall (1857-63); Riga Cathedral (1883); Paulskirche, Frankfurt<br />
(1883); St. Stephensdom, Vienna (1886). As Piffaro this firm has also<br />
used a similar arrangement <strong>of</strong> 8 ft. and 2 ft. pipes at Riga, Vienna and<br />
Ulm. At Boston, 4 ft. and 2 ft.<br />
Blockflote—Corrupted to Bockflote or Plockflote. Tibia Vulgaris (Lat.<br />
= Common Flute). Anglice, Blockflute. 16 ft. ; 8 ft. ; 4 ft. ; 2 ft.<br />
Father Smith used the term, as did also his contemporary German<br />
builders, to designate a huge Fifteenth several scales larger (proportion-<br />
ately) than the Diapason. The Blockflote was sometimes composed <strong>of</strong><br />
stopped pipes, at other <strong>of</strong> conical pipes. Originally imitative <strong>of</strong> the<br />
Flaut-a-becq.<br />
Blower—A signal to that worthy functionary by means <strong>of</strong> bell, clapper<br />
or whistle.<br />
Bock-Schwebung—(Ger.) Bock is sometimes loosely employed for<br />
Ziegenbock (= he-goat). The verb bocken signifies to buckjump.<br />
Schwebung = Tremulant.<br />
Bock-Schwebung was the term employed to describe a Tremulant <strong>of</strong><br />
inordinately powerful beat. The derivation may relate simply to the<br />
jumping <strong>of</strong> the apparatus or to its resemblance in effect to the wavering <strong>of</strong><br />
a goat's bleat.<br />
Bcehmflbte—Bcehmischefldte. An ordinary Flauto Traverso.<br />
Named after Theodore Boehm, who invented a new form <strong>of</strong> the<br />
Orchestral Flute in 1832. Not Bohemian Flute, as has erroneously been<br />
advanced.<br />
Bombarde—Bombardon. Bass-Bommer; Bass-Brummer; Bass-<br />
P.ommer (Pommer is old name for Oboe, and Bass-Pommer for<br />
Bassoon). Pedal 32 ft.; 16 ft. Manual 16 ft.; occasionally 8 ft.<br />
Very rarely abroad as pedal 8 ft. ; manual 4 ft.<br />
Synonymous with our word "bombard." As Dr. J. W. Hinton has<br />
not inaptly observed, the term appears to have been successively applied<br />
to that <strong>organ</strong> stop or instrument, which, for the time being, was capable <strong>of</strong><br />
the most imposing and thrilling effect. The original derivation is onoma-
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