The Recent Revolution in Organ Building Part 4

RADIATING AND CONCAVE PEDAL BOARDS.

Pedal boards had always been made flat with straight keys until Willis and the great organist, Dr. S. S. Wesley, devised the radiating and concave board whereby all the pedal keys were brought within equal distance of the player's feet. This was introduced in the organ in St.

George's Hall, Liverpool, in 1855, and Willis has refused to supply any other type of board with his organs ever since. Curiously enough, the advantages of this board were not appreciated by many players who preferred the old type of board and at a conference called by the Royal College of Organists in 1890 it was decided to officially recommend a board which was concave, but had parallel keys. The following letter to the author shows that the R. C. O. has experienced a change of heart in this matter:

THE ROYAL COLLEGE OF ORGANISTS.

LONDON, S. W., 27th May, 1909.

Dear Sir: In answer to your inquiry the Resolutions and Recommendations to which you refer were withdrawn by my Council some years ago. No official recommendation is made by them now. It is stated in our Calendar that the Council wish it understood that the arrangements and measurements of the College organ are not intended to be accepted as authoritative or final suggestions. I am,

Yours faithfully, THOMAS s.h.i.+NDLER, _Registrar_.

The radiating and concave board has been adopted by the American Guild of Organists and has long been considered the standard for the best organs built in the United States and Canada. It is self-evident that this board is more expensive to construct than the other. That is why we do not find it in low-priced organs.

In most American organs built twenty years ago, the compa.s.s of the pedal board was only two octaves and two notes, from CCC to D.

Sometimes two octaves only. Later it was extended to F, 30 notes, which is the compa.s.s generally found in England. Following Hope-Jones'

lead, all the best builders have now extended their boards to g, 32 notes, this range being called for by some of Bach's organ music and certain pieces of the French school where a melody is played by the right foot and the ba.s.s by the left. The chief reason is that g is the top note of the string ba.s.s, and is called for in orchestral transcriptions. Henry Willis & Sons have also extended the pedal compa.s.s to g in rebuilding the St. George's Hall organ in 1898.

PEDAL STOP CONTROL.

For a long time no means whatever of controlling the Pedal stops and couplers was provided, but in course of time it became the fas.h.i.+on to cause the combination pedals or pistons on the Great organ (and subsequently on the other departments also) to move the Pedal stops and couplers so as to provide a ba.s.s suited to the particular combination of stops in use on the manual. This was a crude arrangement and often proved more of a hindrance than of a help to the player.

Unfortunately, unprogressive builders are still adhering to this inartistic plan. It frequently leads to a player upsetting his Pedal combination when he has no desire to do so. It becomes impossible to use the combination pedals without disturbing the stops and couplers of the Pedal department.

The great English organist, W. T. Best, in speaking of this, instanced a well-known organ piece, Rinck's "Flute Concerto," which called for quick changes from the Swell to the Great organ and _vice versa_, and said that he knew of no instrument in existence on which it could be properly played. An attempt had been made on the Continent to overcome this difficulty by the use of two pedal-boards, placed at an angle to each other, but it did not meet with success.

The Hope-Jones plan (patented 1889) of providing the combination pedals or pistons with a double touch was a distinct step in advance for it enabled the organist by means of a light touch to move only the manual registers and by means of a very much heavier touch on the combination pedal or piston to operate also his Pedal stops and couplers. Most large organs now built are furnished with a pedal for reversing the position of the Great to Pedal coupler. Though to a certain extent useful when no better means of control is provided, this is but a makes.h.i.+ft.

Thomas Ca.s.son, of Denbigh, Wales, introduced an artistic, though somewhat c.u.mbersome, arrangement. He duplicated the draw-k.n.o.bs controlling the Pedal stops and couplers and located one set of these with the Great organ stops, another set with the Swell organ stops and a third with the Choir. He placed in the key slip below each manual what he called a "Pedal Help." When playing on the Great organ, he would, by touching the "Pedal Help," switch into action the group of Pedal stops and coupler k.n.o.bs located in the Great department, switching out of action all the other groups of Pedal stops and couplers. Upon touching the "Pedal Help" under the Swell organ keys, the Great organ group of Pedal stops and couplers would be rendered inoperative and the Swell group would be brought into action. By this means it was easy to prepare in advance groups of Pedal stops and couplers suited to the combination of stops sounding upon each manual and by touching a Pedal Help, to call the right group of Pedal stops into action at any moment. The combination pedals affecting the Great stop-k.n.o.bs moved also the Pedal stop-k.n.o.bs belonging to the proper group. The Swell and Choir groups were similarly treated.

But the simplest and best means of helping the organist to control his Pedal department is the automatic "Suitable Ba.s.s" arrangement patented by Hope-Jones in 1891 and subsequently. According to his plan a "Suitable Ba.s.s" tablet is provided just above the rear end of the black keys on each manual.

Each of these tablets has a double touch. On pressing it with ordinary force it moves the Pedal stop keys and couplers, so as to provide an appropriate ba.s.s to the combination of stops in use on that manual at the moment. On pressing it with much greater force it becomes locked down and remains in that position until released by the depression of the suitable ba.s.s tablet belonging to another manual, or by touching any of the Pedal stop-k.n.o.bs or stop-keys.

When the suitable ba.s.s tablet belonging to any manual is thus locked down, the stops and couplers of the Pedal department will automatically move so as to provide at all times a ba.s.s that is suitable to the combination of stops and couplers in use upon that particular manual.

On touching the suitable ba.s.s tablet belonging to any other manual with extra pressure, the tablet formerly touched will be released and the latter will become locked down. The Pedal stops and couplers will now group themselves so as to provide a suitable ba.s.s to the stops in use on the latter-named manual, and will continue so to do until this suitable ba.s.s tablet is in turn released.

This automatic suitable ba.s.s device does not interfere with the normal use of the stop-keys of the pedal department by hand. Directly any one of these be touched, the suitable ba.s.s mechanism is automatically thrown out of action.

The combination pedals and pistons are all provided with double touch.

Upon using them in the ordinary way the manual stops alone are affected. If, however, considerable extra pressure be brought to bear upon them the appropriate suitable ba.s.s tablet is thereby momentarily depressed and liberated--by this means providing a suitable ba.s.s. In large organs two or three adjustable toe pistons are also provided to give independent control of the Pedal organ. On touching any of these toe pistons all suitable ba.s.s tablets are released, and any selection of Pedal stops and couplers that the organist may have arranged on the toe piston operated is brought into use. The Hope-Jones plan seems to leave little room for improvement. It has been spoken of as "the greatest a.s.sistance to the organist since the invention of combination pedals." [1]

Compton, of Nottingham, England[2] (a progressive and artistic builder), already fits a suitable ba.s.s attachment to his organs and it would seem likely that before long this system must become universally adopted.

[1] Mark Andrews, a.s.sociate of the Royal College of Organists, England, President of the National a.s.sociation of Organists and Sub-Warden of the American Guild of Organists.

[2] Mr. R. P. Elliott, organizer and late Vice-President of the Austin Co., said on his last return from England that Compton was at that time doing the most artistic work of any organ-builder in that country. He is working to a great extent on the lines laid down by Hope-Jones, and has the benefit of the advice and a.s.sistance of that well-known patron of the art, Mr. J. Martin White. His business has lately been reorganized under the t.i.tle of John Compton, Ltd., in which company Mr.

White is a large shareholder.

CHAPTER VII.

MEANS OF OBTAINING EXPRESSION.

CRESCENDO PEDAL.

To most organs in this country, to many in Germany, and to a few in other countries, there is attached a balanced shoe pedal by movement of which the various stops and couplers in the organ are brought into action in due sequence. By this means an organist is enabled to build up the tone of his organ from the softest to the loudest without having to touch a single stop-k.n.o.b, coupler or combination piston. The crescendo pedal, as it is called, is little used in England. It is the fas.h.i.+on there to regard it merely as a device to help an incompetent organist. It is contended that a crescendo pedal is most inartistic, as it is certain to be throwing on or taking off stops in the middle, instead of at the beginning or end of a musical phrase. In spite of this acknowledged defect, many of the best players in this country regard it as a legitimate and helpful device.

We believe the first balanced crescendo pedal in this country was put in the First Presbyterian Church organ at Syracuse, N. Y., by Steere, the builder of the instrument.

SFORZANDO PEDAL--DOUBLE TOUCH.

Under the name of Sforzando Coupler, the mechanism of which is described and ill.u.s.trated in Stainer's Dictionary, a device was formerly found in some organs by which the keys of the Swell were caused to act upon the keys of the Great. The coupler being brought on and off by a pedal, sforzando effects could be produced, or the first beat in cadi measure strongly accented in the style of the orchestration of the great masters. Hope-Jones in his pioneer organ at St. John's Church, Birkenhead, England, provided a pedal which brought the Tuba on the Great organ. The pedal was thrown back by a spring on being released from the pressure of the foot. Some fine effects could be produced by this, but of course the whole keyboard was affected and only chords could be played. Various complicated devices to bring out a melody have been invented from time to time by various builders, but all have been superseded by the invention of the "Double Touch." On a keyboard provided with this device, extra pressure of the fingers causes the keys struck to fall an additional eighth inch (through a spring giving way), bringing the stops drawn on another manual into play. If playing on the Swell organ, the Choir stops will sound as well when the keys are struck with extra firmness; if playing on the Choir the Swell stops sound; and if playing on the Great the Double Touch usually brings on the Tuba or Trumpet. It is thus possible to play a hymn tune in four parts on the Swell and bring out the melody on the Choir Clarinet; to play on the Choir and bring out the melody on the Swell Vox Humana or Cornopean; or to play a fugue with the full power of the Great organ (except the Trumpet) and bring out the subject of the fugue every time it enters, whether in the soprano voice, the alto, tenor, or ba.s.s.

In the latest Hope-Jones organs arrangements are made for drawing many of the individual stops on the second touch, independently of the couplers.

BALANCED SWELL PEDAL

At the commencement of the period of which we are treating (some fifty years ago) the Swell shutters of almost all organs were made to fall shut of their own weight, or by means of a spring. The organist might leave his Swell-box shut or, by means of a catch on the pedal, hitch it full open.

When, however, he wanted the shutters in any intermediate position, he had to keep his foot on the pedal in order to prevent its closing.

The introduction of the balanced Swell pedal (Walcker, 1863) has greatly increased the tonal resources of the organ. It is used almost universally in this country, but strangely enough the country in which the Swell-box was invented (England, 1712) lags behind, and even to-day largely adheres to the old forms of spring pedal.

A further and great step in advance appears in recent organs built by the Hope-Jones Organ Company. The position of the swell shutters is brought under the control of the organist's fingers as well as his feet. Each balanced swell pedal is provided with an indicator key fixed on the under side of the ledge of the music desk, where it is most conspicuous to the eye of the performer. As the swell pedal is opened by the organist's foot, the indicator key travels in a downward direction to the extent of perhaps one inch and a quarter. As the organist closes his pedal, the indicator key again moves upward into its normal position. By means of this visible indicator key the organist is always aware of the position of the swell shutters.

Through electric mechanism the indicator key is so connected with the swell pedal that the slightest urging of the key either upward or downward by the finger will s.h.i.+ft the swell pedal and cause it to close or open as may be desired and to the desired extent. When an organ possesses four or five swell boxes, and when these swell boxes (as in the case of Hope-Jones' organs) modify the tone by many hundred per cent., it becomes highly important that the organist shall at all times have complete and instant control of the swell shutters and shall be conscious of their position without having to look below the keyboards.

Hope-Jones also provides what he calls a general swell pedal. To this general swell pedal (and its corresponding indicator key) any or all of the other swell pedals may be coupled at will.

Hope-Jones has also recently invented a means of controlling the swell shutters from the manual keys to a sufficient extent to produce certain sforzando effects.

When this contrivance is brought into use upon any manual and when no keys upon that manual are being played, the swell shutters a.s.sume a position slightly more open than normal in relation to the position of the swell pedal. Directly any key upon the manual in question is depressed, the swell shutters again resume their normal position in relation to the swell pedal. This results in a certain emphasis or attack at the commencement of each phrase or note that is akin to the effect obtained from many of the instruments of the orchestra.

These contrivances are applicable only to such organs as have the balanced swell pedal.

SWELL BOXES.

The invention of the Swell is generally attributed to Abraham Jordan.

He exhibited what was known as the nag's head Swell in St. Magnus'