The Recent Revolution in Organ Building Part 22

FEET. FEET.

Salicional 16 Fugara 8 Echo Ba.s.s 16 Dulzian (reed) 16

ECHO MANUAL.

FEET. FEET.

Quintaton 16 Flautina 2 Echo Diapason 8 Harmonica Aetheria (flute Cor de Nuit 8 mixture), 10, 12, 15 Carillon (gongs) 8 Chalumeau 16 Flauto Amabile 8 Cor Harmonique 8 Muted Viole 8 Trompette 8 Aeoline Celeste (FF) 8 Musette 8 Celestina 4 Voix Humaine 8 Fernflote 4 Hautbois d'Amour 8 Rohr Nasat 2 2/3 Hautbois Octaviante 4

Wind pressures: 3 1/2 and 7 inches.

Both Pedal and Manual Stops in Swell Box. The Echo Manual Stops played from the fifth Keyboard, the action being controlled by Draw-stop k.n.o.b marked "Echo On."

Arranged in two double columns on the left-hand or ba.s.s jamb are 48 draw-stop k.n.o.bs for the Couplers and Tremulants. The princ.i.p.al Couplers may also be operated by reversible pistons and the Tremulants (3) by reversible pedals. There are also 5 reversible pedal pistons for the Manual to Pedal Couplers. In addition to the usual Inter-manual Couplers there are on the Choir, Swell, Solo, and Echo organs Sub and Super and Unison (off) Couplers, each on its own Manual.

A novelty is a coupler labeled Solo Tenor to Pedal. By its use the upper 20 notes of the pedal-board are available for a tenor solo by the right foot, at the same time the Pedal tones are cut off from these notes and the remainder of the pedal-board is available for use by the left foot as a ba.s.s.

The stop control is effected in the first place by 9 Adjustable Combination Pedals to the Pedal Organ. Then there are 9 Adjustable Combination Pistons to the Choir, Great, Swell, Solo and Echo organs and 5 to the Tuba organ. It is possible to couple each set of these Manual Pistons to the Pedal organ Combination Pedals, either by draw-stops or by piston, thus moving pedal and manual stops synchronously.

All these Combination Pedals and Pistons move the draw-stop k.n.o.bs, showing a valuable index of their position to the organist.

There are 5 Adjustable Pistons on the treble key frame (and 5 duplicates on the ba.s.s key frame) for special combinations, on Manuals, Pedal, and Couplers.

There are 5 pedals to operate the various swell boxes of the lever locking type--a locking movement allowing the performer to leave pedal in any position. The swell pedal for the Pedal stops can be coupled to any of the others.

The Tremulants have attachments allowing the performer to increase or decrease the rapidity of the _vibrato_ at will.

The action throughout is electro-pneumatic and tubular-pneumatic (according to distance of pipes from keyboard), excepting the Manual to Pedal Couplers, which are mechanical to pull down the manual keys.

There are seven separate blowing installations of electric motors.

The instrument occupied two special chambers on each side of the chancel, and a portion of the south chancel triforium. There are four fronts, two facing the chancel and two (32 feet) facing the transepts.

The console is placed on the north side above the choir stalls. The organ is the gift of Mrs. James Barrow and cost (without cases) about $90,000. The specification was drawn up by Mr. W. J. Ridley, nephew of Mrs. Barrow, with the full approval of her committee, Mr. Charles Collins, Mr. E. Townsend Driffield, the Cathedral organist, Mr. F. H.

Burstall, F. R. C. O., and Henry Willis & Sons.

It is claimed that this organ is now "the largest in the world." We give the dimensions of some notable instruments for the sake of comparison:

Paris, St. Sulpice, 118 stops; London, Albert Hall, 124; Sydney Town Hall, 144; St. Louis Exposition, 167; Hamburg, St. Michael's, 163, and Liverpool Cathedral, 215.

[1] This is really only c|3| (see footnote, page 22), but we have decided to adopt the usual nomenclature.

James Ingall Wedgwood, in writing his excellent "Dictionary of Organ Stops," felt it inc.u.mbent upon him to offer an apology, or rather, justification for introducing the name of Hope-Jones so frequently.

The author of this present volume feels the same embarra.s.sment. He, however, does not see how it would be possible for him, or for any future writer, who values truth, to avoid reiteration of this man's name and work when writing about the modern organ.

The author's thanks are due to the Austin Organ Company, the Bennett Organ Company, Dr. W. C. Carl, the Estey Organ Company, the Hook & Hastings Company, the Hope-Jones Organ Company, the Hutchings Organ Company, Mr. M. P. Moller, Messrs. J. H. & S. C. Odell, and the E. M.

Skinner Company, of the United States; to Messrs. Casavant Freres, of Canada; to Messrs. J. H. Compton, W. Hill & Son, Dr. J. W. Hinton, Alfred Kirkland, John Moncrieff Miller, and Henry Willis & Sons, of England; to Dr. Gabriel Bedart, of Lille, and M. Charles Mutin, of Paris, France, for valuable data, photographs and drawings, kindly furnished for this book.