JULIAN RHODES' DREAM ORGANS
PART THREE: CHURCH ORGANS
The Hoboken organ had the following stoplist:
In all his organs Audsley did away with conventional
manual names, which he thought anachronistic. "Swell"
is meaningless when practically all the instrument is
enclosed, while the "Choir" division is more accurately
titled "Accompaniment". Alternatively, as here,
he might use a simple numerical system of reference.
In Audsley's schemes, diapason chorus-work
is almost solely confined to the First Organ (in effect
the Great). He comments that the Grand Principal,
In contrast, the Major Principal is to
be like:
Grand Principal: 6.68in. at CC; 5/14 mouth.
The Grand Viol is to be unimitative and to enrich the
diapason tone. The Major Flute is to be "full
and bold" while the Trumpet is to be "bright and full, resembling as
closely as possible the voice of the orchestral Trumpet
played forte." The Clarion is to be "much softer."
Audsley's upperwork is typically idiosyncratic. The Major Octave
is to have a scale of 3.48in. at CC; the Octave Quint a scale of
2.41in., and the Super-Octave a scale of 1.91in.; the mouths were
to be cut up 2/7, 1/4 and 1/4 respectively. Within the Grand Cornet
the octave rank is to be a chimney flute; the 15th is to be scaled
two pipes smaller than the 12th, and the 17th and 19th are of dulciana
scale. The volume of each of the Grand Cornet ranks is to diminish towards
the top of the keyboard, becoming "almost
inaudible in the top octave." This Cornet was furthermore to produce a
tone "resembling, in the middle octave, a finely voiced reed in character."
There is a small flute chorus on the 1st subdivision
of both the Second and Third Organs: Lieblichgedeckts
and chimneyed/orchestral flutes respectively. Diapasons
are largely absent, and there are no chorus reeds. In
his transformation of normal division-types, Audsley
often disregarded traditional chorus effects, considering
them redolent of the unadventurous organs
he had known in his years in Britain.
While the Second organ has affinities with traditional
Choir models,
the Third has only the most tenuous connexion with
the traditional Swell. Audsley is striking out into new territory,
and it is a mark of of his wholistic
vision that the stoplist shows such a careful balance in its
various parts. Even the
most foundational subdivisions (comprising 8.8.8.8.8. and
8.8.8.16.8), shorn as they are of upperwork, seem self-sufficient
and play their part in the overall scheme.
One could not alter these subdivisions
without spoiling the whole.
The stops specified for the Second
Organ include a Geigenprincipal of mixed diapason and viol tone,
and a "sweet and singing" Lieblich family capped by the Dolce Cornet
referred to previously. In the second subdivision the Dulciana
is to have "pure organ-tone of a singing quality,
characteristic of the true English Dulciana: it must
be absolutely free from any trace of string tone."
The Viola da Gamba is to be "rounder and less pungent"
than the Violoncello, while its celeste companion is to be
of "softer and brighter" tone and conical construction.
In the Third Organ, the inverted-conical Dolce should
have "a delicate intonation inclining toward a string
quality", and the Flauto d'Amore a "delicate and singing
flute quality". The Violoncello, Concert Violin,
Orchestral Flute and Piccolo, Orchestral Oboe and
Contrafagotto are to be strictly imitative. The Minor
Principal inclines towards a "slight horn-like
intonation combined with sufficient brightness to
render it effective in a swell-box". The Corno di
Bassetto is to be richer and fuller than the
Orchestral Clarinet.
In the Pedal division, the 32ft. flue is to sound "full and round
with a leaning toward a string quality". The Grand
Principal is "to yield a pure organ-tone, sonorous and
prompt", while the Contra-Basso and Trombone are to be imitative.
Not the least versatile aspect of the
instrument is the flexibilty given by the on/off pistons and separate
couplers for each subdivision.
The possibilities for mixing tone colours
are very great. No less remarkable is the sheer number of
of orchestrally imitative voices Audsley manages to pack into
this 46-stop church organ.
Here is a stoplist for
another church organ of similar size, taken from 'The Temple of Tone' (1925).
In fifteen years Audsley's ideas had developed still further.
Audsley was always reluctant to allow undulating/celeste stops into his organs.
There is none in the scheme above, nor in the 'Gregorian Organ' below. He
described the Voix Celeste as "a peculiar tremulous effect, which one
may safely pronounce to be a gross libel on the celestial voice". In this he
shows himself to stand firmly in the 'serious' Anglo-Germanic romantic tradition
in contrast to that of the French school, which was perceived to be more lightweight.
The organs by Schulze and Willis which Audsley had admired in the
1850s and 60s were wholly romantic, yet often lacked a celeste stop; it was
a standard part of the French tonal palette at the same period. It is likely that
Audsley felt that the inherent dignity and 'tonal repose' of the church organ would
be diminished by the inclusion of a celeste.
In 'The Temple of Tone' Audsley laid out his plans
for the 'Gregorian Organ', an instrument specifically designed for the Roman
church. Its primary function was to be:
Here is an example of a stoplist for the Gregorian Organ. All of the
manual stops were to be available on two keyboards.
In some ways the scheme differs little from any number of residence and
church orgns of the 1920s. But it is unlikely that most
cost-conscious builders would have
included, in a complement of twenty manual stops, no fewer than eight
8ft. metal flue basses. This stoplist is especially rich in those mezzo-piano
voices so well-suited to
romantic choral accompaniment. The woodwind chorus is also noteworthy.
Edward Flint wrote:
In 1909 Audsley designed an organ for the church of
Our Lady of Grace, Hoboken, N.J. It was built by
Philipp Wirsching (b.1858), who had come to America
in 1886 after serving apprenticeships with Laukhuff
and Ladegast, and whose own high standard of craftsmanship
and romantic/orchestral tonal ideals found an approving colleague in
Audsley. In his 1888 brochure Wirsching had written:
I am grateful to Stephen
Bicknell for a post to piporg-l in connexion with
Audsley's attitude to celestes.
This passage, with its high-flown rhetoric, its appeal to science and its
references to the orchestra could have come from the pen of Audsley
himself.
If we consider the origin and gradual progress of the organ, we
notice a ceaseless striving to imitate the effects of the orchestra,
whether in the multiplicity of tones sounding at the same time, or in
the nature and timbre of the stops of which the organ is composed, or
finally in the degrees of power which it has been sought to give it
in order to attain a similarity of expression to the parts of the
orchestra. From all these efforts, however, unexpected results have
issued, and as in the case of alchemy, a noble and extensive science
has been developed in the pursuit of an idea. Music has through
these exertions been enriched by an entirely new instrument whose
chief characteristic is a majestic, imposing power of tone.
I FIRST ORGAN
1st subdivision - unenclosed:
16 Double Principal
8 Grand Principal
8 Major Principal
8 Grand Viol unimitative
4 Major Octave
2nd subdivision - enclosed in box 1:
8 Major Flute stopped wood; doppel from Tenor F-sharp
4 Minor Flute open wood
2 2/3 Octave Quint
2 Super-Octave
V Grand Cornet
8 (chimneys). 12.15.17 (dulciana).19 (dulciana)
16 Double Trumpet
8 Trumpet
4 Clarion
II SECOND ORGAN
1st subdivision - enclosed in box 2:
16 Lieblichgedeckt wood
8 Geigenprincipal cantabile
8 Lieblichgedeckt wood
4 Lieblichflöte metal
V Dolce Cornet 19.22.24.26.29, breaking to 1.8.10.12.15
2nd subdivision - enclosed in box 3:
8 Dulciana pure tone
8 Viola da Gamba tin; imitative
8 Viola d'Amore tin; tuned sharp; brighter tone than Gamba
8 Orchestral Clarinet
8 Vox Humana
Tremolant
III THIRD ORGAN
1st subdivision - enclosed in box 2:
8 Dolce inverted conical; slightly stringy
8 Flauto d'Amore chimneys; wood
4 Orchestral Flute harmonic; wood
2 Orchestral Piccolo
8 Orchestral Oboe
Tremolant
2nd subdivision - enclosed in box 3:
8 Minor Principal
8 Violoncello tin; imitative
8 Concert Violin tin; imitative
16 Contrafagotto
8 Corno di Bassetto
Tremolant
PEDAL ORGAN
32 Double Principal open wood; slightly stringy
16 Grand Principal wood; 44 pipes
16 Contra-Basso wood; 44 pipes
16 Dulciana 44 pipes
16 Bourdon wood
8 Grand Octave extension
8 Violoncello extension
8 Dolce extension
III Compensating Mixture
15 (full compass). 19 (27 notes). 22 (20 notes)
16 Trombone
Auxilliary Pedal - expressive:
16 Lieblichgedeckt Second Organ
16 Double Trumpet First Organ
16 Contrafagotto Third Organ
COUPLERS
to the First Organ: Second Organ 1st Subdivision
Second Organ 1st Subdivision octave
Second Organ 2nd Subdivision
Third Organ 1st Subdivision
Third Organ 2nd Subdivision
Third Organ 2nd Subdivision sub-octave
to the Second Organ: Third Organ 1st Subdivision
Third Organ 2nd Subdivision
to Pedal: First Organ 1st Subdivision
First Organ 2nd Subdivision
Second Organ 1st Subdivision
Third Organ 2nd Subdivision
ACCESSORIES
Adjustable combination pistons:
to First Organ, Pedal Organ & First to Pedal coupler: 0, 1, 2, 3, 4
to Second Organ, Pedal Organ & couplers: 0, 1, 2, 3, 4, 5
to Third Organ, Pedal Organ & couplers: 0, 1, 2, 3, 4, 5
On/Off pistons: First Organ 2nd Subdivision
Second Organ 1st Subdivision
Second Organ 2nd Subdivision
Third Organ 1st Subdivision
Third Organ 2nd Subdivision
Reversible pistons to the three Tremolants
Expression pedals: box 1, box 2, box 3, register crescendo
Foot levers: all boxes open; all boxes closed; reversible First Organ to Pedal Organ
All speaking stops labelled by name, pitch, clavier & box.
Couplers by rocking tablets above the top manual.
The console to be of the smallest dimensions practicable.
Compass 61/32.
Wind pressures: First Organ 4in.
Second Organ 3in.
Third Organ 4 1/2in.
Pedal Organ 5in.
This remarkable stoplist has an inherent
balance. The romantic tonal pallete is presented
in a classically elegant form: three manual divisions,
each divided in two, each with its own subtle coherence,
its play of emphasis and
counter-emphasis which yields only partially to analysis.
We have encountered this dictum before. Perhaps by muting
the natural harmonics of each voice Audsley
aimed to secure a neutral timbre well suited to selective harmonic
colouring by higher-pitched ranks.
the chief unison foundation stop of the Organ, calls for a voice of extreme
fulness and dignity, dominating effectively the voices of all the
other unison stops of the Diapason family. It must have a pure
organ-tone, practically free from perceptible upper partial tones,
so as to mix with any combination of tones that may be built upon it.
It is not clear how Audsley reconciles a
silvery, old-English quality with such an harmonic-free
tonal spectrum, nor with his specifications for the pipes:
the true old English DIAPASON - pure, full and silvery
in quality. It may have a slight trace of harmonics, but must
be absolutely free from any string tonality. In strength of voice,
this stop must be markedly subordinate to that of the GRAND PRINCIPAL...
Major Principal: 6.16in. at CC; 2/7 mouth.
Both ranks cut-up 1/4 and halving on the 18th note.
I GRAND ORGAN
Unexpressive subdivision:
16 Double Diapason
8 Diapason (Schulze)
8 Diapason (English)
4 Octave
Expressive subdivision - enclosed in box 1:
8 Tibia Plena wood
8 Geigenprincipal
8 Clarabella wood
V Cornet
16 Double Trumpet
8 Tromba Real
II ACCOMPANIMENTAL ORGAN
1st subdivision - enclosed in box 2:
16 Lieblichgedeckt wood
8 Salicional
8 Melodia wood
8 Quintaten
4 Lieblichflöte
V Dolce Cornet
2nd subdivision - enclosed in box 3:
8 Echo Diapason
8 Flauto Amabile wood
8 Viola d'Amore
III Triplette
8 Clarinetto
8 Oboe
Tremolant
III SOLO ORGAN
1st subdivision - enclosed in box 2:
16 Contrabasso
8 Grand Viol
8 Violino
8 Gemshorn
8 Flauto Traverso
4 Violetta
Tremolant
2nd subdivision - enclosed in box 3:
8 Horn Principal
8 Doppelflöte wood
16 Contrafagotto
8 Trombone
8 Horn
4 Tromba Clarion
Tremolant
PEDAL ORGAN
16 Principal wood; 44 pipes
16 Contrabasso wood; 44 pipes
16 Dulciana 44 pipes
8 Octave extension
8 Violoncello extension
8 Dolce extention
16 Trombone 44 pipes
8 Trombone extension
Auxilliary Pedal - expressive:
16 Double Diapason Grand Organ
16 Lieblichgedeckt Second Organ
16 Contrafagotto Third Organ
In contrast to the Hoboken scheme, the tonal centre of gravity
has moved inwards toward the unison. The main manual has lost its independent
diapason upperwork, its 4ft. flute and 4ft. reed; space has been
found for a third 8ft. diapason and a second 8ft. flute. The Pedal
has lost its 32ft. and its mixture. Elsewhere families of stops
have been replaced by miscellaneous groups of mezzo-piano registers.
There is a sharp reduction in the number of woodwind
ranks, while the chorus reeds on the Third Organ are new. All this accords
with what Audsley, at this stage in his life, had come to regard as the features
proper to a church organ, as distinct from a concert instrument.
And it must:
...the accompaniment of Gregorian Chant; and that in a manner replete with
religious ethos - full of repose, grandeur, refinement, and expression.
And so on.
...afford sufficient tonal resources, of a dignified and effective character,
for the rendition... of such special music as may be called for in the
Pontifical Escort on great Feasts, which demands rich and solemn strains;
and in incidental music during the Consecration at High Mass, and during
Benediction after Vespers. All such music must be of an impressive and elevating
character; inducing in the mind religious aspiration...
ORGANO MANUALE
1st subdivision - unexpressive:
8 Principale
8 Dulciana
2nd subdivision - enclosed in box 1:
16 Bordone Dolce
8 Flauto Doppio wood
8 Flauto Tedesco wood
8 Dolce
8 Eolina
4 Flauto Traverso wood
IV Cornetto Dolcissimo
8 Corno Inglese
3rd subdivision - enclosed in box 2:
8 Principale Dolce
8 Melodia wood
8 Salicionale
8 Violoncello
8 Dolce Gamba
4 Violetta
16 Contrafagotto
8 Euphonium
8 Clarinetto
4 Oboe Ottava
PEDALE
16 Principale Grande wood; 44 pipes
16 Principale Dolce metal; 44 pipes
8 Ottava Grande extension
8 Ottava extension
Auxilliary Pedale - expressive:
16 Bordone Dolce Manuale
16 Contrafagotto Manuale
At first glance this is merely one of Audsley's church organs
decked out in Italian nomenclature. But there are several
distinguishing features. The manual diapason chorus now comprises just
two 8ft. registers and a mixture - Audsley wrote that this kind of stop was
designed "to furnish harmonic-corroborating tones of high pitch, sufficient for
the entire tonal scheme". One example broke back to the 12th by bottom G-sharp,
and to the octave by tenor G-sharp; we may assume a similar composition here.
There is some substance to Flint's views, and a
down-to-earth attitude is always
reassuring. But Audsley's notes to his Gregorian Organ stoplists show that
for many years he had perceived a serious need for a purely accompanimental instrument
of a special type in the Roman church, as presumably did the well-known
organist, Rev. Gregory Hügle, OSB, the director of music at Conception
Abbey, Conception, Mo., with whom he prepared his plans for the Gregorian Organ.
Flint consciously adopts the role of the worldly and practical musician;
but his impartiality may not be all it seems if we remember that his article
appeared in the Willis house-magazine, 'The Rotunda'. The following article in
the same issue described the launch of the Willis 'Plainsong' organ, designed
specifically for the accompaniment of Gregorian chant. It contained one manual and
six stops.
Audsley's distinction between "church" and "Gregorian" organs is
thoroughly gratuitous. The finest performances of plain-song are, as
a matter of fact, unaccompanied, and in the majority of churches where
the a capella peformance of such music is inexpedient, a very
small instrument is sufficient to support the voices...
Audsley is
much concerned that the organ
be suitably schemed to perform "incidental music of an ecclesiastical
character." His anxiety is unwarranted - any decently designed instrument
will do that. Similarly, the rank and file of Catholic churches, which have
but a single instrument, will not be handicapped either for accompanimental,
or for incidental music, if it is designed for the performance of
traditional organ literature.
