SIR,-

A well known London organist who has just returned to England reports that the Calvary Church organ, (by Roosevelt - jr) in New York, is erected.

A brilliant organ in the hands of an injudicious player becomes a terrible instrument of torture to the listener; but such an abuse is surely no argument against the adoption of a more perfect organ.

What we really need - and I have advocated it for years - is increased capacity for effect with simplified means, and the two things are not incompatible. These gigantic organs are a mistake, utterly, from every point of view; but we can expect little real assistance from professional organists till the schools take up the matter. At present there is little encouragement given to the student of the organ, and if his inclination leads him to the study of the instrument, most inadequate means thwart him at every step. We have no right to expect to find in every student the musical instincts of a Best or a Stainer, and we must not be surprised if, while we can point to many brilliant executants, we find it harder to name men who really know of what the organ might be made to become capable.

It is upon the subject of 'tone colouring' as applicable to the organ that I desire to write. It is worthy of consideration, for therein lies the solution of the problem of what an organ should be. For this purpose I shall adopt the German mode of classification of the stops into Diapasons, Flutes, Reeds. By Diapasons I mean all stops from the open diapason upwards of this family of open metal pipes; by Flutes those of the stopped diapason tribe, with all the stops either of wood or metal partaking of this tone; the Reeds will be readily understood.

Now the old models of Bernard Schmidt, Renatus Harris, and their contemporaries, present a uniform colouring of a negative rather than a positive tint, of the Diapason type. They are extremely musical, but their capacity for effect is limited to a narrow sphere. The requirement of modern times carries an organist beyond these limits, which present insurmountable difficulties to him, and so it has happened that in despairing haste, and often with reckless hand, the old work has been swept away to be replaced by that which - though less musical to the refined ear - has had the merit of being much more smart and of wider service. But this acquirement of a brilliant chorus at the expense of refinement of tone in detail, if it has served to help the organist in his dilemma, does not satisfy the requirement of art with which I have here to deal.

We are indebted to the skill of Edmund Schulze (whose work has been so widely copied but so little understood from an artistic point of view) for the revelation that the utmost brilliancy is not incompatible with refinement of tone in detail, but, on the contrary, that it is enhanced by its presence; that a positive colouring may be exquisitely musical, and that the finest effects are the outcome of a blending of opposites. We have not yet learned the full value and variety of the 'flute' family, which he was the first to introduce into this country, and certainly we are but just begining to appreciate the development of that beautiful family the 'gambas' - or, as I shall term them, 'strings' - of which he was in a great degree the originator. In fact, Schulze pointed out the path to artistic tonal colouring in organ stops. If to this variety we add the distinctive and splendid family of 'reeds' presented by Henry Willis, we have all the colours wherewith to paint a fine picture.

How are these colours to be used to the best advantage? Common practice is to rely for effect upon a multitude of unison stops of more or less negative colouring, and to make the harmonic series as positive as possible. If two open diapasons of 'positive' colouring be combined, a wide interval of scale being made between each, they will produce greater effect than three diapasons of equal scale and character similarly combined. Hence it may be assumed that combinations of few stops of positive colouring will be more effective and obviously more useful than the duplication of tones which are of negative colouring. I can show proof of this in practice to any who may be interested, to judge for themselves.

I cannot speak of Messrs. Roosevelt's modern work in detail; but in general design I miss, in addition to those points already alluded to, the 'Flutes' which I had expected to find, and, in the absence of definition, his 'diapasons' seem needlessly multiplied.

Here is a sketch model for a complete organ of four manuals, with one for an instrument of three manuals of very ordinary dimensions, which present novelties of interest. The first instrument, which will be sufficient for analysis here, contains forty-seven speaking stops only, the smaller model - a curiosity, I fancy - only twenty-eight. In neither of these models are there to be found two stops of the same colouring, except, of course, the harmonic series of the organ related to their roots, and every stop is 'positive' in character.

Before analysing this organ, I wish to speak a word upon the wind pressures proposed. A heavy wind does not imply, as some persons may suppose, noisy and unmusical tone; but simply a mode of articulation in certain stops which cannot be obtained except by such aid. It is intended that each colour displayed shall be pure and beautiful, and as perfect as art can make in every detail.

No. 1. Scheme. - Four Manuals and Pedal Organ,
 
GREAT ORGAN.  CC to C. 61 Notes.  First Manual.
 
On 4in. wind.
 1.  Flauto major    wood, open  16
 2.  Principal diapason   metal  8
 3.  Small diapason   metal   8
 4.  Claribel    wood, open   8
 5.  Stopped quint   wood & metal  5 1/3
 6.  Great octave   metal  4
Octave coupler on 1 to 6.  
These stops stand on an open soundboard placed in front of the organ
 
On 7in. wind, enclosed in a 3in. swell box.
 7.  Flute harmonique   metal  4
 8.  Octave quint   metal  2 2/3
 9.  Super octave   metal  2
10.  Gt. Mixture  metal  3.4.5. ranks
11.  Trombone   metal  16
12.  Trumpet   metal  8
13.  Clarion   metal  4
Nos. 7 to 13 transferable, with independent action, to swell manual.  
Six pneumatic combination pistons govern these stops.
 
CHOIR ORGAN. CC to C. 61 Notes.  Second Manual.
 
On 3 1/2in. wind. 
 1.  Lieblich gedact   metal  8
 2.  Viole sourdine   metal  8
 3.  Zauberflote  (stopped harmonic)  metal 4
Sub-octave coupler acting on Nos. 1, 2, and 3.  
Nos. 1, 2, and 3, on open soundboard placed in front of great organ at lower level.
 
 4.  Salicional  metal  8
 5.  Concert flute  metal  8
 6.  Salicet   metal  4
 7.  Piccolo (harmonic)  metal  2
 8.  Echo mixture  3 ranks
 9.  Voix humaine  8
Nos. 4 to 9 to be enclosed in a 4in. swell box.  
Four pneumatic pistons govern this organ.
 
SWELL ORGAN.  CC to C. 61 Notes.  Third Manual.
 
Swell Proper, with Octave Coupler.  5in. wind.
 2.  Geigen principal  8
 6.  Hohl flote  8
 7.  Octave geigen  4
11.  Flautina  2
13.  Mixture  3 ranks
15.  Contra fagotta  16
17.  Tromba  8
18.  Oboe
 
Swell Great, transferred.  7in. wind.
 8.  Great flute  4
 9.  Octave quint  2 2/3
10.  Super octave  2
12.  Gt. mixture 3.4.5. rk.
14.  Trombone  16
16.  Trumpet  8
20.  Clarion  4
 
Swell Solo, transferred.  5in. wind.
 1.  Contra bass  16
 3.  Harm. flute, mjor  8
 4.  Viole d'orchestre  8
 5.  Viole celeste  8
19.  Clarionet  8
 
Six pneumatic combination pistons act on these stops
 
SOLO ORGAN.  CC to C. 61 notes.  Fourth Manual
 
 1.  Contra Bass (imitative)  16
 2.  Harmonic flute, major  8
 3.  Viole d'orchestre (imitative) 8
 4.  Viole celeste  8
 5.  Clarionet and bassoon  8
Octave coupler on these stops, which are transferrable to swell manuals
with independent action.
 
 6.  Contra Posaune  16
 7.  Tuba   8
 8.  Great Clarion  4
6, 7, and 8 on open soundboard over 14 in. wind.  
 
Four combination pistons control the stops of this organ.
 
PEDAL ORGAN.   CCC to F.  30 Notes.
 
On 5 in. wind.
 1.  Wood bass   32
 2.  Great bass   16
 3.  Dolce  metal  16
 4.  Diapason bass  metal 16
 5.  Great flute  8
 6.  Octave  metal  8
 7.  Flute d'amour 8
 
On 14 in. wind.
 8.  Contra Bombard  32
 9.  Bombard  16
 
Couplers all acting on pedals supplied with spring catch off and on, except
sub and super couplers placed on draw-stops attached to their respective
organs; the tremulants to be on draw-stops, but governed by one pedal.
 
PEDAL COUPLERS
 1.  Solo to pedals
 2.  Swell to pedals
 3.  Choir to pedals
 4.  Great to pedals
 
 1.  Tremulant to solo
 2.  Tremulant to swell
 3.  Tremulant to choir
Pedal affecting such as are drawn
 
MANUAL COUPLERS
 
 1.  Solo to great
 2.  Swell to great
 3.  Choir to great
 4.  Swell to choir
 5.  Solo 1 to 5, super
 6.  Swell proper, super
 7.  Choir 1 and 2, sub  (sc 1 to 3??)
 8.  Solo 1 to 5, to swell
 9.  Great chorus to swell
10.  Ditto on great
11.  Solo 1 to 5 on solo
12.  Sostenuto great.
13.  Fortissimo great and pedal with opened louvres
 
No. 13, when released, leaves any combination of stops previously drawn
undisturbed.  All swell shutters to be vertical and working in metal
bearings goverened by balanced pedals within control of either foot.
 
 
 
No. II. Scheme. - Small Model, Three Manuals.
 
GREAT ORGAN.  CC to C. 61 Notes.  First Manual
 
On three and a half in. wind.
 1.  Bourdon   16
 2.  Great open diapason  8
 3.  Claribel   8
 4.  Octave  4
Standing on open sound-board in front of organ.  
Super coupler on these stops only.
 
On 7 in. wind
 5.  Harmonic Flute  4
 6.  Octave quint  2 2/3
 7.  Super octave  2
 8.  Mixture 2.3.4. rks
 9.  Contra Posaune 16
10.  Tromba 8
These stops enclosed in a 3 in. swell box, and transferable by one movement
with independent use of swell manual
 
CHOIR ORGAN.  CC to C. 61 Notes.  Second Manual
 
On three and a half in. wind.
 1.  Lieblich gedact  8
 2.  Viole sourdine (imitative)  8
 3.  Zauberflote (stopped harmonic)  4
These stops on open soundboard placed in front of great organ.  
Sub octave coupler on these stops only. 1 to 3.
 
 4.  Spitz flote  8
 5.  Gemshorn  4
 6.  Clarionet  8
 7.  Piccolo  2
Enclosed in a swell box
 
SWELL ORGAN.  CC to C. 61 Notes.
 
Swell proper.  5 in. wind.
 1.  Bourdon  16
 2.  Geigen principal  8
 3.  Rohr flote  8
 4.  Viole d'orchestre (imitative)  8
 5.  Viole celeste  8
 6.  Octave geigen  4
10.  Echo mixture  2 ranks
14.  Oboe  8
 
Transferred Swell.
 7.  Harmonic flute  4
 8.  Quint octave 2 2/3
 9.  Super octave 2
11.  Mixture  4 ranks
12.  Contra Posaune 16
13.  Tromba 8
Superoctave on transferred swell
 
PEDAL ORGAN.   CCC to F,  30 notes.
 
On 5 in. wind.
 1.  Great Bass  wood  16
 2.  Dolce   metal  16
 3.  Great flute    wood  8
 4.  Flute d'amour  metal  8
 
On 7 in. wind.
5  Bombard  metal  16
 
COUPLERS ON PEDALS (On and off with spring catch)
 1.  Swell to pedals
 2.  Choir to pedals
 3.  Great to pedals
 4.  Tremulant swell and choir
 5.  Sostenuto great
 6.  Superwork to great
 7.  Great super to swell
 8.  Fortissimo great with couplers and open louvres, leaving 
any combination drawn unaffected
 
Four pneumatic pistons to great organ, acting on pedal organ: four ditto to
swell: three ditto to choir.
 
Vertical swell shutters in gunmetal bearings, governed by balanced swell pedals.

In No. I scheme are four Organs, each perfectly balanced, and absolutely distinct in tonal colouring. They may be entirely separated, as in Roosevelt's grand scheme (sc. Calvary Church NYC), or placed in two cases, the great and choir organs being together, and the swell and solo; the pedal organ being subdivided.

The Flauto Major of 16ft. in the Great Organ is to possess the characteristics of 'wood' with a dash of 'metallic' colour: this stop is preferable, for blending purposes, either to the double Open or to the Bourdon, both of which it represents. The Principal Diapason is of large scale with a broad mouth; it is of ready speech and of immense volume of tone, all the harmonic series of this manual having this stop for the root.

The small Open Diapason is to be seven pipes smaller in scale than the large one, to be provided with a mouth of differnt proportion, and is to be of distinct 'colouring'. The lighter organ music of modern composers needs such a diapason as this, with super work to match, for proper effect: it is here provided for this and for many other useful purposes. The Claribel - a lovely stop if properly treated, but apparently displaced by Messrs. Roosevelt in favour of the German 'Doppel Flote' - is here of more positive character than is usual. Here, then, with the quint, is the foundation of the organ proper, of immense breadth of tone and manifold service. With the first stop of the harmonic series it will stand in the front of the instrument on an open soundboard. An octave coupler will act upon these stops for specal effects. The whole of the super work of the great organ is to be enclosed in a 3 in. swell box of peculiar construction, and to be under perfect control for any degree of intensity. In order to preserve the 'attack', so essential to the great organ, this portion of the organ will be placed over a heavy wind. These stops are to be transferable by a single pneumatic movement to the swell manuals, where they will act entirely independently. A pedal is to be attached to this organ, giving instantly the fortissimo, with full pedal organ and open louvres; but not affecting any combinations which may be drawn, which remain as drawn, on the pedal being released from the spring catch which holds it.

There are five combination pistons proposed to this organ, acting also on the pedal organ.

In the choir organ is presented a charming combination of delicate stops. The lieblich gedact and viole sourdine will stand on an open soundboard, to be placed in front of the great organ at a slightly lower level, that they may speak into the very faces of an audience. The second of these two stops, as its name implies, partakes of the character of a muted string. In service it is intended to displace the colourless dulciana. The remaining stops of of the choir will serve the double purpose of an echo organ, and will be under control for degrees of intensity.

The swell proper is a feature of absolute novelty; it is a very small but complete organ, consisting of one 16ft., four 8ft., a 4ft., a 2ft., and a mixture, with octave coupler. To ths can be added at pleasure all the super work of the great organ, together with five stops of the solo organ, which can be used as one immense swell of twenty stops, or in three separate portions, either of which may be intensified as required. If we add that this huge swell can be coupled to the choir manual, it will be understood what extraordinary effects are possible, not only in startling intensity, but in dissolving tone effects. This organ is to be supplied with six combination pistons.

The solo organ also presents distinctive features. Here will be found the complete family of orchestral viols, together with the woodwind of the orchestra, an invaluable addition, these stops being all under control for expression; and, as a topping to the whole organ, 16ft., 8ft., and 4ft. reeds on a heavy wind are added, standing on an open sound-board. Four combination pistons govern the stops of this organ. The pedal organ is complete, and will commend itself. There is one point however, upon which I invite the consideration of experts. I conside no pedal organ complete which does not contain a large and powerful 8ft. wood flute - for it is the link which unites the unison of the pedal organ to that of the manuals, for which no substitute can be found on the manuals; and it binds the whole pedal organ together in a solid form as no other stop will do. In every pedal organ, therefore, conssting of more than two stops, I should insist upon this stop as the next addition.

The whole of the couplers except those of the sub and super couplers, I should propose to govern by pedals in preference to draw stops, made to lock by a single spring catch, the release of which throws off the action. This action will be found of more easy management than the French ventil pedal with sliding movement. The swell louvres are to be vertical, working in metal bearings, and governed by balanced pedals accessible to either foot.

I have thus attempted to sketch out a scheme more complete than that of Messrs. Roosevelt (as given in my letter in Musical Opinion and Music Trade Review of August, p. 509), while it has the merit of being only a third of its size. The cost of this instrument would be less than that of our large concert organs, and its capacity for effect would exceed that of any organ yet built!

The smaller model presents some interest. Organists will be surprised if they study the variety of effects of which it would be capable.

Discussion has waxed warm lately (perhaps I should write 'warmed waxy') on the merits of tubular pneumatic work. I have no wish to reopen an argument which has failed to arrive at any practical issue - Partiurunt montes, nascetur ridiculus mus - but only to state that from my standpoint no action, whether pneumatic or otherwise, is perfect which does not respond instantly to the finger. Repetition, per se, is an insufficient test: my condition is more difficult to fulfill, but it is essential in every case.

Is it not significant that not one correspondent has thought the subject of Tone Production worth mentioning?

Yours, &c.,

Carlton C. Michell.

13, Upper Woburn Place, London,
October 4, 1888.