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compositions for the organ (see Marx, "Theory of Composition," Part I., Bk. ii. p. 330). While, for instance, a 32-ft. Principal develops a majestic depth and fullness, the Trombone and Tuba Mirabilis will always have a power and distinctness which, in a way, grates on the ear. The same relation exists between the smaller pipes of each kind.

It is nationally characteristic of the Germans and the French, that whereas the Germans prefer to hear the peaceful tone of a flue pipe in their church, the French incline towards the more lively character of the Trumpet, and it is for this reason that the German organ is distinguished for its glorious flue stops, while the French organ excels in brilliant reeds. I will give two examples of this; for instance, the Münster organ in Ulm (Walcker), as compared to the organ of the Trocadero Palace, Paris (Cavaillé-Coll), and the organ of St. Johanniskirche, Stuttgart (Weigle), as compared to the Münster organ, Geneva (Merklin), without denying that on both sides I heard faultless examples of both species of pipes. Equally admirable and tasteful arrangements are frequently found in England (W. Hill and Son, London), Holland (T. F. Witte, Utrecht) and in the United States, America (Hamilton Roosevelt, New York, and Hook and Hastings, Boston). The Swiss organ-builders also turn out excellent instruments.

I am not sure whether a reason for the more frequent > occurrence of the very expensive reeds in English, French, Dutch, and American organs, may not be found in the fact that the organ-builder demands and obtains a proportionately higher price for the sacrifice of time and labour which this kind of pipe entails. I cannot refrain from supporting most warmly the wish of my esteemed friend Gottschalg (Urania, Series for 1878, p. 175, and Series for 1887,

pp. 37 and 63), and of the Dutch master S. de Lange (Leipsic Musik. Wochenblatt, 13th Series, No. 22), that the conscientious builder, let him belong to whatever nation he may, ought to be recompensed according to his exertions. In this way the careful scrupulousness in executing all the details of new organs would be cultivated and increased. This is frequently the secret of an organ-builder being able to turn out a perfect work of art.

The organ exhibited at Milan with leather-pulp pipes, prepared by a chemical process, leads me to say a word. on Italian organ-building, as in nearly every other case the finest organs in Italy (Rome for example) are of foreign origin. In the course of time very different materials have been employed (compare the capital work by Wangemann, 1887, 3rd edition), which has been found to be not without influence on the tone colour of the stops (Prof. von Schafhäutl and Zamminer). The percentage of the influence of material on sound, however, would not be thought of much account at the present time, and when considering the success of modern organ-building. This latter is, for instance, able, by the art of intonation, to make the transition from metal to wood (see Eolina) quite imperceptible. This is still more evident if one considers the scientifically proved fact (see Flue Stops) that the body of the flue pipe only serves to regulate the vibrating body of air, and to separate it from the outer atmosphere (that is, to limit the quantity of vibrating air). Melde (in his "Acoustics," 1883, p. 242) proposes divers materials for acoustical trials, such as metal, zinc, tin-plate, lead, brass, copper, glass, wood, and pasteboard, and (on p. 24) gives exact tables of the results as to vibrations obtained by small cylindrical pasteboard tubes. Pastor Allihn, who has

revised the new edition of Töpfer's work, writes me word that, if it is intended to form the continuation of the 4-ft. and 8-ft. Octave of wood, he considers the pasteboard material perfectly practicable.

I therefore accepted with much pleasure the kind invitation of Signor Crespi Reghizzo, professor of physics, and inventor of that material, which threatened the organ with a "paper age," to examine personally the organ a canne di cartone at Milan. On entering the Oratorio di Santa Cristina the front visible in the background reminded me of the similarly painted English show pipes already mentioned (see Principal), only that, in the case of the Italian organ, the grounding was leathercoloured. With the help of a clever Italian organist and of the inventor himself, I was enabled to make myself acquainted with the effects of this innovation, so loudly discussed in the papers. As the instrument was erected by a physicist and an intelligent modellist, named Columbo, without the practical aid of an organ-builder, and as its sole object was to prove the usefulness of a new material for organ-pipes, I will limit myself to making the following mention of the trial. An 8-ft. stop compared with my tuning-fork (870 French vibrations for a') gave the exact Paris pitch. The general effect of the pasteboard pipes is surprisingly loud and bright, the mixture sound (ripieno) is powerful, and the volume of tone on the whole satisfactory. To my ear, somewhat spoilt perhaps, there was wanting the brilliant metallic, and yet rounded, character of the Trumpet, and the decided tone of the powerful English Tuba Mirabilis; and the incisive harmonic stringtone of a slender-scaled, powerfully blown Gamba, supplied with a Frein Harmonique; as well as the enchanting delicacy

of our Lieblich-Gedackts and Eolinas. Without intending to, or being able to, supplant the English tin, or the wood of the fir, oak, pear, and maple, the peculiarity and soundproducing qualities of which Reghizzo by no means undervalues, this new material could still, on account of its unrivalled cheapness, sooner or later assume a certain rank among existing materials, if supported by modern organbuilders. A modest beginning towards a similar combination has already been made in these pasteboard pipes. In reed pipes, for example, the air-chamber, block, and cup are of pasteboard; the groove and wedge, on the other hand, are of wood, and the tongue is a thin strip of brass, thickest where it is screwed on, and tapering into a thin blade towards the lower end. The brass tuning-wire in no way differs from ours. In the Gedackts and Flues all parts are of leather pulp, with the exception of the block (anima), which is of hard wood, and the stopper, similar to our Fig. 6. It might be in store for a financial company, with the assistance of scientific and musical professionals, to overcome the imperfections of a first attempt, by procuring the requisite machinery and consulting competent organ-builders, and critically investigating the new invention. It is evident that the most renowned organbuilders of all countries, who are frequently cited as real artists in their profession, will not leave unnoticed such a cheap and easily transportable material; especially if in the long run it should show sufficient resistance to the influence of temperature, and stability with regard to pitch. Experienced friends, whose advice has been valuable to me from the beginning, agree that it was part of the task of this work to mention this new invention of the clever and gifted Signor Crespi Reghizzo.

Still I consider it my duty to remark that, at present, there can be no guarantee for the practicability of employing this material in thoroughly sound new instruments.

My opinion is that, for the present, the best material for an instrument laying claim to a lasting faultlessness is, from beginning to end, English tin (see Gamba), combined with the above-mentioned kinds of wood, which by FIG. 11. the use of centuries have been tried and proved to be good.

Regals is the ancient family name for a number of reed stops, amongst which Geigenregal and Jungfernregal are sometimes used.

Rohrflöte, Flûte à Cheminée (as it is called in France), is a covered flue stop, either of 8-ft. or 4-ft. tone, the lid of which is provided with a chimney (röhre, Fig. 11), which lends to the tone a peculiar, rather brighter character. The width of this little tube depends upon its length, both dimensions increasing or decreasing together. The widest must therefore be almost as long as the flue itself (see Töpfer, vol. i. p. 79). The power and brightness of the tone grow as the tube widens, while if the tube be too narrow the tone can scarcely be distinguished from that of a Gedackt. In Silesian organs-for example, on the second manual of the cathedral organ at Breslau-there is a double-lipped Rohrflöte. In small organs the Rohrflöte sometimes takes the place of the Gedackt on an upper manual, if otherwise the flute character be too feebly represented. Both stops may also appear very well side by side. Anyhow, a Rohrflöte should by rights always be secondary to the 8-ft. Bourdon, and should only be employed when the latter

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