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no combination to be effective; but I can recommend the melodious, healthy tone of a good Principal as a reinforcement, and the 8-ft. Bourdon with 4-ft. Flûte d'Amour to give it a more tender colouring, or, if necessary, a larger group of flue stops. (See Tone Colour, Intonation, and Combinations of Stops.)

Tuba, Contra Tuba, Tromba, Double Trumpet. A trumpet of 16-ft. tone. (See Trumpet.)

Tuba Mirabilis. A stop much used in England for concert organs. It is a very powerful, perfectly round, precise, non-crashing 8-ft. Trumpet, or Trombone, generally placed on the Solo manual, which receives a considerably heavier-often more than double-pressure of wind, and is extremely effective. This stop may be opposed singly to the Great Organ. In Roosevelt's organ (115 stops) at Garden City, U.S.A., the wind-pressure of the Solo manual to that of the Great manual is as 10 to 3. In this organ the Tuba Mirabilis is supported by the powerful and rare stops, 8-ft. Stentorphon and 8-ft. Baritone. In the splendidly restored organ at Westminster Abbey, Messrs. W. Hill and Son in London have mounted an 8-ft. Tuba Mirabilis with heavy wind on a special Tuba sound-board. Walcker has proved by the introduction of his Tuba Mirabilis on the Great manual of his cathedral organ at Riga (124 speaking stops) that German builders also employ this tremendous stop, the mighty power of which is often still more increased by the rarely found Cornettino, a 2-ft. reed-stop.

U.

Unda Maris (wave of the sea). A flute-like metal stop, tuned slightly lower than another (equally soft) stop, with

which, when played, it produces a peculiarly fluctuating (wave-like) tone. (See Tremulant on the temperate use of Tremolo stops.) According to Dr. Faisst's opinion on this stop, it would seem that earnest professionals do not approve of the Vox Humana, Voix Céleste, and Tremulant. I agree with the milder opinion of Prof. Zellner, of Vienna, that, according to circumstances, a delicate, moderately vibrating stop may be very characteristic, and in this case has, even from an artistic point of view, a certain claim to recognition.

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Viola (Viola d'Amore, Viola di Alto). A delicate, string tone metal stop, frequently of 8-ft. and 4-ft. tone, which is often required to represent the Gamba-like character on the upper manuals. It is meant to imitate the tone of the viola (tenor, bratsche), and is one of the most lovely solo stops. Bergner, of Riga, has on the first manual of his organ a Viola di Alto of wood, possessing a Gamba-like string tone. In certain registers he prefers this wood stop to a metal one. It combines like Salicional (q.v., and Intonation).

Violin Diapason. See Violino.

Violino (Violina, Violin Diapason) is a sharp metal stop resembling Geigenprincipal, and occurs as 4-ft. and 8-ft. tone, for instance, on the instruments of W. Hill and Son, Hook and Hastings, and Roosevelt. (It occurs also in the Church of the Holy Ghost, Magdeburg, as an 8-ft. stop, and as 2-ft. stop on the fourth manual of the Nicolaikirche, Leipsic.)

Violon. Dr. Faisst advises that in case the very incisive

8-ft. Violoncello should not suit the quality of the general tone, a wider-sized and rather more powerfully intonated Violoncello, of a clear, sound, and only moderately stringy tone, should be used. He then calls it 8-ft. Violon, in contradistinction to the proper 8-ft. Violoncello. The name Violon often occurs in Northern Germany for a similar 8-ft. stop, and I have now and again proposed it for Swiss organs.

Violone. See Violon Bass.

Violon Bass is a 16-ft. wood pedal stop, after Sub-Bass the most commonly used stop. It is of small scale, and has a pleasantly stringy tone, similar to Double Bass (labelled Violone on the Sydney organ). It combines admirably with 16-ft. Sub-Bass and 8-ft. Flute Bass, and gains decision by the aid of Violoncello. (See Harmonica Bass.)

Violoncello, of 8-ft. tone, answers to the 16-ft. Violon Bass, and is a prominently characteristic pedal stop, corresponding in construction, material, and tone colour to the Gamba on the manuals. I have found this stop most satisfactory on all newer organs by good builders, and a characteristic well-articulating Violoncello has been mentioned under "Intonation" as a specimen of the progress made in the art of modern organ-building. (For its combination with Sub-Bass and Violon Bass, q.v.)

Voix Céleste (Celestina) is an 8-ft. metal stop, slightly higher in pitch than Æolina and Salicional, and oftener employed in combination with these stops than as a solo (arranged as 4-ft. Celestina on the Sydney organ). It has a fine effect (for example, in the Catholic Church, Berne) with the accompaniment of an open Flute (for instance, Flauto Dolce, Flûte d'Amour, etc.), or in combination with Lieblich-Gedackt or Wienerflöte. (See also Æolina and Salicional.) It is sometimes labelled, Latin, Vox Cœlestis

(celestial voice). It must not be mistaken for Vox Angelica (angelic voice), which occurs often as a reed, but has been placed by Walcker in the cathedral organ, Riga, as a 4-ft. flue stop.

Vox Angelica. See Voix Céleste.

Vox Humana is an 8-ft. metal stop, intended to imitate the human voice, and constructed differently by almost every organ-builder. In spite of the best construction, however, something nasal is always perceptible in the metal tone. According to Helmholtz, the sound in reed pipes is produced by a series of intermittent pulses, which, at each vibration, break through the opening closed by the tongue. (See Reed Stops.) Hard, unresponsive material, like that of brass tongues, makes the individual pulses appear more broken than does soft, responsive metal. It is clear that this is the reason why the notes of the human voice, if well trained, excel in mellowness of tone, and thus differ from any of the reeds, even from the bestconstructed Vox Humana (see Holmholtz, p. 161). The effect of the Vox Humana is improved by local peculiarities, not materially connected with it; for instance, placement in a separate sounding-box, combination with a LieblichGedackt or Bourdonecho in the Swell, tasteful use of the Tremulant. I desist, for evident reasons, from investigating here to which of the last-named acoustical agents this or that Vox Humana may owe its success with the public, and agree in this with Du Hamel (Töpfer's "Orgelbaukunst"), that style of architecture, clever choice of the musical pieces, experience of the organist, and the momentary disposition of the auditor are sometimes much more essential to the success of this stop than the particular construction of the pipe.

W.

Waldflöte is a 2-ft. stop of wide scale, with a strong fluty tone, to be found on large organs (for instance, Riga and Lucerne). In the lower registers it is made of wood, in the higher ones of metal. In the cathedral organ at Magdeburg it is arranged as 4-ft. stop. (See Flautino.)

Wienerflöte is one of the most charming wood flutes, intonated rather brighter than Flauto Dolce. As a rule, it occurs on one of the upper manuals as an 8-ft. or 4-ft. solo stop, more particularly in Swiss organs, where it might with equal correctness be called Concert Flute... Under this name I have found it on the third manual of Walcker's organ at Mühlhausen. It may also be called Zartflöte and Sanftflöte; labelled thus, it occurs as 4-ft. and 8-ft. tone in the Nicolaikirche, Leipsic. The denomination "Wienerflöte" lacks all etymological or historical foundation. In the new Votiv organ, although this stands in Vienna itself, there is not a single Wienerflöte amongst sixty-one speaking voices. The competent builder of this organ has, however, placed a Wienerflöte on the third manual of the cathedral organ at Riga, in order to satisfy the increasing demand for a stop of this name. Wienerflöte is one of the most useful stops on the upper manuals, not only as a solo, but also for combination with any other stop. I found it particularly beautiful in combination with Oboe and Flauto Traverso. (See Combinations of Stops.)

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