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Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.
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THE MUSICIAN IN THE CRYSTAL PALACE . 111 E OUOANS . Organ-building is far better represented in the Great Exhibition than pianoforte manufacture . We have evidence not only of the exact condition of organ-building in this and other countries , but also instruments built for the occasion , to exhibit some special and important improvement and appliance . The organ , traced from its earliest infancy to the present time , has ever been the kin of
instruments . As we listen to the ponderous tones of our modern organs , rolling majestically along , we little think that the only dillerence between them and the ancient Syrinx consists in I he mode of introducing I he air into the pipes ; but . from the manufacture of the first Pan ' s pipe to the present , time , the Ktriving after this object has led to all the improvements . In the experiments of the ancients , water was most frequently the cause of the motion by which the wind was introduced , and the instrument , so constructed was called an '
llv" t st . •¦¦ _ J draulicon . One of these appears to have been manufactured by Ctesibus . of Alexandria , wholived about a hundred and twenty years before ; ( , 'hrisl . Vitravius , speaking of Ciesibus , says : — " lie improved , by the use of water and keys , the organ which Archimedes ( who lived two hundred years before Christ ) invented . " St . Jerome tells of an organ which bad twelve pairs of bellows and fifteen pipes , and was heard at the distance of a mile ; and of another at Jerusalem which could be heard at the Mount of Olives .
It is supposed that , the organ was first introduced into the service of the ( Munch by Pope VItalian , about the year <> 7 () . The first organ we hear oj in L'Vance wan of ( ireek construction , and * f"t tint her in 757 , as n present , to King Pepin , tfraiuUaiher of Charlemr . gne . On thi . model ' several organs were immediately built in thai , oii ntry ( hie of them is
^ . mentioned by Walafred ™ ' < ibo , which was erected in a church at Aix-la-^ hapelle , in I lie * ninth century , and which he inserts to have been of . such an exquisite- tone as ' <> have caused the death of a female . Zarlius , in "'« * ' Sopplimcuii Musicale , " supposes ( hat the pneumatic organ was first , used in d ' recce , and that 11 passed from theme to Hungary , ( . ' ennany , and J . iviirm . Fr < mi one of these comilricK , Ulphegius , Uwhop of Winchester , obtained un organ for lua
cathedral , about the year 951 . It was played by two organists , and supplied with air by no less than 26 pairs of bellows , which were worked by 70 men . It contained 400 pipes , and 40 valves making 40 keys and 10 pipes to each key . The organ long remained exceedingly rude in construction . The keys were 5 or 6 inches broad , the pipes were of brass , and , up to the twelfth century , the compass did not exceed 2 octaves . About this time half notes were introduced at
Venice , where also , in the year 1471 , the important addition of pedals was made by Bernhard , a German . The earliest organ-builder in England of whom we have any particulars , i « J William Wotton , of Oxford , who , in 1489 , built an organ for Magdalen College , and subsequently one for Merton . About 1596 , an organ was also built by John Chappington for Westminster Abbey . From that time no important change was effected in organ building until lately . The mechanism had been rendered more perfect , a great
variety of stops had been introduced , and the number of keyboards had been increased . But one formidable obstacle to progress presented itself . In proportion as the power and resources of the instrument were augmented , the weight and resistance of ihe keys were increased ; and in some of the large organs the physical force of the organist was insufficient to give full effect to the instrument . The introduction of the pneumatic lever movement is the greatest achievement since the introduction of the pedals ; and by its help
organs may be built of almost any dimensions , yet the touch will not be so heavy as that of a small or gan on the old principle . The pneumatic machine is an intermediary apparatus between the finger-board and the valves of the organ , and is composed of as many little power-bellows as there are keys on the principal fingerboard . Each key , instead of acting oi ^ the sound-board pallet , ads only on a very small and light valve , which admits compressed air inio its corresponding power-bellows . The latter , supposed to be
previously in a collapsed state , yields to the pressure of the air , and in expanding ' in-. tantaneously opens the sound-board pallets with which it is connected . These remain open as long as the finger of the performer rests on the depressed key ; but on the removal of the finger , the valve which admitted the air into the power-bellows closes , and , another valve opening to allow this air to escape , thebellowsfall and t
he sound-board pallets close by the action of their springs . 13 y this adaptation it is that not only can any number of manuals be coupled , but , by means of octave couplers , on touching one key the corresponding note in every part of the organ may be made to sound . A complete revolution is thus made in organ performance , and the most rapid passages may be played with as great facility as on the pianoforte .
in order rightly to estimate the organs in the Inhibition , we must refer to two of those on the Comment , which are regarded as models . The Haarlem organ , respecting which so many disputes are continually arising , was built , in 17 ; 5 S by Christian Miiller , of Amsterdam , and cost £ f ><)() 6 . It has sixty stops , two tremulauLs , two couplings or springs of communication , four separations or valves to close the wind-chest in cast ; of a " cipher , " and twelve pairs of bellows , each <) IVet by 5 feet . It contains nearly 5000 pipes , eight ot which 15 feet
are ( , and two of ' . 12 fret . U is <>(> ft . in height and 50 fed in bread ! h . The following are the stops , with their English equivalents : — lircat Manual , 1 ( J Hlops : -l ' ,, » , u ,, t ( double open j hapaHon ) 1 ( , fret ; Bourdon ^ topp ^ l ditto ) , 1 ( 5 fr ' t - Ooum ; . („ ,,,. „ dupason ) , 8 ( Vrt . ; Viol < li iiilmhl > ( U 11 js ( m ' witliditio ) , ! ll ,, i ; K . M-i - H ,, it , with a m . i ,,,,-1 or small pipe upon the ( op ( diap :,. v > n half stopped ) , 8 fr ,. | - ( VUve ( piinoipal ) , 1 fret ; OVms hour ,, , n kind ,, » Jlllt ,. ' the p . p . s na . row at time- top ( unison with ditto ) , I fe < t - R ,,, r ( i . untdii . hlmll Htopp ,, ! ) , , ; , „ .,. ; Qui . aOf ,. ! , ) , ; ,,.,.. 1 . ""» (•»¦ ' ¦ « ' ' . « " 17 . 10 . 2 runks ; Mixturo , ( i H ami 0 or f , v » fl . i e ( W . od ) , 2 u . . ; Trumpt-t ( doul . le trum ,,.
, -U pper Manual , 1 ; , Mo ,, * , : - 1 ' , r . ntant , H f et ; Quinta-«!¦ ' ¦»" . »»«;« ' - « k- , into a Iiu | , uhid , pn domiuaU : ( do 1 > , ««« 'M ;; -k-m , H !(•<¦ .. ; ( i . ms boom , H ( ,, t ; iiuu . y t Ktjt ^ yixw ^ zit & li : : ^^ : ^;; p : ;^ :,, " ^' , ! - ;' ' ^;! ; : ! ifa- ^! ,: : ^^ r ^ -s&assd 1 i . t , ow ';; \!! " ; : r v «" . ^» p . ( " »« iMi . « - ) . hf , ; . ; voice , M fret . ' hu "'"»" , an mutation of the human I ' witiS . or Snail organ , 11 « tona : ~ rreatunt « feet
H ?\ flmt ( diapason half stopped ) , 8 fcet 5 Quintadeena 'S' % * Z \ ' O ^ avc 4 feet ; Flute , 4 feet ; Speel fluit ( 12 th ) , 3 feet ; Sesquialter , 2 , 3 , and 4 ranks- S . mPr oetare ( loth ) , 2 feet ; Scherp '( ' , h mixture ) 6 Zs " ranks ; Cornet , 4 ranks ; Cimbaal , 3 ranks - Faffotte ( double bassoon ) , 16 feet ; " Trumpet , 8 feet '; Refaaf , « ( 5 or ™ n ly , P . table or ^ an u ^ d in processions was called a Regal ; the stop m this organ ia entirely composed of reeds . ) J
Pedal Organ , 15 stops : —Principal or longest pine ( octave below the double diapason ) , 32 feet ; Prestant ( double diapason open ) 16 feet ; Sub-bass ( ditto stopped ) 16 feet ; Roer quint ( 4 th below diapason stopped )' 12 feet ; Holfluit ( diapason half stopped ) , 8 feet ; Octave ( open diapason ) , 8 feet ; Quint prestant ( 5 th ) , 6 feet ; Octave , 4 feet ; Ruisch quint , rush or reed ( 12 th ) , 3 feet-Holfluit , 2 feet ; Bazuin ( posaune , or a reed stop )' 32 feet ; Bazuin ( sacbut ) , 16 feet ; Trumpet , 8 feet ; Trumpet , 4 feet ; Cinh , a cornet , horn , or shawm ( 8 va Clarion ) , 2 feet . " V
The Haarlem , however , is by no means the largest organ , although it has long been so considered . The Weingarten organ is a superb instrument , both in power and quality of tone . It was built by M . Gabler , of Ravensburg , and finished on the 24 th of June , 1750 . The organ gave such satisfaction that the monks , wlio wt're very rich , presented the builder with 6775 florins above his charge ; being an additional florin for each pipe . The organ has four complete manuals , containing the following stops : —
Fourth Manual , 12 stops : —Principal , 8 feet- Cornet p 4 octaves , 2 feet ; Piffaro , 4 feet ; Viol di Gam be 8 feet ; Flute , 4 feet ; Quint , 8 feet ; Uautbois , 4 feet Voix humaine , 1 foot ; Flageolet , 2 feet ; Rohr flote , 4 . feet ; Quer flote , 4 feet ; Flute dance , 8 feet —1111 pipes . Third Manual , 12 stops : —Mont ; e , 8 feet ; Prestant 4 feet ; Doublette , 2 feet ; Cornef , 1 foot ; Fjurniture ' 2 feet ; Piffaro , 4 fet-t ; Violonchel , 8 feet ; Quint S feet ' Hautbois , 8 feet ; Uobl Flore , 4 feet ; FJute , * 8 feet ' Bourdon , 16 feet—1211 pipes . . ; Second Manual , 12 stops : —Montre , 8 feet Prestant , 4 feet ; Fouruituie , 3 feet ; Cymbale , 2 feet- Nasard 2 feet ; Viola , 4 feet ; Violonchel , 8 feet ; Solicional , 8 feet ; Bourdon , 8 feet ; Fluff , 8 feet ; Unda Maris 8 feet ; Bourdon bouche , 1 G feet—167 < 3 pipes .
lurst Manual , 12 stops : — Montre , 16 feet ; Montre 8 ft-et ; Prestaut , 4 feet : Fourniturp , 2 feet ; Doublftte ' 2 feet ; Stsquialicra , l . } loot ; Oymbalc , 1 foot ; Piffjro ' 8 fiet ; Trompette , 8 feet ; Hohl flote , 2 feet ; Roher note , 8 feet ; Carillon de Cloches , 2 feet ( bell-metal ) — 2222 pipes . '
Pedals of 20 keys , 12 stops : —Contre bisse , 32 feet Fnuruiture , 8 feet ; Violon basse , 16 feet ; Bombarde ' 1 G het ; liomoardo basse , 1 G ft-et ; Octave basse ou flute ' 1 G feet ; Suub basse ou flute , 32 fret ; Cariilon de Cloches , 4 feet ; Timpano ; Cuculus ; Cymbale ; La Force 4 feet—260 pipes . ' Second Pedal , which couples with the first pedal and with , fir . it manual , 12 stops . —Super octava , 8 feet ' Cornet , 4 feet ; Sesquialtera , 3 feet ; Violoncello , 8 feet Irompette , 8 feet ; Grosst- flute , 4 feet ; Flute douce ' 8 feet ; Cremona , 8 fret ; Quint , 16 fret ; Rossi Knoi treinblant—2 i )(» nines . "
The total number of pipes is 077 . ) , and the " full organ" gives «(» pipes on a key . * Even more than in pianofortes at the Exhibition , London takes precedence in organ manufacture . 'Ihe most important instrument , is the monster organ in the western gallery , built expressly lur the Exhibition by Mr . Willis . This instrument is mechanically perft-ct . H has three rows of kejs from C C to G ( Mi notes ) , ami two octaves and tilth of
one- pedals from C C C to ( i ( 33 notes ) . Ii has the pneumatic lever on an improved and simplihed prmeiple . and a novel and convenient movemeuL ( or arranging the stops , called the latent combination movement , " which consists of small buttons projecting just above the keys , by which the stops are changed with marvellous lacihty , altogether superseding composition pedals Ihe bellows supplying « he swell organ are placed m the box itself , and give two pressures of air . I lie lollowmg is the composition :
( . ne ' t ' lif VrT ' , ' ' » ° , ° » I ' -l ^»» 'l « -- diapason ( na-tal ) , 1 ' feet ; JWdon ( do . s , , t WOO il > , 16 fret Him , , 5 tee Stopped diapason with CI ; niU-Ua 8 frj-t rumpet , U fret ; Principal , 4 fr < -t ; Prindpal , ' 1 ¦ hil « ( ,,, „ . „ wo « , d ) 4 fret ; Cl , lrion , 4 fr , t ; 12 lh , 3 fret ; ' . > ,. ' . * : i ) ' , '"" ' V ' 1 > " : CO 1 ° ' 2 tevt ' "clave ' filarioi , , ni . , ii , i ' ¦ 1 O < " ; Sw"l « iiall < -ra , trunks ; Mix-Uno , diUo ; l ' txinuture , ditto . Swell , O ( M ,, ( J 2 ' . > . s . ops :-l ) oUbledi .. pa . s ., n , 1 G fret ; lie , l ,, lo , an .-i , (» frel . <) , hm , diapas .,., , H fret ; Open d « p ., s « , i 8 fr , ; t ; DiiKnuna . H fret ; V , « , l . li HumUn , Kfrot ; hlu |» l » - « l « liapa « on , 8 f . ut ; Tru , n ,, « l , H fret ; Tiumbonv , 0 K-et . ; llaulboi . s , 8 fecit ; ( Jrtinona , H frel ; lViueipul , lf « l ; 1 rmcipal Dulc-inna , lf .-. t ; l ' l » u ; I f . ef ; (; laiii « u , 1 U-ej . ; 12 ih , , 'J frcl ; lf > Lh dnU'Annn , 2 tvnt ; l . iUi , 2 leot ; Dule . imer , . 'I rank * ; Nes < miultfia , li rankd ; JMixture ditto ; l '' ouiiiit . ure , diito .
l ' lulal On / an , CCC to (; , 11 wtopn : -- Doublo dia-• l ' of ( lie tltmrrij > lioiiH <)/ tlio foi ciifii « i ( , 'aii 3 « o urn iiuloblcil to . i now edition of llaiiiiltoii ' n ( , ' uti'c . iiiHiu of thn Oivuii oilit . i l l » y . /( mo ^ Ii VVi . n-. fii , uii . I ,, uliliHhi : cl » . y (;«« U « mi ( l (» o ' b « k wluuh ouglit to 0 « in the aludio ot ovciy nnwkluu ' *
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I Auo . 23 , 1851 . ] ® ft ^ ILealie v . 807
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heroine . There is a passage in Diderot which admirably points out this mistake : — " An actress weeps and does not move you : nay worse , her distorted features make you laugh ; an accent of her voice is dissonant ; a movement habitual to her in her grief shows her to you under , an ungraceful aspect . The reason of this is that true passions have almost all some grimaces which the artist without tact and taste copies servilely , but which the great artist avoids . " It is very probable that a woman having stabbed herself would makegrimaces similar to those which distorted Mrs . Stirling's countenance ; but it was impossible for me to behold them with any ©* her feeling than that of seeing a woman before me Buffering from colic ! Mrs . Stirling Is too clever an actress in her own comestic line for me to hesitate in expressing my opinion of her recent experiments in Rachel ' s characters ; and I trust that my repeated praise of her will soften what is harsh in the crudity of the foregoing . Mr . Henry Farren played the Podesta ( by the way , that word is not Pode&ta , but Podesta —William Farren , jun ., was the only person who pronounced it correctly ) , and it would have been a clever performance of any other part , for there really was both thought and expression in it ; unhappily the expression was all wrong ; the part was removed from its category of a cold , remorseless tyrant into that of a broken-hearted husband crushed by the weight of his dishonour , and avenging himself like an Othello , nought in hate j but all in honour . Grant him his view of the part , and make some allowances for violence and j want of " keeping , " then I say Henry Farren played with decided effect . To the Opera , of course , the Cousins flock . Not even the tropical warmth can keep them away ; and I really sympathize with them . Then as to Vauxhall , with its masquerades , and the Surrey Zoological Gardens , with Moris . Jullien , what can be more tempting than these al f resco pleasures ? Who wonders that these places of amusement are in a splendidly flourishing condition ? I believe halfa-dozen more would be found to pay . Vivian .
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Citation
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Leader (1850-1860), Aug. 23, 1851, page 807, in the Nineteenth-Century Serials Edition (2008; 2018) ncse2.kdl.kcl.ac.uk/periodicals/l/issues/vm2-ncseproduct1897/page/19/
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