The Recent Revolution in Organ Building / Being an Account of Modern Developments

by George Laing Miller

DIAPASONS.

The pipes usually seen in the front of an organ belong to the Great organ Open Diapason, long regarded as the foundation tone of the instrument. The Open Diapason may vary in size (or scale) from 9 inches diameter at CC to 3 inches. The average size is about 6 inches.

The Diapasons of the celebrated old organ-builders, Father Schmidt, Renatus Harris, Green, Snetzler and others, though small in power, were most musical in tone quality. Though sounding soft near the organ, the tone from these musical stops seems to suffer little loss when traveling to the end of quite a large building. About the year 1862 Schulze, in his celebrated organ at Doncaster, England, brought into prominence a new and much more brilliant and powerful Diapason. The mouths of the pipes were made very wide and they were more freely blown. Schulze's work was imitated by T. C. Lewis, of England, and by Willis. It has also exercised very great influence on the work done by almost all organ-builders in this country, in Germany, and elsewhere. Schulze's method of treatment added largely to the assertiveness and power of the tone, but gave the impression of the pipes being overblown and led to the loss of the beautiful, musical, and singing quality of tone furnished by the older Diapasons. Hard-toned Diapasons became almost the accepted standard. Willis even went so far as to slot all of his Diapason pipes, and Cavaillé-Coll sometimes adopted a similar practice. Walker, in England, and Henry Erben, in this country, continued to produce Diapasons having a larger percentage of foundation tone and they and a few other builders thus helped to keep alive the old traditions.

In the year 1887 Hope-Jones introduced his discovery that by leathering the lips of the Diapason pipes, narrowing their mouths, inverting their languids and increasing the thickness of the metal, the pipes could be voiced on 10, 20, or even 30-inch wind, without hardness of tone, forcing, or windiness being introduced. He ceased to restrict the toe of the pipe and did all his regulation at the flue.

His invention has proved of profound significance to the organ world. The old musical quality, rich in foundation tone, is returning, but with added power. Its use, in place of the hard and empty-toned Diapasons to which we had perforce become accustomed, is rapidly growing. The organs in almost all parts of the world show the Hope-Jones influence. Few builders have failed now to adopt the leathered lip.

Wedgwood, in his "Dictionary of Organ Stops," pp. 44, 45, says:

"Mr. Ernest Skinner, an eminent American organ-builder,[2] likens the discovery of the leathered lip to the invention by Barker of the pneumatic lever, predicting that it will revolutionize organ tone as surely and completely as did the latter organ mechanism, an estimate which is by no means so exaggerated as might be supposed. The leathered Diapason, indeed, is now attaining a zenith of popularity both in England and America.[3] A prominent German builder also, who, on the author's recommendation, made trial of it, was so struck with the refined quality of tone that he forthwith signified his intention of adopting the process. A few isolated and unsuccessful experimental attempts at improving the tone of the pipes by coating their lips with paper, parchment, felt, and kindred substances, have been recorded, but undoubtedly the credit of having been the first to perceive the value and inner significance of the process must be accorded to Mr. Robert Hope-Jones. It was only at the cost of considerable thought and labour that he was able to develop his crude and embryonic scientific theory into a process which bids fair to transform modern organ building. The names of Cavaillé-Coll and George Willis, and of Hope-Jones, will be handed down to posterity as the authors of the most valuable improvements in the domains of reed-voicing and flue-voicing, respectively, which have been witnessed in the present era of organ building."

The desire for power in Diapason tone first found expression in this country by the introduction into our larger organs of what was called a Stentorphone. This was a large metal Diapason of ordinary construction, voiced on heavy wind pressure. It was most harsh, unmusical and inartistic. It produced comparatively little foundation tone and a powerful chord of harmonics, many of them dissonant. In Germany, Weiglé, of Stuttgart, introduced a similar stop, but actually exaggerated its want of refinement by making the mouth above the normal width. As knowledge of the Hope-Jones methods spreads, these coarse and unmusical stops disappear. He is without question right in urging that the chief aim in using heavy pressure should be to increase refinement, not power of tone. Sweet foundation tone produced from heavy wind pressure always possesses satisfactory power. He is also unquestionably right in his contention that when great nobility of foundation tone is required, Diapasons should not be unduly multiplied, but Tibias or large Flutes should be used behind them.

Every epoch-making innovation raises adversaries.

We learn from these that pure foundation tone does not blend. True, there are examples of organs where the true foundation tone exists but does not blend with the rest of the instrument, but it is misleading to say that "pure foundation tone does not blend." Hope-Jones has proved conclusively that by exercise of the requisite skill it does and so have others who follow in his steps. A view of the mouth of a Hope-Jones heavy pressure Diapason, with inverted languid, leather lip and clothed flue, is given in Figure 17.