ORGAN IN WORCESTER CATHEDRAL, ENGLAND.

Next in chronological order comes the epoch-making organ in Worcester Cathedral, England, built by Hope-Jones in 1896. Here he gave to the world the result of his researches into the production of organ tone, and we make bold to say that no other instrument has so revolutionized and exerted such an influence on the art of organ-building both in England and the United States. Here for the first time we find that wonderful invention, the Diaphone, and even the nomenclature of the various stops is new, however familiar they may be now, seventeen years later. Hope-Jones is reported to have spent several days in the Cathedral studying its acoustic properties before planning this organ, and the result was a marvelous ensemble of tone. The fame thereof spread abroad and eminent musicians made pilgrimages from all parts of the earth to see and hear it, as mentioned in our account of Yale University Organ later.

Charles Heinroth, Organist and Director of Music, Carnegie Institute, Pittsburgh, Pa., says:

"I don't believe I could forget my first impression on hearing the Worcester Cathedral organ, to me a perfect masterpiece. At once a sense of something out of the ordinary took hold of me at hearing the tone quality of the various stops and combinations--it seemed altogether uncommon."

Similar opinions were expressed by many others.

There were two organs in Worcester Cathedral. The older of the two, standing on the north side of the choir, though it had been rebuilt by Hill & Son, contained pipes over 200 years old from the original instrument by Renatus Harris. The second organ, built by Hill & Son in 1875, stood in the south transept. It was a gift to the Cathedral from the late Earl of Dudley.

In 1895-1896 Hope-Jones constructed a new organ retaining the Renatus Harris and some of the Hill pipes. It stands in three portions, part against the south wall of the transept and part on either side of the choir, all controlled from the console originally placed inside the screen just west of the choir stalls, but since moved into the north choir aisle. It was planned to have the Solo Tuba on a wind pressure of 100 inches, but we regret to say the funds for this have not been forthcoming. The specification follows; the compass of the manuals is from CC to c4, 61 notes; of the pedals, CCC to F, 30 notes.

GREAT ORGAN (11 STOPS).
FEET. FEET.
Diapason Phonon 16 Octave Diapason 4
Tibia Plena 8 Quintadena 4
Diapason Phonon 8 Harmonic Piccolo 2
Open Diapason 8 Tuba Profunda 16
Hohl Flute 8 Tuba 8
Viol d'Amour 8
SWELL ORGAN (15 STOPS).
FEET. FEET.
Contra Viola 16 String Gamba 8
Violes Celestes 8 Quintaton 8
Tibia Clausa 8 Gambette 4
Horn Diapason 8 Harmonic flute 4
Harmonic Piccolo 2 Cor Anglais (free) 8
Double English Horn 16 Vox Humana 8
Cornopean 8 Clarinet 8
Oboe 8
CHOIR ORGAN (10 STOPS).
FEET. FEET.
Double Open Diapason 16 Dulciana 8
Open Diapason 8 Flute 4
Cone Leiblich Gedackt 8 Flautina 2
Viol d'Orchestre 8 Cor Anglais (beating) 8
Tiercina 8 Clarionet 8
SOLO ORGAN (5 STOPS).
FEET. FEET.
Rohr Flute 4 Tuba Sonora 8
Bombarde 16 Orchestral Oboe 8
Tuba Mirabilis 8
PEDAL ORGAN (13 STOPS).
FEET. FEET.
Gravissima 64 Octave Violone 8
Double Open Diapason 32 Flute 8
Contra Violone 32 Diaphone 32
Tibia Profunda 16 Diaphone 16
Open Diapason 16 Tuba Profunda 16
Violone 16 Tuba 8
Bourdon 16
Couplers: Choir, Great, Swell, Solo to Pedal; light wind Great Sub Oct
(on itself); Great reeds Super Oct (on themselves); Solo to Great, Sub,
Super and Unison; Swell to Great, Sub, Super and Unison; Choir to
Great, Sub and Unison. Swell Sub and Super Octave (on itself); Solos
to Swell; Choir to Swell.
Choir Sub and Super Octave (on itself); Swell to Choir, Sub, Super and
Unison.
Solo Organ Sub and Super Octave (on itself).
Solo Tuba to Great 2d touch.
Swell to Great 2d touch.
Swell to Choir 2d touch.
Choir to Swell 2d touch.
Solo and Pedal Tubas have double tongues and are voiced on 20 inches of
wind.
Accessories: 5 compound composition keys for Great and Pedal, Swell and
Pedal, Solo; 3 for Choir and Pedal, and 2 to each manual for couplers;
2 combination keys; Tremulant to Swell; 5 composition pedals; Stop
Switch, Key and Pedal.
The composition keys between the manuals if touched in the centre give
automatically an appropriate Pedal bass in addition to the particular
stops acted upon; but if touched on one side do not disturb the Pedal
department. All combination movements affect the stop keys themselves.
The "stop switch" enables the player to prepare in advance any special
combination of stops and couplers, bringing them into play at the
moment desired. The organ is blown by a six-horse gas engine.

ORGAN IN WOOLSEY HALL, YALE UNIVERSITY,
NEW HAVEN, CONN.

This magnificent instrument, built by the Hutchings-Votey Organ Company in 1902, possesses increased foundation tone and higher wind pressures. The late Professor Samuel S. Sanford, devoted much time and interest in its design. He visited Worcester Cathedral, England, and was profoundly impressed with the new epoch in tone production heralded by that organ. He made an effort to have Mr. Hope-Jones voice one of his Tibias and Smooth Tubas for the Yale organ; and though his effort was not successful, leading features of the Worcester instrument were frankly imitated and generously acknowledged. It was largely due to the liberality of Mr. George S. Hutchings in interpreting the terms of the contract that such a complete instrument was secured for the University. In recognition of this and in view of Mr. Hutchings' artistic contributions to the art of organ-building, the University conferred upon him the honorary degree of Master of Arts. The Diapasons are voiced on pressures ranging from 3 1/2 to 22 inches; the reeds in the Great and Swell on 10 inches, and the Tuba on 22 inches. The builders state that the mixtures have been inserted at the request of many noted organists. There are now 78 sounding stops.

Compass of Manuals from CC to c|4|, 61 notes. Compass of Pedals from
CCC to g, 32 notes.
GREAT ORGAN (19 STOPS).
FEET. FEET.
Diapason 16 Octave 4
Quintaton 16 Wald Flute 4
Diapason 8 Gambette 4
Diapason 8 Twelfth 2 2/3
Diapason 8 Fifteenth 2
Doppel Floete 8 Mixture, 5 ranks
Principal Flute 8 Trumpet 16
Gross Gamba 8 Trumpet 8
Viol d'Amour 8 Clarion 4
Gemshorn 8
SWELL ORGAN (21 STOPS).
FEET. FEET.
Contra Gamba 16 Vox Celestis 8
Bourdon 16 Harmonic Flute 4
Stentorphone 8 Principal 4
Diapason 8 Violina 4
Gamba 8 Flautino 2
Bourdon 8 Dolce Cornet, 6 ranks
Flauto Traverso 8 Posaune 16
Salicional 8 Cornopean 8
Quintadena 8 Oboe 8
Unda Maris 8 Vox Humana 8
Aeoline 8 Tremolo
CHOIR ORGAN (13 STOPS).
(Inclosed in a Swell Box)
FEET. FEET.
Contra Dulciana 16 Violoncello 8
Diapason 8 Viola 4
Melodia 8 Flauto Traverse 4
Viol d'Orchestre 8 Piccolo Harmonique 2
Lieblich Gedacht 8 Clarinet 8
Dulciana 8 Contra Fagotto 16
Viol Celeste, 2 ranks 8 Tremolo
SOLO ORGAN (6 STOPS).
(In a Swell Box)
FEET. FEET.
Tibia Plena 8 Hohlpfeife 4
Tuba Sonora 8 Dolce 8
Gross Flute 8 Orchestral Oboe 8
PEDAL ORGAN (19 STOPS).
FEET. FEET.
Gravissima (Resultant) 64 Contra Bass (Resultant) 32
Diapason 32 Diapason 16
Contra Bourdon 32 Diapason 16
There are 20 Couplers; 29 Combination Pistons; 11 Composition Pedals; 3
Balanced Swell Pedals and Balanced Crescendo Pedal.