UNDULATING STOPS—CELESTES.
The writer is not aware who first introduced into the organ a rank of soft-toned pipes purposely tuned a trifle sharp or flat to the normal pitch of the organ, so as to cause a beat or wave in the tone. Fifty years ago such stops were sparingly used and many organists condemned their employment altogether. Stops of the kind were hardly ever found in small organs and the largest instruments seldom contained more than one.
A great development in this direction has taken place and further advance seems to be immediate. Already most builders introduce a Celeste into their small organs and two or three into their larger instruments—whilst Hope-Jones' organs are planned with Vox Humana Celestes, Physharmonica Celestes, Kinura Celestes and even Mixture Celestes!
Most modern Celestes are tuned sharp, the effect being more animated than if it were tuned flat; but the aggregate effect and general utility of the stop are greatly enhanced by the use of two ranks of pipes, one being tuned sharp and the other flat to the organ pitch. A three-rank Celeste (sharp, flat, and unison) formed one of the novel features of the organ in Worcester Cathedral, England, built by Hope-Jones in 1896. Wedgwood credits its invention to Mr. Thomas Casson. The three-rank Celeste is also to be found in the organs of the Bennett Organ Company.
Apart from the inherent beauty of the tones there is much to be said in favor of the presence of these stops—if the organ is to be used as an adjunct to, or a substitute for, the orchestra. The whole orchestra is one huge and ever-varying "Celeste." Were it not so its music would sound dead and cold. Few of the instrumentalists ever succeed in playing a single bar absolutely in tune with the other components of the band.