CHAPTER XII.
PROGRESS OF THE REVOLUTION IN OUR OWN COUNTRY.
In the study of the art of organ-building one cannot fail to be struck by the fact that almost all the great steps in advance have been due to Englishmen: the compound horizontal bellows, the concussion bellows, the swell box, the pneumatic lever, the tubular-pneumatic action, the electro-pneumatic action, the Universal air chest, the leathered lip, the clothed flue, the diaphone, smooth reed tone, imitative string tone, the vowel cavity, tone reflectors, cement swell boxes, the sound trap joint, suitable bass, the unit organ, movable console, radiating and concave pedal board, combination pedals, combination pistons and keys, the rotary blower—and many other items—were the inventions and work of Englishmen.
Speaking in general terms, this country lagged very far behind not only England, but also behind France, and even Germany, in the art of organ-building until comparatively a few years ago.
It has recently advanced with extraordinary rapidity, and if it be not yet in the position of leader, it is certainly now well abreast of other nations.
Hilborne Roosevelt constructed a number of beautiful organs in this country, beginning his work about the year 1874. While his organs altogether lacked the impressive dignity of the best European instruments of the period, they were marked by beauty of finish and artistic care in construction. He invented the adjustable combination action, and this forms about all his original contribution destined to live and influence the organ of the future. Nevertheless, his marks on organ-building in this country were great and wholly beneficial. He studied the art in Europe (especially France) and introduced into this country many features at that time practically unknown here. Several of the organs constructed by his firm are in use to-day and are in a good state of repair. They contain Flutes that it would be hard to surpass, Diapasons that are bold and firm, and far above the average, though thought by some to lack weight and dignity of effect. The action is excellent and the materials employed and the care and workmanship shown throughout cannot be too highly praised.
Roosevelt must be set down as the leader of the revolution which, by the introduction of foreign methods, has in the last twenty years so completely transformed organ-building in the United States.
Roosevelt was also the pioneer in using electro-pneumatic action here. Accounts had reached England of his wonderful organ in Garden City Cathedral, part of which was in the gallery, part in the chancel, part in the roof, and part in the choir vestry in the basement. The author, on arriving in Philadelphia in 1893, as organist of St. Clement's Church there, was anxious to see a Roosevelt electric organ and was invited to see one in the concert hall of Stetson's hat factory. He was shown one of the magnets, which was about six inches long! Here is an account of the organ in Grace Church, New York City, which appeared in the American Correspondence of the London Musical News, February 15, 1896:
There are three organs in this church by Roosevelt—in the chancel, in the west gallery, and an echo in the roof, electrically connected and playable from either of the keyboards, one in the chancel and one in the gallery. The electric action is of an old and clumsy pattern, operated from storage batteries filled from the electric-light main, and requiring constant attention. The "full organs" and "full swells" go off slowly, with a disagreeable effect, familiar to players on faulty pneumatic instruments.
This organ has lately been entirely rebuilt with new action and vastly improved by Mr. E. M. Skinner.