In 1894 the writer made the acquaintance of the late Mr. Edmund Jardine, who was then building a new organ for Scotch Presbyterian Church in Central Park West, with an entirely new electric action that had been invented by his nephew. Of course by this time Mr. Hope-Jones' inventions were well known over here, and Mr. Jardine told the writer that some of the other organ-builders had been using actions which were as close imitations of the Hope-Jones as it was possible to get without infringement of patents. The Jardine action seemed to the writer a very close imitation also, and he can testify to its being a good one, as he later on had nearly three years experience of it at All Angels' Church.
But the pioneers had troubles of their own, no doubt, caused by using too large and heavy magnets, which exhausted the batteries faster than the current could be produced. The writer had this experience with the batteries at two different churches and had some difficulty in getting the organ-builders to see what was the matter. The steady use of the organ for an hour-and-a-half's choir rehearsal would exhaust the batteries. The organ-builder would be notified, and, on coming next day, would not find anything the matter, the batteries having recovered themselves in the interim. Finally, two sets of batteries were installed with a switch by the keyboard, so that the fresh set could be brought into use on observing signs of exhaustion. Many churches have installed small dynamos to furnish current for the key action. Even in these cases signs of weakness are often apparent—the organist in playing full does not get all the notes he puts down. Same cause of trouble—too heavy magnets. Here is where the Hope-Jones action has the whip-hand over all others, all the current it requires being supplied by a single cell! At the writer's churches there were six and eight cells. Most of the electric organs erected in this country, 1894-1904, have had to be entirely rebuilt.
About the year 1894 Ernest M. Skinner (at that time Superintendent of the Hutchings Organ Co., of Boston, Mass.), went over to England to study the art in that country. He was well received by Hope-Jones, by Willis and others. He introduced many of the English inventions into this country—the movable console (St. Bartholomew's, New York; Symphony Hall, Boston, etc.), increased wind pressure and the leathered lip (Grace Church, Plymouth Church, Columbia College, College of the City of New York, Cleveland Cathedral, etc.), smooth heavy pressure reeds, Tibias (Philomela) small scale strings, etc. In this work Skinner eventually had the advantage of Hope-Jones' services as Vice-President of his own company and of the assistance of a number of his men from England.
About the year 1895 Carlton C. Michell, an English organ-builder, who had been associated with Thynne and with Hope-Jones, and who had as the latter's representative set up new-type organs in Baltimore, Md., and Taunton, Mass., joined the Austin Organ Co., Hartford, Conn. He rapidly introduced modern string tone and other improvements there.
In 1903 Hope-Jones came to this country and also joined the Austin Organ Co. as its Vice-President, whereupon that company adopted his stop-keys, wind pressures, scales, leathered lip, smooth reeds, orchestral stops, etc. (Albany Cathedral, Wanamaker's organ, New York, the organs now standing in the Brooklyn Academy of Music, and others.)
In 1907 the Hope-Jones Organ Co., Elmira, N. Y., commenced the construction of organs containing all these and other English improvements (Ocean Grove, N. J.; Buffalo Cathedral, N. Y.; New Orleans, La., etc.).
The influence of the work already done by the aforenamed pioneers in this country is being manifested in a general improvement in organ tone and mechanism throughout the United States.
Musical men, hearing the new tones and musical effects now produced, realize for the first time the grandeur and refinement and amazing variety of musical effects that the organ is capable of yielding; on returning to their own churches they are filled with "divine discontent," and they do not rest until a movement for obtaining a new organ, or at least modernizing the old one, is set on foot. The abandonment of old ideas as to the limitations of the organ is begun, new ideals are being set up, and a revolution which will sweep the whole country has now obtained firm foothold.
Until recently England unquestionably led in the development of the organ, and Hope-Jones led England. Now that his genius is at work in this country, who shall set limit to our progress? Even when expressing himself through other firms, his influence entirely altered the standard practice of the leading builders, and now, since direct expression has been obtained, improvements have appeared with even greater rapidity.
It is the author's opinion (based on a wide knowledge of the instruments in both countries) that in the course of the last ten years this country has made such great strides in the art that it may now claim ability to produce organs that are quite equal to the best of these built in England. And he ventures to prophesy that in less than another ten years, American-built organs will be accepted as the world's highest standard.