The great organ of the Music Hall is a choir of nearly six thousand vocal throats. Its largest windpipes are thirty-two feet in length, and a man can crawl through them. Its finest tubes are too small for a baby's whistle. Eighty-nine stops produce the various changes and combinations of which its immense orchestra is capable, from the purest solo of a singing nun to the loudest chorus in which all its groups of voices have their part in the full flow of its harmonies. Like all instruments of its class, it contains several distinct systems of pipes, commonly spoken of as separate organs, and capable of being played alone or in connection with each other. Four manuals, or hand key-boards, and two pedals, or foot key-boards, command these several systems,—the solo organ, the choir organ, the swell organ, and the great organ, and the piano and forte pedal-organ. Twelve pairs of bellows, which it is intended to move by water-power, derived from the Cochituate reservoirs, furnish the breath which pours itself forth in music. Those beautiful effects, for which the organ is incomparable, the crescendo and diminuendo,—the gradual rise of the sound from the lowest murmur to the loudest blast, and the dying fall by which it steals gently back into silence,—the dissolving views, so to speak, of harmony,—are not only provided for in the swell-organ, but may be obtained by special adjustments from the several systems of pipes and from the entire instrument.
It would be anticipating the proper time for judgment, if we should speak of the excellence of the musical qualities of the great organ before having had the opportunity of hearing its full powers displayed. We have enjoyed the privilege, granted to few as yet, of listening to some portions of the partially mounted instrument, from which we can confidently infer that its effect, when all its majestic voices find utterance, must be noble and enchanting beyond all common terms of praise. But even without such imperfect trial, we have a right, merely from a knowledge of its principles of construction, of the preëminent skill of its builder, of the time spent in its construction, of the extraordinary means taken to insure its perfection, and of the liberal scale of expenditure which has rendered all the rest possible, to feel sure that we are to hear the instrument which is and will probably long remain beyond dispute the first of the New World and second to none in the Old in the sum of its excellences and capacities.
The mere comparison of numbers of pipes and of stops, or of external dimensions, though it gives an approximative idea of the scale of an organ, is not so decisive as it might seem as to its real musical effectiveness. In some cases, many of the stops are rather nominal than of any real significance. Even in the Haarlem organ, which has only about two-thirds as many as the Boston one, Dr. Burney says, "The variety they afford is by no means what might be expected." It is obviously easy to multiply the small pipes to almost any extent. The dimensions of an organ, in its external aspect, must depend a good deal on the height of the edifice in which it is contained. Thus, the vaulted roof of the Cathedral of Ulm permitted the builder of our Music-Hall organ to pile the façade of the one he constructed for that edifice up to the giddy elevation of almost a hundred feet, while the famous instrument in the Town Hall of Birmingham has only three-quarters of the height of our own, which is sixty feet. It is obvious also that the effective power of an organ does not depend merely on its size, but that the perfection of all its parts will have quite as much to do with it. In judging a vocalist, we can form but a very poor guess of the compass, force, quality of the voice, from a mere inspection of the throat and chest. In the case of the organ, however, we have the advantage of being able to minutely inspect every throat and larynx, to walk into the interior of the working mechanism, and to see the adaptation of each part to its office. In absolute power and compass the Music-Hall organ ranks among the three or four mightiest instruments ever built. In the perfection of all its parts, and in its whole arrangements, it challenges comparison with, any the world can show.
Such an instrument ought to enshrine itself in an outward frame that should correspond in some measure to the grandeur and loveliness of its own musical character. It has been a dream of metaphysicians, that the soul shaped its own body. If this many-throated singing creature could have sung itself into an external form, it could hardly have moulded one more expressive of its own nature. We must leave to those more skilled in architecture the detailed description of that noble façade which fills the eye with music as the voices from behind it fill the mind through the ear with vague, dreamy pictures. For us it loses all technical character in its relations to the soul of which it is the body. It is as if a glorious anthem had passed into outward solid form in the very ecstasy of its grandest chorus. Milton has told us of such a miracle, wrought by fallen angels, it is true, but in a description rich with all his opulence of caressing and ennobling language:—
"Anon out of the earth a fabric huge
Rose, like an exhalation, with the sound
Of dulcet symphonies and voices sweet,
Built like a temple, where pilasters round
Were set, and Doric pillars overlaid
With golden architrave; nor did there want
Cornice or frieze with bossy sculptures grav'n."
The structure is of black walnut, and is covered with carved statues, busts, masks, and figures in the boldest relief. In the centre a richly ornamented arch contains the niche for the key-boards and stops. A colossal mask of a singing woman looks from over its summit. The pediment above is surmounted by the bust of Johann Sebastian Bach. Behind this rises the lofty central division, containing pipes, and crowning it is a beautiful sitting statue of Saint Cecilia, holding her lyre. On each side of her a griffin sits as guardian. This centre is connected by harp-shaped compartments, filled with pipes, to the two great round towers, one on each side, and each of them containing three colossal pipes. These magnificent towers come boldly forward into the hall, being the most prominent, as they are the highest and stateliest, part of the façade. At the base of each a gigantic half-caryatid, in the style of the ancient hermæ, but finished to the waist, bends beneath the superincumbent weight, like Atlas under the globe. These figures are of wonderful force, the muscular development almost excessive, but in keeping with their superhuman task. At each side of the base two lion-hermæ share in the task of the giant. Over the base rise the round pillars which support the dome and inclose the three great pipes already mentioned. Graceful as these look in their position, half a dozen men might creep into one of them and lie hidden. A man of six feet high went up a ladder, and standing at the base of one of them could just reach to put his hand into the mouth at its lower part, above the conical foot. The three great pipes are crowned by a heavily sculptured, ribbed, rounded dome; and this is surmounted, on each side, by two cherubs, whose heads almost touch the lofty ceiling. This whole portion of the sculpture is of eminent beauty. The two exquisite cherubs of one side are playing on the lyre and the lute; those of the other side on the flute and the horn. All the reliefs that run round the lower portion of the dome are of singular richness. We have had an opportunity of seeing one of the artist's photographs, which showed in detail the full-length figures and the large central mask of this portion of the work, and found them as beautiful on close inspection as the originals at a distance.
Two other lateral compartments, filled with pipes, and still more suggestive of the harp in their form, lead to the square lateral towers. Over these compartments, close to the round tower, sits on each side a harper, a man on the right, a woman on the left, with their harps, all apparently of natural size. The square towers, holding pipes in their open interior, are lower than the round towers, and fall somewhat back from the front. Below, three colossal hermæ of Sibyl-like women perform for them the office which the giants and the lion-shapes perform for the round towers. The four pillars which rise from the base are square, and the dome which surmounts them is square also. Above the dome is a vase-like support, upon which are disposed figures of the lyre and other musical symbols.
The whole base of the instrument, in the intervals of the figures described, is covered with elaborate carvings. Groups of musical instruments, standing out almost detached from the background, occupy the panels. Ancient and modern, clustered with careless grace and quaint variety, from the violin down to a string of sleigh-bells, they call up all the echoes of forgotten music, such as the thousand-tongued organ blends together in one grand harmony.
The instrument is placed upon a low platform, the outlines of which are in accordance with its own. Its whole height is about sixty feet, its breadth forty-eight feet, and its average depth twenty-four feet. Some idea of its magnitude may be got from the fact that the wind-machinery and the swell-organ alone fill up the whole recess occupied by the former organ, which was not a small one. All the other portions of the great instrument come forward into the hall.