Improvements in Stops.—In the 15th century, pipes of sixteen and thirty-two feet in length began to be used, necessitating a greatly enlarged bellows. Pipes were closed at the top, thereby lowering the pitch an octave. They were given smaller diameters, producing a softer tone quality. The shapes of the pipes were varied, giving additional variety in tone quality.
Thus began the broad classifications of “Open” and “Stopped” pipes in all their varieties. The “Reeds” (pipes containing a vibrator or tongue to set the column of air in motion) were familiar to the earliest performers, but were not introduced into the organ until as late as the 14th century. Further improvements were made in the bellows at the beginning of the 16th century.
St. Mary’s, Lübeck.—In 1561, a three-manual organ was in use in St. Mary’s, Lübeck, Germany. To this organ all the important improvements were successively added at various intervals until it had, at the beginning of the 18th century, in the three manuals, respectively, thirteen, fourteen and fifteen stops, and in the pedal, fifteen stops. It was to hear the famous Buxtehude play upon this organ that Sebastian Bach walked fifty miles in 1705.
Design of Improvements.—Great improvements have been made in organ building since the time of Bach, all designed to give the player greater resources, and increased facility in the handling and control of the resources, which in the present day are simply enormous.
The Organ in the American Colonies.—Although the first organs heard in America were probably introduced by the Spaniards, of these there are no authentic records. According to reliable historic data, the famous old “Brattle” organ was “the first organ that ever pealed to the glory of God in this country.” It was imported from London, in 1713, by Mr. Thomas Brattle, who bequeathed it to the Brattle Street Church, Boston, directing that the parish “procure a sober person that can play skilfully thereon with a loud noise.” This organ became the property of King’s Chapel, Boston, and was used until 1756.
No Art in Early Organ Playing.—The organs of the early Christian period were of such a character that playing, in the sense in which we now understand the word, was out of the question. For some time the span of the hand possible to players did not exceed the distance of a fifth. If an octave was to be struck, a second player was necessary. Only with the narrowing of the keys did artistic playing become possible. In fact, organ playing has invariably reflected the style and development of contemporary musical art.
Early Organists.—The credit of being “father of organists” is given to Francesco Landino, of Florence (1325-1390), and after him to Bernhard, mentioned as the inventor of the organ pedals. The oldest organ compositions are some works by Konrad Paumann (1410-1473), who was born blind, yet, like many others since, became a thoroughly trained musician in spite of his affliction. He also played other instruments and was a fine contrapuntist. Another of the early organists is Benedictus Ducis (or Hertoghs), born at Bruges, about 1480. He was a pupil of Josquin des Pres. From Ducis, representing the second Flemish school, as founded by Okeghem, there is a chain almost of master and pupil, between the early masters of organ playing and polyphonic writing and Bach, who in these arts became the master of all. Paumann’s pieces show the style of composing for the instrument that was considered appropriate. They are essentially transcribed, but elaborated, vocal works. The compositions of the next organists of fame, Willaert, of Venice (1490-1562), and Cyprian di Rore (1516-1565), pupil of the former, have distinct names. Ricercari, Intonationi, Contrapunti, Toccati, Praeambula, and Canzoni, but the character remains the same, vocal pieces, elaborated and freely embellished with runs and other passage work. Later the term Ricercari came to mean a sort of fantasia in fugal form, often on a popular air; Toccata became a free fantasia with brilliantly figurated passages, and a Praeambulo a prelude to a larger piece. Other famous organists of this period were Bernhard Schmidt (1520-?), German; Claudio Merulo (1532-1604), organist at Venice, and his successors, the two Gabrieli’s.
Frescobaldi and His Successors.—The greatest of all the organists of the earlier days, to whom the title of “Father of true organ playing” has been given, was Girolamo Frescobaldi, born in 1583 at Ferrara, in Italy, educated in Flanders, and from 1608 to his death in 1644 organist at St. Peter’s, Rome. His fame was so great that the spacious cathedral was often filled when he gave an organ recital. His compositions, many of which have been preserved, have a very decided contrapuntal character, whence some have called him the inventor of the organ fugue. Two prominent German organists, whose compositions were studied by Bach, were Caspar Kerl (1627-1693), and Jacob Froberger (———1667), both of whom lived in Vienna. The most eminent organist of the 17th century was Johann Peter Sweelinck (1562-1621), pupil of Zarlino, the famous Italian theorist, and of Andreas Gabrieli, organist of Venice. Sweelinck occupied the position of organist at the Cathedral in Amsterdam, and gave much attention to the development of the fugal style of composition. His compositions are of the highest importance historically, since they exhibit the first known examples of the independent use of the pedals in a real fugal part. He was the most eminent organist of his time (being called the organist maker), and was the teacher of the following noted players: Jacob Praetorius (died at Hamburg in 1651); Heinrich Scheidemann (1596-1663), also located at Hamburg; Jan Adams Reinken (1623-1722), from 1663 organist and successor to Scheidemann at the Catherine Church, Hamburg (Bach came to Hamburg several times to hear Reinken play and to learn his style); Samuel Scheidt (1587-1654), organist at Halle. Some of their compositions are accessible.
Johann Peter Sweelinck.