FOOTNOTES1. For further information on the early uses of the word organ/organon/organum see Peter Williams' A New History of the Organ (Indiana University Press, 1980), pp. 19-21.
2. Apel, Willi. The History of Keyboard Music to 1700, translated by Hans Tischler. Indiana University Press,
3. A New History of the Organ (Indiana University Press, 1980), p. 22.
4. SOME SOURCE HAS THIS STATEMENT!
5. The organ by Silbermann in the Abbey of Marmoutier has iron resonators on the pedal reed.
6. Several readily available books, including some organ technique books, have lists of stop names with short descriptions. No attempt is made here to be comprehensive. In the lists that do appear here, alternate spellings and cognates in languages other than English are listed on the same line.
7. For discussions of both the effect of pipe diameter (scale) and slots on timbre, see sections below on this PIPE TIMBRE page.
8. Other systems of pitch classification may be encountered by a student who examines pitches stamped on pipes, or who works with a builder or tuner. These systems are not explained in this tutorial.
9. King's College Chapel, Cambridge. Organ case of the seventeenth century. For further details on the history of this organ, see Nicholas Thistlethwaite's The Organs of Cambridge, (Oxford, Positif Press, 1983), pp. 48-54.
10. Cathedral Church of the Advent, Episcopal, Birmingham, Alabama. Organ console by M. P Möller, 1988.
11. Birmingham-Southern College, Kurt Ruhland organ. Principal pipes by Gieseke.
12. 2' Principal by Wicks. From the private collection of Barry A. Norris.
13. Birmingham-Southern College, Kurt Ruhland organ. Principal pipe by Gieseke.
14. From the private collection of Barry A. Norris.
15. Birmingham-Southern College. Schantz Organ Company, 1960.
16. From the private collection of Barry A. Norris.
17. From the private collection of Barry A. Norris.
18. For a discussion of standard conventions for discussing pitch and organ stops, see the page "Pipes and Pitch" on the PIPES menu - - a part of THE ORGAN AND HOW IT WORKS.
19. In 1932 The American Guild of Organists established standards for organs built in the US. They set the standard number of manual keys at 61 and of pedals at 32. The standard was confirmed through a review in 1961. It must be noted, however, that not all instruments built in the United States comply with these standards. Manual keyboards of 56 or 58 notes are much more common than they were when the standards were adopted. The convention of beginning the range of both manual and pedal keyboards on C is followed much more closely, however, so that discussions of pitch and keyboard range should apply to practically all organ keyboards.
20. Cathedral Church of the Advent, Birmingham, Alabama. Pipes by Schopp; Photograph by David Arn.
21. First Baptist Church, Decatur, Georgia. Organ by Holtkamp.
22. First United Methodist Church, Birmingham, Alabama. Organ by Schantz, 1960.
23. First United Methodist Church, Birmingham, Alabama. M. P. Möller, 1983.
24. Sardis Baptist Church, Birmingham, Alabama. Schantz Organ Company, 1958.
25. First United Methodist Church, Birmingham, Alabama. Schantz Organ Company, 1960.
26. First Presbyterian Church, Birmingham, Alabama. Aeolian Skinner Organ, 1952.
27. From the private collection of Barry A. Norris.
28. From the private collection of Barry A. Norris.
29. From the private collection of Barry A. Norris.
30. Birmingham-Southern College. M. P. Möller, 1969.
31. Birmingham-Southern College. Schantz Organ Company, 1960.
32. First Baptist Church, Decatur, Georgia. Holtkamp organ.
33. Canterbury United Methodist Church, Mountain Brook, Alabama. Karl Schuke organ.
34. Cathedral Church of the Advent, Episcopal, Birmingham, Alabama. Festival Trumpet by Shoppe.
35. Birmingham-Southern College. Ruhland Organ, 1983.
36. For a discussion of the relationship of Arabic numerals found as part of stop names to pitch levels select "Pitches" from the menu ORGAN PIPES.
37. First United Methodist Church, Birmingham, Alabama. Schantz Organ Company, 1960.
38. First United Methodist Church, Birmingham, Alabama. Schantz Organ Company, 1960.
39. First United Methodist Church, Birmingham, Alabama. Schantz Organ Company, 1960.
40. First United Methodist Church, Birmingham, Alabama. Schantz Organ Company, 1960.
41. First United Methodist Church, Birmingham, Alabama. Schantz Organ Company, 1960.
42. First United Methodist Church, Birmingham, Alabama. Schantz Organ Company, 1960.
43. First United Methodist Church, Birmingham, Alabama. Schantz Organ Company, 1960.
44. From the private collection of Barry A. Norris.
45. First United Methodist Church, Birmingham, Alabama. Schantz Organ Company, 1960.
46. All pipes are principals. The first pipe mouth is from Birmingham-Southern College, Ruhland organ, 1983. The center mouth is from Birmingham-Southern College, M. P. Möller, 1969. The third mouth is from First Presbyterian Church, Birmingham, Alabama, Aeolian-Skinner, 1952.
47. From the private collection of Barry A. Norris.
48. Birmingham-Southern College. Ruhland Organ, 1983.
49. First United Methodist Church, Birmingham, Alabama. Schantz Organ Company, 1960.
50. First United Methodist Church, Birmingham, Alabama. Schantz Organ Company, 1960.
51. Reeds in the voicing room of Johnny Adkins, Schantz Organ Company, Orville, Ohio.
52. Information on stop names and timbre is found under the selection "Timbre" on the menu ORGAN PIPES.
53. C. B. Fisk, "The Organ's Breath of Life," The Diapason, November, 1971.
54. Birmingham-Southern College. Casavant Frères, 1987.
55. Birmingham-Southern College. M. P. Möller, 1969.
56. Birmingham-Southern College. Casavant Frères, 1987.
57. The Wicks Organ Company was founded in 1908 by John F. Wick. Further information about the company and the development of Direct Electric Action can be found on their web site at http://www.wicks.com/.
58. Canterbury United Methodist Church, Mountain Brook, Alabama. Organ by Karl Schuke Orgelbau, 1977.
59. For an explanation of pitch designations, select "Pitches" from the ORGAN PIPES menu.
60. The diagram is based on the Direct Electric tm Action of the Wicks Organ Company, Highland, Illinois, and a drawing supplied by Mr. Jack Jenkins, Director of Sales. Used by permission.
61. Birmingham-Southern College. Schantz Organ, 1960.
62. Cathedral Church of the Advent, Episcopal, Birmingham, Alabama. Organ by M. P. Möller, 1988.
63. Our Lady of Sorrows Church, Roman Catholic, Homewood, Alabama. Organ by Kenneth Jones, 1985.
64. Standards for keyboard design, size and range were established in 1932 by The American Guild of Organists. The standard was confirmed through a review in 1961.
65. The The AGO standard described here was established in 1932 and confirmed by a review in 1961.
66. St. Paul's Episcopal Church, Knoxville, Tennessee. Schantz Organ, 1998.
67. St. Paul's Episcopal Church, Selma, Alabama. Holtkamp Organ, 1977.
68. St. Luke's Episcopal Church, Mountain Brook, Alabama. Holtkamp Organ, 1963.
69. Harmonium by A. J. Tschantz, 1875. Courtesy of the Schantz Organ Company, Orrville, Ohio.
70. First United Methodist Church, Birmingham, Alabama. Organ by M. P. Möller, 1983.
71. Fairchild Chapel, Oberlin College, Oberlin, Ohio. Organ by John Brombaugh, 1982.
72. First United Methodist Church, Bessemer, Alabama. Kimball organ, 1937.
73. First United Methodist Church, Galveston, Texas. Schantz Organ Company, 1997.
74. The diagram is based on a drawing made by Eric Gastier of the Schantz Organ Company. Used by permission.
75. Quoted in The Contemporary American Organ, Ninth edition (Belwin-Mills Publishing Corp., 1970), p. 162.
76. More information on the origin of the Austin Organ Company can be found at their web site: http://www.austinorg.com
77. The components of a pipe organ are described in detail in another section of this tutorial. Select "The Organ and How It Works" from the MAIN MENU.
78. For more complete information on the origin of the hydraulis, see pages 42 and 43 of The Organ, by Peter Williams and Barbara Owen. (The New Grove Musical Instrument Series, W. W. Norton, 1988.) The most complete published study in English of the origin of the instrument is found in Jean Perrot's The Organ; from its Invention in the Hellenistic Period to the end of the Thirteenth Century, translated from the French by Norma Deane. (Oxford Univ. Press, 1971)
79. Details of the surviving descriptions and iconography of the hydraulis are included in Jean Perrot's The Organ; from its Invention in the Hellenistic Period to the end of the Thirteenth Century, translated from the French by Norma Deane. (Oxford Univ. Press, 1971) . The book includes photographs of major surviving depictions of the hydraulis, including later Roman iconography such as the Carthage terra cotta, and portions of the Roman organ at Aquincum. Both Peter Williams' A New History of the Organ (Indiana University Press, 1980) and Chapter Three of The Organ, by Peter Williams and Barbara Owen (The New Grove Musical Instrument Series, W. W. Norton, 1988) contain summary descriptions of the surviving evidence of the early organ.
80. This photograph and others seen on this page, as well as movie files of the Austin action are of Austin's Opus 2401, built in 1965. The instrument is located in the Vestavia Hills United Methodist Church, Birmingham, Alabama. The only exception is the photograph used in the header of this page: Trinity College Chapel, Hartford, Connecticut, Austin Organs, Op. 2536, 1971.
81. Details of the instrument and of its reconstruction are given in Jean Perrot's The Organ; from its Invention in the Hellenistic Period to the end of the Thirteenth Century, translated from the French by Norma Deane. (Oxford Univ. Press, 1971) .
82. Details of the surviving reports of gifts to various rulers of western Europe can be found in The Organ, by Peter Williams and Barbara Owen (The New Grove Musical Instrument Series, W. W. Norton, 1988), pp.49-61.
83. In addition to the one described below, two further reproductions that are readily accessible are:
- A positive organ seen in the right foreground of a woodcut made c. 1500 by Hans Burkman, showing the Holy Roman Emperor Maximilian I being entertained by his musicians. A reproduction of the print can be found on page 219 of A History of Western Music, fifth edition, by Donald J. Grout and Claude Palisca (W. W. Norton, 1996).
- A free-standing positive in Jan van Eyck's "The Adoration of the Lamb," a painting of 1432 in the cathedral of St. Bavo, Ghent, Belgium. Reproduced in black and white in The Organ, by Peter Williams and Barbara Owen (The New Grove Musical Instrument Series, W. W. Norton, 1988), p. 73.
84. Birmingham, Alabama, First United Methodist Church. Organ by M. P. Möller, 1983.
85. The other figures are not set apart by their position or by a special frame, so they are merely representations of performers, possibly included because of the variety of instruments they are holding.
86. The illumination shown here is the frontispiece of a fifteenth-century manuscript of "de Musica" by Boethius. The manuscript is ms. V. A. 14 in the Biblioteca nazionale of Naples.
87. Florence, Biblioteca Medicea-Laurenziana, ms. Palatino 87. More detail can be seen in the reproduction of this folio facing page 111 of A History of Western Music, fifth edition, by Donald J. Grout and Claude Palisca (W. W. Norton, 1996).
89. The Reliquary of St. Ursula in is in the Hôpital St. Jean, in Bruges. A detail of another painting by Memling, "The Mystic Marriage of St. Catherine," is reproduced in black and white in The Organ, by Peter Williams and Barbara Owen (The New Grove Musical Instrument Series, W. W. Norton, 1988), p. 70.
90. Their blue color makes it easier to find the doors of this second organ in the painting.
91. Reproduced in The Organ, by Peter Williams and Barbara Owen (The New Grove Musical Instrument Series, W. W. Norton, 1988), p. 68.
92. This organ was restored in 1978 and is now in the Pistoia Organ Academy, Pistoia, Italy.
93. Reviews of the use of the organ in the east after the fall of Rome can be found in Jean Perrot's The Organ; from its Invention in the Hellenistic Period to the end of the Thirteenth Century, translated from the French by Norma Deane. (Oxford Univ. Press, 1971), in Peter Williams' A New History of the Organ (Indiana University Press, 1980), and in The Organ, by Peter Williams and Barbara Owen (The New Grove Musical Instrument Series, W. W. Norton, 1988).
94. Details of surviving reports and descriptions of Blockwerk organs are given in Peter Williams' A New History of the Organ (Indiana University Press, 1980), pp. 46-54 and 59-63, and in The Organ, by Peter Williams and Barbara Owen (The New Grove Musical Instrument Series, W. W. Norton, 1988), pp. 74 ff.
95. The painting is now in the Rijksmuseum, Amsterdam.
96. The magnet in these two photographs was made by M. P. Möller, Hagerstown, Maryland.
96. Birmingham-Southern College, Schantz Organ, 1968.
97. Trinity United Methodist Church, Homewood, Alabama. Schantz Organ Company, 1977.
98. For further details on the Austin Universal Air Chest, select "Windchests and Actions: Electro-Pneumatic Chests" from the menu THE ORGAN AND HOW IT WORKS.
99. Vestavia Hills United Methodist Church, Birmingham, Alabama. Austin Organs, 1965.
100. Vestavia Hills United Methodist Church, Birmingham, Alabama. Austin Organs, 1965.
101. St. Paul's Episcopal Church, Selma, Alabama. Holtkamp Organ, 1977.
102. St. Paul's Episcopal Church, Selma, Alabama. Holtkamp Organ, 1977.
103. Home of Barry Norris.
104. First United Methodist Church, Birmingham, Alabama. Möller Organ, 1983.
105. Birmingham-Southern College. Ruhland Organ, 1983.
106. To read an explanation of mechanical key and stop action, select "Mechanical Action" from the menu "Windchests and Actions," a sub-menu of THE ORGAN AND HOW IT WORKS.
107. St. Paul's Episcopal Church, Selma, Alabama. Holtkamp Organ, 1977.
108. Birmingham-Southern College. Ruhland Organ, 1983.
109. The Home of Barry Norris. Wicks Organ, 1984-98.
110. Schantz Organ Company, Orrville, Ohio. Demonstration Pitman Chest.
111. For more details on the fifteenth-century organ, see Peter Williams' A New History of the Organ (Indiana University Press, 1980), pp. 64- 70.
112. For more details on early developments in the breakdown of the Blockwerk into separate ranks, see The Organ, by Peter Williams and Barbara Owen (The New Grove Musical Instrument Series, W. W. Norton, 1988), pp. 67 and 74-80.
113. In this tutorial, German names for divisions are used, because they are generally understood by organ students in the United States, and because their late-twentieth century spelling is standardized. The Dutch word used most often is Hoofdwerk, although the division was sometimes called simply Das Prinzipal.
114. The Dutch word is Borstwerk or Borstpositief.
115. A New History of the Organ (Indiana University Press, 1980), caption to Plate 6.
116. The Dutch form is Bovenwerk.
117. The Dutch form is Rugwerk or Rugpositief.
118. For more information on some registration instructions of the period, see Peter Williams' A New History of the Organ (Indiana University Press, 1980), pp. 77-80 and The Organ, by Peter Williams and Barbara Owen (The New Grove Musical Instrument Series, W. W. Norton, 1988), p. 80. A brief compilation of registration indications from sixteenth-century sources can be found in Appendix B of The Language of the Classical French Organ: A Musical Tradition Before 1800 by Fenner Douglass (New and expanded edition, Yale University Press, 1995). Sixteenth-century registration instructions are given in English translation on pp. 160-168, with early seventeenth- century instructions following.
119. The stoplist given here is taken from A Method of Organ Playing, by Harold Gleason and Catharine Crozier, arguably the source most familiar to organ students in the United States. I used the fifth edition as a student, and the stoplist appears in Appendix C. A more complete discussion of the stoplist, with reference to the original language used to describe some stops, can be found in Peter Williams' The European Organ 1450-1850 (London, Batsford, 1966), pp. 60-62.
120. See Peter Williams' A New History of the Organ (Indiana University Press, 1980), pp. 72-3 [the source of the translation quoted here] and The Organ, by Peter Williams and Barbara Owen (The New Grove Musical Instrument Series, W. W. Norton, 1988), p. 80, for more information about Schlick's stoplist.
121. For explanations of different types of reed construction, select Reed Pipe Construction from the PIPES menu.
122. Williams, Peter. The European Organ 1450-1850 (London, 1966), pp. 60-62.
123. For example, the two organs in San Petronio, Bologna, dating from c. 1495 and c. 1595, are on 52 mm. (c. 2 inches) and 45 mm. (c. 1 3/4 inches) respectively.
124. For a list of major sources on Registration from the sixteenth century and earlier, see Fenner Douglass, The Language of the Classical French Organ (New and expanded edition, Yale University Press, 1995), p. 18.
125. For a summary discussion of the literature and appropriate registration, see pp. 103-126 of John R. Shannon's Organ Literature of the Seventeenth Century (The Sunbury Press, 1978). Fenner Douglass's The Language of the Classical French Organ (New and expanded edition, Yale University Press, 1995) contains both English translations of instructions for registration in Appendix C (pp. 194-231) and comparative tables showing individual stop selections by different composers (pp. 115-125).
126. General usage in the United States includes both stopped and open pipes in the term "flute." In the French tradition, flûte is reserved for open pipes, while bourdon is used to identify stopped pipes.
127. Prefaces to LeBègue's Premier Livre d'orgue (1676) and Boyvin's Premier Livre d'orgue (1689) can be found translated in Fenner Douglass's The Language of the Classical French Organ (New and expanded edition, Yale University Press, 1995) on pp. 195-198 and pp. 202-206 respectively.
128. Peter Williams quotes descriptions of parisian organists' playing by eighteenth-century traveler Charles Burney in his The European Organ 1450-1850 (London, 1966), pp. 191-2. Instructions for striking the keys to imitate drums are given by Dom Bédos de Celles in his L'Art du Facteur d'Orgues. See Charles Ferguson's translation, published as The Organ Builder by The Sunbury Press, 1977, vol. 1, p. 284.
129. Most histories of the organ include some reference to the early instrument in England, but I highly recommend reading Stephen Bicknell's The History of the English Organ (Cambridge University Press, 1996). I am indebted to his first first five chapters, pp. 11-69 for the details included here.
130. For details on the use of the English organ before 1650, see Stephen Bicknell's The History of the English Organ (Cambridge University Press, 1996), p. 80.
131. Choir pitch, organ pitch, and chamber pitch were flexible concepts at this time, both in England and on the continent. The usual nomenclature in English organs before 1650 assumed a unison rank at 5' pitch, but for the sake of clarity pitch levels are given here according to modern usage. The form of the stoplist given here is taken from Peter Williams' A New History of the Organ (Indiana University Press, 1980), p. 133. More details of the contract from which this list is derived is available in Stephen Bicknell's The History of the English Organ (Cambridge University Press, 1996), pp. 84-86.
132. The quotation here is from Stephen Stephen Bicknell's The History of the English Organ (Cambridge University Press, 1996), p. 86.
133. The term is used extensively by Stephen Bicknell in his The History of the English Organ (Cambridge University Press, 1996). See particularly his caption to Plate 27 (p. 120) in which he describes the King's College Chapel case shown above. For a particularly revealing example of the "receding perspective," visit the Organ Historical Society web site and look at the Smithfield organ there.
134. The case of this well-known organ may have components that date from work done in Cambridge by Thomas Dallam in 1605-7, or by his son Robert in the 1630's. The Chair case could have been made by Lancelot Pease around 1660. For details of this historic case, please see pp. 51-2 of The Organs of Cambridge by Nicholas Thistlethwaite (Oxford, Positif Press, 1983).
135. Extracts from Mersenne's Harmonie Universelle are included in translation on pp. 184-193 of Fenner Douglas's The Language of the Classical French Organ (New and expanded edition, Yale University Press, 1995).
136. Quotations from Dom Bedos are found throughout most books and articles on the French Classical organ, even though he was writing at the end of the period and writes from the viewpoint of pre-Revolutionary France. Fenner Douglas has excerpts on pp. 219-231 of The Language of the Classical French Organ (New and expanded edition, Yale University Press, 1995). The complete work is available in a modern translation, translated by Charles Ferguson and published with the complete set of engravings: The Organ Builder (The Sunbury Press, 1977).
137. For more information about Renatus Harris, Father Smith, and their instruments, see Chapters 7. and 8. of Stephen Bicknell's The History of the English Organ (Cambridge University Press, 1996), pp. 104-147.
138. The stoplist of Smith's organ for St. Paul's Cathedral is taken from Stephen Bicknell's The History of the English Organ (Cambridge University Press, 1996), p. 137. The old Cathedral had burned in the Great Fire of 1666, the new one being built to a design by Christopher Wren. Wren was also responsible for the design of the organ case.
139. Of the various national types of organ that were to be found around 1600, only the Italian and English organs ideitified stops above the 4' pitch level by naming them according to their interval aove the unison. For details on the Italian ripieno, please select "Italy" from the menu The Sixteenth Century.
140. Further information on twentieth-century incarnations of the Praetorius organ can be found on the appropriate "Organ Reform" page of this tutorial.
141. For explanations of the names of German divisions, please select "Northern Europe" from the menu The Sixteenth Century.
142. For a description of the basic shape of German cases, please select "Northern Europe" from the menu The Sixteenth Century.
143. This organ was built over a period of 150 years, achieving the form given here in 1622 at the hands of Henning Kröger. The stoplist has been included in Harold Gleason's Method of Organ Playing since the first of its many editions. I have adapted the list here from the fifth edition (1965), where it appears on pp. 233-4. The order of stops has been rearranged to eliminate the division into groups of principals, flutes and reeds.
144. The stoplist is taken from Peggy Kelley Reinburg's Arp Schnitger, Organ Builder (Bloomington, Indiana University Press, 1982), pp. 93-94. In the interest of clarity, I have altered 3' and 1 1/2' to their modrn equivalents in terms of pitch: 2 2/3' and 1 1/3', respectively.
145. Information on Schnitger is taken from Peggy Kelley Reinburg's Arp Schnitger, Organ Builder (Bloomington, Indiana University Press, 1982). Ms. Reinburg includes a great deal of technical information, including scales for several of Schnitger's instruments, translations of contracts, photographs of organ cases and some surviving documents, and stoplists for several surviving organs.
146. A translation of these registration instructions can be found on the appropriate page in this tutorial. Please select "Gimont" from the menu The French classical Organ.
147. For more information on Arnolt Schlick, please select "Arnolt Schlick" from the menu The Sixteenth Century.
148. Much more information than this tutorial includes can be found in Peter Williams' The European Organ 1450-1850 (London, 1966), Chapters 2 (Southern Germany, Austria and Czachoslovakia), 3 (North-West Germany and Scandinavia) and 4 (North-Central Germany, Silesia and Poland), pp. 58-168.
149. Every edition of Donald Jay Grout's History of Western Music (W. W. Norton, 1960 ff.), the most commonly used undergraduate music history text in the United States, describes the Syntagma musicum of Praetorius.
150. For example, see the stoplist published by Schlick; please select "Arnolt Schlick" from the menu The Sixteenth Century.
151. The stoplist of this instrument has been reprinted in many different publications, and it has been included in every edition I have seen of A Method of Organ Playing, by Harold Gleason and Catharine Crozier. The stoplist as given here is based on the reading in Peter Williams' A New History of the Organ (Indiana University Press, 1980), pp. 93-94. I have modified the order of stops within divisions for the sake of clarity. but I have preserved the spelling as he gives it.
152. The Werkprinzip organ is described on a separate page in this tutorial. Select Werkprinzip from the menu Seventeenth- Century Germany.
153. For definitions and explanations of scale and cut-up, select "Flue Pipes and Timbre" from the menu PIPES. Details of Schnitger's scales can be found in Peggy Kelley Reinburg's Arp Schnitger, Organ Builder (Bloomington, Indiana University Press, 1982), pp. 131-145.
154. For further information on the Italian organ in the sixteenth century, select "Italy" from the menu The Sixteenth Century. The page includes explanations of the ripieno and the uniquely Italian stop the Voce humana or Piffaro.
155. The photographs of this seventeenth-century organ were made in the Accademia degli Armonici in Pistoia, Italy in August of 1980.
156. The information on the Maia Bassa organ included here is taken from Peter Williams' The European Organ 1450-1850 (London, 1966), p 217.
157. During WWI tin pipes of many organs in Germany were sacrificed to the war effort, because tin was used for making artillery and munitions. Because the Positiv had been relocated, however, its pipes were not visible and were preserved. Although several historic instruments now have replacement pipes in their façades - - including the Oberwerk at St. Cosmae - - the Positiv has its original tin principal.
158. A page of this tutorial is devoted to the "Organ Reform" movement of the twentieth century, which saw the construction of several instruments modeled on those of Silbermann. The practice of recalling the characteristics of earlier instruments in new organs continued from the 1920's through the end of the century.
159. See the page on Andreas Silbermann's organ at Marmoutier, available from the menu The French Classical Organ, or the page on the Strasbourg St. Thomas organ listed on the menu Eighteenth-Century Germany.
160. The Thierry name is also one that belongs on the "short list" of important organ building families. Members of the Thierry family built organs in Paris in the seventeenth and eighteenth centuries. You can find information about one of their most well-known instruments, the organ in St. Gervais, Paris, by selecting "St. Gervais" on the menu The French Classical Organ.
161. For a description of the Abbey Church at Marmoutier, select "Marmoutier" from the menu The French Classical Organ.
162. My description of the Altenberg Abbey and its organ is based on notes I made during a visit sponsored by Westminster Choir College in 1980. The organ was demonstrated and explained by Harald Vogel, of the North German Organ Institute.
163. One of the best discussions in English about the organs Bach played is found in Peter Williams' The Organ Music of J. S. Bach (Cambridge University Press, 1984), Volume III, pp. 117-138.
164. The report Bach made on the organ is the first of several that survive. The comments on this page are based on the translation given in Peter Williams' The Organ Music of J. S. Bach (Cambridge University Press, 1984), Volume III, p. 142.
165. You are referred to Peter Williams' The Organ Music of J. S. Bach (Cambridge University Press, 1984), Volume III, pp. 117-138, for a detailed discussion of this organ.
166. For further information on the connection between consorts and Brustwerk divisions, select "Praetorius" from the menu 17th-CENTURY GERMANY.
167. For more details see Geert Jan Pottjewijd's web site and follow the links to the Schnitger section. There is a specific page devoted to the Jacobikirche organ. These sites were operative when last checked: January 25, 2000.
168. Technical matters concerning the sounds produced by different types of pipes are addressed elsewhere in this tutorial. Please select "The Organ and How It Works" from the MAIN MENU.
169. The French Classical Organ and its Parisian characteristics are described in detail elsewhere in this tutorial. For more information make a selection from the menu THE FRENCH CLASSICAL ORGAN.
170. The stoplist of the large organ is derived from several different published versions, and is one reading of what the disposition may have been at one time. The stoplist of the smaller organ is taken from Peter Williams' The Organ Music of J. S. Bach (Cambridge University Press, 1984), Volume III, p. 133.
171. General characteristics of Gottfried Silbermann's organs are described on a separate page in this tutorial. Select "Silbermann" from the menu 18th-Century Germany.
172. These common characteristics of northern European organs appeared as early as the sixteenth century and are described separately in this tutorial. Please select "Northern Europe" from the menu The Sixteenth Century.
173. See Peter Williams translation of this instruction in his The Organ Music of J. S. Bach (Cambridge University Press, 1984), Volume III, p. 142.
174. Aristide Cavaillé-Coll is not a name you will find in general music history textbooks, but you can read a more complete biography in any one of several general music encyclopedias.
175. For an overview of the development of the French Classical Organ in the seventeenth century, select the "Introduction" from the menu The French Classical Organ.
176. I am indebted to M. Olivier Glandaz, curator of the organ of La Trinité, for allowing me to visit the organ in March of 1998 and for providing me with information on its history and current state.
177. Details are difficult to see in this small photograph, but they can be seen clearly in the enlarged photograph available through a link at the end of the page.
178. Comparisons are made to the "French Classical Organ," a term that is used to describe the common elements of French organs built from 1650 until the revolution. Cavaillé-Coll's instruments represent a new direction in organ building in France, and the contrast between his instruments and the earlier ones is important. For an overview of the development of the French Classical Organ in the seventeenth century, please make a selection from the menu The French Classical Organ.
179. For more information on the history of the organ in La Trinité, see timothy Tikker's "The Organs of Olivier Messiaen," The Diapason, December, 1988, pp. 16-19. The historical information included in this tutorial is from the description of the organ in the OSIRIS database, in which Tikker makes some corrections to the article. Both the published article and the OSIRIS information should be consulted.
180. The diagram is not drawn to scale, and horizontal distances are somewhat exaggerated so they will show up in the small diagram. The chamber is quite deep, however, and the Récit is practically over the porch of the church.
181. To read about pallet and slider chests, make a selection from the menu CHESTS AND ACTIONS.
182. For details of the Jordan organ of 1712 in St. Magnus the Martyr, see Stephen Bicknell's The History of the English Organ (Cambridge University Press, 1996), pp. 154-6. Plate 36, on page 155, is a photograph of the case, although the original instrument is no longer in it.
183. Quoted from Peter Williams' A New History of the Organ (Indiana University Press, 1980), p. 138.
184. The stoplist as given here is adapted from Stephen Bicknell's The History of the English Organ (Cambridge University Press, 1996), pp. 176.
185. The Italian ripieno and its component stops are described in this tutorial on the page "The Sixteenth Century: Italy," which can be reached by selecting "Italy" from the menu THE SIXTEENTH CENTURY.
186. The French Plein jeu and its component stops are described in this tutorial on the page "The French Classical Organ," which can be reached by selecting "The Seventeenth and Eighteenth Centuries" from the menu FRANCE.
187. For more information on eighteenth-century organs in Germany, select "Germany" from the menu THE EIGHTEENTH CENTURY.
188. The stoplist as given here is adapted from Stephen Bicknell's The History of the English Organ (Cambridge University Press, 1996), pp. 183.
189. Lighting in the Chapel made the organ difficult to photograph the day I was there, so this is not a good picture. The design of this façade is like that of the Halifax organ built about the same time. The stoplist of the Halifax organ is on this page, and Stephen Bicknell includes a reproduction of the engraving of that case in his The History of the English Organ (Cambridge University Press, 1996), pp. 177.
190. For more information about strings in eighteenth-century German organs, select "Introduction" from the menu THE "BACH" ORGANS. For information about céleste stops in general, select "Pitches" from the menu PIPES. For information about céleste ranks in early Italian organs, select "Italy" from the menu THE SIXTEENTH CENTURY.
191. For more information about harmonic flutes and their construction, select "Flue Pipe Timbre" from the menu PIPES. For details on the production of sound waves in harmonic pipes, select "Pipe Physics" from the same menu.
192. Notice the unusual use of Diapason for the name of this stop. The term is English in origin, as was the Swell enclosure for the parallel division on an English organ. For more information about the English Diapason and the origin of the Swell, select "England" from the menu THE EIGHTEENTH CENTURY.
193. A stoplist and short description of the Groningen Court Chapel organ, described by Michael Praetorius in his Syntagma musicum, is included on the "Praetorius" page of this tutorial. Select "Praetorius" from the menu 17th-CENTURY GERMANY.
194. To read a description of divided chests and ventils, select "Dispoosition I" from the menu ARISTIDE CAVAILLÉ-COLL.
195. The nature of the French Classical Positif is described on other pages of this turorial; you may select from the menu THE FRENCH CLASSICAL ORGAN. Changes Cavaillé-Coll made in the stoplist of the Positif are described on the page "Disposition I," available through the menu ARISTIDE CAVAILLÉ-COLL.
196. Information on the history of this instrument is taken from the booklet accompanying the compact disc recording "Die Sauer-Orgel der Thomaskirche zu Leipzig," Salicet CD 3604, with performances by the current Thomasorganist, Ullrich Böhme.
197. I am indebted to the Rector of the Thaxted Parish Church, who allowed me to play the Lincoln organ for an extended time in February of 1985. Information on the history of the organ can be found in Nicholas Thistlewaite's The Making of the Victorian Organ (Cambridge, 1990) and in his The Organs of Cambridge (Oxford, Positif Press, 1983).
198. The stoplist is taken from Stephen Bicknell's The History of the English Organ (Cambridge, 1996), p. 218.
199. The stoplist can be found in the Osiris archives under the filename "ladegast.cathedral.merseburg.-.de.1853", which contains some basic historical information about the instrument as well as the stoplist. A slightly different form of the stoplist is also included in Julius Reubke: The Complete Organ Works, ed. Wayne Leupold (McAfee Music Corporation, 1978), p. 7.
© 1998, 2000 James H. Cook