FOOTNOTES - continued200. For details about the adoption of the "German system" by English organ builders, see Stephen Bicknell's The History of the English Organ (Cambridge University Press, 1996), pp. 232-256.
201. For details of Cavaillé-Coll's work, make a selection from the menu Aristide Cavaillé-Coll.
202. Detailed information about the development of pneumatic assists in both key mechanisms and stop controls can be found in the descriptions of instruments by William Hill and Henry Willis in Chapter Fourteen: "The High Victorian Organ 1860-1900" of Stephen Bicknell's The History of the English Organ (Cambridge University Press, 1996), pp. 257-283.
203. Perhaps no more detailed description of the development of the modern pedalboard and its genesis in the Willis pedals of 1855 can be found than that in George Ashdown Audsley's The Organ of the Twentieth Century (New York, 1919), pp. 175-192.
204. Stephen Bicknell has a photograph of Willis' Alexandra Palace console (1875), incorporating all the features listed here, on page 267 of his The History of the English Organ (Cambridge University Press, 1996).
205. To read more about the seventeenth-century English organ, select "England" from the menu The Seventeenth-Century.
206. See for example the photograph of Gray & Davison's organ in St. Anne Limehouse (1851) and the description by Stephen Bicknell on page 244 of his The History of the English Organ (Cambridge University Press, 1996).
207. I had the oppurtunity to examine this instrument in February of 1985, at which time the church had been closed for a number of years. Power was still available in the building (the organ has been fitted with an electric blower), and I was able to photograph the organ as well as play it for some time. I do not know if it is still there as of this writing (March, 2000).
208. Gerard Béhague reports the appointment of an organist at the Cathedral in Mexico City in 1539 (in Music in Latin America: An Introduction [Prentice-Hall, 1979], p. 5), and on page 10 of his The Music of Brazil (The University of Texas Press, 1989), David Appleby describes both an organist and the presence of organs in Bahía, Brasil in 1560.
209. More information on Spanish organs in colonial Mexico, New Mexico and California can be found in Orpha Ochse's The History of the Organ in the United States (Indiana University Press, 1975), pp. 3-8. The game of "what might have been" is often a waste of time, but the final paragraph on page 8 is particularly apt.
210. See p. 148 of The Organ, by Peter Williams and Barbara Owen for a summary of organs in the new world.
211. For a summary the political situation in England and its effect on organ- building in the seventeenth century, select "The 17th Century" from the menu ENGLAND.
212. You can read a more complete summary at the beginning of the Introduction to the organ in nineteenth-century England; select "The 19th Century" from the menu ENGLAND. For details on developments in England during the eighteenth century, select "The 18th Century" from the same menu.
213. Several sources can give you more details about the organ in the United States in the eighteenth century. I recommend particularly Orpha Ochse's The History of the Organ in the United States (Indiana University Press, 1975), pp. 9-98, from which the information given here is taken.
214. For details on David Tannenberg and his instruments, see pp. 51-62 of Orpha Ochse's The History of the Organ in the United States (Indiana University Press, 1975). For information on Johann Gottlob Klemm, see pp. 15-17 of the same work.
215. For details of the building of the organ and its installation in Ste. Clotilde, see pp. 113-142 of Cavaillé-Coll and the French Romantic Tradition, by Fenner Douglass (Yale University Press, 1999).
216. Because the organ has been so greatly modified since its isntallation, there is some disagreement about its original disposition. The version included here was checked and approved by Mme. Marie-Louise Langlais in June of 2000. For a different interpretation of the original state of the organ, see Chapter Eleven, pp. 113-142, of Cavaillé-Coll and the French Romantic Tradition, by Fenner Douglass (Yale University Press, 1999).
217. The photograph was made with permission in the Organ Historical Society Archives, October, 2000.
218. Although records of the firm were lost after it closed in 1936, several copies of their sales brochures, catalogs, and opus lists are preserved in the Archives of the Organ Historical Society. They have been reprinted in William van Pelt's The Hook Opus List, published by the Organ Historical Society, and are readily available for study. Without this resource, the quest for information about the Hooks would be much more difficult.
219. For an excellent summary of the origins of the Hook firm and of the characteristics of their instruments, see Orpha Ochse's The History of the Organ in the United States (Indiana University Press, 1975), pp. 122-129 and 217-227. The historical information on this page was taken from that source.
220. Reprinted in William T. Van Pelt's The Hook Opus List 1829-1935 (The Organ Historical Society, 1991), pp. 9-32.
221. This photograph was made from the copy preserved in the American Organ Archives of the Organ Historical Society. This page is reprinted in William T. Van Pelt's The Hook Opus List 1829-1935 (The Organ Historical Society, 1991), p. 202.
222. This photograph was made with permission in October, 2000 from the copy preserved in the American Organ Archives of the Organ Historical Society.
223. The organ is in the Dexter Avenue United Methodist Church, Montgomery, Alabama.
224. You can see two photographs of this historic instrument in Orpha Ochse's The History of the Organ in the United States (Indiana University Press, 1975), p. 123. One shows the full case, the other shows the G-campass keyboard. Hook and Hastings also used a photograph of this instrument in one of their centennial publications in 1927. That photograph is reproduced on page 314 of William T. Van Pelt's The Hook Opus List 1829-1935 (The Organ Historical Society, 1991).
225. See Orpha Ochse's The History of the Organ in the United States (Indiana University Press, 1975), p. 126 , where she quotes an 1857 description of the new pedalboard.
226. The promotional brochure published by the Hooks in 1857 and reprinted by William T. Van Pelt in The Hook Opus List 1829-1935 (The Organ Historical Society, 1991) contains a "Extract from the London Musical World, Vol. III., 1836." In this excerpt the "claribella" [sic] is described as a "fancy stop ... which is claimed by the makers as their own invention." The reproduction in Van Pelt's book is on page 108.
227. The brochure was published on the occasion of the thirtieth anniversary of the Hook firm, and you should read it for what it is -- advertising. It contains not only the testimonials, but also the firm's first published opus list. With regard to the sound of their organs, the introductory paragraphs contains the statement that the Hooks had personally voiced every pipe in their organs to date. The entire brochure is reproduced in William T. Van Pelt's The Hook Opus List 1829-1935 (The Organ Historical Society, 1991), pp. 103-111. Specific references and page numbers are not given for each quotation.
228. The second drawing is derived from the one on the cover of "Superior Church Organs," published by E. and G. G. Hook around 1869. The cover is reproduced in William T. Van Pelt's The Hook Opus List 1829-1935 (The Organ Historical Society, 1991), p. 113.
229. The details of this puzzle are explained in by Alan Laufman in his description of the history of the Felicity Hook in The Organ Handbook 1989 (Organ Historical Society), p. 31.
230. Copies of this brochure on this page are made from the reproduction in William T. Van Pelt's The Hook Opus List 1829-1935 (The Organ Historical Society, 1991), p. 170.
231. I am grateful to Rachelen Lien, past president of the New Orleans Chapter of the Organ Historical Society, for making arrangements for me to visit this organ on March 29, 2001.
232. One of the little details that you might find interesting is the way the firm actually printed its name -- with or without the ampersand. The ampersand seems to have been in use from the earliest years by the E. & G. G. Hook firm. From the early 1870's until the death of the Hook brothers, the ampersand was retained in the first part of the name, while the word "and" was used to add Hastings' name -- in other words, "E. & G. G. Hook and Hastings." From the 1880's until the end of the century, the ampersand was used in the shortened name of the firm -- Hook & Hastings. After WWI the name appears in both forms: "Hook and Hastings" in some publications, but "Hook & Hastings" on their letterhead.
233. You can see all of the variant spellings used by the Hook firm in the nineteenth century if you look in William T. Van Pelt's The Hook Opus List 1829-1935 (The Organ Historical Society, 1991), p. 103-187, where he reprints their brochures in facsimile.
234. Both the history and the stoplist of this organ are given in detail by Jonathan Ambrosino in the organ Handbook 2000 (Richmond, Organ Historical Society), pp. 72-78. An abbreviated history and complete stoplist is also available in the Osiris archives in the file hook.first-cong.jamaica-plain.ma.us.1854.
235. The sentences quoted here are taken from a brochure printed by tHook & Hastings in 1877 and reprinted on pages 157-164 of William T. Van Pelt's The Hook Opus List 1829-1935 (The Organ Historical Society, 1991).
236. The initial drawing is derived from the one on the cover of "Superior Church Organs," published by E. and G. G. Hook around 1869. The cover is reproduced in William T. Van Pelt's The Hook Opus List 1829-1935 (The Organ Historical Society, 1991), p. 113. The changes in both casework and coloration are entirely imaginary and chosen to illustrate a point.
237. For further information, read "The Organ Business," on the "Introduction" page available from the Menu 19th-Century USA.
238. The complete brochure is reprinted on pages 157-164 of William T. Van Pelt's The Hook Opus List 1829-1935 (The Organ Historical Society, 1991).
239. More details on the rebuilding of this organ are available on the web site of the Andover Organ Company, Methuen, Massachusetts: http://www.andoverorgan.com. This site was last checked for reliability July 12, 2001.
240. When you get a chance to do so, you should read more about the failed business relationship between C. S. Barker and Cavaillé-Coll. It's a particularly intriguing story when you consider their later contact through their successive rebuilds of the St. Sulpice instrument.
241. I am indebted to M. Jean Louis Coignet for arranging my visit to St. Sulpice and the organ in March of 1998, and to M. Daniel Roth, who was a most gracious host to me and my students in June, 2000.
242. I am particularly grateful to Don Olson, President of the Andover Organ Company, for his permission to use their photograph of the rebuilt Centennial organ.
© 1998, 2001 James H. Cook