Page:A Dictionary of Music and Musicians vol 2.djvu/609

ORGAN. {| align=center
 * colspan=3 | 11 stops.
 * || |||Pipes
 * 1.||Open Diapason|||63
 * 2.||Open Diapason, metal to EEE; stopped pipes below|||63
 * 3.||Stopped Diapason|||63
 * 4.||Principal|||63
 * 5.||Twelfth, to GG|||56
 * 6.||Fifteenth, to GG|||56
 * 7.||Tierce, to GG|||56
 * 8.||Sesquialtera, 5 ranks, to GG|||280
 * 9.||Cornet, to mid. C, 5 rks.|||135
 * 10.||Trumpet|||63
 * 11.||Clarion|||63
 * || |||961
 * colspan=3 | 6 stops.
 * 12.||Stopped Diapason|||56
 * 13.||Principal|||56
 * 14.||Flute|||56
 * 15.||Block flute|||56
 * 16.||Sesquialtera, 3 ranks|||163
 * 17.||Bassoon|||56
 * || |||448
 * colspan=3 | 9 stops.
 * 18.||Open Diapason|||32
 * 19.||Stopped Diapason|||32
 * 20.||Principal|||32
 * 21.||Flute|||32
 * 22.||Cornet, 3 ranks|||96
 * 23.||Hautboy|||32
 * 24.||Trumpet|||32
 * 25.||Cremona|||32
 * 26.||Vox Humana|||32
 * |||Total|||1761
 * }
 * 14.||Flute|||56
 * 15.||Block flute|||56
 * 16.||Sesquialtera, 3 ranks|||163
 * 17.||Bassoon|||56
 * || |||448
 * colspan=3 | 9 stops.
 * 18.||Open Diapason|||32
 * 19.||Stopped Diapason|||32
 * 20.||Principal|||32
 * 21.||Flute|||32
 * 22.||Cornet, 3 ranks|||96
 * 23.||Hautboy|||32
 * 24.||Trumpet|||32
 * 25.||Cremona|||32
 * 26.||Vox Humana|||32
 * |||Total|||1761
 * }
 * 21.||Flute|||32
 * 22.||Cornet, 3 ranks|||96
 * 23.||Hautboy|||32
 * 24.||Trumpet|||32
 * 25.||Cremona|||32
 * 26.||Vox Humana|||32
 * |||Total|||1761
 * }
 * 25.||Cremona|||32
 * 26.||Vox Humana|||32
 * |||Total|||1761
 * }
 * |||Total|||1761
 * }
 * }

In 1730, Richard Bridge, then a young man, made himself favourably known by the construction of a fine organ for Christ Church, Spitalfields, which was at the time the largest in England. Like the St. Dionis organ, it contained more than the average number of excellent reed-stops. The second Open Diapason had, instead of open pipes in the lowest octave, stopped pipes and 'helpers,' as they used to be termed.

The organ built by Parker in 1749 for the chapel of the Foundling Hospital was specially remarkable for having four quarter notes in each octave, or, in the words of a writer in the 'European Magazine' for February 1799, 'four demitones, and other niceties not occurring in other organs.' At the Temple there were two, D♯ and A♭. At the Foundling there were in addition, A♯ and D♭. These supplementary notes were not furnished with extra keys, but were controlled by certain mechanism whereby they could be substituted for four of those ordinarily in connection with the short keys. The external mechanism for this consisted of six levers, two for each manual, placed over the draw-stops on each side, moving in as many horizontal slots, and each having three places of rest. When the levers stood in the centre, the 12 sounds were those of the usual unequal temperament. If a left-hand lever were pushed full to the left, E♭ was changed into D♯; and if a right-hand lever were pushed full to the right, B♭ was changed to A♯. If however a right-hand lever were put full to the left, G♯ was changed into A♭; and if a left-hand lever were put full to the right, C♯ became D♭. There were thus two levers belonging to each of the three manuals.

Handel conducted the music at the performance given on the occasion of the opening of this organ in 1749.

Schnetzler is the fourth German organ-builder whom we have met with in England. More than one incident of interest is connected with the erection of the organ built by him for the parish church of Lynn Regis. There was an old organ in the building that was so much decayed that portions of some of the pipes crumbled to dust when they were taken out to be cleaned. The churchwardens nevertheless wished to retain this organ if possible, and asked Schnetzler to state what it was worth, and also what would be the expense of repairing it. He said the organ as it stood was worth a hundred pounds; and if they would lay out another hundred upon it, it would then perhaps be worth fifty! This answer settled the matter, and the new organ was ordered. The Lynn organ is the first that contained a Dulciana, of which it had two, one in the Choir and one in the Swell. It also had a Bourdon in the Great Organ to CC, of metal throughout, except the lowest two notes, which were of wood. The three manuals were complete, and a Bass to the Swell was obtained from three of the Choir Organ Stops, by three additional sliders and as many separate drawstops.