| On Solo Manual. | |||||
| From Choir Organ | From Swell Organ. | ||||
| Feet | Feet | ||||
| 1. | Open Diapason | 8 | 1. | Open Diapason | 8 |
| 2. | Stopped Diapason | 8 | 2. | Stopped Diapason | 8 |
| 3. | Dulciana | 8 | 3. | Clarabella | 8 |
| 4. | Flute | 4 | 4. | Principal | 4 |
| 5. | Harmonica | 4 | 5. | Fifteenth | 2 |
| 6. | Cornopean | 8 | 6. | Horn | 8 |
| 7. | Cremona | 8 | 7. | Hautboy | 8 |
| 8. | Bells. | 8. | Trumpet | 8 | |
| 9. | Clarion | 4 | |||
This was the first organ that had the 'Great Ophicleide,' or 'Tuba,' on a heavy wind.
1842. Worcester Cathedral. Hill & Sons.
Non-return Pedal Organ.
In 1842 Messrs. William Hill & Sons constructed a new organ for the Choir of Worcester Cathedral, in which the Pedal Organ was made of the same range as the pedal keys; and the Swell contained an 'Echo Cornet,' then a comparatively new feature, and a development of Green's 'Dulciana Principal.' It also had a sub-octave stop (Double Dulciana) of the same species. The following is the specification of the organ just mentioned.
| Great Organ. 14 stops. | ||
| Feet | ||
| 1. | Tenoroon Diapason | 16 |
| 2. | Bourdon to meet No. 1 | 16 |
| 3. | Open Diapason, front | 8 |
| 4. | Open Diapason, back | 8 |
| 5. | Stopped Diapason | 8 |
| 6. | Quint | 5½ |
| 7. | Principal | 4 |
| 8. | Wald Flote | 4 |
| 9. | Twelfth | 2½ |
| 10. | Fifteenth | 2 |
| 11. | Sesquialtera, 3 ranks | 1½ |
| 12. | Mixture, 2 ranks | ½ |
| 13. | Doublette, 2 ranks | 2 |
| 14. | Posaune | 8 |
| Choir Organ. | ||
| 15. | Dulciana | 8 |
| 16. | Clarabella | 8 |
| 17. | Stopped Diapason | 8 |
| 18. | Principal | 4 |
| 19. | Stopped Flute | 4 |
| 20. | Oboe Flute | 4 |
| 21. | Fifteenth | 2 |
| 22. | Cremona | 8 |
| Swell Organ. 11 stops. | ||
| 23. | Double Dulciana | 16 |
| 24. | Open Diapason | 8 |
| 25. | Stopped Diapason | 8 |
| 26. | Dulciana | 8 |
| 27. | Principal | 4 |
| 28. | Suabe Flute | 4 |
| 29. | Flageolet | 2 |
| 30. | Doublette, 2 ranks | 2 |
| 31. | Echo Dulciana Cornet 5 ranks. | |
| 32. | Oboe | 8 |
| 33. | Cornopean | 8 |
| Pedal Organ. 6 stops. | ||
| 34. | Open Diapason | 16 |
| 35. | Stopped Diapason | 16 |
| 36. | Principal | 8 |
| Fifteenth | 4 | |
| Sesquialtera, 5 ranks | ||
| Trombone | 16 | |
| Compass, Gt. and Chr. CC to F in alt, 54 notes. Swell, Tenor C to F in alt, 42 notes. Pedal, CCC to Tenor E, 29 notes. Couplers, Swell to Great. Swell to Choir. Great to Pdal. Choir to Pedal. Five Composition Pedals. | ||
1851. Exhibition Organ. M. Ducroquet.
In the year 1851 the first great Industrial Exhibition was held in London in Hyde Park. On that occasion, among the numerous musical instruments presented to public notice were two foreign organs (Ducroquet and Schulze), which, though moderate in size, presented several features, in the form of stops and principles of construction, that were then new to this country, and many of which were afterwards gradually introduced into the English system of organ-building. To these reference must therefore here be made.
The scheme of Ducroquet's French organ stood as follows:—
| Great Organ. 10 stops. | ||
| Feet | ||
| 1. | Bourdon | 16 |
| 2. | Montre | 8 |
| 3. | Flûte-à-pavillon | 8 |
| 4. | Salicional | 8 |
| 5. | Bourdon | 8 |
| 6. | Prestant | 4 |
| 7. | Plein jeu, 12, 15, 19, 22, 26 | 2½ |
| 8. | Bombarde | 16 |
| 9. | Trompette | 8 |
| 10. | Clairon | 4 |
| Récit or Swell organ. 8 stops. | ||
| 11. | Flûte (Open Diapason) | 8 |
| 12. | Flûte Harmonique | 8 |
| 13. | Viola di Gamba | 8 |
| 14. | Bourdon | 8 |
| 15. | Prestant | 4 |
| 16. | Trompette | 8 |
| 17. | Hautbois et Basson | 8 |
| 18. | Cor Anglais | 8 |
| Pedal Organ. 2 stops. | ||
| 19. | Flôte (Open wood) | 16 |
| 20. | Bombarde, (reed) | 16 |
| Compass, Gt. and Swl. CC to C in altmo., 61 notes. Pedal CCC to Tenor C, 25 notes. Six Mechanical Pedals: 1. Great to Pedal. 2. Great organ reeds on or off. 3. Entire Great organ on or off. 4. Swell to Great, unison. 5. Swell to Great, octave. 6. Swell to Great, sub-octave. | ||
1851. Exhibition Organ. M. Schulze and Son.
The specification of Schulze's German Organ was as follows:—
| Great Organ. 8 stops. | ||
| Feet | ||
| 1. | Bordun | 16 |
| 2. | Principal (wood bass) | 8 |
| 3. | Gamba, grooved into No. 2 in the bass | 8 |
| 4. | Gedact | 8 |
| 5. | Hohlflöte, grooved into No. 4 in the bass | 8 |
| 6. | Octave | 4 |
| 7. | Mixture, 15, 19, 22, 26, 29 | 2 |
| 8. | Clarinette | 8 |
| Choir Organ. 5 stops. | ||
| 9. | Lieblich Bordun, to G | 16 |
| 10. | Geigen Principal | 8 |
| 11. | Lieblich Gedact throughout, and Flauto Traverso | 8 |
| 12. | Geigen Principal | 4 |
| 13. | Lieblich Flöte | 4 |
| Pedal Organ. 2 real stops. | ||
| a. | Sub-bass borrowed from Gt. Bordun | 16 |
| 14. | Octave-bass, open wood | 8 |
| 15. | Posaune | 16 |
| Compass, Gt. and Cr., CC to F in alt, 54 notes. Pedal, CCC to Tenor D, 27 notes. Couplers, Choir to Great Unison. Choir to Great Sub-Octave. Great to Pedal. | ||
1. In Ducroquet's organ the Flûte-à-pavillon (No. 3) was composed of cylindrical pipes with a bell on the top, the tone of which stop was very full and clear. The Flûte Harmonique (No. 12) was a stop which in the upper part 'overblew,' or sounded its octave, as in the real flute, and was therefore composed of pipes of double length, to render the pitch correct. It produced a very effective imitation of an orchestral flute. The Cor Anglais (No. 18) was a free[1] reed, and gave a very good imitation of the instrument after which it was named. The reed stops in this organ were more numerous than they would have been in an English instrument of the same size, besides being most excellent. They numbered seven in a specification of twenty stops, and included two of 16 feet. The three reeds of the great organ were placed on a separate soundboard, and were supplied with wind at a higher pressure than that used for the Flue-work. They were therefore very powerful and effective, and imparted a very brilliant effect to the full organ. Of the six mechanical pedals, the titles of most of which indicate their purpose, one (No. 3) threw the Great Organ on or off its keys, so that when the Swell was coupled to the Great Manual, a sudden forte or piano could be obtained. Its effect therefore was similar to that of the English 'sforzando pedal,' though scarcely equal to it for practical purposes.
2. In Schulze's organ the Gedact (No. 4) was formed of stopped wood pipes that produced a fuller tone than the usual Stopped Diapason, at the same time that it retained the pure character of the best specimens of that class of stop. The
- ↑ For Free-reed see vol. i. p. 502a.
