Worcester daily spy. [volume] (Worcester [Mass.]) 1850-1888, 1863-11-04
M0rtester Daily SPY.
lFrem the Boston Postl
INAUGURATION OF THE GREAT
nREA~

NEUTRALITY-SUSPICIOUS. OF THE sERENADER,
LACE, AND JAvEL CIRCLES-TlE LADIES
AND THEIR ToILETS-CHARLoTFE CUsll-
MANS RECITATIoN-RE RECEPTION OF THE
Observation-Disclosures ITEMS, INKLINGS.
The "Great Organ" was inaugurated at
Music Hall, Monday evening. This lnStru-
ment, of which SO much has been written and
about which so much has been talked, which,
in fact has formed leading topic of CONVEX
sation in musical circles for months-wil I'M
doubleday rank among the first in the world.
The completion of the instrument and its ex-
hibiton to the public constitute an era in the
musical annals of our country; and from this
time forward it may be that the art of music
will assume higher position among us. The
audience was one Of the finest ever gathered
in Boston, and probably contained more genu-
inc musical culture, intelligence and refine
ment ever before assembled on the
continent. Some ten or twelve states of the
Union were represented, and by those who
made Il special pilgrimage to Boston for the
purpose of attending the inauguration. Not
less than two hundred were present from the
city of New York, one hundred from Philadel-
phia, and as many more from Baltimore and
Washington. Parties were also present from
cities as distant as Chicago and Detroit: while
delegations came from all parts of New Eng
land
There was an extensive array of fine dress
ing on the part OF the ladies. A more success
full demonstration we do not recollect to have
seen in years. Some of the costumes were
exceedingly gay and brilliant; aud many were
especially fabricated for the occasion, quite
regardless of figures that might be placed up
on bills payable for the same. The cream of
the fashion of our city and vicinity were out
in full numbers, and in colors that exceled
the rainbow; for what is the rainbow, in all
its splendor, compared with youth, beauty,
and the exquisite art of Demorest? The hall
was thronged in every part. Not seat was
unsold not good standing area was left I'M
occupied. 1t presented truly magnificent
appearance. As seen from the north gallery
under the avalanche of light thrown from it,
the spectacle was unrvaled for picturesque
ness and beauty; and when combined with the
''great organ" it batfled all attempts at de-
scriptlon.
STORY OF THE ORGAN.
The great organ of the Music Hall is a
choir OF nearly six thousand vocal throats
Its largest windppes are thirty-two feet long,
and a man can crawl through them. Its
finest tubes are too small for baby's whistle.
Eighty-nine stops produce all the various
changes and combinations of which its inn
menSe orchestra is capable, from the purest
solo of singing nun to the loudest chorus in
which all its groups Of voices have their part
in the full flow of its harmOnies. Like all in
struments of its class, it contains several dis
tinct systems of pipes, commonly spoken of
separate organs, and capable OF being
played alone or in connection with each other.
-Four manuals, or key-bOards, command those
several systems-the solo organ, the choir or
gan, the swell organ, and the great organ, and
the piano and forte pedal-organ. Twelve
pairs OF bellows, which it is intended to move
by water power, derived from tho Cochituate
reservoirs, furnishes the breath which pours
itself forth in music. Those beautiful effects
for which the organ is incompatible. the ere
SCend0 and dialiHueHdO-the gradual rise of
the sound from the lowest murmnr to the
loudest blast, and the dying fall by which it
steals gently back into sience-the dissOlving
views, SO to speak, of harm0ny-are not only
provided for in the swell organ, but may be
obtained by special adjustment from the sew
eral systems OF pipes and from the entire in
strument
The structure is of black walnut, and is
covered with carved statues, busts, masks,
and fgues in the boldest relief. In the centre
a richly ornamented arch contains the niche
for the key-boardSi and stops A colossal
mask of a singing woman looks over from its
huHlullts LIZ pculIuSil duOhC ~
by the bust OF Johann Sebastian Bach. Be-
hind this rises the lofty central division, con-
tanning pipes, and browning it is il beautiful
sitting statue of ST. Cecilia, holding her Tyre.
On each side of her griffin sits as guardian.
This centre is connected by harp shaped com
partnentS, tilled with pipes, to the two great
round towers, one on each side, and each of
them containing three colossal pipes. These
magnificent towers come boldly forward into
the hall, being the most prominent, as they
are the highest and statliest part of the facdde.
AT the base of each a gigantic half-caryatid, in
the style ofthe ancient herm9, but finished to
the waist, bends beneath the superintendent
weight, like Atlas under the globe. These
figures are of wonderful force the muscular
development being almost excessive, but in
keeping with their superhuman task. AT each
side OF tie base two lion-herme share in the
task of the giant. Over the base rises the
round pillars which support the dome and en-
close the three great pipes already mentioned.
The three great pipes are crOEneJ by a
heavily sculptured, ribbed, rounded dome !;
and tins is surmounted, on each side, by two
cherubs, whose heads almost touch the lofty
ceiling. This whole portion of the sculpture
is of eminent beauty. The two exquisite cher
ubs Of one side are playing on the Tyre and
the lutte; those OF the other side on the flute
ana tne norm. All Ine reIelS tnaJ run round
the lower portion of the dome are of singular
richness. Two other lateral compartments,
filled with pipes, and still more suggestive of
the harp in their form, lead to the square lat
eral towers. Over these compartments, close
to the round tower, sits Oh each side harper,
man on the right, woman on the left, with
their harps, all apparently of natural size.
The square towers, holding pipes in their open
interior, are lower than the round towers, and
fall somewhat back from the front. Below,
three colossal her8l9 OF Sybil-like women
perform for them the Office which the giants
and the lion-shapes perform for the round
towers. The four pillars winch rise from the
base are square, and the dome which sur
mounts them is square also. Above the dome
is vase-hke support, upon which are dis
posed tigues of the Tyre and other musical
SYMBOLS The whole base Of the instrument,
III the intervals of the figures described, is
covered with elaborate carvings. Groups of
musical instruments, standing out almost de-
tached from the background, occupy the pam
els. Ancient and modern, clustered with
careless grace and quaint variety, from the
violin down to a string of sleigh bells, they
call up all the echoes Of forgotten music, such
as the thousand tongued organ blends togeth-
er in one grand harmony.
Never did any structure we have looked
upon so justify Madame de Staers definition
of architecture, as ''frozen music" The out
ermost towers, their pillars and dumes, are
all square, their outlines thus passing without
too sudden transition from the sharp square
angles of the yaulted ceiling and the reCtan-