Sacramento daily record-union. [volume] (Sacramento [Calif.]) 1875-1891, 1883-01-20
A COMPARATIVE ExAMINArIoN

OF the schemes of the two organs will show
just in what respect each excels the other.
The draw-stops, complete registers and
pipes compare as follows: Boston, draw
stops Sc, complete registers 81. pipes 5. 474.
Cincinnati, draw-stops ST. complete regis.
tiers so, pipes 6 237. In the Boston organ
the manual coupiers are only four IN num-
Der. but they are of such peculiar and in
| genius construction that any connection
may be made with them without raising
the hands from the keys, by means of small
ivory knobs placed between the swell and
choir manuals. The combination pedals
are thirteen in number, but all double in
their action, thus equivalent to twenty six,
being the greatest number of any organ in
the world. These draw various com bina-
| lions on the different manuals. The pedal
organ is divided into two divisions, the
forte and the piano, each with its appro-
pirate stops.
IN THE CINCINNATI ORGAN
There are twelve couplers, operating the
same az the four in the Boston organ, a
swell trenolo, choir tremolo and bell.
o9s signal. TIE combination pedals are
also twelve, not double in their action.
The swell and choir tremolos ara also op
Grated by pedals. Both organs have the
grand cfescenGo pedal covering the whole
organ, bringing on the various registers as
slowly or as rapidly as may be required,
beginning with the softest aud diminishing
III the reverse order. A dial over the man.
usls shows at all times the exact position,
at any point of which the operation of the
pedal may be arrested and the combination
retained any desired length of time.
ORGAN MUSIC AND ORGAN PLAYERS.
Il may easily be appreciated that all
kinds of music cannot be played on an
ergan. The tone, touch and mechanism
being 30 essentially different from those of
piano, music written for one instrument
loses it's effect when played on the other.
In order to fully bring QUE the power, dig
nifty and beauty of the organ. the music
should be especially written for it. The
continuity OF tone in an organ produces
eff cts impossible on a piano. M any who
play the piano well have an idea that they
can also play the organ. They forget,
! among other things, the important differ
/ ence that organ keys are pressed, while the
/ piano keys are struck This fact makes it.
If not impossible, at least unusual, that
good performer on one instrument can be
| equally good on the other. The function
of the left hand, too, is essentially differ.
emit in the two cases on the organ the
bass part ia played by the feet, and the
left hand usually plays middle part. The
hands being frequently playing on two
manuals at the same time, it often hap
pens that each is playing musical phrase
OF. fl cure.
| JOHN SEBASTIAN BACH,
| t. about ha oro,, ,,soa ~ I'll
lowing language: "The purpose of the
and to support the choir, not to drive
or overpower, which often seems to be
the aim of accompanies They should
rather follow than lead, always plsying
their part modestly and with correctness
and dignity. Voiuntaries, interludes, etc
should occupy the smallest space, so that
they fulfill the purpose for which they are
required" 1t would be we'll if these words
of one of the greatest organ players that
ever lived were more needed az the present
time, for the influence of good 0rganist
on the church singing and devotional feel
ing OF the congregation can scarcely be
over-estimated. The organist stands Sec
and frequently good and fervens expires.
perhaps entirely destroyed by frivolous
performance from the organ gallery.
| CHURCH ORGANISE
Should have a sympathy with the church.
Ii he regard his organ merely as vehicle
| by which he can make certain amount of
money, and nothing more, he will fail to
reach point OF high excellence. He must
love his organ for arts sake, and should
be as jealous Of its reputation as of his
own. Nothing unbecoming to the instru.
ment should ever BE- performed. Bat when
we attend many of the metropolitan
churches, what do we often hear? Sslec-
tions from "Martha," "Traviata and
Offenbach, popular street melodies, values
and marches in abundance but rarely may
we listen to any of the compositions of the
acknowledged masters of the organ. With
few brilliant exceptions there are no or.
ganists who can properly play a Bach
fugue now engaged in our churches. The
players on
THE KING OF INSTRUMENTS
Are very numerous, and increasing every
year. While pianists have to depend en-
tirely on concerts to bring them before the
public, an organist coHss out publicly
every sunday. IDuS ne neeGS 20 De con-
stantly at his work, and any interruption
of his practice is sure to result IN retro.
erosion of his powers. Organists hold
their positions for long periods of time,
and in Europe in many cases the appoint.
ment is for life. This is the proper method,
for when player and his instrument be.
come thoroughly known to each other by
long acquaintance, more justioe can be
done to each, and better and greater effects
made. This is greatly so in the case of
church organisis but in the case of con-
cert organs, the advantage of having
! A PERMANENT RESIDENT
Organist is Of the highest degree. William
T. Best, one of the greatest organ players
of England, is the only one who has ever
given public performances on the st.
Georges Hall organ, Liverpool conse.
quently, his reputation and that of the
organ are inseparably connected. He has
been playing that organ for many yearg,
and he has said that he considers he has
much yet to learn in the handling of it. It
takes long while for player TO become
familiar with all the combinations, effects,
etc, that can be obtained even on small
organ.