Chapter VI: The Minor Details of an Organ (2)

_GROOTEKERK_ (_St. Bavon_).--This famous organ stands in a marble gallery at the west end of the Church, but the effect of its grand case is somewhat marred, by the Dutch want of taste, in the way the case is painted. The wall behind the instrument is painted a glossy black (the rest of the Church being whitewashed). The statues, coats-of-arms, &c., on the top of the instrument, are painted bright white, their bases grey marble, and the remainder of the case is painted with a light tint of dull pinkish drab. The mouths of the pipes and the carving at their tops and feet, are all brightly gilt. The support of the Choir Organ is bronze, with a large and two small gilded angels on it. Under the gallery is a white marble allegory, which I will not attempt to explain, and the entire top of the case, except the outer towers, is crowned with a mass of carving, with the arms of the town supported by lions. The central tower consists of two tiers, the lower of seven, the upper of nine pipes. On each side is a narrow flat, divided into five compartments, the next but one to the top being occupied by a statue playing on a musical instrument, and the rest filled with small pipes. Next are angular towers, with their pipes arranged in the same mode as the centre, beyond which is a flat, containing two tiers of pipes, above which is a niche with a statue. Beyond this are the two outer towers of seven great pipes each, the feet of which commence at a much lower level than the rest of the pipes, so that the summit of these towers is not so high as the rest of the instrument. That on the south side is crowned with King David, and that on the north with a figure, but whom it represents I never could find out. Outside the great tower, on tall pedestals, stand angels with trumpets. The Choir Organ has its tallest tower of seven pipes in the centre; a flat of three tiers of pipes on each side; then an angular tower of seven pipes, and curved ends. These last are surmounted by sitting figures. The balustrade of the gallery has some elaborate carved open work above it, and its supporting columns are of some sort of dark marble. The general tone of the instrument is very good, but the vox humana is bad. The player, though he could hardly be called first-rate, was very skilful in showing off the quality of the instrument. All the fittings about the key-board are clumsy; the black keys are topped with tortoiseshell. The cornices of the towers greatly overhang, but the flats between being small in proportion to the towers, and the intricacy of the general forms, prevent the usual ill effect. 1872.

23^{RD.} SEPT^{R.} 1872.]

HERTOGENBOSCH (Bois-le-Duc).

_ST. JANSKIRK._--The organ case at the west end of this church is perhaps the finest in Europe. The oak wood-work is very dark, and profusely carved, without any gilding, and is in a good state of polish. The top of the case from the ground is about one hundred feet. The pipes, which, when I saw them, were in very bright condition, have their mouths gilded. The centre pipes of each tower have a pattern beaten upon their surface, and are gilt, with the exception of the lower one on the centre tower, which is only partially gilt. The centre tower, which is surmounted by a clock, under which is the Dance of Death, or some such subject, has two tiers of pipes, seven below and eleven above. On each side of this is a flat, divided into two tiers, which contain, in the lower compartment, what may be called five double pipes, or perhaps, more accurately speaking, it has ten pipes, with their feet joined together, the heads of the lower ones standing on the plinth, and the upper ones in their usual position. I could not see how these pipes were supplied with wind, and I have a strong idea that they are dummies. In the upper part were six double pipes arranged in the same manner, and above are niches, figures, columns, and pediments. Next come two angular towers, with a lower tier of seven, and an upper tier of eleven pipes. And to finish the organ, instead of the great towers, as at Haarlem, are two large flats corbelled out from the sides of the instrument, containing five large pipes, and sloping towards the wall behind. These are crowned with fantastic pyramids. The Choir Organ in front has over its centre tower, which contains five pipes, a figure of St. John with his Eagle, on each side of which is a flat with seven small pipes, in its lower compartment, and in its upper compartment six double pipes, similar to those in the Great Organ. Beyond this, is an angular tower of seven pipes, with a vase on its summit, and a small return compartment of pipes, joining the case to the gallery, which is of elaborately carved oak, and supported by two grey stone pillars. I did not hear the instrument, but was told it was nearly as good as Haarlem. 1872.

28^{TH.} SEPT^{R.} 1872.]

ROTTERDAM.

_GROOTEKERK_ (_St. Lawrence_).--At the west end stands a very large organ. The centre tower, which is ninety feet high from the ground, and is crowned with an angel holding a trumpet, has two tiers of pipes, the lower containing fifteen, and the upper nineteen. On each side is a flat with three tiers of pipes; then a flat of four tall pipes; and at each end a tower surmounted with a vase, containing five pipes, belonging to the thirty-two feet stop, and which look very long and thin, as they have a rather narrow scale. On a bracket, outside the north tower, is an angel playing on the lute; on the south side, one who plays on the flute. The buffet, or lower part of the case, rises in a curve to the centre; the Choir Organ in front, has its tallest tower in the centre, surmounted by three angels; next to which is a flat of two tiers of pipes, seven in each; then a flat of four pipes, and at each end a tower of seven pipes. The organ loft is white, and supported by eight Ionic columns, with bronze capitals, and the culs-de-lampe of the three towers of the Choir Organ are also bronze. The pipes had gilt mouths, the wood-work was all brown oak, much carved with festoons of flowers, and sham curtains for claires-voies. I heard the organ at a week-day evening service, the tone was good, but wanting in fulness. I suspect I did not hear the full power. 1872.

17^{TH.} SEPT. 1872.]

UTRECHT.

_THE CATHEDRAL_ (_St. Martin_).--The organ stands where the nave of the Cathedral, which has fallen down, commenced, and beneath it is a pulpit with a square sounding-board. It is a new instrument, of a light yellow colour, in modern German Gothic. The great case consists of three equal towers, of seven pipes each, the centre surmounted by King David, and the others by pinnacles of open-work; and an open-work gallery joins these together, beneath which are two flats, the upper part of which is an elaborate Gothic window, the background of dark blue, with four and twenty pipes in each, divided by the mullion of the window. The Choir Organ consists of a large gable, of open Gothic work, between two pinnacled towers of seven pipes each. In the centre is a sort of Gothic window, with two flats of twelve pipes, and on each side, a flat with a double tier of pipes, adjoining the towers. A gallery, decorated with quatre-foils, connects the two organs. The mouths of the pipes are gilt, and there is some gilding about the case, which cannot be called a handsome one, as it violates all the rules of what a good organ case should be. 1872.

_ST. NICOLAS._--At the west end is a very curious little old organ, with a quaint Choir Organ in front, supported by a single square column. It consists of two flat overhanging towers, with an angular centre tower, rather taller, all crowned with Gothic pinnacle work. The flats joining these towers, which rise to the centre tower, have each fourteen pipes, above which are a set of pipes with two bodies, two mouths, and two feet; in fact two pipes joined together at their feet. I could not see how they could be supplied with wind. The Choir Organ in front has three angular towers, with no flats between them; the centre, the tallest, has seven pipes; the others have five pipes on their outer side, and on their inner side pipes similar to those in the upper part of the flats of the Great Organ. A small curved compartment on each side, completes this case. The mouths of the pipes are gilt, and there is some gilding about the case. It was dusk when I saw this organ, which I am sure is worth a careful examination, as there is much about it that is old and curious. 1872.

In the museum of the Archbishop are some painted shutters belonging to some old organ, the bass being David playing before the Ark, and the treble, David playing before Saul. 1872.

NOTES ON GERMAN ORGANS.

COBLENTZ.

_ST. CASTOR._--A west end organ, with a rather elaborate case, which has the German peculiarity of the Great Organ case having, under the usual pipes, pipes as of a Choir Organ. I imagine this organ was played from the side. 1869.

COLOGNE.

_THE CATHEDRAL._--The organ stands in a wooden gallery at the end of the north transept. The case, which is of a confused design, is not good; part of the work is old. The Choir Organ pipes show, after the German manner, in the lower part of the Great Organ case. The tone was fair, but it was not sufficient for the building, and there was no striking quality about it. 1869.

This organ is to be replaced by an enormous instrument, with at least 100 registers.

_THE MINORITES._--At the west end stands a large organ, said to be the best in the city, and the little I heard at vespers was good. The pipes were very dull and dirty. The case, painted white, and relieved with gilding, is very curious. It stands right across the church, flush with the front of the gallery, on which it stands. At each end is a projecting tower, supported by figures, and containing seven pedal pipes. In the middle of the gallery is the Choir Organ, the centre tower of which is supported by a figure. Arches are thrown from this organ to the towers on each side, on which, and above the Choir Organ, stands the Great Organ case, a confused mass of angular and round towers, curved and broken pediments, &c.

The player sat under the arch on the north side, but I could not see the precise position of the key-board. The case was broad and shallow, and stood about one bay clear of the west window, which was large and handsome. 1869.

FRANKFORT.

_THE CATHEDRAL._--When I saw this church, it was under repair after the fire, and the only organ in it was a small modern Gothic instrument, which was evidently a temporary erection. 1869.

FREIBURG-IM-BRESGAU.

_THE CATHEDRAL._--The Great Organ is a hanging one, and is pendent above a pillar half way down the north side of the nave. It was built in 1515, and repaired in 1818. It has two flat towers of seven pipes each, the largest being outside, with a V flat of 20 pipes between, above which is a statue of the Virgin and Child, with scroll work all gilt. The towers overhang the base on each side. The Choir Organ, which consists of a flat of nine pipes, between two flat towers of five pipes each, hangs in front of the organ gallery, which is a semi-octagon, with gilt open-work, and its corbel terminates in an angel playing a trombone. This organ is only played at the great festivals; the tone is said to be good. Showing under the south-east arch of the choir, is an organ placed on a platform, which fills up one bay of the south aisle. Its date is about 1700. It has three flat towers of five pipes each, the smallest in the centre with one pipe in each angle, so as to make the towers project slightly in front of the two flats, which contain ten pipes each. On each side of the case is a wooden screen containing a wheel window. The towers are crowned with open Gothic pinnacles, and the style is a mixture of Gothic and Renaissance. The organ gallery has open wood work about it. Three bellows stand in a loft on a level with the organ pipes. The blower stands on a floor level with the organ gallery, and works the bellows by means of ropes coming through the floor, as if he were ringing bells. The organ has but one manual, C C to f^3 fifty-four notes, and a pedal from C C C to D, fifteen notes. Its naturals are black and its sharps white. Its contents are:

Principal 4
Viole de Gambe 8
Quinte 3
Octave 2
Fagot Man. bass 8
Waldfloete disc^t 8
Octav bass 8
Sub-bass 16
Principal 8
Cornet (Qy.) 8
Bourdon 8
Floete 4
Mixtur 5 ranks
1 }
2 } Draw stops without names.
3 }

The Nave Organ in this Church is a very good specimen of a hanging organ. 1869.

21^{ST.} SEPT^{R.} 1869.]

_ST. ----._--A Church (near the statue of Schwartz) the name of which I omitted to learn. At the west end in a very deep gallery, supported by many columns, is an organ of brown wood, in the Teutonic taste of the seventeenth century. It has a large centre tower, with a small flat of little pipes on each side; then a painted tower, beyond which is a wing of pipes, looking like the open shutter of a tryptich, the largest pipe being outside. The Choir Organ, which stands well away from the great case, has three towers, the least in the centre, with flats between. All the ornaments are painted white, and the pipes stand their natural heights, with carved work so fitted as to stand clear of them. The irregular effect is peculiar. 1869.

INNSBRUCK.

_HOFKIRCHE._--In the Silver Chapel is an organ said to have belonged to Philippina, who died in 1580. It is a curious old instrument, with a montre of cedar, and all the work is very rough and clumsy. 1855.

_THE JESUITS’ CHURCH._--At the west end stands an organ in a heavily designed case, painted white, with a very small Choir before it, not higher than the front of the gallery. In the centre of the Great Organ is a fanciful arrangement of pipes, forming a perspective. I may mention that this Church has its flat roof painted so as to represent three domes, a clever deception on first entering the Church. In the Tyrol flat towers with seven pipes are common. 1855.

MAGDEBURG.

_THE CATHEDRAL._--At the west end is an organ having plain metal pipes, and decorated with much bad modern Gothic work. 1863.

MAYENCE.

_THE CATHEDRAL._--In the north gallery of the western transept, stands a small organ of last century work. It has two fronts, the chief looking towards the west, and the other to the north. The case, which is white, has much ornament about it. As the Cathedral was under repair at the time I saw it, there may be some larger instrument in it which I did not see. 1869.

MUNICH.

_THE JESUITS’ CHURCH._--The only note I took of the organ was that it had a very low Choir Organ, not higher than the front of the gallery. 1863.

PRAGUE.

_THE CATHEDRAL._--The organ at the west end is very much divided. In the lowest gallery stands a sort of Choir Organ, above which in another gallery stands a still smaller case, and again, above this, is the Great Organ, which is a divided one. On the right of the entrance, in a small side chapel, is the rudest organ I have yet met with. It is closed with shutters, and a sort of screen of wood pipes stands behind the player. 1863.

_THE MONASTERY OF STRAHOW._--The organ stands at the west end of the Church, and another at the north side of the choir, to match which on the south side is a painting of a similar organ. 1863.

SCHWARZ.

_PFARRKIRCHE._--This is a curious double Church, with two naves and chancels, standing side by side. The organ stands at the west end, and the Choir Organ in front goes round the pillar common to both naves. 1863.

NOTES ON SWISS ORGANS.

BERNE.

_THE CATHEDRAL._--The organ stands at the west end. It was originally built in 1727, and was repaired and greatly enlarged in 1847 by F. Hass. It contains fifty-six stops and has four rows of keys. I did not like the tone of the instrument, it was loud and hard, the reeds and mixtures too prominent, the trumpet stops but ordinary, and the vox humana bad. The organ was played well by the organist, who gave us but a short exhibition of his skill. The old case is retained, and consists of five towers of seven pipes each, separated by flats of four pipes each. The largest tower is in the centre, surmounted with a large vase and many carved flowers. The next towers in size are at the extremity of the instrument, surmounted by angels playing on musical instruments. The least towers stand in the centre of the intermediate spaces, surmounted by large vases and carvings of musical instruments. The gallery in which it stands is modern Gothic. 1863.

COIRE.

_THE DOM_ (_St. Lucius_).--At the west end is an organ, erected in 1815, containing thirteen stops, one manual, and a pedal. The case is painted brown, picked out with green, and is certainly ugly. It stands before a plain round-headed window, and may be called a divided organ. At each end of the case is a compartment with an ogee top, containing seven pipes, next to which is a compartment with a curvilinear top and fourteen pipes, leaving the centre of the organ above the impost clear for about the width of the window, except for a small frame, with double ogee top, containing a single row of small pipes. On the north side of the case are posted wooden trumpet tubes, and the tubes of a similar stop appear over the smaller case on the north side. The bellows are in a chamber on the north side of the organ, and a wooden tube brings the wind down to it. I was told that behind the high altar was a very old small organ, but I could not see it as the Church was under repair. 1869.

FREIBURG.

_ST. NICOLAS._--This famous organ stands in a modern Gothic gallery at the west end of the Church. The outline of the case (which is also modern Gothic) is a large gable, having in the centre a tall tower, with two tiers of seven pipes each. The compartments on each side of this have each two tiers of pipes, between which is wood work, containing a rose of Gothic tracery. Beyond this is a tall tower of five pipes, then a flat of tall pipes, and the organ terminates at each end with a tower of five pipes. All the work is crowned with pinnacles and tabernacle work, the wood-work is pale oak, with gilding about it. Although intended to be a handsome case I do not quite like it. The tone of the organ is good, especially the echo, and the vox humana has a great renown. 1868.

GENEVA.

_THE CATHEDRAL._--The Great Organ, at the west end of the building, has a modern Gothic case, with five towers, the largest in the centre, and the least at the ends. It is not handsome. This organ was built by Merklin and Schulse, of Brussels and Paris. It has forty-six stops, three manuals, and pedal. Its quality was loud, and wanting in diapason tone. The reeds are monotonous, and the vox humana bad. The organist was a pupil of the late Herr Vogt, the organist at Freiburg, who was one of the best of European organists. 1868.

_THE ENGLISH CHURCH_ has, in its west gallery, a poor-toned organ, in a dingy-coloured Gothic case, consisting of three towers, the largest in the centre, separated by flats, with two tiers of pipes. 1868.

THE GREAT ST. BERNARD.

_THE HOSPICE._--The organ, which stands at the west end, appears to have been brought forward, as the colour of the wood-work at the side shows, the front panels looking older than those behind. The bellows stand in a high box on the north side of the instrument, and are dated 1812, which I fancy must mean the date of some reparation, as the case looks older. The front consists of three flat towers, of five pipes each, with flats between. On the centre tower, which is the tallest, is a standing figure, and above the side towers are seated figures. It has black naturals, and the sharps have an ivory line down them. The key-board has four octaves and two notes, C C to D, no lower, C C^#. The pedal-board is one octave and four notes, C C C to E, no lower, C C C^#, with an iron bar for a rest over them. When I heard the organ it was much out of order, and the wind was leaky. The full organ tone was still good.

CONTENTS.

Prestant.
Bourdo’.
Nasard.
Viole.
Tierce.
Tromp.
Basse.
Cornet.
Flute.
Doublet.
Viole.
Tromp.
Clarion.
Tremb^t.

The gallery which holds the above is supported by pillars, and the paintings in the compartments, beginning from the left, are a Pot of Lilies, a Pelican and her Piety, King David, Instruments of Music (this is the centre compartment), St. Cecilia, a Burning Cloud and a Pot of Lilies. 1868.

LUCERNE.

_HOFKIRCHE, CHURCH OF ST. LEODEGAR_ (_St. Leger_).--The fine old organ of this Church stands at the west end, and was greatly added to and repaired, by M. Hass, who lives close to the Church, and who completed his work in 1862. It now contains seventy sounding stops, all of which are throughout, none of the metal stops having the lowest octave in wood, nor are closed pipes used instead of open. There are four manuals and a pedal. The case consists of five compartments. The centre, which is by far the largest, holds the five lower pipes (of pure tin) of the thirty-two foot open, which have very short feet. On each side of this, is a compartment of nine pipes with very long feet. The outer flats have nine good-sized pipes, with feet of average length. These two last compartments stand at an angle with the other three compartments. All the pipe-work is bright tin; the wood-work brown oak, with a quantity of fantastic carving. There is a peculiar look about this front, it is a Screen, not a case to the organ. The Great Organ has a good tone, the old tone, without the bray of the reeds, which one so often gets in modern instruments. The imitation of thunder is fair, the full power of the organ good, the trumpets telling well, without being overpowering. The vox humana was very good: “Quelle soprano!” exclaimed a French lady behind me, as the organist was showing it off. When the swell of the vox humana is closed, and the tremulant drawn, it makes an excellent vox angelica, very soft and good, but trembling a little too much, and the tone is so hushed, that people must be very quiet in the Church to hear it. The organist, when I heard this instrument, was a showy player, but he accompanied the Mass in a very efficient manner, and with great judgment. A fugue he played at the end of the service had only one fault, that was, its shortness. 1863, 1869.

_THE ENGLISH CHURCH_ has a modern Gothic organ at its west end. At each end of the case is a tall tower, of seven pipes, with pinnacles of open work. Next is a gabled compartment, and the centre consists of two flats, having a horizontal cornice. Much tawdry gilt-work is spread about the case. The Choir Organ has three compartments, with a flat cornice and much gilded carvings. I expect this case is a sham, and is merely a buffet for the keys, as on the top of it was a music-desk, and the player sat with his back to the Great Organ. I did not like the tone of the instrument, which was but fair. 1869.

NOTES ON ITALIAN ORGANS.

BELLAGGIO.

_PRIVATE CHAPEL OF VILLA MELZI._--Just inside the chapel, is a “grinder” with four or five stops, in a cabinet case. 1869.

CHIAVENNA.

_SAN LORENZO._--At the west end is an organ of pale-coloured varnished wood, with gilt ornaments. It consists of a round arched centre, with flat wings. The gallery in which it stands, is level with the capitals of the nave arches, and is carried out on each side as far as the first pillars, making two excellent side galleries for a divided choir. 1869.

COMO.

_THE CATHEDRAL._--The two organs stand under the eastern arches of the nave, in galleries, which stand on elliptical arches, borne on four columns. Their cases, the whole of which are gilt and burnished, consist of two Corinthian or composite columns, bearing a broken pediment. The pipe-work is covered with a blue curtain. A statue of the Virgin forms the centre ornament of the north organ, and on the southern instrument is one of a bishop. The back of this latter instrument has a Renaissance screen, of curious lattice-work, brightly gilt. That of the north organ is simply plain wood. There are seats and music desks in the gallery in the front of each organ for the choristers. For antiphonal music, nothing can be better than the arrangement of these instruments. The position at Milan is good, but this is preferable. 1869.

ISOLA BELLA.

_IN THE CHURCH_ (_not in the Chapel of the Palace_), in a gallery at the west end, stands an organ, in a white painted case, picked out with colour, consisting of merely two pilasters, supporting a low pediment. The pipes, which looked quite new, are bright tin, the tallest standing in the centre, and the smallest half-way between the centre and the sides of the case, against which stand tall pipes, so that the arrangement is somewhat like a W. The pipes show their real heights, their tops all being below the top of the case, without any bad effect from want of symmetry; if anything, the effect is good. Some wood bourdons, standing outside the instrument on each side, show that at some time or other additions have been made to it. I may mention that it is common in Italy for the pipes to show their real heights, and for the montre to be covered with curtains or blinds, or sometimes with pictures, when the instrument is not in use. 1869.

MADONNA DI TIRANO.

_IL SANTUARIO._--An organ with a very fine case, well carved on both sides, stands across the transept, the montre covered by a large picture.

MILAN.

_IL DUOMO_ (_the Cathedral_).--On each side of the choir stand two fine organs, externally both alike; the back and front of each is very similar, the latter having more ornaments. Their bases on the choir side, are faced with dark wood, that facing the aisle is marble. Their montres are closed with painted shutters, their choir front has two Corinthian or composite columns, with a flat entablature. The front towards the aisle, has similar columns, and a broken carved pediment. Each organ is surmounted with a circular temple, with statues in the niches, and covered with a dome, with a statue on its summit. All the work about the instrument is gilt, the pipes are left their natural colour and their correct heights, and their tops do not reach the carved work among which they stand. The five largest are arranged in the centre, and the compartment on each side of these has two tiers, with nine pipes each. Beyond them is an outer compartment of five pipes. I did not think the quality of these instruments so good as Mr. Hopkins states them to be in his work on “The Organ.” The quality of the northern organ was sweet, but lacking in power. The voicing of the flute was very good. The vox humana (said to be a flute stop, as reeds are not permitted by the Ambrosian rite) was very suggestive, and had a peculiar intonation, which was very pleasant, although not a good imitation of the human voice. The player’s style was very operatic, and the singing resembled the old Madrigal style. I like the full tone of the southern organ, rather better than that of the northern one. It was weak for the large building in which it stands, and more diapason and pedal work was much wanted. I did not hear the solo stops of this organ, but there was “the old tone” in the instrument, which was pleasant to hear. 1869.

_SAN AMBROGIO._--The organ has a long low case of several compartments painted white, and the montre is covered with dark blue curtains. It stands close to the dome, over the south transept, in what was originally the women’s gallery. 1869.

_SAN GIOVANNI IN LATERAN._--The organ in a case, consisting of two pilasters with entablature over a round arch, with a curtain concealing the pipes, stands at the west end of the Church. 1869.

_SAN LORENZO._--An octagon church, has in the gallery on its south-east side a small organ in a white and gold case, consisting of a round arched centre, and two flat sides, looking somewhat like a handsome wardrobe. Green curtains covered the pipes. In a rather large chapel attached to this Church, stood a grand pianoforte, an old instrument, but evidently still in use. This is the only place in which I ever recollect seeing a piano in a church. 1869.

_SANTA MARIA DELLE GRAZIE._--This Church has a dome in its centre, the base of which expands into a square, on the east side of which, right and left of the choir, two similar organs stand in galleries, having much gilding. The cases, which are of dark wood, have flat tops, bearing two angels with trumpets, and raised carved work in the centre. The pipes were covered with a curtain, and the ornaments in the front and sides of the cases were gilt. 1869.

_SANTA MARIA PODONE._--This little old Church has in a painted gallery at its west end, an organ in a square case, with a curtain, as usual, drawn over the pipes. 1869.

_SAN ----_, (_in the Via di Giadini_), has at its west end, standing in a rococo gallery, an organ of the same style, in a polished, and much gilded brown case, which is either new, or else lately done up. The pipes are covered with curtains, and the design of the case consists of three compartments, the outer ones having round arches. The central compartment is surmounted by a confusion of curved lines, having the appearance of a drawing-room looking-glass, slightly overdone with ornament. 1869.