The organ, its history and construction: a comprehensive treatise on the structure & capabilities of the organ, with specifications and suggestive details for instruments of all sizes. intended as a handbook for the organist and the amateur : preceded by an entirely new history of the organ, memoirs of the most eminent builders of the seventeenth and eighteenth centuries, and other matters of research in connection with the subject
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| Hauptverfasser: | , |
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| Format: | Buch |
| Sprache: | English |
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London
Travis & Emery
2009
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| Ausgabe: | 3. ed., [Faks. der Ausgabe London, 1878] |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Includes index |
| Beschreibung: | 630 S. Ill., Notenbeisp. 22 cm |
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MARC
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| 100 | 1 | |a Hopkins, Edward John |d 1818-1901 |e Verfasser |0 (DE-588)116981725 |4 aut | |
| 245 | 1 | 0 | |a The organ, its history and construction |b a comprehensive treatise on the structure & capabilities of the organ, with specifications and suggestive details for instruments of all sizes. intended as a handbook for the organist and the amateur : preceded by an entirely new history of the organ, memoirs of the most eminent builders of the seventeenth and eighteenth centuries, and other matters of research in connection with the subject |c by Edward J. Hopkins, Edward F. Rimbault ; with preface and corrections by W.L. Sumner |
| 250 | |a 3. ed., [Faks. der Ausgabe London, 1878] | ||
| 264 | 1 | |a London |b Travis & Emery |c 2009 | |
| 300 | |a 630 S. |b Ill., Notenbeisp. |c 22 cm | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 500 | |a Includes index | ||
| 648 | 7 | |a Geschichte |2 gnd |9 rswk-swf | |
| 650 | 4 | |a Organ (Musical instrument) | |
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| 689 | 0 | 1 | |a Orgelbau |0 (DE-588)4043846-6 |D s |
| 689 | 0 | 2 | |a Geschichte |A z |
| 689 | 0 | |5 DE-604 | |
| 700 | 1 | |a Rimbault, Edward F. |d 1816-1876 |e Verfasser |0 (DE-588)129037230 |4 aut | |
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Datensatz im Suchindex
| _version_ | 1804143390117330944 |
|---|---|
| adam_text | CONTENTS.
THE HISTORY OF THE ORGAN.
FIRST EPOCH.—THE ANCIENT ORGAN, ANTERIOR TO THE INVENTION OF THE
KEY-BOARD.
i. Its invention, i.
з.
The hydraulic organ,
6.
3.
The pneumatic organ,
15.
4.
Ια
introduction
into die Church,
17.
5.
Organ-building in the eleventh century,
23.
SECOND EPOCH.—THE
MEDIÄVAL
ORGAN, AFTER THE INVENTION OF THE
KEV-BOARD.
6.
The
fint
key-board,
33.
7.
The bellows, as·
8.
Supposed origin of the Mixture stops,
36.
9.
The first monastic organs,
38.
10.
The Regal, or Portative,
39.
11.
The Positive,
41.
12.
The meaning of
a pair of organs,
43.
13.
The improved key-board, and the invention of the Pedal,
44.
14.
Monastic organs in England,
46.
THIRD EPOCH.—THE FIRST ORGAN-BUILDERS BY PROFESSION.
15.
Early German builders,
54.
16.
Early English
builden,
55.
17·
Local English builders,
61.
18.
English builders in the seventeenth century,
62.
19.
Notices of English organs,
71.
2a Organs in Scotland, Ireland, and Wales,
72.
21.
Improvements by German builders,
75.
22.
Italian organ-builders,
77.
23.
Notices of foreign organs,
77.
24.
The ancient position of the organ,
79.
25.
The curiosities of organ-building,
87.
26.
THe
destruction of organs in England during the Great Rebellion,
91.
27.
Existing old English organs,
98.
FOURTH EPOCH.—THE FOUNDERS OF MODERN ORQAN-BUILDINO.
28.
Father Smith,
102.
29.
John and Renatus Harris,
119.
3a Father Smith · Nephews,
131.
31.
Renatus Harris,
jun.,
133.
COXTENTS.
33.
John Hams and John Byfield,
134·
33.
Christopher Schrider,
136.
34.
Thomas Schwarbrook,
138.
35.
The
Jordans,
Father and Son,
139.
36.
Richard Bridge,
144.
37.
John Byfield, Junr.,
145.
38.
Messrs. Glyn and Parker,
146.
39.
Thomas Griffin,
147.
40.
John Snettler,
147.
41.
Messrs. Crang and Hancock,
149.
42.
Samuel Green,
150.
43.
John Avery,
153.
44.
The
Englands,
Father and Son,
1
54.
4$.
Paul Micheau,
155.
46.
Organ-builders of the end of the eighteenth century,
1 $6.
47.
Progress of organ-building in Germany,
156.
48.
Andreas
Silbermann, 156.
49.
Gottfried
Silbermann, 157.
50. Johann
Andreas
Silbermann, 158.
ji.
Johann Daniel Silbermann, 159.
52. Cotemporaries
and successors of the
Silbermanns,
1
59.
THE ORGAN
:
ITS STRUCTURE, &C.
Preliminary observations,
3.
DIVISION I.—THE EXTERIOR OF THE ORGAN.
CHAPTER I.—THE
OROAS
CASE.
1.
Its nature and use, and the materials of which it is formed,
5·
г.
The general structure of the organ-case, and the means of ingress,
5·
4.
The general arrangement of the front pipes,
5.
6.
The various figures in which the front pipes are arranged,
6.
15.
The arrangement of the front pipes in regard to the
»und
they produce,
7·
21.
Of the decoration of the front pipes,
8.
DIVISION
11.—
THE WIND-COLLECTING PORTION. OF THE ORGAN
CHAPTER
Η,-—ΤΗΪ
WELLOWS.
23.
Their use,
9.
24.
The different kinds of organ bellows ordinarily met with
;
which the oldei
their names
;
and why so called,
9.
29.
Particulars concerning the diagonal bellows, jo,
30.
Their number,
11. ,
31.
Arrangement, ti.
33.
Method of operation, u.
3$.
Tbeiroriginal defects,
12. ■*;.■ ■■:.-; «
viu·.-;;-
;>·.··■·..-,·■■■■
3*.
How remedied,
13.
42.
The horixontal bellows.
14.
йї>
^,,-
„ľ^:
: ч
■■>:■ ■.
CONTENTS.
44.
Its structural features,
14.
56.
The working of the horizontal bellows, and the room which the compressed
air makes for itself between the plates and folds of the reservoir,
17.
62.
The construction of the reservoir,
17.
65.
The construction of the feeder,
18.
66.
The blowing action,
18.
68.
The action of the inverted folds,
19.
69.
The counter balances,
19.
7a The waste pallet,
19.
75.
The unsteadiness of the organ wind arising from unskilful blowing, or from
irregular consumption,
20.
76.
The several kinds of feeder,
за
84.
The concussion bellows,
23.
87.
The anemometer,
23.
DIVISION III.
—
THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN.
CHAPTER III.—THE WIND-TRUNKS,
2$.
CHAPTER IV.—THE WIND-CHEST.
99.
The wind-chest
;
its use,
27.
103.
Its attendant parts,
28.
CHAPTER V.—THE SOUND-BOARD.
ι ία
The formation of a sound-board, 3a
117.
How the sound-board pallets are brought under control,
31.
119.
The sound-board bars,
31.
123.
The sound-board grooves,
31.
126.
The sound-board pallets,
32.
129.
The pallet holes,
32.
CHAPTER VI.—THE TABLE,
3$.
CHAPTER
VIL—
THE UPPER BOARDS,
38.
CHAPTER
VIII.—
THE SLIDERS, BEARERS, AND PIPE-RACKS.
158.
The action of a slider, 4a
166.
The bearers,
41.
168.
The pipe-racks,
41.
CHAPTER IX.—THE ARRANGEMENT OF THE GROOVES AND STOPS.
171.
The situation of the large and small grooves in the sound-board,
4*
177.
First plan of groove arrangement,
44.
180.
Second plan,
45.
182.
Third plan,
45.
184.
Fourth plan,
46.
185.
The arrangement of the stops on the sound-board,
46.
189.
The mechanism of the organ,
46.
DIVISION IV.—THE MECHANISM OF THE ORGAN.
CHAPTER X.—THE CLAVIERS AND KEY MOVEMIKTS.
192.
The Manuals,
47.
199.
The Pedals,
49.
20a The situation of the claviers,
49.
205.
The key movement, 5a
214.
The action of the key movement,
51.
222.
The roller-board movement,
$2.
224.
Square and tracker-work,
53.
CONTENTS.
CHAW» XI.-THE COUPLERS AMD
SFORZANDO
PEDAL.
331.
Manual coupler»,
54.
336.
The
sfonando
coupler,
$6.
338.
Pedal coupler»,
$6.
CHAPTER XIL—THE PNEUMATIC ACTION,
59·
CHAPTER XI1L—THE DRAW-STOP ACTION.
3J3. The wooden trundle draw-stop action,
63.
3S3.
Λ
description of the several parts,
64.
aj8. How the draw-step action operates,
65.
360.
The iron trundle draw-stop action,
6$.
363.
The pneumatic draw-stop action,
66.
CHAPTER
XIV.—
JOťS
PATENT HYDRAULIC «NOINE,
6?.
CHAPTER XV,—THE ELECTRIC ACTIOH, 6>
CHAPTKK XVI.-THE
8Н1ГПЅ0
MOVEMENT AND THE COMPOelTlON
308.
The shifting movement,
88.
309.
The Composition Pedals,
88.
311.
The single-action Composition Pedal,
88.
313.
The double-action Composition Pedal,
89.
318.
The Composition Pedal action,
89.
319.
The way in which the action operates,
89.
CHAPTER
XVII.—
THE ECHO AND SWELL.
P9. The Echo,
91.
33a The nag s head Swell,
91.
331.
The Venetian Swell,
91.
CHAPTER XVIIL—THE TREMULANT,
94·
DIVISION V.—THE SOUND-PRODUCIHG PORTIONS OF THE ORGAN-
CHAPTER
XIX.—
THE MATERIALS USED FOR
OROA»
PIPES.
353-
ПіцоД
ЗбЗ-
Metal,*
364·
Spotted
metal,
98.
#$.
Lead,*
36α.
Antimony
metal,
ça.
aftr. a«,»
Ä Tb
3 t
369·
Wood,
roa
З?«.
The seasoning of the wood,
ΐοα
CHAPTER
XIX—
THE PLAN, OUTLINE, AMD STRUCTURE
ОГ
OROAH
Иг»
373-
Ttepiananđm^eoftfe^Miioi.
37«.
CT&tdrkatp^cs.ioi.
379·
Open cyUndacal pipes, »i.
3>* Stopped cylindrkal pipe»,
,0!.
Jts.
Haltstopped
cylindrical pipes, 10a.
3»4.
řerbfated
cvtmdrical pipes,
ios.
3*7.
Сопісаіріреаіоз ^
2
^^^т
390.
Inverted cane,
юз.
391.
Invemd cone surmounted by a
j»»,
^οοβρίρβ,,ο*.
■
CONTENTS.
394.
Stopped four-sided pipes,
104.
395.
Half-stopped four-sided pipes,
105.
396.
Three-sided pipes,
105.
397.
Wooden cylindrical pipes,
105.
398.
Pyramidal pipes,
105.
400.
Pyramidal and inverted,
105.
40г.
The classification of the pipes into flue and reed pipes,
106.
403.
Flue pipes,
106.
404.
Reed pipes,
106.
406.
The separate parts of a metal flue pipe,
106.
411.
The way in which the several parts of metal pipes are united together,
107.
416.
Wood flue pipes
;
open, stopped, and half-stopped,
108.
420.
How the several parts are worked together,
108.
429.
Origin and continuance of the tone in flue pipes,
109.
435.
The mouth of a flue pipe, and the influence of its proportions on the tone
of the pipe,
110.
436.
The voicing Of metal and wooden flue pipes,
111.
448.
The influence of the material, form, and scale on the tone of a pipe,
113.
454.
Influence of the strength and quantity of the wind on the character and
strength of the tone,
114.
459.
Formation of a reed pipe,
115.
467.
The formation of the tubes,
116.
468.
The different kinds of mouthpieces or reeds. The open, closed, and free
reeds,
117.
472.
The influence of the tube—its shape, scale, and material
—
on the strength
and character of the tone of a reed pipe,
117.
473.
The influence of the reed and tongue on the tone of the pipe,
118.
474.
How a sound is produced from a reed pipe,
118.
476.
How the pitch of the sound of an organ pipe is determined,
118.
CHAPTER XX.—THE STANDARD LENGTH OF ORGAN PIPES.
482.
The names of the sounds produced from organ pipes,
120.
485.
The classification of those sounds into octaves, and the different methods by
which the several octaves are distinguished from one another,
121.
495.
The size of the pipes mostly used for stop measurement,
123.
CHAPTER
XXI.—
THE SIZE OF TONE OF ORGAN PIPES.
524.
The scale of organ pipes, and the influence which an alteration in the
proportion exercises on the length,
127.
CHAPTER
XXII.—
ORGAN STOPS.
53a Definition of
а
stop, and an explanation of the various kinds,
128.
539.
The size of the stops
:
how ascertained,
130.
542.
The classification of the stops, in regard to their tone-producing part, into
reed stops and flue stops, 13a
544.
Classification of the flue stops, in regard to their structure, into Diapason-
work, Covered-work, and Flute-work, 13a
55a Classification of organ stops, in regard to the sound they produce, into
Foundation, Mutation, and Compound stops,
131.
CHAPTER
XXIII.—
THE NAMES OF
ORCAN
STOPS.
560.
The name and description of stops found in English organs, together with
their length or size of tone on the
Manuał
sad Pedal,
134.
621.
Compound
«юр·»
142.
638.
Reed stops,
144.
MINŢI-A
IS.
CHAFTER XX.V.-THK
.»«И« А».. ХКИТПГ
OF
ЮГКГМТЮ*.
MUTAT.ON,
ΛΝΓ)
COMPOUND STOPS.
657. The introduction of stops of various
»*.,
founded on
а
phenomenon in
666.
HoTthe
Ss
of the Harmonic-corroborating stops are deduced and fixed,
672.
RelSns for marking the length of the stops on the knobs,
149·
673.
Theoretical exceptions sometimes taken to
certam
organ stops,
149-
CHAPTER XXV.-PARTICULARS CONCERNING THE SCALE AND THE BALANCING
OF ORGAN STOPS.
676.
The comparative scale of the Foundation and Mutation stops, and ranks of
706.
The
ternate
of scale in a stop as the pipes become shorter, and why
necessary,
157.
7П.
A variation is made in the scale of the stops of the same name on
different claviers, and also in the duplicates on the same clavier,
reason and necessity thereof,
158.
DIVISION VI.—THE TUNING, TEMPERAMENT, AND PITCH OF
THE ORGAN.
CHAPTER
XXVI.—
THE TEMPERAMENT OF THE ORGAN.
727.
The union of perfect attunement with the power of transposition Im¬
possible,
16
1.
728.
The susceptibility of certain intervals being tempered discovered,
161.
729.
Unequal temperament, and the practicable scales it introduced,
161.
730.
The introduction of unequal temperament strongly opposed, but nevertheless
established,
162.
733.
The musical art progressing required other scales beyond those provided by
unequal temperament,
163.
735.
The defects of the unequal tuning known in the sixteenth century,
172·
737.
Enharmonic organs,
173.
738.
Perfect attunement,
173.
740.
A simple practicable Manual scale required,
174.
741.
Equal temperament,
174.
745.
The part Bach took in the establishment of equal temperament,
175·
746.
Equal temperament opposed, as unequal tuning had been before it,
176.,
7
5a Equal temperament recommended, on the same grounds,
177.
752.
Temperament, as the only source of distinction of key, questioned,
178·
7 S3·
Kteh supposed to exercise an influence in establishing the character of key,
178.
754.
The internal resources of the musical art capable of giving any character to
any key,
179.
(
755·
Characteristics of equal temperament,
179.
CHAPTER XXVH.—THE TUNING
Oř
THE ORGAN.
76*
Ł*3WNS*ebearings,aad
extending their influence to the stop« generally,
183·
764.
How the
RM»
of
m
several kinds of organ pipe |» altered,
184.
773-
Tbfejrtch of the organ «Itered by the heat and eoMia different seaton·.
The extent of this alteration,
185. ...*.
CONTENTS.
CHAPTER
XXVIII.—
THE PITCH TO WHICH AN ORGAN SHOULD BE TUNED.
781.
The question a most interesting one,
187.
782.
The presumed lower pitch of two centuries since,
187.
783.
The difficulties inseparable from that theory,
187.
786.
The compass of the human voice supposed to have changed,
187.
787.
The old composers supposed not to have consulted the convenience of the
voices they wrote for,
188.
788.
The early English composers supposed to have written without regard to any
definite pitch,
188.
789.
Everything questioned except the presumed lowness of the old pitch,
188.
790.
Strong grounds for believing in the former existence of a high ecclesiastical
pitch,
189.
791.
The sixteenth and seventeenth century organs in Germany a whole tone
sharp,
189.
79г.
A high ecclesiastical pitch believed to have existed formerly in England as
well as in Germany,
189.
793.
The very low notation of ancient church music favourable to this view,
189.
797.
Father Smith s pitch flatter than the ecclesiastical pitch of preceding
times,
190.
798.
The flattened pitch accompanied by a raised notation,
191.
799.
The pitch lower again, at the commencement of the eighteenth century, in
England,
191.
800.
A similar alteration of pitch, at the same period, in France and Germany,
191.
801.
The lower pitch in the last century accompanied by a further ascent in the
notation,
192.
803.
To which of the three church pitches formerly in use should a church organ
be tuned
? 192.
DIVISION
VII.
CHAPTER
XXIX.—
ON THE CORRECT USE OF THE STOPS.
807.
General rules for the use of the stops,
193.
814.
The character of tone of some of the leading stops
;
and the purposes to
which they may be applied,
194.
824.
On the combination of the stops for the production of any required strength
of tone,
196.
838.
On the adaptation of the organ tone to the true purposes of choral accom¬
paniment,
198.
DIVISION
VIII.—
THE CAUSE OF MANY FAULTS IN AN ORGAN,
WITH THEIR REMEDIES.
CHAPTER
XXX.—
THE CAUSES OF CIPHERING.
The unbidden Sounding
0/
a Pipe from causes in the Region of the Pallets.
842.
Ciphering caused by dirt on the pallet,
201.
844.
Ciphering from a pallet-spring being too weak,
202.
845.
Ciphering caused by the pallet catching on a direction pin,
202.
846.
Ciphering from damp loosening the leather, or heat warping the pallet,
203.
848.
Ciphering caused by a pull-down being rusty,
203.
b
CONTENTS.
The
unbidden Sounding
*f*
И*
J**
Faults in the Key-Movements.
849.
Ciphering from some adhesive substance falling between the keys,
203.
850.
Ciphering caused by a key warping,
203.
8«.
Ciphering from a sticker binding, *>3·
8M. Ciphering caused by a backfall getting off the sucker
203.
ці
Ciphering from grit in the centre-holes, or by a swellmg of the
moverne«,
204.
The unbidden Sounding of» Pipe from Defects in the Soundboard.
8tt. A running caused by an upper-board being too loose,
204.
8S£ A running caused by a sound-board bar separating from the table, or
Ъу
an
857
A humming caused by one slider touching and partly drawing a second,
205.
858.
A humming caused by pipes standing in too close proximity,
205.
Dtftcts in the Key-Movement.
859.
A springing in the key-movement,
205.
86a A dead resistance opposed to the finger by the key-movement,
205.
861.
A thumping of the keys,
206. , ,
86a. A rattling in the key-movement, from the noisy nature of the
materiais,
»~.
864.
A rattling sometimes caused by trackers flapping together,
зоб.
86$.
A key down without producing any sound,
206.
866.
The touch of the manuals too shallow at certain seasons, and too deep at
others,
207.
868.
An unevenness in the level of the keys of the manual,
207.
869.
A key screwed up too high sometimes causes the speech of the pipe* w
tremble,
207.
870.
A ciphering caused by the breaking of a pedal spring,
208.
Disarrangements connected with the Draw-stop Action and Sliders.
871.
A draw-stop rod will sometimes come out too far, or go too far in,
208.
872.
A draw-stop sometimes very stiff,
208.
Defects in the Bellows and the Winding
0/
the Organ.
873.
A creaking from friction at the centres,
208.
874.
A clacking caused by hard valves,
209.
87$.
A gasping from the valves being too few and small,
209.
876.
Bellows work quicker in hot weather,
209.
877·
Bellows produce a cracking sound after damp weather,
209.
878.
Tremulousness from the length and elasticity of the column of wind,
209.
879.
Tremulousness from shortness of supply,
210.
880.
Unequal intonation caused by small grooves and pallet-holes. A robbing,
aio.
881.
A hissing arising
fröman
escape of wind, an.
Puultt connected with the Speech
0/
the Pipes.
883.
Small pipes are frequently dumb, tremulous, or weak in their speech,
í
1
ь
884.
Flue pipes become unequal to their strength; and quality of tone from
various causes,
ги.
885.
A pipe sometimes sounds its octave, from the effects of dirt or over-blowing,
..aia,-
;■■·■■ < -.
·:·: :
.....
■ ^■^■^■:
■■.-.:■■
....^.ч-л·:·
^,
...-..■■
u;„
...
887.
^^wooipiott*^^
CONTENTS.
DIVISION IX.—
SUGGESTIONS
FOR THE CONSTRUCTION AND
ERECTION OF AN ORGAN.
CHAPTER
XXXI.—
THE COMPASS OF THE CLAVIERS, AND OF THE SEPARATE
DIVISIONS OF THE ORGAN.
891.
Precedents for nearly every variety of clavier range,
213.
893.
The compass of the Manuals
;
the confused state in which the question is
involved in England
;
and the importance of a correct view of the subject,
214.
894.
How the true Manual compass is to be ascertained,
215.
897.
Arguments against the CC Manual compass, and in favour of a longer
range,
216.
903.
Much room and a great expenditure of funds required to extend the compass
of a Manual organ below CC,
217.
905.
The true method of increasing the resources of a Manual organ,
218.
906.
How it may be ascertained whether certain keys are essential or not as
Manual ones,
218.
909.
The ameliorations that might be effected on a given specification, by
regulating the outlay otherwise than in the construction of unessential
Manual notes,
219.
924.
Other views in favour of GG Manuals, and against CC, considered,
222.
935.
How the CC Manual compass was first exceeded,
224.
937.
The confusion in the size of the stops caused by their elongation,
225.
942.
The upward range of the Manuals,
226.
CHAPTER
XXXII.—
OF THE PEDALS AND PEDAL ORGAN
;
THEIR INTRODUCTION
INTO ENGLAND
;
AND CORRECT COMPASS.
950.
The insufficiency and incorrectness of GG Pedals for practical purposes,
228.
951.
The wrong pitch in which GG Pedals execute on the Manual stops such
passages as do come within their range,
229.
952.
The impossibility of satisfactorily uniting
CCC
pipes to GG Pedals
;
and the
false pitch in which the pipes sound when they are so united,
229.
954.
The false readings which the
CCC
Pedal pipes create,
229.
969.
The introduction of
Double Pedal pipes
as the first Pedal stop, not in
accordance with the laws of
organ»bu¡Id¡ng,
232.
973.
The premature introduction of double Pedal pipes often a hindrance to the
introduction of more important Pedal stops,
233.
974.
The arrangements of a CC organ contrast favourably with those of GG
compass,
234.
CHAPTER
XXXIII.—
THE SITUATION FOR THE ORGAN.
978.
Acoustical facts to be consulted,
235.
979.
How sound is produced and propagated,
235.
980.
How brief sounds disperse,
235.
981.
How sustained sounds more completely occupy space,
23$.
982.
The distribution of a sound that cannot travel backwards,
236.
985.
Sound weakened by divergence,
237.
986.
Echo,
237.
987.
Resonance,
237.
996.
Impediments to the equal distribution of sound,
238.
997.
Absorbents of sound,
238.
998.
Church arrangements that are favourable to sound,
339.
999.
Absorbents sometimes introduced to subdue excessive echo,
339.
¿2
CONTENTS.
ΙΟΟΟ.
Velocity Of sound,
239.
»<»$.
Penetration of sound,
240.
CONTENTS.
CHAPTER
XXXVI.—
THE COMPOSITION OF THE MIXTURES.
1
102.
Why should there be breaks in a compound stop
? 265.
1103.
A compound stop without a break not in accordance with the suggestions
of nature,
265.
1104.
The same compound not productive of the same effect in different parts of
the scale,
265.
1105.
Might not a rank
die out, instead of presenting a break
? 266.
1106.
The valuable aid rendered to the treble of an organ by the return ranks,
266.
1107.
On what keys the breaks had better take place,
267.
1108.
Where the broken ranks should return to,
267.
1111.
Plans for compound stops,
268.
I. Composition for a full Mixture of III ranks,
268.
II. Ditto for a clear Mixture of IV ranks,
269.
III. Ditto for a sharp Mixture of IV ranks,
269.
IV. Ditto for a Quint Mixture of IV ranks,
269.
V. Ditto for a nil! Mixture of IV ranks,
270.
VI. Ditto for a sharp Mixture of V ranks,
271.
VII.
Ditto for a full Mixture, III ranks, and a sharp Mixture,
Iţi
ranks,
272.
VIII.
Ditto for a full Mixture, III ranks, and a sharp Mixture, IV ranks,
272.
IX. Ditto for a full Mixture, III and IV ranks, and a sharp Mixture, V
ranks,
272.
X. Ditto for
a Sesquiáltera,
II ranks, a full Mixture, III and IV ranks, and
a sharp Mixture, V ranks,
274.
CHAPTER
XXXVII.—
THE EXTERIOR
ARRANGEMENT
OF THE ORGAN.
1143.
The organ case,
278.
1150.
The Manuals and Pedals
;
their width, and their proper situation in re¬
gard to each other,
379.
1164.
The organ stool,
282.
1166.
The Swell Pedal,
282.
1168.
The music desk,
282.
1169.
The Composition Pedals,
382.
1170.
The arrangement of the draw-stops,
283.
CHAPTER
XXXVIII.—
THE INTERIOR ARRANGEMENTS OF THE ORGAN.
1191.
The building frame,
387.
1192.
The platform,
287.
1194.
The distribution of the sound-boards,
287.
1199.
The cause of the bad proportions of many English organs,
288.
1303.
Much room conducive to the orderly arrangement of the organ,
388.
1204.
The advantages of large sound-board»,
289.
1213.
Unoccupied space in an
orgán
not lost room,
390.
1313.
The Abbe
Voglers
simplification system, 29a
1221. Passage-boards advantageous in more ways than one,
393.
1333.
The pipes should be so arranged that the small ones are accessible,
392.
1224.
Double grooves in the bass of large sound-boards advisable,
293.
1235.
The roller-boards,
293.
1226.
The bellows,
393.
133a The wind-trunks,
394.
1231.
The swell-box,
394.
1333.
The scale for the pipe-work,
294.
135a The materials for the pipe-work,
300.
ізбі.
The price of the organ,
303.
CHAPTER
XXXIX—
PLANS FOR ORGANS OF
VARIÓOS
SUES,
307.
CONTENTS.
APPENDIX.
Comprising ah
Accoüht
or Foreigh ahd British Organs.
1.
Haarlem—
the Cathedral Church of
St
Beran,
33!.
з.
Rotterdam—the Cathedral Church of
St Lawrence,
333.
3. ------
the Octagon Church,
333.
4. Amsterdam—
the Old Church,
334.
5. —-
the New Church,
33$.
6.
Nymengen—St Stephen,
336.
7.
Gouda—
St. John the Baptlit,
337.
8.
Тяв
Hague—Lutheran Church,
338.
Dłlft—
the New Church,
338.
Utrecht—the Principal
Protestant
Church,
339.
11,
Trikbel—the State Church,
340.
13.
Paris—the Abbey of St Den«,
341.
ІЗА.
——
St Vincent
de Paul,
34a.
13.
—theMadeleine,
343.
14. —
St.
Eustachę,
344.
iž .
Amiens—the Cathedral,
346.
îl:
~
- ■
49.
Lamoensulza—St. Boniface,
368.
50. MUHLHAUSEN—
368.
9-
io.
51.
μ.
53·
54.
Ρ:
57·
MERSEBUEO-tbe Cathedral,
369·
Halle—St. Maurice,
370·
Lou-the Marien Kirche, 37«·
KmCHMt-^he
Catholic Church,
37»·
Catholic Church,
Church,
373.
Halbemtadt—the
373.
Great
347.
Toowb-the
Rouen—St. O
Abbeville—the Cathedral,
349.
Beauvais—the Cathedral,
350.
Amtwer*—the Cathedral,
351.
-—
St
Paul,
351.
^*»
Btusnu-the Cathedral
auch
of
St
Gadule,
353.
ao.
зі.
за.
37.
Cologne—»he
_
ai
-----
theMinoret *
39. —-üb*
30.
—St
Maria de
З»·
З*.
.
33·
Воик—Л*
„___
34» —
ше
ProUsilmt
S8. HiiMCHieie-Chrirt
Chuna»,
374·
S>
ΝΑυΜΒΒΒβ—
St. Weiwel,
374·
бо.
Твммтѕ
-the
Catholic Church,
375·
6t.
Salíwbdbl—
St. Catharine,
37*·
—
>
63.
Weissentel»—the Lock Church,
37«·
63.
Celle—
the
Ludwig »
Cburch,
377·
Verden—
the Cathedral,
377·
Bremen—the Cathedral, 378·
Hamburo—St. Michael,
379*
------
St Catherine,
380.
-—
St. Tacobi,
381.
—-
St. NichoJat. 3&3.
-—·
St Peter,
«3. . -
Lübeck—
the Markn
Kirche, 3%
-----
the
little organ, ditto,
386.
-----
the tecond Church,
386.
WííMABr-St
Mary,
387.
Peelebero—
388.
Berlim—
St
Mary, 388t
78.
КмяшАгл—
the Cathedral Churchi
389·
LEirao—the
Unitenłty
Church, 39J·
CmDEN-the Royal Catholic Church,
63.
64.
65.
66.
69.
70.
7«.
7».
73.
74.
8:
------
St Thonuu,
360.
------
the
Tempte
neuf,
360.
Funivie ir Brssoau—
the Cathedral,
361.
40. -—■
Oc
Lutheran Church.
363.
39·
«S-
86.
87.
------
the Royal Church of the
St1
St
__
the HurcľcTtbe
Holy Cron.
394*
Freibero
im
Saxony—the Cathedral,
395·
Prague—St.
Dominico,
395· „ ,
GoERtm-St ret«
шла
St. P»«1-
the Cathedral of St. John,
CONTENTS.
91. Breslau—
Gioir
Organ, ditto,
399.
91
в.
------
the Little Organ, ditto,
399.
93. —
St. Mary Magdalen,
399.
93. —
St. Elizabeth,
400.
94. ------
Small Organ, ditto,
401.
95. ——
St.
Bernhardin, 401.
96. ------
Small Organ, ditto,
402.
97. ------
St. Vincent, 40a.
98. ------
St. Ethelbert,
403.
99. ------
Church of the Eleven Thousand
Virgins,
403.
100. ------
St.
Salvator,
404.
101. ------
the Cemetery Church,
404.
102. ------
St. Mauritius,
404.
103. ------
St. Barbara,
405.
104. ------
Music Room of the University,
405·
105.
Cracow—the Evangelist s Church,
405·
106.
Warsaw—the Lutheran Church,
406.
107.
Vienna—the Cathedral of St. Ste¬
phen,
406.
108. ------
St. Michael,
407.
109. ------
thé
Lutheran Church,
407.
110. ------
the Minorites Church,
408.
in.
-----
St. Peter,
408.
из.
Freiburg in Switzerland
—
the
Cathedral of St. Nicholas,
409.
113.
Hanover—the Market Church,
409.
1
14. ------
the Chapel Royal, 410.
115. ------
St. John,
411.
1 ¡6. Ulm—
the Cathedral,
411.
117.
France—the Cathedral of Carcas-
saune,
414.
118.
Paris—Notre-Dame-de-Lorette,
415.
119. ------
St.
Geneviève,
416.
120.
Elberfkld—the New Church,
416.
121.
Basle—the Minster Church,
417.
122.
Quittelsdorf—the Village Church,
417·
123.
Milbeitz—the Village Church,
418.
124.
Angstadt—the Church,
418.
125.
Lucerne—
the Cathedral,
419.
126.
WiNTíRTHUR—
420.
127.
Constance—the Cathedral,
421.
128.
129.
130.
131.
132.
133·
34-
a
a
«39·
140.
141.
142.
«43-
144·
a
a
149·
150.
151.
»53·
154-
at
»59-
160.
161.
162.
Stutgard—the
Stiftskirche, 421.
------
the Jews Synagogue,
422.
Weingarten—
the Benedictine Mo¬
nastery,
423.
Munich
—
the
Odeon.
Concert-room!
424.
Ratisbon—St. Emmeran,
425.
Botzen—the Parish Church,
425.
Rome
—
St. Peter,
426.-
------
second Organ,
428.
Milan—the Cathedral,
428.
------
second Organ,
429.
—
St
Alessandro,
420.
Сомо—
the Cathedral,
430.
——
Church of the
Santissimo Croci¬
fisso,
431.
Florence—St. Gaetano,
432.
Genoa—Santa
Mariades
Vignes,
432.
------
the Carigrana Church,
433.
------
Cathedral of St. Pierre,
433.
Siena—the Cathedral,
434.
Seville—the Cathedral,
434.
------
the second Organ, ditto,
437.
Cologne—the Cathedral,
438.
Rome—St. Peter s (new design), 44a
Bombay—the Cathedral,
443.
------
Town Hall,
443.
America.
Boston—Tremont Temple,
44$.
------
Muiic Hall,
446.
New York—Trinity Church,
448.
—
Church of the Annunciation,
449.
------
Brooklyn Tabernacle,
450.
------
Trinity Chapel,
452.
California
—
Presbyterian Church,
Newfoundland—St. John s Cathe¬
dral,
453.
New Zealand (Wellington)—St.
Paul,
454-
Australia (Melbourne), Town
Hall,
455.
------
(Adelaide)—Town Hall,
456.
British Organs—London and its Environs.
163.
164.
165.
ібб.
167.
168.
169.
170.
171.
172.
73·
»74·
її
a
St. Paul s Cathedral,
45?.
Westminster Abbey,
458.
Temple Church,
459.
Exeter Hall,
462.
Royal Albert Hall,
463.
Westminster Aquarium,
465.
Crystal
Pihce/W
Alexandra Palace,
468.
Bow and Bromley Institute,
470.
The Hall, Regent s Park,
470,
Royal Normal College and Academy
of Music for the Blind, Upper Nor¬
wood,
472.
Chapel Royal, Whitehall,
473.
St. Margaret s, Westminster,
474.
St. James s, Piccadilly,
475·
Chapel Rl St. James s,
476.
Regent s Park,
476.
179-
St. Martin-in-the-Fiekl»,
477·
Ι8α
Christ Church, Newgate Street,
478.
181.
St Lawrence Jewry, GutHhall,
479.
182.
Royal Sardinian
СЬаглі,
Lincoln s
Inn-Fields, 48a
183.
ChurchofStPeter.Eaion Square,^!.
184.
Foundling Hospital,
482.
185.
Christ Church, Westminster Road,
483.
186.
St John the Evangelist, Wilton Road,
Pimlico,
484-
187.
St. Gabriel s Church, Pimlico,
485.
1S8. St. Paul s, Wilton Place, Knights-
bridge,
486.
189.
The Oratory, Brompton,
487.
190.
Parish Church, Kensington,
488.
191.
Church of St Mary AMermary, Queen
Victoria Street,
489.
192.
St Sepulchre s,
489.
CONTENTS.
193·
«94-
«9!
V
197.
19І
«99-
300.
MI.
303.
303.
304.
я
St. Andrew1·,
Holborn, 49»·
St. Peter s, Comhffl, 491-
St. Michael·», CornhUl,
49»·
St. Stephen «, Wallbrook,
49З·
St. Mary^t-Hffl,
494· „
St. Michael a, Chester Square,
495·
St Saviour » Southwark,
496.
St. Oteve s, Southwark,
497.
St. Junes *, Bemondsey,
497-
_..
Pancru Church,
499.
All Saint« , Kensington Park,
$00.
City Temple,
$00.
St.
Güej í,
CamberweU,
501.
Holy Trinity, Paddington,
$03.
I
208.
¡300.
! 310.
! 311.
¡«í.
¡■»«3·
314.
316.
З17.
218.
319.
West London Synagogue,
503.
South Hackney Church,
$03.
St. Mary s, Stoke Newington,
$04.
St. Matthew s, Upper Clapton,
$0$.
St. Anne s, Limehouie,
505.
Christ Church, Spitalfields,
$06.
St. Luke s Church, Old Street Road,
S°7·
St. Mary * Catholic Chapel, Moor-
fields,
$08.
Royal Hospital, Greenwich,
$09.
Lee Church, Kent,
509.
St. Mary s, Clapham,
510.
Hampton Court Palace, $ti.
Country Organs.
330.
331.
333.
333.
334.
It
It
339.
»30.
331.
333.
333.
»34.
IP:
S
Windsor—St. George s Chapel,
$13.
------
St. George s
НЙ1,
Ş13.
Torquay—St. John « Church,
$13.
Gloucester—Cathedral,
515.
Tkwkesbury—Abbey Church,
$1$.
Hereford—Cathedral,
$16.
WoaciîT»»—
Cathedral,
517.
--------- —
Transept,
518.
STRATFORD-ON-AVON—5I9.
Birmingham—Town Hall,
5».
LtCHFiKLD
—
Cathedral,
«31.
Shrewsbury—St. Mary s,
$33.
-----
St. Chad s,
5*3-
Chewer—Cathedral,
$34.
Livrrfool—
Great George Street
St. George s Hall,
5*5.
•
Collegiate Institution,
527
*
St* Mft
збі.
CHOfcLEY—Parish Church, SJt.
збз.
PiTtxsFiELD—Pariah Church,
55 ·
363.
Durham—Cathedral,
$$з.
304.
Lincoln—Cathedral,
553.
зб$.
Lincolnshire—Centenary Chapel,
Botton,
553.
»66. ------
Parish Church, Boston, SS4·
367.
Southwell—Collegiate Church,
555·
ató.
Nottingham — St. Jury** Church,
a«9.
370.
«71.
37a.
naie
iasunmon,
1
_ - -
argaret i Church,
___
Wesley Chapel, Stanhope Street,
5««.
339.
34a
341.
34a.
»43-
»49.
ajo.
539.
HüDOERSFlBLD
—
BttJttOU
Road
Chapel,
$30.
Ashtow-uhder-Lysb—
531.
Stockport—
Sunday School,
53».
Oldham—Pariah Church,
533.
Salisbury—Cathedral,
534-
Halifax—-Parish Church, SiS.
------
AU Souto Chatch,
535.
Bradford—Eastbrook Chapel,
536.
Leeds—Town Hall,
537.
York Minster—S39. ~
—
The Nave Organ,
541.
York—New Street Wesleyan Chanel,
$4%
— Méchame»·
HaU,
557·
------
Derby Road Chapel,
557-
------
Unitarian Chapel,
$$8.
NoRTHAMrroN
—AU
SaW Church,
ceo,
373.
——ExchangeRoom,
$6α ,
374.
Newcastle-on-Tyne
—
St Marys
Cathedral,
560.
375. __
Town Hall, $6a.
376.
LuDLOW—Church,
$63.
377.
Skerborne—Abbey,
563.
378.
Lynn Reois—St. Margaret s,
$64.
379.
Norwich—Cathedral,
$65.
»so.
------
St. Peter Mancroft,
$66.
a8i. Gt. Yarmouth—St. NicholMChurch,
$67.
aSa. Ely—Cathedral,
$68.
З83.
Cambridge—Trinity College,
$68.
af*.
—
-St. John s
CoÜMte,
569.
38$.
Bedford—St. Paul sWeueyan Chapel,
$70,
Rochester—Cathedral,
$71.
Tonbridge
Wells—Trinity Church,
$.
»S«·
»53·
»54-
ass.
$43·
387.
388.
389.
aoo.
391.
393.
»93·
з4бк
DOHCASTER—St. George s, S47.
SejttfmB-St.
Malie s éathrfie
Ch»rch,$5a
аот.
з«.
ЗО!.
57··
Canterbury—Cathedral,
$73.
Cranbrook—Parish Church,
573·
Chichester—Cathedral,
573·
Winchester—Cathedral,
$74·
RiPON—Cathedral,
575.
Wells—Cathedral.JTO.
Bristol—Victoria Rooms,
¡77·
—
St. James s Church
578.
—
Coliton Hall.
579.
—
Cathedral,
sáa
Llandaff—Cathedral,
$81.
Exeter—Cathedral,
sài.
CONTENTS.
303.
Brighton—Great Concert Hall,
584.
303. —
Dome Pavilion, Concert Room,
585.
304. ------
St. Margaret s Church,
$86.
305.
Oxford—Magdalen College,
587.
307.
Christ Church Cathedral,
588.
308.
Radlby—St. Peter s College,
589.
309.
Henley-on-Thames—
590.
310.
Surrey—Beddington Church,
590.
311.
St. Asaph s—Cathedral,
591.
312.
St. David s—Cathedral,
592.
313.
Lancastxr—St. Thomas Church,
593.
3»4-
34.
316.
З17.
318.
3«9-
3».
321.
322.
323.
3*4·
3*5-
Preston—Parish Church,
594.
Warrington—
Parish Church,
594.
Dunham Massey
—
St. Margaret s
Church,
595.
Wednesbury—Town. Hall,
596.
Bolton—
Town
Hall,
597.
------
St. Matthew s,
598,
------
All Saints ,
599.
Manchester—St. Luke s,
600.
------
Holy Trinity,
боа
------
Free Trade HaU,
tei.
------
St. Peter s,
602.
—
Cathedral,
603.
Organs
m
Scotland, Ireland, &c.
326.
Glasgow—the City Hall,
604.
327. ------
Public Hall,
tes.
328.
Edinburgh—the University,
607.
329. ------
the Music HaU,
608.
330.
Dundee—Kinnaird HaU,
608.
331.
Paisley—Abbey,
610.
332.
Kilmarnock—Corn Exchange HaU,
610.
333.
Inverness—St. Andrew s Cathedral,
611.
334.
Dublin—St Patrick s Cathedral,
612.
335.
DuBLlN--ChristChurchCathedral,6l3,
33Ł
------
Trinity College Chapel,
613.
337.
Dublin—St.
Nichela·
Rom. Catholic
Church,
614.
338. ------
St. Francis
Xavier,
615.
339.
BsLFAST-i-St. Malachy,
615.
340.
Cashel—Rom. Cath. Cathedral,
біб.
341.
Kilkenny—St. Canice,
617.
342.
Cork—St. Peter and Paul s,
617.
Notes,
619.
A Table of Foreign and English Equivalent Term·,
621.
LIST OF WOODCUTS, DIAGRAMS,
Ла
6.
Ancient instrument of the organ kind,
from a Cilician sculpture,
3.
Ancient organ from
Kochers
Mutur·
The^Micraphe d Aruchin, a He¬
brew instrument from the same,
6.
Figure of an organ, from the
Ал·
moties
of Hereof Alexandria,
ία
An altar organ, from the Pmumatia
of Hereof Alexandria,
11.
Ancient organ from the sculptures on
the obelisk at Constantinople,
16.
Ancient organ from the MS. Psalter of
Eadwine, in the library of Trinity
College, Cambridge,
гл.
Ancient organ and various musical
in¬
strumenti
of the time of Charle¬
magne, from Gori s Tkatntrut
Dfth
ία
II.
12.
»3-
14·
»5·
ιδ.
Ancient key-board, from Pnetorius
Tktatrum
Imtrumtitíormm,
33.
An organist performing
apon
an in¬
strument with broad
муѕ,
from
Gafiurius Tktoriea Afv.ice,
34.
Curious mode of blowing, from Pneto¬
rius Tktatrum InstrumtfUcrum,
35.
The bellows,
à la lanterne,
from
Mtneraau!
Harmonie
IfmvtrnUe,^
The
Regals,
from
Lacinias
Mutur·
M
4«.
The
positive
organ, from WUphlingse-
ders EnUmata
Mutua
Practice,
4»·
The old organ of Lincoln Cathedral,
from Dugdale s Mmasticm,
81.
Autograph of Bernard Smith, us.
CONTENTS.
The Construction
оу
the Organ.
No.
6
»nicne·,
in
breasted
form,
6.
in the ogee form,
6.
fl f
to.
6.
Arrangement of pipes in a semicircle,
б.
——
in an angle, p.
9·
ία
її.
ia.
З-
14.
îi:
IS:
19.
ao.
ai.
aa.
аз.
*4·
at
»7·
9
З*
З«·
За.
33·
34-
Ρ:
39·
40·
4a-
43-
44·
*
49·
SO.
51.
5a-
53·
S4-
i*
It
it
61.
ба.
«3-
-------------------8.
-------------------8.
The diagonal bellows,
ta
The horaonUl ditto,
10.
Section of diagonal ditto,
ta.
------
ta.
The top-board,
14.
-----
U.
The middle-board,
15.
The bottom-board,
15.
Section of horizontal bellows, 1
5.
Inverted ribs,
15.
Direct parallel nbs,
16.
Triangular ribs,
16.
Valves in the middle and bottom-
boards,
16.
------16.
The middle frame,
17.
Folds of the reservoir,
18.
Folds of a single feeder,
18.
Cuckoo feeder,
31.
Folds of ditto, at.
Cuckoo feeder with reversed lining,
at.
The double feeder,
зі.
The vertical feeder,
33.
The concussion bellows,
23.
The anemometer,
З4.
Front view of a wind-chest,
37.
Side view of a wind-chest,
38.
The sound-board, ao.
The box-pallet,
33.
The jointed pallet,
33.
The valve pellet,
34.
The relief pallet,
34.
The table,
35.
The upper-boards,
39.
The sfiders and bearers,
40.
The pipe-racks,
43.
Groove arrangements,
44.
Skte view of Manual keys,
48.
Side view of Pedal keys,
49-
Thebn-ftamemoveianCso.
The
sticken,
5a
ТЪсЪаскЬТ,
51.
The trackers,
51.
The rollers,
5».
The
мавши
coupler,
54.
Ţbestidmg
coupler,
SS·
No.
ft
1°.
71-
7a.
73·
74-
S
£:
81.
82.
Із·
І4·
Ř
89.
90.
9«·
92.
93·
94-
9Ş.
64!
The
stonando
coupler,
56.
99.
100,
toi.
toa.
103.
«H·
tos.
іоб.
107.
108.
109-
по.
IU.
на.
З-
»4-
m.
116.
117.
и8.
U9.
ізо.
The Pedal roller movement,
57.
The Pedal coupler,
57.
The pneumatic action, closed,
ба
------
open,
60.
Hill s pneumatic action,
61.
69*.
Bishop and Son s pneumatic
action, 6a.
The wooden-trundle draw-stop action,
64.
The iron-trundle ditto,
65.
The pneumatic draw-stop action,
66.
Joy s hydraulic engine,
67.
Willis s pallet,
70.
Compensatory pallet.
70.
Pneumatic power bellows,
71.
Section of divided sound-board,
75.
Bryceson s palleted sound-board,
77.
------77.
------78.
Section of electro-pneumatic arrange¬
ment,
80.
------80.
-----
8t.
------83.
The composition Pedal action,
89.
The Tremulant,
94.
Open cylindrical pipe,
юз.
Stopped cylindrical pipe, 10a.
Half-stopped cylindrical pipe,
102.
Cylindrical pipe (the Clarionet),
103.
—-
(the Vox Humana),
103.
Conical pipe, with a bell,
103.
------
(the Spitzflote),
103.
Conical pipe (the Gemshom),
103.
Inverted cone-shaped pipe,
104.
—
(the Dolcan),
104.
—
surmounted by a bell,
104.
Four-sided pipe,
104.
Stopped four-sided pipe,
105.
Pyramidal pipe,
105.
Inverted pyramidal pipe,
105.
------105.
Portion of body of a metal flue pipe,
106.
Foot of ditto,
106,
Languid of ditto,
107.
Wooden flue pipe,
108.
The
Hohl flute, 108.
Mouth of a block pipe,
109.
A wood languid pipe,
109.
Section of a German wood pipe,
112.
Sectionof
an£n¿#Mraetalpipe,
113.
Section of a Gtrman metal pipe, I
«3.
The block of a reed pipe,
115.
The reed,
115.
The tongue,
116.
The tuning wire,
116.
The tuning horn,
184.
------184.
Mop
osed
in tuning,
184.
|
| any_adam_object | 1 |
| author | Hopkins, Edward John 1818-1901 Rimbault, Edward F. 1816-1876 |
| author_GND | (DE-588)116981725 (DE-588)129037230 |
| author_facet | Hopkins, Edward John 1818-1901 Rimbault, Edward F. 1816-1876 |
| author_role | aut aut |
| author_sort | Hopkins, Edward John 1818-1901 |
| author_variant | e j h ej ejh e f r ef efr |
| building | Verbundindex |
| bvnumber | BV036735162 |
| ctrlnum | (OCoLC)705922430 (DE-599)BVBBV036735162 |
| edition | 3. ed., [Faks. der Ausgabe London, 1878] |
| era | Geschichte gnd |
| era_facet | Geschichte |
| format | Book |
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| id | DE-604.BV036735162 |
| illustrated | Illustrated |
| indexdate | 2024-07-09T22:46:54Z |
| institution | BVB |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-020652744 |
| oclc_num | 705922430 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 630 S. Ill., Notenbeisp. 22 cm |
| publishDate | 2009 |
| publishDateSearch | 2009 |
| publishDateSort | 2009 |
| publisher | Travis & Emery |
| record_format | marc |
| spelling | Hopkins, Edward John 1818-1901 Verfasser (DE-588)116981725 aut The organ, its history and construction a comprehensive treatise on the structure & capabilities of the organ, with specifications and suggestive details for instruments of all sizes. intended as a handbook for the organist and the amateur : preceded by an entirely new history of the organ, memoirs of the most eminent builders of the seventeenth and eighteenth centuries, and other matters of research in connection with the subject by Edward J. Hopkins, Edward F. Rimbault ; with preface and corrections by W.L. Sumner 3. ed., [Faks. der Ausgabe London, 1878] London Travis & Emery 2009 630 S. Ill., Notenbeisp. 22 cm txt rdacontent n rdamedia nc rdacarrier Includes index Geschichte gnd rswk-swf Organ (Musical instrument) Orgel (DE-588)4043844-2 gnd rswk-swf Orgelbau (DE-588)4043846-6 gnd rswk-swf Orgel (DE-588)4043844-2 s Orgelbau (DE-588)4043846-6 s Geschichte z DE-604 Rimbault, Edward F. 1816-1876 Verfasser (DE-588)129037230 aut Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020652744&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Hopkins, Edward John 1818-1901 Rimbault, Edward F. 1816-1876 The organ, its history and construction a comprehensive treatise on the structure & capabilities of the organ, with specifications and suggestive details for instruments of all sizes. intended as a handbook for the organist and the amateur : preceded by an entirely new history of the organ, memoirs of the most eminent builders of the seventeenth and eighteenth centuries, and other matters of research in connection with the subject Organ (Musical instrument) Orgel (DE-588)4043844-2 gnd Orgelbau (DE-588)4043846-6 gnd |
| subject_GND | (DE-588)4043844-2 (DE-588)4043846-6 |
| title | The organ, its history and construction a comprehensive treatise on the structure & capabilities of the organ, with specifications and suggestive details for instruments of all sizes. intended as a handbook for the organist and the amateur : preceded by an entirely new history of the organ, memoirs of the most eminent builders of the seventeenth and eighteenth centuries, and other matters of research in connection with the subject |
| title_auth | The organ, its history and construction a comprehensive treatise on the structure & capabilities of the organ, with specifications and suggestive details for instruments of all sizes. intended as a handbook for the organist and the amateur : preceded by an entirely new history of the organ, memoirs of the most eminent builders of the seventeenth and eighteenth centuries, and other matters of research in connection with the subject |
| title_exact_search | The organ, its history and construction a comprehensive treatise on the structure & capabilities of the organ, with specifications and suggestive details for instruments of all sizes. intended as a handbook for the organist and the amateur : preceded by an entirely new history of the organ, memoirs of the most eminent builders of the seventeenth and eighteenth centuries, and other matters of research in connection with the subject |
| title_full | The organ, its history and construction a comprehensive treatise on the structure & capabilities of the organ, with specifications and suggestive details for instruments of all sizes. intended as a handbook for the organist and the amateur : preceded by an entirely new history of the organ, memoirs of the most eminent builders of the seventeenth and eighteenth centuries, and other matters of research in connection with the subject by Edward J. Hopkins, Edward F. Rimbault ; with preface and corrections by W.L. Sumner |
| title_fullStr | The organ, its history and construction a comprehensive treatise on the structure & capabilities of the organ, with specifications and suggestive details for instruments of all sizes. intended as a handbook for the organist and the amateur : preceded by an entirely new history of the organ, memoirs of the most eminent builders of the seventeenth and eighteenth centuries, and other matters of research in connection with the subject by Edward J. Hopkins, Edward F. Rimbault ; with preface and corrections by W.L. Sumner |
| title_full_unstemmed | The organ, its history and construction a comprehensive treatise on the structure & capabilities of the organ, with specifications and suggestive details for instruments of all sizes. intended as a handbook for the organist and the amateur : preceded by an entirely new history of the organ, memoirs of the most eminent builders of the seventeenth and eighteenth centuries, and other matters of research in connection with the subject by Edward J. Hopkins, Edward F. Rimbault ; with preface and corrections by W.L. Sumner |
| title_short | The organ, its history and construction |
| title_sort | the organ its history and construction a comprehensive treatise on the structure capabilities of the organ with specifications and suggestive details for instruments of all sizes intended as a handbook for the organist and the amateur preceded by an entirely new history of the organ memoirs of the most eminent builders of the seventeenth and eighteenth centuries and other matters of research in connection with the subject |
| title_sub | a comprehensive treatise on the structure & capabilities of the organ, with specifications and suggestive details for instruments of all sizes. intended as a handbook for the organist and the amateur : preceded by an entirely new history of the organ, memoirs of the most eminent builders of the seventeenth and eighteenth centuries, and other matters of research in connection with the subject |
| topic | Organ (Musical instrument) Orgel (DE-588)4043844-2 gnd Orgelbau (DE-588)4043846-6 gnd |
| topic_facet | Organ (Musical instrument) Orgel Orgelbau |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020652744&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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