The organ in France : a study of its mechanical construction, tonal characteristics, and literature, with suggestions for the registration of French organ music upon American instruments . ance with individual , the adoption of either system means a saving ofspace and eost, which saving may be devoted to the addi-tion of other manual stops, or to the more complete pro-vision of desirable mechanical accessories. Against thismust be weighed what I believe to be the loss of inde-pendence, sonority and clearness in the Pedale, and ofindividuality in its various stops; and partic
The organ in France : a study of its mechanical construction, tonal characteristics, and literature, with suggestions for the registration of French organ music upon American instruments . ance with individual , the adoption of either system means a saving ofspace and eost, which saving may be devoted to the addi-tion of other manual stops, or to the more complete pro-vision of desirable mechanical accessories. Against thismust be weighed what I believe to be the loss of inde-pendence, sonority and clearness in the Pedale, and ofindividuality in its various stops; and particularly, inextreme cases, the sacrifice of what should be a degree ofpower determined by the relationship of the Pedale tothe organ as a whole. I am glad to say that American organ-builders are byno means unanimous in their approbation of these sys-tems ; while some employ them to a marked extent, othersare accustomed to use them only to a limited degree, if atall; and with great discretion. M. Mutin thus states his position with regard to the useof the systems of augmentation and borrowing: 1 Deutsche und Franzosische Orgelbaukunst. 2 Widor, in his preface to UOrgue de CHARLES MUTIN ADAPTATION: THE PEDALE 95 We sometimes make use of manual stops for the Pedalesuch as a soubasse taken from a 16 bourdon; a basse of 8,whose first notes are derived from the flute harmonique; sl stoppedbass of 8 taken from a bourdon of 8 of the first manual orthe Recit; but our borrowing never goes farther. Occasionally,when the space for the Pedale is very limited, we obtain stopsby dedoublement [duplication]: the flute of 16 may serve alsofor th.^ flute of 8, by adding an octave at the top. ... A Pedaleof six or eight stops may thus really possess only three orfour. . CHAPTER XIForeign Editions In the preceding chapter I have considered the generalsubject of the adaptation of French registration to Ameri-can organs, assuming that the indications given by thecomposer * have not been t
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectorganmusicalinstrume
