Organ-stops and their artistic registration : names, forms, construction, tonalities, and offices in scientific combination . lly a solo one, andmost effective in that capacity, it is extremely valuable in combina-tion and artistic registration. Its pure and singularly liquid intona-tion, when not undesirably prominent, creates beautiful qualities ofcompound tone of an orchestral character, through its decided con-trast with the voices of the imitative string-toned and reed-tonedstops, with which it combines perfectly. In both its solo and com-binational offices, the Orchestral Flute is valuab
Organ-stops and their artistic registration : names, forms, construction, tonalities, and offices in scientific combination . lly a solo one, andmost effective in that capacity, it is extremely valuable in combina-tion and artistic registration. Its pure and singularly liquid intona-tion, when not undesirably prominent, creates beautiful qualities ofcompound tone of an orchestral character, through its decided con-trast with the voices of the imitative string-toned and reed-tonedstops, with which it combines perfectly. In both its solo and com-binational offices, the Orchestral Flute is valuable in both its8 ft. and 4 ft. pitches. ORCHESTRAL HORN.—The name given to the importantlingual stop, the voice of which imitates that of the Horn of theorchestra. For full particulars respecting formation, tone, etc., seeHorn. The Art of Organ-Building, Vol. II., pp. 463-4;and in The Organ of the Twentieth Century,pp. 438-9. * A fine quadrangular example is described and illustrated in The Art of Organ-Building, Vol. II., pp. 465-7: and in The Organ of the Twentieth Century, pp. 439-40. THEIR ARTISTIC REGISTRATION 205. ORCHESTRAL OBOE.—The lingual stop, of 8 ft. pitch, voicedto imitate the tones of the Oboe of the orchestra. Both in formationand tonality it differs from the ordinary unimitative Oboe of theOrgan. The Orchestral Oboe, 8 ft., is of comparatively rareintroduction in even the large Organs of to-day; the difficulty ofproducing the peculiar voice ofthe orchestral instrument beingthe principal cause. Speaking ofthe Oboe, Berlioz correctly re-marks: It is especially a me-lodial instrument, having a pas-toral character, full of tenderness—nay, I would even say, of tim-idity. From such a descriptionone can readily realize the prob-lem before the pipe-maker andreed-voicer. The most success-ful examples of the OrchestralOboe, 8 ft., which have comeunder our direct observation arethose constructed by Willis, andinserted in several of his import-ant Organs, including th
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Keywords: ., bookcentury1900, bookdecade1920, booksubjectorganmu, bookyear1921
