Revival: Dictionary of the Organ (1914) by Carl Locher

Author:Carl Locher [Locher, Carl]
Language: eng
Format: epub
Tags: Social Science, Media Studies
ISBN: 9781351344708
Google: KlEPEAAAQBAJ
Barnesnoble:
Goodreads: 40986211
Publisher: Routledge
Published: 2018-12-20T03:14:43+00:00

Note

1 These proportions are not, it is true, mathematically exact (see Melde, Akustik, p. 277); nevertheless, they designate the proportions in use in organ-building.

P

Pedalauslosung (Pedal-release), automatic. See below.

Pedalcollectiven (Ger.; FT.,Tirasses collectives). Collective pedals. It often happens that, in playing the full organ, the organist wishes to change suddenly to a feebler manual. But his “Tutti” pedal can then be employed only for the Great. One therefore finds in fairly large organs as many pedal buttons as there are manuals. At the moment of leaving the Great manual, the organist has only to press the button corresponding in strength to the manual which he desires to employ, and he can then continue to use the pedals without being in any way prevented from returning to the original manual when he wishes it. Supposing that the organist wishes to change suddenly from a “Tutti” to a feeble Echo manual, say, the 4th; he simply presses button No. 4, and his pedal will be reduced to a Harmonicabass or an Echobass.

Among others, Heinrich Schiffner, the excellent organ-builder of Prague, has placed a remarkable kind of automatic pedal-release in the Zwickau organ. It consists in this, that for the 2nd, 3rd, or 4th manual the degree of power in the pedal regulates itself without any outside influence, and this immediately on pressing down one key of the 2nd, etc., manual. The question of an automatic pedal-release has stimulated many organ-builders to practical experiments and improvements. The automatic pedal-release can, besides, be fixed subsequently, assuming, of course, that the console is constructed purely pneumatically, and that the tubular-pneumatic action works by means of released air-pressure. The switch should act dynamically to correspond to the last manual played until the key of another manual is pressed down. There are now, besides, convenient releasing contrivances made for the switch. In modern pneumatic organs this indispensable arrangement is generally in use.

Philomela (“Nightingale”). A kind of Concert Flute, open, with double lips, of delicate and pleasing intonation, appearing often in organs built by Hook & Hastings, among others—e.g. at Cincinnati. This stop is also found as 8’ in the Passau Cathedral organ, and in that of St Andrew’s (Mauraches).

Physharmonica. A very soft 8’ free reed stop, in which the metal tongue, instead of striking on the edge of the groove, vibrates freely within it (see also CLARINET). It is ordinarily enclosed in a special box, and has no real tube. A Physharmonica placed in an independent swell-box often produces charming effects, e.g. as an 8’ stop in the Berne Cathedral (Haas-Goll); as 16’ and 8’ in Brunswick Cathedral (Furt-wängler & Hammer)—frequently mentioned in this book; and in the Freiburg (Mooser) and Lausanne (Kuhn) Cathedrals, where it has been built with sound-receivers and is of charming effect; also, as 16’, in the Marienkirche at Lübeck (Schulze). (See REED STOPS.)

In the Convent organ at Einsiedeln I have found, under the designation VOX Humana—evidently a mistake,—a fine Physharmonica provided with bells. In the Magdeburg Cathedral organ I have found a Harmonium 8’, a stop identical with the Physharmonica.

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