STOP-KEYS.
On looking at the console of a modern organ the observer will be struck
by the fact that the familiar draw-stop knobs have disappeared, or, if
they are still there, he will most likely find in addition a row of
ivory tablets, like dominoes, arranged over the upper manual. If the
stop-knobs are all gone, he will find an extended row, perhaps two rows
of these tablets. These are the _stop-keys_ which, working on a
centre, move either the sliders in the wind-chest, or bring the various
couplers on manuals and pedals on or off.
[Illustration: Fig. 8. Console, Showing the Inclined Keyboards First
Introduced Into This Country by Robert Hope-Jones]
We learn from Dr. Bédart that as early as 1804 an arrangement
suggestive of the stop-key was in use in Avignon Cathedral. William
Horatio Clarke, of Reading, Mass., applied for a patent covering a form
of stop-key in 1877. Hope-Jones, however, is generally credited with
introducing the first practical stop-keys. He invented the forms most
largely used to-day, and led their adoption in England, in this
country, and indeed throughout the world.
[Illustration: Fig. 9. Console on the Bennett System, Showing
Indicator Discs]
Our illustration (Fig. 8) gives a good idea of the appearance of a
modern Hope-Jones console. The stop-keys will be seen arranged in an
inclined semi-circle overhanging and just above the keyboards. Fig. 9
shows a console on the Bennett system. Figs. 10 and 11, hybrids, the
tilting tablet form of stop-keys being used for the couplers only.
[Illustration: Fig. 10. Console of Organ in Trinity Church, Boston,
Mass. Built by Hutchings Organ Co.]
There is much controversy as to whether stop-keys will eventually
displace the older fashioned draw-knobs.
[Illustration: Fig. 11. Console of Organ in College of City of New
York. Built by The E. M. Skinner Co.]
A few organists of eminence, notably Edwin H. Lemare, are strongly
opposed to the new method of control, but the majority, especially the
rising generation of organists, warmly welcome the change. It is
significant that whereas Hope-Jones was for years the only advocate of
the system, four or five of the builders in this country, and a dozen
foreign organ-builders, are now supplying stop-keys either exclusively
or for a considerable number of their organs. Austin, Skinner, Norman
& Beard, Ingram and others use the Hope-Jones pattern, but Haskell,
Bennett, Hele and others have patterns of their own. It is a matter of
regret that some one pattern has not been agreed on by all the builders
concerned.[1]
CONTROL OF THE STOPS.
In older days all stop-keys were moved by hand, and as a natural
consequence few changes in registration could be made during
performance.
Pedals for throwing out various combinations of stops were introduced
into organs about 1809; it is generally believed that J. C. Bishop was
the inventor of this contrivance.
Willis introduced into his organs pneumatic thumb-pistons about the
year 1851. These pistons were placed below the keyboard whose stops
they affected.
T. C. Lewis, of England, later introduced short key-touches arranged
above the rear end of the keys of the manual. Depression of these
key-touches brought different combinations of stops into use on the
keyboard above which they were placed. Somewhat similar key-touches
were used by the Hope-Jones Organ Co. and by the Austin Organ Co.
Metal buttons or pistons located on the toe piece of the pedal-board
were introduced by the ingenious Casavant of Canada. They are now
fitted by various builders and appear likely to be generally adopted.
These toe-pistons form an additional and most convenient means for
bringing the stops into and out of action.
At first these various contrivances operated only such combinations as
were arranged by the builder beforehand, but now it is the custom to
provide means by which the organist can so alter and arrange matters
that any combination piston or combination key shall bring out and take
in any selection of stops that he may desire. Hilborne Roosevelt of
New York, was the first to introduce these adjustable combination
movements.
The introduction of the above means of rapidly shifting the stops in an
organ has revolutionized organ-playing, and has rendered possible the
performance of the orchestral transcriptions that we now so often hear
at organ recitals.
In order to economize in cost of manufacture, certain of the
organ-builders, chiefly in America and in Germany, have adopted the
pernicious practice of making the combination pedals, pistons or keys
bring the various ranks of pipes into or out of action without moving
the stop-knobs.
This unfortunate plan either requires the organist to remember which
combination of stops he last brought into operation on each keyboard,
or else necessitates the introduction of some indicator displaying a
record of the pistons that he last touched. In the organ in the
Memorial Church of the 1st Emperor William in Berlin, the builder
introduced a series of electric lights for this purpose. This device
can be seen in use in this country.
When this plan is adopted the player is compelled to preserve a mental
image of the combinations set on every piston or pedal in the organ and
identify them instantly by the numbers shown on the indicator--an
impossibility in the case of adjustable combinations often
changed--impracticable in any case.
Almost all the greatest organists agree in condemning the system of
non-moving stop-knobs, and we trust and believe that it will soon be
finally abandoned.
[1] Organists find, after using them a short time, that a row of
stop-keys over the manuals is wonderfully easy to control. It is
possible to slide the finger along, and with one sweep either bring on
or shut off the whole organ.