MUSICAL INSTRUMENTS— THE ORGAN. 



625 



music. Each of these eminent musicians assisted in the improve- 

 ment of the instrument by suggestions given to the celebrated 

 builders of his time. The builders of the seventeenth and eight- 

 eenth centuries were great enthusiasts in their art, and every 

 fresh development in the region of tones and effects was intro- 

 duced with considerable eclat. Of the old effects still in use, the 

 Kremhorn (Cremona), the Gemshorn, and Hohl flute stops are 

 most generally known. As 

 we behold to-day the magnifi- 

 cent instruments in European 

 and American churches and 

 concert auditoriums from the 

 workshops of the representa- 

 tive builders of both conti- 

 nents, we are given much to 

 contemplate from a mechan- 

 ical and artistic point of view, 

 while the wonderful musical 

 effects that they are capable 



Fig. 3. — Curious Drawing from MS. Psaltee 

 OF Edwin, in the library of Trinity College, 

 Cambridge, England. 



of producing tend to fill us with awe and profound pleasure. 

 Among the most famous of the old organs in Europe is the 

 Haarlem instrument, built by Christian Miiller, of Amsterdam 

 (17o5-'38). This is celebrated as one of the largest and finest in 

 the world. It has a manual compass of 51 notes, CC to D in alt, 

 and a pedal compass of 27 notes, CCC to tenor D. It has 60 

 stops and 4,088 pipes, divided as follows : Great organ, 16 stops, 

 1,300 pipes ; choir, 14 stops, 1,268 pipes; echo, 15 stops, 1,098 pipes; 

 pedal, 15 stops, 513 pipes. The chief accessory stops, movements, 



etc., are: (1) Coupler choir to 

 great ; (2) coupler echo to 

 great ; (3, 4) two tremulants ; 

 (5) wind to great organ; (6) 

 wind to choir organ ; (7) wind 

 to echo organ ; (8) wind to 

 pedal organ — with twelve bel- 

 lows nine feet by five. This 

 magnificent instrument lacks 

 the advantages of modern or- 

 gans in the general action 

 mechanism. The Haarlem organ can not be played without the 

 expenditure of considerable muscular energy. The organist has 

 to strip to his duties like a wrestler, and when the performance is 

 over he withdraws covered with perspiration. Though endowed 

 with wonderful musical effects in the extent and variety of its 

 stops and combinations, these have been lost hitherto, owing to 

 the disabilities of the manual and pedal action. Modern develop- 

 TOL. SL. — 43 



Fig. 4. — From an Ancient MS. 



