The Recent Revolution in Organ Building Part 12

Aristide Cavaille-Coll died peacefully and without suffering on October 13, 1899, in his 89th year. He was interred with military honors. A simple service was held at Saint Sulpice and M. Charles Widor played once more, for the last time to the ill.u.s.trious constructor, the grand organ which was the most beautiful conception of his life.

We have in the course of our review mentioned some of Cavaille-Coll's princ.i.p.al contributions to the progress of organ-building, his development of harmonic stops and use of increased wind pressures. Mr.

W. T. Best, in 1888, in a report to the Liverpool Philharmonic Society as to the purchase of a new organ for their Hall, recommended Cavaille-Coll as "the best producer of pure organ tone" at that time.

Next to him he placed T. C. Lewis & Sons, then W. Hill & Son.

But the organists of the world have to thank Cavaille-Coll chiefly for the a.s.sistance he gave Barker in developing the pneumatic lever, without which the present tonal system with its heavy wind pressures would have been impossible of attainment.

"Blest be the man," said Sancho Panza, "who first invented sleep! And what a mercy he did not keep the discovery to himself!" Joseph Booth, of Wakefield, England, put what he called a "puff bellows" to a.s.sist the Pedal action in the organ of a church at Attercliffe, near Sheffield, in 1827. But he kept the invention to himself, and it only came to light 24 years after his death! Note on the other hand the perseverance of Barker. For five weary years he kept on trying one builder after another to take up his idea without avail, and then took it beyond the seas. Which reminds us of the Rev. William Lee, the inventor of the stocking-knitting frame in the time of Queen Elizabeth, whose countrymen "despised him and discouraged his invention. * * *

Being soon after invited over to France, with promises of reward, privileges and honor by Henry IV * * * he went, with nine workmen and as many frames, to Rouen, in Normandy, where he wrought with great applause." Thus does history repeat itself.

HENRY WILLIS.

The following sketch of the greatest organ-builder of the Victorian Era has been condensed from an interview with him as set forth in the London _Musical Times_ for May, 1898.

Henry Willis was born in London on April 27, 1821. His father was a builder, a member of the choir of Old Surrey Chapel, and played the drums in the Cecilian Amateur Orchestral Society. The subject of this sketch began to play the organ at very early age; he was entirely self-taught and never had a lesson in his life.

In 1835, when he was fourteen years of age, he was articled for seven years to John Gray (afterwards Gray & Davidson), the organ-builder.

During his apprenticeship he invented the special manual and pedal couplers which he used in all his instruments for over sixty years. He had to tune the organ in St. George's Chapel, Windsor, where he made the acquaintance of Sir George Elvey, who took a great fancy to the boy tuner.

While still "serving his time" and before he was out of his teens, Henry Willis was appointed organist of Christ Church, Hoxton. In the early fifties he was organist of Hampstead Parish Church, where he had built a new organ, and for nearly thirty years he was organist at Islington, Chapel-of-Ease, which post he only resigned after he had pa.s.sed the Psalmist's "three score years and ten." In spite of the engrossing claims of his business, Mr. Willis discharged his duties as organist with commendable faithfulness; he would often travel 150 miles on a Sat.u.r.day in order to be present at the Sunday services. In his younger days he also played the double-ba.s.s and played at the provincial Musical Festivals of 1871 and 1874.

After his apprenticeship expired he lived in Cheltenham for three years, where he a.s.sisted an organ-builder named Evans, who afterwards became known as a manufacturer of free reed instruments. They produced a model of a two-manual free reed instrument with two octaves and a half of pedals which was exhibited at Novello's, in London. Here Willis met the celebrated organist, Samuel Sebastian Wesley.

[Ill.u.s.tration: Henry Willis]

About the year 1847 Henry Willis started in business for himself as an organ-builder, and his first great success was in rebuilding the organ in Gloucester Cathedral. "It was my stepping-stone to fame," he says.

"The Swell, down to double C, had twelve stops and a double Venetian front. The _pianissimo_ was simply astounding. I received 400 pounds for the job, and I was presumptuous enough to marry."

For the Great Exhibition of 1851 in the Crystal Palace (then in Hyde Park), Mr. Willis erected a magnificent organ which attracted extraordinary attention and was visited by the Queen and Prince Consort. It had three manuals and pedals, seventy sounding stops and seven couplers. There were twenty-two stops on the Swell, and the Swell bellows was placed inside the Swell box. The manual compa.s.s extended to G in _altissimo_ and the pedals from CCC to G--32 notes.

There were other important features in this remarkable instrument which went a long way towards revolutionizing the art of organ-building.

First, the introduction of pistons, inserted between the key-slips, which replaced the clumsy composition pedals then in vogue. Again, to use Mr. Willis' own words, "that Exhibition organ was the great pioneer of the improved pneumatic movement. A child could play the keys with all the stops drawn. It never went wrong."

This organ was afterwards re-erected in Winchester Cathedral in 1852, and was in constant use for forty years before being renovated. It was also the means of procuring Willis the order for the organ in St.

George's Hall, Liverpool. "The Town Clerk of Liverpool wrote to me,"

said Mr. Willis, "to the effect that a committee of the Corporation would visit the Exhibition on a certain day at 6 A. M., their object being to test the various organs with a view to selecting a builder for the proposed new instrument in St. George's Hall. He asked me if I could be there. I was there--all there! The other two competing builders, X and Z, in antic.i.p.ation of the visit, tuned their organs in the afternoon of the previous day, with the result that, owing to the abnormal heat of the sun through the gla.s.s roof, the reeds were not fit to be heard! I said nothing. At five o'clock on the following morning my men and I were there to tune the reeds of my organ in the cool of the morning of that lovely summer's day. At six o'clock the Liverpool committee, which included the Mayor and the Town Clerk in addition to S. S. Wesley and T. A. Walmisley, their musical advisers, duly appeared. Messrs. X and Z had specially engaged two eminent organists to play for them. I retained n.o.body. But I had previously said to Best, who had given several recitals on my organ at the Exhibition, 'It would not be half a bad plan if you would attend to-morrow morning at six o'clock, as you usually do for practice.' Best was there. After the two other organs had been tried, the Town Clerk came up and said: 'We have come to hear your organ, Mr. Willis. Are you going to play it yourself?' I said, 'There's one of your own townsmen standing there (that was Best); ask him.' He did ask him. 'Mr. Best has no objection to play,' said the Town Clerk, 'but he wants _five_ guineas!' 'Well, give it to him; the Corporation can well afford it.' The matter was arranged. Best played the overture to 'Jessonda' by Spohr, and it was a splendid performance." The organ was quite a revelation to the Liverpudlians, and after talking it over in private for twenty minutes the committee decided to recommend Willis to the Council to build the organ in St. George's Hall. He had, however, serious differences with Dr. S. S. Wesley, who wanted both the manuals and pedals to begin at GG. "I gave in to him in regard to the manuals," said Mr. Willis, "but I said, 'unless you have the pedal compa.s.s to C, I shall absolutely decline to build your organ.'" And so the matter was compromised. But Willis lived to see the manual compa.s.s of his magnificent Liverpool organ changed to CC (in 1898). When the organ was finished he recommended that Best should be appointed organist, although Dr. Wesley officiated at the opening ceremony in 1855. Not only did Willis practically get Best appointed to Liverpool, but he had previously coached him up in his playing of overtures and other arrangements for the organ. "I egged him on," said the veteran organ-builder, and we all know with what results. Notwithstanding all that Best owed to Willis, he quarreled with him violently towards the close of his career over the care of the St. George's Hall organ. As Best told the writer, "not because Willis _could_ not, but because he _would_ not" do certain things in the way of repairs, that he claimed did not come under his contract. This led to the care of the organ being transferred to T. C.

Lewis & Sons, but it was given back to Willis after Best's death.

Mr. Willis gained a wide and deservedly high reputation as the builder of many Cathedral organs--upwards of sixteen. His largest instrument is that in the Royal Albert Hall, London. He designed it entirely himself; he had not to compete for the building of it, but had _carte blanche_ in regard to every detail.

There was an amusing incident in connection with deciding upon the pitch of the instrument. The authorities arranged that Sir Michael Costa, Mr. R. K. Bowley, then general manager of the Crystal Palace, and some of the leading wind-instrument players of the day, including Lazarus (a famous clarinetist), should attend at the factory to settle the question of the pitch of the organ. "They also brought a violinist," said Mr. Willis; "but I couldn't see what a fiddler, who is a very useful man in his way, had to do with settling the pitch. (I should tell you," added Mr. Willis, _sotto voce_, "that _I_ had formulated some idea of the proper pitch before these gentlemen arrived.) However, we duly proceeded, Costa presiding over the conclave. When they began to blow into their different instruments each man had a different pitch! It was a regular pandemonium! By and by we settled upon something which was considered satisfactory, and we bade each other good morning." The sequel need not be told. We leave it to our readers to draw their own conclusions as to whether the Royal Albert Hall organ was actually tuned to the pitch of Messrs. Costa, Bowley, Lazarus & Co., or to that previously decided upon by Mr. Willis.

He erected two large organs for the Alexandra Palace, and one in Windsor Castle with two keyboards, one in St. George's Hall, and one in His Majesty's Private Chapel, whereby the instrument is available for use in both places.

It was entirely owing to Willis' dominating personality that the organ in St. Paul's Cathedral was rebuilt in its present form. He had the old screen taken down and the old organ case, which happened to be alike on both sides, he cut in two and re-erected on each side of the choir. The change also involved the removal of the statues of Lord Nelson and Lord Cornwallis. When one of the committee asked him if he proposed to have two organists for his divided organ, he replied, "You leave that to me." And proceeded to invent[2] his tubular pneumatic action (see page 25). When this organ was used for the first time at the Thanksgiving service for the recovery of the Prince of Wales from typhoid fever in 1873, the pneumatic action for the pedals was not finished. Willis rigged up a temporary pedal board inside the organ near the pedal pipes and played the pedal part of the service music himself while George Cooper was at the keys in the regions above.

After the service Goss said to Ousley, who was present, "What do you think of the pedal organ?" "Magnificent!" replied the Oxford Professor. "You know that the pipes are a long way off; did the pedals seem to go exactly together with the manuals?" Goss asked.

"Perfectly," replied Ousley, "but why do you ask me in that way?" Then Goss let out the secret--for it was really a great secret at the time.

Willis' great hobby was yachting. He owned a 54-ton yacht named the _Opal_, and attributed the wonderful health he enjoyed to his numerous sea voyages. "I have circ.u.mnavigated the whole of England and Scotland," he said, "and I am my own captain. Those two men over there" (pointing to two of his employees working in the factory) "are my steward and shipwright. The steward is a fisherman--a fisherman being very useful as a weather prophet. * * * I do all the repairs to the yacht myself and have re-coppered her bottom two or three times. I also put entirely new spars into her, and there stands her old mast.

Some years ago I injured the third and fourth fingers of both my hands with the ropes pa.s.sing through them. These four fingers became bent under, and for a long time I had to play my services with only the thumb and two fingers of each hand. But Dr. Macready, a very clever surgeon, begged me to allow him to operate on my disabled fingers, with the result that I can use them as of old, or nearly so."

Henry Willis died in London on February 11, 1900, in his 80th year, deeply mourned by all who knew him, and was interred in Highgate cemetery. In the course of this work we have referred to the many improvements he effected in organ construction and reed voicing. As Sir George Grove said, his organs are celebrated for "their excellent engineering qualities." Clever, ingenious, dauntless and resourceful--qualities blended together with a plentiful supply of sound judgment and good common sense--were some of the striking characteristics of this remarkable man. He gave his personal attention to every department of his factory; nothing was too insignificant to claim his notice; his thoroughness was extraordinary--every pipe went through his hands. An organist himself, he was always thinking of the player in laying out his instruments. He had a remarkably inventive genius, which he turned to good account in the mechanical portions of his organs. He took infinite pains with everything and his enthusiasm knew no bounds. But, above all, he possessed in a striking degree that attribute which a similar successful worker once aptly described as "_obstinate_ perseverance." He had a strong aversion to newspaper men and sent them away without ceremony. While free from conceit, he was not always amenable to dictation, especially when he had disputes with architects--in which the architects were generally worsted.

He regarded his organ in St. Paul's Cathedral (rebuilt in 1899), as his _magnum opus_. "There is nothing like it in the world," he remarked, with pardonable pride, one Sat.u.r.day when Sir George Martin was playing that kingly king of instruments. To paraphrase the inscription on Purcell's monument in Westminster Abbey:--

"He has gone where only his own Harmony can be excelled,"

leaving behind him many n.o.ble specimens of his remarkable achievements.

ROBERT HOPE-JONES.

Robert is the third son of the late William Hope-Jones, Hooton Grange, Cheshire, England.

His father, a man of means, was prominent as one of the pioneers in organizing the volunteer army of Great Britain. He was musical, playing the cornet and having an unusual tenor voice. His mother (Agnes Handforth)--also musical and a gifted singer--was a daughter of the Rector of Ashton-under-Lyne, Lancashire,--a highly nervous woman.

[Ill.u.s.tration: Robert Hope-Jones]

There were nine children of the marriage--two girls and seven boys.

Robert appeared on the ninth of February, 1859. He inherited in exaggerated degree his mother's highly strung nervous nature.

Melancholy, weak and sickly as a child, he was not expected to live.

To avoid the damp and cold of English winters he was periodically taken to the south of France. Deemed too delicate for school, a private tutor was provided. Joining in sports or games was out of the question for so sensitive and delicate a youth,--what more natural, therefore, than that he should become a dreamer--a thinker? Too ill for any real study, his musical instincts drove him to the organ, and we find him playing for occasional services at Eastham Parish Church at the age of nine. After his father's death, when he was about fourteen, he spent a couple of years in irregular attendance at school, and at the time of his confirmation was persuaded that by superhuman effort of will his physical disabilities might be disregarded and a life of some value be worked out. Then began the desperate struggle that gradually overcame every obstruction and resulted in the establishment of an iron will and determination to succeed that no misfortunes have been able to quell.

His want of health greatly interfered with his career till he was nearly thirty years of age.

When fifteen he became voluntary organist and choir-master to the Birkenhead School Chapel. Two or three years later he simultaneously held a similar office at St. Luke's Church, Tranmere, where he trained a boy choir that became widely celebrated. For this Church he bought and set up a fine organ. He subsequently served as Churchwarden and was active in many other Church offices. He erected an organ in the Claughton Music Hall and organized and conducted oratorio performances in aid of various Church funds; training a large voluntary chorus and orchestra for the purpose. For Psalms whose verses are arranged in groups of three, he wrote what he called "triple chants"--a form of composition since adopted by other Church writers; he also composed Canticles, Kyries and other music for the services of the Church.

Though St. Luke's Church was situated in a poor neighborhood, the men and boys forming his choir not only gave their services but also gratuitously rang the Church bell, pumped the organ bellows, bought all the music used at the services, paid for the washing of the surplices and helped raise money for the general Church fund. Hope-Jones'

enthusiasm knew no bounds and he had the knack of imparting it to those who worked under him.

So earnest and energetic was this young man that in spite of indifferent health and without at once resigning his work at St.

Luke's, he became choirmaster and honorary organist of St. John's Church, Birkenhead, doing similar work in connection with that inst.i.tution. He trained both the latter-named choir together, and the writer (whose son was in St. John's choir) frequently a.s.sisted him by playing the organ at the services on Sunday. It was at this Church and in connection with this organ that Hope-Jones did his first great work in connection with organ-building. The improved electric action, movable console and many other matters destined to startle the organ world, were devised and made by him there, after the day's business and the evening's choir rehearsals. He had voluntary help from enthusiastic choirmen and boys, who worked far into the night--on some occasions all night. Certain of these men and boys are to-day occupying responsible positions with the Hope-Jones Organ Company.

All this merely formed occupation for his spare time. About the age of seventeen he began his business career. He was bound apprentice to the large firm of Laird Bros., engineers and shipbuilders, Birkenhead, England. After donning workman's clothes and going through practical training in the various workshops and the drawing office, he secured appointment as chief electrician of the Lancashire and Cheshire (afterwards the National) Telephone Company. In connection with telephony he invented a mult.i.tude of improvements, some of which are still in universal use. About this time he devised a method for increasing the power of the human voice, through the application of a "relay" furnished with compressed air. The principle is now utilized in the best phonographs and other voice-producing machines. He also invented the "Diaphone," now being used by the Canadian Government for its fog signal stations and declared to be the most powerful producer of musical sound known (in a modified form also adapted to the church organ).

About 1889 he resigned his connection with the telephone company in order that he might devote a greater part of his attention to the improvement of the church organ, a subject which, as we have seen, was beginning to occupy much of his spare time. He had private practice as a consulting engineer, but gradually his "hobby"--organ building--crowded out all other employment--much to his financial disadvantage and to the gain of the musical world.

His organ at St. John's Church, Birkenhead, became famous. It was visited by thousands of music lovers from all parts of the world.

Organs built on the St. John's model were ordered for this country (Taunton, Ma.s.s., and Baltimore, Md.), for India, Australia, New Zealand, Newfoundland, France, Germany, Malta, and for numbers of English cathedrals, churches, town halls, etc. Nothing whatever was spent on advertis.e.m.e.nt. The English musical press for years devoted columns to somewhat heated discussion of Hope-Jones' epoch-making inventions, and echoes appeared in the musical periodicals of this and other countries.

In spite of every form of opposition, and in spite of serious financial difficulties, Hope-Jones built organs that have influenced the art in all parts of the globe. He proved himself a prolific inventor and can justly claim as his work nine-tenths of the improvements made in the organ during the last twenty years. Truly have these words been used concerning him--"the greatest mind engaged in the art of organ-building in this or in any other age."

Every organist fully acquainted with his work endorses it, and upwards of thirty organ-builders have honored themselves by writing similar testimony. The Austin Organ Company, of Hartford, Conn., says: "We have taken considerable pains to study his system and to satisfy ourselves as to the results he has achieved. There is, we find, no doubt whatever that he has effected a complete revolution in the development of tone."

Sir George Grove, in his "Dictionary of Music and Musicians" (p. 551), says: "No reference to this description of action [electric] as set up in recent years would be complete without mentioning the name of Mr.

Robert Hope-Jones. * * * The researches in the realm of organ tone by Mr. Hope-Jones and others who are continually striving for excellence and the use of an increased and more varied wind-pressure (ranging from 3 to 25 inches) all combine to produce greater variety and superiority in the quality of organ tone than has ever existed before."