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Leader (1850-1860), 23rd August 1851, Edition Country of 2, Page 19

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      Country Cousins At The Theatres. Cherry ...

      heroine . There is a passage in Diderot which admirabl y points out this mistake : — " An actress weeps and does not move you : nay worse , her distorted features make you laugh ; an accent of her voice is dissonant ; a movement habitual to her in her grief shows her to you under an ungraceful aspect . The reason of this is that true passions have almost all some grimaces which the artist without tact and taste copies servilely , but which the great artist avoids . " It is very probable that a woman having stabbed herself would makegrimaces similar to those which distorted Mrs . Stirling ' s countenance ; but it was impossible for me to behold them with any other feeling than that of seeing a woman before me suffering from colic !

      Mrs . Stirling is too clever an actress in her own domestic line for me to hesitate in expressing my opinion of her recent experiments in Rachel's characters ; and I trust that my repeated praise of her will soften what is harsh in the crudity of the foregoing . Mr . Henry Farren played the Podest & ( by the way , that word is not Pode & ta , but Podesta - —William Farren , jun ., was the only person who pronounced it . correctly ) , and it would have been a clever performance of any other part , for there really

      was both thought and expression in it ; unhappily the expression was all wrong ; the part was removed from its category of a cold , remorseless tyrant into that of a broken-hearted husband crushed by the weight of his dishonour , and avenging himself like an Othello , nought in hate but all in honour . Grant him his view of the part , and make some allowances for violence and want of " keeping , " then I say Henry Farren played with decided effect .

      To the Opera , of course , the Cousins flock . Not even the tropical warmth can keep them away ; and I really sympathize with them . Then as to Vauxhall , with its masquerades , and the Surrey Zoological Gardens , with Mons . Jullien , what can be more tempting than these al fresco pleasures ? Who wonders that these places of amusement are in a splendidly flourishing condition ? I believe halfa-dozen more would- be found to pay . Vivian .

      Aug. 23, 1851.] <E#* Il * *.&**« 807

      Aug . 23 , 1851 . ] < E # * IL * * . &**« 807

      The Musician In The Crystal Palace. The ...

      THE MUSICIAN IN THE CRYSTAL PALACE . THE ORGANS . Organ-build ing is far better represented in the Great Exhibition than pianoforte manufacture . We have evidence not only of the exact condition of organ-building iri ? lhis and other countries , but also instruments built for the occasion , to exhibit some special and important improvement and appliance . The organ , traced from its earliest infancy to the present time , has ever been the king of instruments . As we listen to the ponderous tones of our modern organs , rolling majestically along , we little think that the only difference between them and the ancient Syrinx consists in the mode of introducing the air into the pipes ; but from the manufacture of the first Pan ' s pipe to the present time , the striving after this object has led to all the improvements . In the experiments of the ancients , water was most frequently the cause of the motion by which the wind was introduced , and the instrument so constructed was called an Hydraulicon . One of these appears to have been

      manufactured by Ctesibu 3 , of Alexandria , wholived about a hundred and twenty years before Christ . Vitruvius , speaking of Ctesibus , says : — " He improved , by the use of water and keys , the organ which Archimedes ( who lived two hundred years before Christ ) invented . " St . Jerome tells of an organ which had twelve pairs of bellows and fifteen pipes , and was heard at the distance of a mile ; and of another at Jerusalem which could be heard at the Mount of Olives .

      It is supposed that the organ was first introduced into the service of the Church by Pope Vitalinn , about the year (> 70 . The first organ we hear of in France was of Greek construction , and sent thither in 757 f ns ll present to King Pepin , grandfather of Charlemagne . On this model several organs were immediately built in that country . One of them in mentioned by Walafred

      Strabo ; which was erected in a church at Aix-la-^ handle , in the ninth century , and which he OHsertH to have been of such an exquisite tone as to have caused the death of a female . ZarliuK , in his " Sopplimenti Musicale , " supposes that the pneumatic organ wuh first used in (» recce , and that it passed from thence to Hungary , Germany , nnd Bavaria . From one of these countries , Elphegius , Bitihftjp of Winchester , obtained an organ for lua

      cathedral , about the year 9 * 1 . It was played by two organists , and supplied with air by no less than 26 pairs of bellows , which were vrorked by 70 men . It contained 400 pipes , and 40 valves ; making 40 keys and 10 pipes to each key . The organ long remained exceedingly rude in construction . The keys were 5 or 6 inches broad , the pipes were of brass , and , up to the twelfth century , the compass did not exceed 2 octaves .

      About this time half notes were introduced at Venice / where also , in the year 1471 , the important addition of pedals was made by Bernhard , a German . The earliest organ-builder in England of whom we have any particulars , is William Wotton , of Oxford , who , in 1489 , built an organ for Magdalen College , and subsequently one for Merton . About 1596 , an organ was also built by John Chappington for Westminster Abbey .

      From that time no important change was effected in organ building until lately . The mechanism had been rendered more perfect , a great variety of stops had been introduced , and the number of keyboards had been increased . But one formidable obstacle to progress presented itself . In proportion as the power and resources of the instrument were augmented , the weight and resistance of the keys were increased ; and in some of the large organs the physical force of the organist was insufficient to give full effect to the instrument . The introduction of the pneumatic

      lever movement is the greatest achievement since the introduction of the pedals ; and by its help organs may be built of almost any dimensions , yet the touch will not be so heavy as that of a small organ on the old principle . The pneumatic machine is an intermediary apparatus between the finger-board and the valv . es of the organ , and is composed of as many little power-bellows as there are keys on the principal finger-board . Each key , instead of acting on the sound-board pallet , acts only on a very small and light valve , which admits compressed air into its corresponding

      power-bellows . The latter , supposed to be previously in a collapsed state , yields to the pressure of the air , and in expanding instantaneously opens the sound-board pallets with which it is connected . These remain open as Jong as the finger of the performer rest a on the depressed key ; but on the removal of the finger , the valve which admitted the air into the power-bellows close *;' and , another valve opening to allow this air to escape , the bellowsfall and the sound-board pallets close by the action of their springs . By this adaptation it is that not only can any number of manuals be coupled , but , by means of octave couplers , on

      touching one key the corresponding note in every part of the organ may be made to sound . A complete revolution is thus made in organ performance , and the most rapid passages may be played with as great facility as on the pianoforte . In order rightly to estimate the organs in the Exhibition , we must refer to two of those on the Continent , which are regarded as models . The Haarlem organ , respecting which so many disputes are continually arising-, was built in 17 . 18 by Christian M tiller , of Amsterdam , and cost £ f > 000 . It has sixty stops , two tremulants , two couplings or springs of communication , four separations or valves to close the wind chest in case of a

      " cipher , " and twelve pairs of bellows , each 9 feet by 5 feet . It contains nearly 5000 pipes , eight of which are I (> feet , and two of 32 feet . It is 90 feet in height and 50 feet in breadth . The following are the stops , with their English equivalents : — Great Manual , 16 stops : —Prestant ( double open diapason ) 16 feet ; Bourdon ( stopped ditto ) , 16 feet ; Octave ( open diapason ) , 8 feet ; Viol di Gambe ( unison with ditto ) , 8 feet ; Itoer fluit , with a funnel or small

      pipe upon the top ( diapason half stopped ) , 8 feet ; Octave ( principal ) , 4 feet ; Gems hoorn , a kind of flute , the pipes narrow at the top ( unison with ditto ) , 4 feet Itoer Quint ( 12 th half stopped ) , 6 feet ; Quint ( fifth ) , 3 feet ; lertian ( ticrco . or 17 th ) , 2 ranks ; Mixture , (> , 8 , and 10 ranks ; Holz fluit , stopped pipe unison with the 15 th or 8 vo flute ( Wood ) , 2 feet ; Trumpet ( double trumpet ) , 1 ( 5 feet ; 1 trumpet , 8 feet ; Trumpet ( Clarion ) , 4 feet ; HautboiB , 8 feet .

      Upper Manual , 1 , 1 stops : —Prestant , 8 feet - Quintadeena , breaks into n fifth which predominate * ( double diapason ) , 8 feet ; Goran hoorn , 8 feet ; Jtaar » jp , a muttled pipe used with tho vox humana ; Oetave , 4 feet J Ibk fluit , Toed Uute ( flute ) 4 feet ; Nassat ( stopped 12 th ) . J feet , Ila t hoorn , i . o . night horn , hut why so called no IjlT . Vh KiV , " ( fluttl )> 2 fcCt ; 1 <> la K «» l ^ t ( 8 va 12 th ) , Jilnm - u 8 cs < « o Uer . t «« ed « va and 12 th to diapaso £ r ? r i « 2 rank «; Cimbaal 8 va to Mixture , u and I ! rinir ifi , 1 ' »> cutcd «» rough the instrument , 4 and 0 ranki ; bchalmay , reed stop ( baapine ) 8 feet iiS 8 Vi ?" v » " Oate P il ' ° »» ' -on »» i » the dhp ' o voioe , 8 feet . : hu' «» ™ , an imitation of the human rositi / , or Small Organ , U Btons ^ Preetant . 8 feet ;

      Holfluit ( diapason half stopped ) , 8 feet ; Quintadeena *&* £ ? ' n , ' Octave . feet ; Flute , 4 feet ; Speel fluit ( 12 th ) , 3 feet ; Sesquialter , 2 , 3 , and 4 ranks ; Superoctave ( 15 th ) , 2 feet ; Scherp ( high mixture ) , 6 and 8 ranks ; Cornet , 4 ranks ; Cirabaal , 3 ranks ; Fagotte ( double bassoon ) , 16 feet ; Trumpet , 8 feet ; Regaal , 8 feet . ( Formerly a portable organ used in processions was called a Regal ; the stop in this orgim is entirely composed of reeds . ) Pedal Organ , 15 stops : —Principal or longest pipe

      ( octave below the double diapason ) , 32 feet ; Prestant ( double diapason open ) 16 feet ; Sub-bass ( ditto stopped ) , 16 feet ; Roer quint ( 4 th below diapason stopped ) , 12 feet ; Holfluit ( diapason half stopped ) , 8 feet ; Octave ( open diapason ) , 8 feet ; Quint prestant ( 5 th ) , 6 feet ; Octave , 4 feet ; Rui 3 ch quint , rush or reed ( 12 th ) , 3 feet ; Holfluit , 2 feet ; Bazuin ( posaune , or a reed stop ) , 32 feet ; Bazuin ( sacbut ) , 16 feet ; Trumpet , 8 feet ; Trumpet , 4 feet ; Cinh , a cornet , horn , or shawm ( 8 va Clarion ) , 2 feet . "

      The Haarlem , however , is by no means the largest organ , although it has long been so considered . The Weingarten organ is a superb instrument , both in power and quality of ton <\ It was built by 3 VI . Gabler , of Ravensburg , arid finished on the 24 th of June , 1750 . The organ gave such satisfaction that the monks , who were very rich , presented the builder with 6775 florins above his charge ; being an additional florin for each pipe . The organ has four complete manuals , containing the following stops : — Fourth Manual , 12 stops : —Principal , 8 feet ; Cornet de 4 octaves , 2 feet ; Piffaro , 4 feet ; Viol di Gambc , 8 feet ; Flute , 4 feet ; Quint , 8 feet ; Hautbois , 4 fret ; Voix humaine , 1 foot ; Flageolet , 2 feet ; Ruhr flute , 4 feet ; Quer flote , 4 feet ; Flute dauce , 8 feet —1111

      pipes . Third Manual , 12 stops : —Montre , 8 feet ; Prestant , 4 feet ; Doublette , 2 feet ; Cornet , 1 foot ; Fourniture 2 feet ; Piffaio , 4 feet ; Violonehel , 8 feet ; Quint , 8 feet - Hautbois , 8 feet ; Hohl Fl « te , 4 feet ; Flute , 8 feet Bourdon , 16 feet—1211 pipes . * Second Manual , 12 stops : —Montre , 8 feet ; Prestant , 4 feet ; Fourniture , 3 feet ; Cymbale , 2 feet ; Nasard . 2 feet ; Viola , 4 feet ; Violonehel , 8 feet ; Solicional , 8 feet ; Bourdon , 8 feet ; Flute , 8 feet ; TJnda Maris , 8 feet ; Bourdon bouche , 16 feet—1675 pipes .

      First Manual , 12 stops : —Montre , 16 feet ; Montre , 8 fret ; Prestant , 4 feet ; Fourniture , 2 feet ; Doublette , 2 feet ; Sesquialtera , l ^ foot ; Cymbale , 1 foot ; Piffaro , 8 feet : TiompeUe , 8 feet ; Hohl flute , 2 feet ; Roher flbte , 8 feet ; Carillon de Cloches , 2 feet ( bell-metal)—2222 pipes . Pedals of 20 keys , 12 stops : —Contre basse , 32 feet ; Fourniture , 8 feet ; Violon basse , 16 feet ; Bombarde , 16 feet ; Bombarde basse , 16 feet ; Octave basse ou flute , 16 feet ; Soub basse ou flute , 32 feet ; Carillon de Cloches , 4 feet ; Timpano ; Cuculus ; Cymbale ; La Force , 4 feet—260 pipes .

      Second Pedal , which couples tvith the first pedal , and with first manual , 12 stops : —Super octava , 8 feet ; Cornet , 4 feet ; Sesquialtera , . 3 feet ; Violoncello , 8 feet ; Trompette , 8 feet ; Grosse flute , 4 feet ; Flute douce , 8 feet ; Cremona , 8 feet ; Quint , 16 feet ; Rossignol tremblant—2 i ) 6 pipes . " The total number of pipes is 6775 , and the " full organ" gives 86 pipes on ; i key . * Even more than in pianofortes at the Exhibition , London takes precedence in organ manufacture . The most important instrument is the monster organ in the western gallery , built expressly fur the Exhibition by Mr . Willis . This

      instrument is mechanically perfect . It has three rows of keys from GC to G ( 5 <> notes ) , and two octaves and one-fifth of pedals from C C C to G ( 33 notes ) . It has the pneumatic lever on an improved and simplified prineiple . and a novel and convenient movement for arranging the stops , called the " Patent combination movement , * ' which consists of small buttons projecting just above the keys , by which the stops are changed with marvellous facility , altogether superseding composition pedals . The bellows supplying the swell organ are placed in the box itself , and give two pressures of air . The following is the composition : —

      Orcat ihrgan , CC to G 20 stops : — Double diapason ( metal ) , 16 feet ; Bourdon ( closed wood ) , 16 feet ; Irumpet , 16 feet ; Open diapason , 8 feet ; Open diapason , 8 feet ; Stopped diapason with Claribella , 8 feet ; Irumpet , 8 foet ; Principal , 4 feet ; Principal , 4 feet ; 1 ' lute ( open wood ) , 4 feet ; Clarion , 4 feet ; 12 th , A feet ; 15 th , 2 feet ; 15 th , 2 feet ; Piccolo , 2 feet ; Octave clarion , I feet ; Doublette , 1 foot ; Sesquialtera , \\ ranks ; Mixture , ditto ; Fourniture , ditto

      Swell , C C to Q 22 stops : —Double diapason , 16 foot ; Double duloiana , 1 « feet ; Open diapason , 8 feet ; Open diapason , 8 feet ; Dulciana , 8 feet ; Viol di Gumba , 8 feet ; Stopped diapason , 8 feet ; Trumpet , 8 feet ; Tiornbone , 8 feet ; Hautbois , 8 feet ; Cremona , 8 feet ; Principal , 4 feet ; Principal DulciaYiu , 4 feet ; Flute , 4 feet ; Clarion , 4 feet ; 12 th , . 'I feet ; 15 tli dulciuna , 2 feet ; l / itli , 2 feet ; Dulcimer , . ' { ranks ; Hvnquiultfra , It ranka ; Mixture , ditto ; Fourniture . ditto .

      Pedal Organ , CCC to G , 11 stops : — Double dia-• For the ( Icscriptioiiu of the torvlgn organs we uro indebted to a nvw edition of Hamilton ' * Cuteoiiicni of tli « Oiifun , edited by Joucpli Warren , ami piiUlifiln-i ! by CooUh anil Co ., a book which ought to bo in ( lit ; utudio of every musician , \

  • Citation
    • Leader (1850-1860), Aug. 23, 1851, page 19, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/l/issues/cld_23081851/page/19/