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Published online by Cambridge University Press: 01 January 1965
When a member of the Association spoke to you last year on the French horn he was able to explain his points on his own instrument; but alas I cannot bring Haarlem, Weingarten or Freiberg here. It would also be unfair to enter too much into the exclusive language of organ-players, for I am reminded of Burney's remarks when writing up (as organists say) the instrument at Haarlem:
as technical terms will be unavoidable in this description, I advise my miscellaneous readers to pass it over, for it can interest none but organ-players, or persons not wholly unacquainted with the construction of that instrument.
1 Dr. Burney's Musical Tours in Europe, ed. P. A. Scholes, London, a vols., 1959, II. 231.Google Scholar
2 Discussed by D. Hellmann, ‘Betrachtungen zur Darstellung der Sweelinkschen Werke für Tasteninstrumente’, Musik u. Kirche, XXV (1955), 287–92.Google Scholar
3 (a) from Orgeldispositionen; eine Handschrift aus dem XVIII Jahrhundert, ed P. Smets, Kassel, 1931, p. 44.Google Scholar
(b) from U. Dähnert, Die Orgeln Gottfried Silbermanns in Mitteldeutschland, Leipzig, 1953.Google Scholar
4 F. Douglass & M. A. Vente, ‘French Organ Registration in the early 16th century’, Musical Quarterly, LI (1965), 614–635.CrossRefGoogle Scholar
5 First, from J. Talbot's translation of a passage from Mersenne, Harmonie Universelle, Paris, 1636, in Christ Church Mus. MS. 1187 (2), f.3; compare also A. Kircher's opening phrase on the organ in Musurgıa Universalis, Roma, 1650, vi, p. 506.Google Scholar
Second, from J. Boydell, The Church Organ: Or, a Vindication of Grave and Solemn Musick in Divine Service, London, 1727.Google Scholar
6 Lunelli, R., L'Arte Organaria del Rınascimento in Roma, Firenze, 1958, p. 15.Google Scholar
7 H. Löffler, ‘J. H. Trost und die Altenburger Schlossorgel’, Musik u. Kirche, iv (1932), 171–7, 280–5.Google Scholar
8 Dom F. Bédos de Celles, L'Art du Facteur d'Orgues, Paris, 4 vols., 1770, iii. 534.Google Scholar
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10 Hawkins, J., A General History of the Science and Practice of Music, Novello edn., London, 2 vols., 1853, ii. 614.Google Scholar
11 Steinkirchen, in the booklet with Orgues Historiques disc No. 9 (1965), p. 22; Mainz, in F. Bösken, Die Orgelbauerfamilie Stumm, Mainz, 1960, p. 106; cf. p. 47.Google Scholar
12 See J. Pröger, Mozarts Verhältnis zur Orgel und zur Orgelkomposition, Berlin 1965, pp. 8–9.Google Scholar
13 Given fully by B. Bijtelaar, Het Orgel van de Oude Kerk te Amsterdam, Zaandam, n.d.Google Scholar
14 Adlung, J., Musica Mechanica Organoedi, Berlin, 2 vols., 1768.Google Scholar
15 Ibid., i. ‘on the Use of Stops’ from p. 160.Google Scholar