Identifier: organinfrancestu00good (find matches)
Title: The organ in France : a study of its mechanical construction, tonal characteristics, and literature, with suggestions for the registration of French organ music upon American instruments
Year: 1917 (1910s)
Authors: Goodrich, Wallace, 1871-1952
Subjects: Organ (Musical instrument) Organists
Publisher: Boston : The Boston music company
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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ranged and somewhat amplifiedthe list of simple mutation stops. THE REGISTERS 47 NARROW SCALE Gambe or Viole de gambe 8 Voix celeste 8 Dulciane 8 and 4 Unda maris 8 WIDE SCALE Flute harmonique 8 Flute octaviante 4 harmonic Octavin 2 Flute traversiere 8 Flute 4 Flute 16 (Manuals and Pedale) Flute 32 (Pedale only) Flute creuse 8 Flute a pavilion 8 STOPPED REGISTERS OR BOURDONS Bourdon 16 and 8 (Manuals) Soubasse 32 and 16 (Pedale) Flute douce 4 Bourdon a cheminee 8 Cor de nuit 8 Quintaton 16 and 8 SIMPLE MUTATION STOPS (Pedale) Grosse quinte io r Grosse tierce 6f Quinte or quinte flute 5* Septieme *♦ 48 THE ORGAN IN FRANCE (Manuals) Quint e flute 5f Grosse tierce 3; Quinte 2f Nasard 2 f (Stopped pipes) Septieme 2f Quarte de nasard 2 Tierce If Larigot If Septieme If COMPOUND MUTATION STOPS (Mixtures) Fourniture Cymbale Plein-jeu Comet Carillon REEDS Bombarde 32 and 16 (Pidale) Trompette 8 Clairon 41 Hautbois 8 Basson 8 (16 in Pedale) Cor anglais 8 Clarinette 8 Cromorne 8 Voix humaine 8
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NOTRE-DAME, PARIS THE NAVE FROM THE ALTAR CHAPTER VIII PREDOMINANT CHARACTERISTICS OF REGISTRATION I have already pointed out that the tonal scheme ofthe best French organs aims above all else at perfectionof ensemble. Stops designed primarily or even exclu-sively for solo use are not lacking, but in a majority ofserious compositions, at least up to within a very fewyears, the display of solo qualities has usually been sub-ordinated to considerations of ensemble. On the whole,in their interpretations of organ compositions, the Frenchare accustomed to depend upon the nuances ma,de pos-sible by perfect touch control, rather than upon effectsderived from frequent changes of intensity or color inregistration. To them, the intrinsic musical value of thework is of more importance than the variety or noveltyof the colors in which it is clothed. Through the per-fection of touch, which, as elsewhere noted, is the sinequa non of the French organist, the finest nuances ofrhythm, accent and phras

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