Oakeley, Sir Herbert (Stanley)

(2) In England, the term may have denoted Trompes in c1500, but by 1613 it had its present meaning of Open Diapason (main Principal (or foundation) rank, usually 8') and Stopped Diapason (Gedackt). As a term, ‘Diapason’ may be derived from Dutch Doif (c1450) and only later taking on a quasi-Greek form. As a registration direction ‘Diapasons’ is an indication to use the Stopped Diapason, whose mild but harmonically rich tone has a strong emphasis on the quint, to colour the Open Diapason. English builders prided themselves on their Diapason tone, Renatus Harris’s examples (c1690) being already richer than those of his French models.

(2) A prefix indicating a soft colour-stop (Echo Flute, Echo Gamba, etc.) in 18th- and 19th-century organs throughout northern Europe.

(2) ‘Basson’ by Bédos de Celles’ period (c1775) was a French reed with short conical pipes, sometimes capped with a double cone.

(3) In Italy, a rare wooden Regal (c1675); in Spain, a short reed with half-length resonators, sometimes en chamade; in England, the name occurs only in the bigger organs c1860 for a narrow conical 16' Swell reed.

Feldpfeife, Feldtrompete (Ger.). ‘Feld’ here means ‘field’ in the military sense. (1) A narrow, open flue stop of assertive Flute tone, usually at 2' or 1', found occasionally in 17th-century German organs.

(2) The German imitative Trumpet, not en chamade as in Spain but often held in the case vertically; others were interior Trumpets, all of a thin, strong tone.

(2) French Flageolets of the early 17th century were usually 1' or 11/3' ranks of open cylindrical pipes (see under Larigot).

(2) A marimba-like percussion stop found in early 20th-century organs, especially residence and cinema organs.

(2) The French classical Hautbois originated as a soft récit Trompette, with small-scaled flaring metal resonators; called ‘French Schalmei’ by Mattheson, and found on most French organs and those they influenced elsewhere, notably England (Harris).

(3) In Germany, stops of this name had various constructions, from fanciful Regals to small-scaled Schalmeien.

(4) 19th-century attempts to imitate the tone varied from free reeds (c1840, France, central Germany) to the ubiquitous, ultimately French-inspired English Swell Oboe.

(2) During the 16th century, the name in its various forms often indicated a stopped rank of wide scale (Rhineland, south Germany). In the Netherlands, it might be a Gedackt, Rohrflöte or even Quintatön, many 18th-century examples being simple stopped Flutes.

(2) Suffix for a group of stop names (Gemshorn, Nachthorn), like the related term ‘Cornet’ popular with 16th-century builders expanding organ colours.

(3) More specifically, the Hörnli was a 16th-century stop found in the upper and lower Rhineland, composed of the same ranks as stops elsewhere called Cornet and Sesquialtera, i.e. a solo (or solo and chorus) Tierce Mixture.

(4) Horn Diapason was a late 19th-century stop whose Diapason-scaled pipes had a vertical slot cut at the top and back, which influenced the tone.

(2) More specifically, the smooth-toned Gedackt made popular by 19th-century builders (Walcker, Schulze, etc.), of metal or wood, with a high cut-up and characteristic tone. It is found at both 16' and 8' pitches.

(2) By Praetorius’s time, the name denoted a rank of very wide-scaled 4' or 2' pipes, stopped like the Quintatön and more horn-like than the Hohlflöte, owing to its Quint partial. The familiar 17th-century Nachthorn useful in the north German repertory was a very wide, metal, open Flute, used for cantus firmus in manual or pedal; a similar stop later appeared in English-speaking countries as ‘Nighthorn’.

(2) A prefix indicating pitch an octave higher than usual (Octave Flute).

(2) An important Italian stop of the 16th century onwards; it had treble compass Principal-scaled pipes mistuned with the Principale 8' and thus producing an undulating effect, more singing and less reedy than 19th-century céleste stops. It was sometimes called Voce umana. See under Voce umana.

(2) In France, ‘Prestant’ soon came to denote the 4' Principal rank distinct from the Montre 8', as ‘Principal’ in England has always indicated the 4' Principal rank distinct from the Open Diapason 8'; both French and English usage was established by 1600.

(2) Rauschquinte of two ranks (12.15 or 22/3' + 2'), otherwise called Quartane. Neither term was used reliably by builders until recently.

(3) Rauschwerk is frequently used to replace one or other term; but for early sources (e.g. Schlick, 1511), ‘Rauschwerk’ was a term denoting either a semi-Flute solo compound stop imitating a reed instrument, or a reed stop itself or a collective term for reeds, probably of more refined tone than the Trompete. ‘Rauschende Zimbel’ (Russzimbel, etc.) seems to be an early term for high Mixtures.

Recorder. In England, the term appears in a few 17th-century contracts to refer to a Flute stop, probably of 4' pitch (‘unison to the Principall’: York Minster, 1632). It could be a stopped metal rank (Worcester Cathedral, 1613) or of wood (St John’s College, Cambridge, 1635), and both forms are encountered up to the beginning of the 18th century.

Regal. A term of uncertain origin (see Regals) denoting a family of reed stops probably descending from the late medieval instrument; the small or very small resonators made such ranks useful in the subsidiary chests of larger organs. Early 16th-century names were frequently specific, at other times more cumbersome, such as ‘Regal to make the human voice’ (Vox humana). Fanciful names and pipe forms were found chiefly in northern Germany from c1575 to c1700 and should not be overestimated: Apfelregal (short resonators with a little round perforated ball at the end), Geigenregal (delicate 4' Regal, treble sounding as a violin when drawn with a Quintatön, according to Praetorius), Harfenregal, Jungfernregal (thin tone ‘like a girl’s voice’), Knopfregal and Kopfregal (‘knob-’ and ‘head-shaped Regal’), Messingregal (short brass pipes), Singendregal (‘singing Regal’ of light tone, useful for cantus firmus melodies), Trichterregal (important type with ‘funnel-shaped’ or conical resonators like small trumpets). In other countries, Regals usually had freer names, e.g. Orlos, Tromboncini, Vox humana; this was true everywhere after the 17th century.

Repeating. When applied to a mixture or mutation, this term indicates that the entire compass of the stop consists of a repetition of the same octave (or half-octave) of pitches.

Resimbala (Port.). See under Zimbel.

Ripieno (It.). (1) The full chorus, i.e. either a registration of drawn stops or the Blockwerk itself.

(2) The classical Italian chorus Mixture, after single ranks became less the norm on the Italian organ than they had once been (c1800).

(2) In some central European sources of c1775, Schalmei seems to have been an auxiliary 8' flue stop.

(2) The basic Mixture of subsidiary manuals was often called Scharf whether or not it was Zimbel-like. Those of the mid-19th century frequently contained a high Tierce rank.

(2) In the 18th century, the name often denoted an 8' or 4' rank, in the form of an inverted cone or narrow and cylindrical, either way resembling the so-called Viola da gamba in tone.

(2) The English Sesquialtera was, during the late 17th century, a bass complement to the treble Cornet stop; during the 18th century a complete chorus Mixture including a narrow-scaled Tierce rank; and during much of the 19th century often the only Mixture (still with a Tierce) in the whole organ.

(2) Throughout its period of popularity, the stop could be either 1' or 11/3', some builders (e.g. G. Silbermann) preferring the first, others (e.g. Schnitger) the second. Much the same was true of the Sedecima, the Sifflöte of eastern European countries.

(2) A small-scaled, open, metal flue (Schulze).

(2) More familiar Spanish reed with short resonators, often en chamade, c1750.

Tibia (Lat.). General name for ‘pipe’, used in the Latinate contracts of the late 18th century and by the technician-inventors of the late 19th century. Thus Tibia angusta is a narrow Flute, Tibia clausa a Gedackt, ‘cuspida’ a Spitzflöte, ‘sylvestris’ a Waldflöte, etc. In 20th-century cinema organs it is a loud, wide-scaled Principal.

Tierce (Fr.; Ger. Terz, Tertia). The 13/5' Flute mutation rank, more particularly of the French classical organ. Such third-sounding ranks were contained in Arnaut de Zwolle’s Cymbale of c1440, but evidently their scaling widened over the centuries, achieving a characteristic horn tone by 1750. Some Parisian organs c1630 had two such ranks, one wide the other narrow, the latter thus used in one or other pleno. The Double Tierce 31/5' (Grosse Tierce) was first known c1660 and contributed to the array of melodic colours in French organ music. Outside France the stop was found as a single mutation rank only in organ types influenced by the French, e.g. those of the Rhineland, Saxony and England. Besides French terms, 18th-century names for it were Ditonus, Decima, Sixtil (all in various northern European countries) and Corneta (Italy).

Tiratutti (It.). A mechanical device known in 18th-century Italian organs whereby the organist could ‘draw all the pleno ranks’ at once.

Tolkaan (Dutch; Ger. Dolcan). A term of uncertain origin denoting a rank of open inverted conical metal or wood pipes, often confused with Dulzian, Dulciana, etc. As in other instances, the pipe form was known in more versions and over greater areas than the name itself. The Tolkaan was a speciality of large Dutch and Hanseatic organs of c1580, as was the Trichterflöte (‘funnel-shaped flute’) early in the next century. The pipe form was also found in the case of Spanish flutes, Austrian Dulcianas, Neapolitan Voci umani (all of c1750) and many soft or fairly soft colour-stops in German organs c1825.

Tremulant (Fr. tremblant; It. tremolo; Sp. temblor). An important accessory stop contained in most larger European organs from c1500 to the present day, although not always specified in the contract; see Tremulant.

Trichterregal. See under Regal.

Trombone. See under Posaune.

Tromboni, Tromboncini (It.). (1) A ‘small-large trumpet’ reed stop introduced now and then into Italy by various Flemish or German builders.

(2) Tromboni were long and strong-toned 16' or 8' reed stops on many national types of organ c1820.

(3) Tromboncini were an important type of Regal on Venetian and Tuscan organs of the late 18th century, with very small-scaled square-sectioned metal resonators standing in front of the case pipes.

Trommel (Ger.). See under Pauke.

Trommet, Trompete, Trompette. See under Trumpet.

Trompes (Fr.). The large open bass pipes placed apart from, and on either side of, the Grand orgue of many large French and Dutch organs of the later 15th century. A set of ten was fairly common. Other names (e.g. turres at Angers Cathedral in 1416) were sometimes found; ‘trompe’ may signify the ‘pendentive’, or carved, wooden, semicircular console on which the pipes were placed.

Trumpet (Ger. Trommet, Trompete; Fr. trompette; etc.). A very familiar imitative reed stop with long resonators either flaring or in the form of an inverted cone, of metal or wood, found in most organ types since c1500 and taking various forms. (Organs without a Trumpet were the classical Italian organ of c1600, the English pre-Restoration organ, and the mature eastern European organ of the 18th century.) The resonators should be about two-thirds long (6' for 8' C). German and English Trumpets from 1650 varied from builder to builder; 17th-century German Trumpets were often short, especially if the flaring was marked and the pipes placed vertically in the case front. 18th-century French Trumpets developed great power and attack, especially in the bass, often using wider tongues and bigger resonators. Spanish Trumpets also followed certain conventions: the Trompeta real was a full-size vertical reed within the organ; Trompeta bastarda had shorter resonators, often en chamade; the Trompeta magna, Trompeta de batalla and Trompeta imperial were horizontal Trumpets, often of suboctave pitches (16', even 32', in the treble). During the late 19th century, exceptional organs in any city of Europe might have had highly imitative Trumpet stops, with higher pressures, perhaps brass resonators, arranged as a fan or en chamade, etc.

Tuba. Except in the Latinate contracts of c1800, ‘Tuba’ as a stop name is found almost entirely in the 19th and 20th centuries, and denotes a louder reed stop than the usual Trumpet, taking whatever form the builder found useful for increasing volume. The Tuba Mirabilis was an unusually loud Tuba, often on a separate chest.

Twelfth. The rank of 22/3' open metal pipes forming part of the Diapason chorus. Some early Twelfths, however, were more Nasard-like, especially in England c1725.

Twenty-second (It. Vigesimaseconda). A Principal stop of 1' pitch.

Uccelli (It.). See under Vogelgesang.

Unda maris (Lat.). A term applied in south and central Germany during the 18th century – and hence through Walcker (c1830) to most major builders of the 19th century – to denote a rank of narrow, open 8' metal pipes, tuned slightly sharp or flat (either to a second rank standing with it or to the organ as a whole) and so producing an undulating effect. In some 18th-century central German organs it was a double-mouthed pipe with an internal divider (see under Bifara). The effect was known more widely than the name, being mentioned by Mersenne (1636–7), found in the classical Italian organ as Piffaro, and impressing the many 18th- and early 19th-century builders looking for colourful Flute and string stop varieties.

Untersatz (Ger.). The term for pipes placed on a chest below (and at the back of) the main chest of organs in north and central Germany c1575–1825, i.e. pipes of the larger pedal stops. In practice, the term thus denotes various 16' or 32' pedal stops, particularly stopped wood 32' ranks.

Viejas (Sp.). The ‘old women’s voice’, or thin Vox humana of Spanish organs c1750, often en chamade. Other fanciful names for particularly thin Vox humana stops were Viejos (Spain, c1750), Jungfernregal (Germany, c1625) and Vox pueri/tauri (Italy, c1600).

Viola da gamba. The name for a large number of stop-types whose only common characteristic is their claiming to imitate the string instrument. (1) In c1620, often a Tolkaan.

(2) During the 17th century in central Europe as a whole, many narrow cylindrical stops bore the name Viola da gamba or Viol d’amour as well as Salizional, Dulciana, etc.

(3) Many Gamba stops contained conical pipes, like narrow Spitzflöten – Saxony c1725, England and south Germany c1850, northern Italy c1800.

(4) Many Gamba stops of the 18th century are either very flute-like (south Germany) or soft stops of sweet, breathy Diapason tone (G. Silbermann), but 19th-century examples are often stronger in tone.

(5) In Italy and Spain from c1750, ‘Viola’ often denoted a regal stop of one or other kind.

Vigesimaseconda (It.). See under Twenty-second.

Viola pomposa. A broad and fairly strong string-toned stop, developed by G.D. Harrison in the 1930s, and used since in American organs.

Viole d’orchestre. A very narrow-scaled, keen-sounding string stop, found mostly in organs built in the first half of the 20th century.

Violetta (It.; Sp. violeta). (1) Regal stops, with very small, open, conical resonators of 4' or 2', made in the late 18th century.

(2) Miscellaneous string-toned flue stops, 8', 4' or 2', on various of the later 19th-century organ types.

Violina. A medium-scaled 4' stop of string tone, frequently found in the Swell division of 19th-century English and American organs.

Violón (Sp.; Ger. Violon). (1) In Spain, an important term for the Stopped Diapason on the Baroque organ, manual or pedal. Thus ‘Flautado violón’ was the Bourdon.

(2) A common German open, wood, pedal stop of medium volume and nondescript tone, found during the 18th and 19th centuries. Often a substitute for the Prinzipal 16'.

Violoncello (It.). (1) A Venetian regal stop at 8', with small rectangular cross-section resonators of boxwood or pine, placed vertically in front of the case pipes, and in use from c1750 onwards.

(2) Narrow flue stops of various periods and areas in Germany, c1700–1900.

(3) An 8' pedal stop frequently found in 19th- and 20th-century English and American organs.

Voce umana (It.). A very important stop in Italian organs from the 17th century to the 19th. Composed of one or two mildly voiced Principale ranks tuned to undulate gently, it was usually of treble compass only, and intended for use with the Principale 8', especially in the playing of music for the Elevation.

Vogelgesang, Kuckuck, Nachtigall (Ger.; It., rusignolo, uccelli; Fr. rossignol). National names for the bird-imitating toy stops popular from at least 1450 to 1800 and again in theatre organs from about 1925. Each builder had his own way of planning such quasi-automata; if the tiny pipes were suspended in water, the twittering was thought to resemble a nightingale; if two were involved and stood a 3rd apart, a cuckoo resulted; if air supply allowed it (and often so much air was taken that no other stops could be drawn), moving statuary might complete the picture; and so on. An important example was the ‘Vogelgesang durchs ganze pedal’ (Praetorius) which was not a toy stop so much as either a tiny high Mixture of indeterminate pitch adding a soft glitter, or a regular, high Flute stop. See Bird instruments.

Voix céleste (Fr.). A term apparently dating from the 1840s to denote a long-familiar effect achieved in the same way as Unda maris and Piffaro. Narrow-scaled pipes are usual for such stops from the late 19th century onwards.

Vox angelica (Lat.). (1) Small reed stops of 2' found in the organs of some German builders c1750 (Stumm).

(2) Soft, small-scaled, 8' flue stops on various 19th-century organ-types, including Italian ones.

(3) A free-reed stop used by Walcker and other 19th-century German builders.

Vox humana (Lat.; Fr. voix humaine; Sp. voz humana). The name for numerous stops whose common characteristic is the claim to imitate the human voice, particularly its thin, undulating quality, and always at 8'. (1) The Renaissance Voce umana was the same as Piffaro. See also under Piffaro and Voce umana.

(2) Some 16th-century builders used the term for a registration (e.g. Regal + Nasard + Larigot) or for the Regal ‘helping to make the Vox humana effect’.

(3) Many Regal types during the 17th and 18th centuries were invented for the purpose, with resonators open, closed; of brass, hardwood; short, half-stopped, cylindrical, capped and pierced, double conical, bulbous, etc. Some had their own tremulant.

(4) During the late 19th century and the early 20th the standard Vox humana was a quarter length cylindrical reed, sometimes enclosed in its own expression box.

Waldflöte (Ger.). A ‘forest flute’ stop. (1) A wide-scaled, conical, metal Flute of 2' (sometimes 22/3' or 11/3') in 17th-century German organs. Praetorius referred to open pipes, although instruments in Eastern European countries have stopped ones; most were wide-scaled.

(2) Open Flutes, of 8' or 4' pitch, in English and German and American organs of the 19th century, sometimes metal but usually wood.

Zimbel (Ger.; Eng. Cimball, Cymbal; Fr. cymbale; Sp. cimbala, zimbala; Port. resimbala). The high chorus Mixture separated from the basic Mixture as the Blockwerk became divided; in many cases the same as Scharf. (1) Some early Zimbeln contained a Tierce (Terzzimbel), c1450–1550 or later, Praetorius recommending such high Mixtures (15.17.19).

(2) The classical French Cymbale was a high Mixture of octaves and 5ths, the ranks breaking twice per octave (cymbalisée) (compare with Fourniture).

(3) The ‘repeating Zimbel’ was a single-rank or compound stop repeating the same pitches in every octave, c1600–1750 in Germany, perhaps in reference to the medieval cymbala or small, tuned bells. This type of Zimbel was a colour stop, rather than a chorus stop.

Zimbelstern (Ger.). A very common toy stop, found mostly in northern Europe c1490–1790 but occasionally elsewhere, and consisting of a revolving star placed towards the top of an organ case to whose wind-blown driving-wheel behind the case is attached a set of bells, tuned or (before c1700) untuned. Mattheson (1713) thought the effect good for feast days.

Zink (Ger.). Like Cornet, Zink denotes an imitative stop achieving a cornett-like tone either with reed pipes or as a compound flue stop. (1) A Tierce Mixture of the latter type in some early 16th-century contracts.

(2) A reed or Regal stop in others of the same period; later, ‘Zinken oder Cornett’ was normally a reed stop of the Schalmei kind, particularly a pedal 2' reed stop useful for cantus firmus melodies in Lutheran Germany.

BIBLIOGRAPHY

PETER WILLIAMS, BARBARA OWEN

BIBLIOGRAPHY

C. Locher: Erklärung der Orgelregister (Berne, 1887; Eng. trans. as An Explanation of the Organ Stops, with Hints for Effective Combinations, 1888)

J.I. Wedgwood: A Comprehensive Dictionary of Organ Stops (London, 1905)

N.A. Bonavia-Hunt: Modern Organ Stops (London, 1923)

C. Mahrenholz: Die Orgelregister: ihre Geschichte und ihr Bau (Kassel, 1930, enlarged 2/1944/R) [incl. further bibliography]

G.A. Audsley: Organ-Stops and their Artistic Registration (New York, 1949)

W.L. Sumner: The Organ: its Evolution, Principles of Construction and Use (London, 1952, rev., enlarged 4/1973/R)

T. Schneider: Die Namen der Orgelregister (Kassel, 1958)

P. Smets: Die Orgelregister: ihr Klang und Gebrauch (Mainz, 1958)

S. Irwin: Dictionary of Pipe Organ Stops (New York, 1962)

P. Williams: The European Organ 1450–1850 (London, 1966/R) [incl. further bibliography]

R. Lüttman: Das Orgelregister und sein instrumentales Vorbild in Frankreich und Spanien vor 1800 (Kassel, 1979)

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