Humble Relations
David Bridgeman-Sutton finds that the poor cousin of the pipe organ has, in fact, a lot going for it.
“It’s only a harmonium, I‘m afraid.”
Keyboard players, having agreed, with varying degrees of enthusiasm, to play a church organ, often hear this verbal footnote, uttered in apologetic, if not abject, tones. As a result, they often fail to explore the possibilities of the instrument.
Keyboard players, having agreed, with varying degrees of enthusiasm, to play a church organ, often hear this verbal footnote, uttered in apologetic, if not abject, tones. As a result, they often fail to explore the possibilities of the instrument.
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The probability is that they will find, not a harmonium - which is a French instrument - but an American organ. These are known by a number of other names: one is “cabinet organ”. (Readers of Thomas Hardy may recall that the village orchestra at Mellstock was replaced by an instrument thus described. ) An example is shown in picture 1. This, in an American walnut , rather than an oak, case, is more grand than many; though the general design is typical of the American instrument. Other clues are the five-octave keyboard running from F-f with a middle c that really is in the middle and, of course, the maker’s name which is often in ornate gilt lettering. Here, that of Mason & Hamlin may be seen between two facsimile displays of gold medals won by the Company.
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1: An American organ by Mason and Hamlin
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The industry is said to have become established in the USA when a workman in a French factory became dissatisfied that an innovation of his own was not adopted by his employer. His idea was to suck instead of blowing air through the reeds, ie using vacuum instead of pressure. He moved to America, where there was no objection to the suction principle, which was employed in the great majority of cases.
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2: An easily portable American organ by Bell
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Millions of these instruments were made between about 1840 and 1920. Jules Dura, writing in The Diapason, traced nearly 250 firms active in the trade in that period. Some were pipe-organ builders using spare capacity; Kimball alone, known also for church, theatre and electronic organs, produced nearly half-a-million reed organs - and they were by no means the only large-scale producers. The use of traditionally high standards of build and materials associated with pipe organs ensured well-designed and durable reed instruments.
Mass production made them remarkably inexpensive. Absence of the heavy frame, essential in pianos, also made them much lighter - an important consideration when they were needed in remote places. The rather splendid example in pic 3 may be moved by two people, using the handles at the sides - apparently brass in this instance. A further advantage is that there is no need for periodic visits from a tuner.
A vast range of models was produced over the years. The smallest had three octaves of keys. These folding models, strapped to the back, were the mark of the itinerant preacher - a familiar figure in early Hollywood films. More recently, they have appeared in Bollywood productions, as well as in documentaries about India. Large numbers were imported in days of the Raj for use in schools and churches. They were soon adopted by the ubiquitous ensembles of street musicians, despite differences from local tuning scales. Purists don’t like them, of course.
A vast range of models was produced over the years. The smallest had three octaves of keys. These folding models, strapped to the back, were the mark of the itinerant preacher - a familiar figure in early Hollywood films. More recently, they have appeared in Bollywood productions, as well as in documentaries about India. Large numbers were imported in days of the Raj for use in schools and churches. They were soon adopted by the ubiquitous ensembles of street musicians, despite differences from local tuning scales. Purists don’t like them, of course.
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Picture 2 shows an example by the Bell company (note the trademark woven into the carpet covering the pedals). The presence of such an instrument in a house became a mark of respectability. Again, Hollywood was quick to see possibilities: a visit by Oliver Hardy, Larry Semon or Harold Lloyd to a home thus equipped was a guarantee that the respectable were due for appalling experiences! Much later (1959), the salesman in Our Man In Havana, played by Alec Guinness, had a similar organ in his flat and, more recently, they have appeared as furnishings in popular television and film costume drama.
To finish, here are two hints for those intending to play a reed organ for the first time. Explore the tonal resources. These are far from fully exploited by many players and the possibilities for interesting playing may come as a surprise. |
3: American organ with manufacturer-supplied, custom-made stool.
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Most useful of all: don’t sit on a dining - or kitchen- chair when playing. These are much too low and the result will be pains in ankles, calves and back - and probably a crick in the neck as well! Picture 3 shows a very handsome organ with a stool of the kind originally supplied by manufacturers. This is several inches higher than a chair and the seat, sloping forward, throws more weight onto the legs, thus reducing the labour of pumping. If such a seat is not available, use (hard) cushions, a hassock or any other means to achieve a comfortable playing position.
David Bridgeman-Sutton,
September, 2007
September, 2007
Picture credits:
with thanks to Cambridge Reed Organs, copyright holders
additional graphics : Althea Bridgeman-Sutton
with thanks to Cambridge Reed Organs, copyright holders
additional graphics : Althea Bridgeman-Sutton
