We see no reason whatever why such a bright example should not be followed; and, while we yield to no one in appreciation of the pedal-organ, and of the music proper for it, we hold that the typical organ of the village church has no concern with these, and that no greater demand should be made upon the executive powers of its player than that which is made in the acquirement of a pure _legato_ style at the pianoforte or harmonium.
Second. "Why omit the Swell, the greatest improvement of modern organs?"
The Swell-organ proper owes its effectiveness to its reed stops, and these are one and all excluded from our village organ by the fact that they require the frequent attention of a tuner. We grant, however, that reedy stops of the Gamba class might take their place in small organs; and we admit that our organs, Nos. 1, 2, and 3, might be very easily enclosed in swell boxes, while a "Swell" might take the place of a "Choir" in No. 5. Such alterations would have many advocates, both professional and amateur.
In adhering resolutely to our plans, we must express the opinion that the judicious management of the Swell is a gift rather than an art. It is but occasionally, we think, that refined taste is made evident by a sparing use of the tempting contrivance. Too frequently, even in churches of high class and pretension, the tone of the swell-organ, with its mechanical rise and fall, prevails from the beginning to the end of the performance, until the ear longs for relief. If the abuse of the Swell be thus common even in town churches, is it well to trust an apparatus which may be so easily misunderstood to the discretion of players in village churches?
Moreover, our village organ is for the accompaniment of singers. We believe that many musicians will endorse our opinion that as an accompaniment for singers the Swell-organ is misleading and unsatisfactory. An accurate ear will often detect a slight difference of pitch in the pipes of a small Swell-organ when the shades are closed or suddenly opened. We have repeatedly heard the voices of the men and boys, even in very good choirs, thrown out of tune by injudicious persistence in the use of the Swell as an accompaniment. The sense of discomfort and uncertainty was removed at once when the player transferred his hands to the Choir-manual, with its quiet and cheerful brightness.