THE ART OF ORGAN-BUILDING AND ITS SUCCESSORS [unfinished chapter]

Copyright © 1999 by David H. Fox.  All Rights Reserved

Of all his activities, G. A. Audsley is perhaps best remembered as the author of The Art of Organ-building.  Though nearly a century has passed since its publication, no subsequent author has attempted such a comprehensive treatment of the subject.  Its only major failing in breadth was the somewhat limited treatment of electropneumatic actions which did not reach their fullest development until decades after the publication.

Following an introduction describing the aims of the work, a brief history of the pipe organ was given followed by very practical suggestions as to the desirable location of the instrument within a building.

As might be expected from an architect, Audsley devoted considerable attention the tasteful design of organ facades.  This chapter was enriched with illustrations of historic instruments as drawn by the Arthur George Hill, a prominent British organbuilder.

Audsley's fine sense of visual design did not fail him in the writing of this chapter.  His point of view is not at all at great variance from present sentiments.  The use large expanses of non-speaking pipes to screen the actual instrument from view stood condemned.  Audsley considered them a waste of money

Several chapters repeated the themes of Audsley's English Mechanic articles, including those on the tonal design of the chamber, church, and concert room organs, as well as, the reform of the stop nomenclature.

Perhaps the greatest glory of the work are Audsley's exquisite drawings which illustrate the highly detailed chapters on organ mechanisms and pipes.  One can easily accept the author's claim that these required the equivalent of two years labor.

Notwithstanding its attractiveness, the book has been subject to criticism.  It was produced not without a thought to self-promotion on the part of Audsley.  Indeed, the work opens with a distinguished-looking portrait of the author emblazoned with his autograph and closes with what amounts to an advertisment for a Audsley-designed residence organ built by the Art Organ Company.  A particularly unattractive aspect is Audsley's seeming attempt to impress the reader with his learnedness.  This appears in the form of lengthy untranslated sections in French and Latin when the writer was unfamiliar with the languages:

I have always lamented by ignorance of foreign languages, for I have very often been sadly handicapped in my investigations and studies.  Kind nature did not give me the aptitude to acquire foreign tongues, and indeed, has not given me a great command of my own.  I have struggled on and simply done my best to convey my thoughts to others. .        G. A. Audsley.  Letter to Rev. Gregory Hügle, 4 Mar. 1925.  Archives of Conception Abbey, Conception, MO.

Of a far worse aspect are the chapters relating to sound production in organ pipes which offered "a theory widely different from those which have been propounded in the several learned works on acoustics."  Audsley came under the influence of A. Wilford Hall, who published in 1877, the contention that sound was not a wave carried by a medium, but rather a type of particulate emission.  Beginning with the 1 November 1889 issue of the English Mechanic and World of Science, Audsley published a seven-part article in support of Hall's theory.  Much of the tone of the article was contemptuous of the established "experts" reminiscent of his statements concerning organbuilders:

Now younger men, free from prejudices born of the schools, must take the field, and by their united labors and investigations create the true Science of Acoustics on a new and logical foundation. .        G. A. Audsley, "Acoustics: A Review of the Old and New Theories of Sound," English Mechanic and World of Science (1 Nov. 1889): 191.

Audsley ended the series in the style of Martin Luther by giving one-hundred-two theses proving he was correct and the likes of Helmholz and Tydall were wrong.

Audsley apparently believed in his correctness throughout his life.  The "corpuscular theory of sound" again appeared in a year-long series of articles entitled, "Facts and Fallacies of the Tuning-Fork" beginning with February 1918 issue of The Diapason.  On this occassion, Audsley did not escape contradiction.  The April 1919 issue featured "Skinner Replies to Audsley" wherein the prominent organbuilder defended the wave theory of sound.

With apparently some thought to the rare book market, Audsley authorized the printing of one-thousand sets of the ordinary edition and two-hundred-fifty deluxe.  The later were half-bound [spine and corners] in vellum [sheep leather] with gold stamped ornament and pages of handmade paper.

Both two-volume editions were of a 13 by 9-1/4 inch format with 1,365 pages and 399 illustrations.  The entire project of writing and printing was said to have occupied the author for seven years, of which the drawing of the illustations had taken the equivalent of two years. .        Advertisement.  The American Organist (May 1924).

In the May 1924 issue, the editors of The American Organist offered for sale the remaining copies of The Art of Organ-building which they had obtained from the original publisher.  These were advertized as being "new, undamaged, autographed deluxe sets."  Convenient time payments were authorized for the price which was described as a half-month's wages for a church organist.  Readers were cautioned that the books would be "withdrawn from the market at the close of the present season."

The December 1917 issue of The Diapason announced the forthcoming publication of Audsley's The Organ of the Twentieth Century.  It noted of its predecessor:

The two large volumes are now virtually unobtainable, as the edition was limited and was soon exhausted [sic].  The new book is expected to meet the great demand for a similar book brought up to date and of a size and at a price which will make it more widely circulated. .        "Dr. Audsley is a Author of New Book on Organ," The Diapason (Dec. 1917):14.

The 384 page work was offered to subscribers for $3.50.  By August of 1918, the work had expanded to 474 pages and twice the number of plates.  The price to subscribers remained unchanged prior to the expected November 1918 publication. .        "Audsley Book is Enlarged," The Diapason (Aug. 1918):16.  Apparently, the actual publication was delayed until mid-1919.

The Diapason, in its July 1919 issue, printed a favorable review of Audlsey's work:

It may sound trite to say that this work makes an epoch, but we do not think it is far from the truth.  There has been so little written on the modern organ, that, when such a volume as Dr. Adusley's appears, it is a genuine event for the organist and the organ builder....The Organ of the Twentieth Century is brought up to date, is more practical because smaller, and contains a clear exposition of ideas worked out by the author during many years....As Dr. Audsley wrote to The Diapason, this may be the last sermon by him on the greatest of musical instruments.  Yes, it is a sermon, for he takes the methods of present-day organ builders to task severely, but his suggestions are constructive, and with his admonitions he points the way---like a true sermonizer....The print and binding of the volume are of prime excellence that those who know Dr. Audsley would expect of any work prepared by him and the typographical appearance reflects great credit on the publishers Dodd, Mead & Co. .        "The Organ of the Twentieth Century,"  The Diapason (Jul. 1919):9.