" of 1885, has an A 452.0 with C, 537.5, and this pitch has actually found some slight acceptance in France, where opinions on the matter are not exactly unanimous, though there is a distinct desire, as elsewhere, to abide by a standard which shall not be too high. The bottom and the highest at the top of the column. eastern side of the continent was pretty much at the The present purpose of tracing the advance upwards Society of Arts' standard in 1879, having descended will therefore be best answered by proceeding from in consequence of a reaction prevailing with more or the bottom of the table to the top of the tabulated less force ever since the adoption in Paris in 1859 of and useful list. The lowest pitch given is that of a the "Diapason Normal" and the fixing of the church organ at Dresden with A 415.0 and C, 493.5" Society of Arts' standard" in 1860. The British in 1754. From this point the rise to French Diapason Army regulation pitch, also the standard of the InvenNormal is very gradual; and although inter-communi- tions Exhibition (upon what authority is not stated) cation was more difficult and much slower than it is now, the agreement between the standards of the different musical centres is remarkably close. Thus the organ pitch at Vienna, 1780, in MOZART's time, was A 421.3 and C 501.0 as compared with the Seville organ pitch of 1785-90 at A 419.6 and C, 498.9. In Philharmonic and BROADWOOD's pitch of 1874, London, in HANDEL's time, the pitch of 1751 was A 454.7, with C 540.8 is only exceeded on Mr. already higher, at A 422.5 and C 502.4. It is curious BLAIKLEY'S useful table by the New York pitch, used to note that the English pitch remained almost sta- by STEINWAY'S, etc., of 1879, at A 457.2 and C 543-7. tionary, only rising very slightly, as at A 427.8 and C The total rise of pitch, varied as it is by sundry 508.7, as in the case of the Windsor organ of 1788; fluctuations, is roughly speaking just over threebut actually to fall again, to take the Philharmonic quarters of a tone in the course of about a hundred original fork as the standard of 1813 at A 425.8, and thirty years. It should be added that the figures C 506.4; a pitch, however, slightly higher than the as given between A and C are according to equal Dresden standard of 1815-21. At the same time, temperament measurement. It may also be noted however, continental pitch was gradually ascending, that during performance in a heated room, the rise of though pitch was stationary or nearly so in England; pitch in the orchestra, usually the result of the where the French Diapason Normal was actually the sharpening of certain wind instruments, amounts to pitch of Sir GEORGE SMART'S Philharmonic fork in about a quarter of tone, and there is very nearly a 1820, and a still lower standard found some favour as corresponding rise in the pitch of the flue pipes of the late as 1846, as in the organ of St. Mary's, Shrews- organ when exposed to like atmospheric conditions, bury, with A 433.6, and C 515.6. To leave England which of course affect the pitch most seriously in for the moment, the standard-pronounced to be a small, crowded buildings. The story of the rise in useful arithmetical one for use in physical science-pitch now so universally discussed, may be thus briefly A 430.5, C 512.0 was reached at Berlin 1806-14. summarised. Though common causes were at work Then comes a very slight rise at Paris in 1826, and throughout Europe in the direction of raising the MEERENS'S standard of A 432.0, C 513-7 is adopted pitch, the onus of the unnatural rise of modern times at Brussels in 1876; and though lower than the rests chiefly with Paris and London, and in a lesser French standard, is also adopted by the Italian degree with Vienna, Berlin, Milan, etc. Of instituGovernment in 1884. But during this time a some- tions, the opera has clearly been the chief offender; what rapid rise is proceeding at the more influential next the various standard orchestras, and notably our musical centres of the Continent. Paris Opéra pitch, own Philharmonic band, have responded to the moveas verified by MEYER BEER, 1836-39, gives A 441.0, ment upwards. To some extent orchestral identity of C 524.5. This pitch is only just passed at Covent pitch would naturally arise from the employment of the Garden by a slight reaction downwards in 1878. same instrument makers and from performers using the There is another slight rise in Paris in 1854, which is same instruments at given periods. Although COSTA followed at Brussels five years later. From this point took part in the Society of Arts' discussion in 1860 in London, Vienna, Milan, and Berlin, lead the way of favour of a lowered pitch, his great personal influence the ascending pitch. The Society of Arts' pitch-would seem to have directly or tacitly sanctioned the advocated by many thinking musicians at the present striking rise which took place in London during his time-was fixed in 1860 at A 445.7 (intended for reign as conductor. Probably, however, conductors 444), and C 529.9 (intended for 528) as a natural have never very seriously troubled themselves sequence of the adoption in Paris in 1859 of the about pitch questions. The organ builders Diapason Normal A 435.4, and C 517.8, a standard have not only followed the orchestral rise, barely two vibrations per second higher than SCHEIB- but even anticipated it at various times. LER'S of 1834, the then prevailing Vienna pitch; In this direction, Mr. H. WILLIS, recognising the inthough the same authority is credited with the slightly creasing use of the organ with the orchestra, and higher standard, A 440.2, C 523.5, as in use at Stutt- perhaps from the important positions in which gardt. That there are great divergences in existence his instruments are placed, has been apparently an at one and the same time may be seen, as between active leader, as may be seen from the high Church the Westminster organ in 1877 at A 438 and C 520.9, pitch standards of his St. Paul's, Durham, and with the Temple organ and CAVAILLE-COLL'S instru- Salisbury organs at A 445.2, C 529.4 and the ment at St. Denis Cathedral, Paris, in 1880, at Albert Hall organ at a still higher concert pitch. A 444.3 (Society of Arts), and C 528.4, and with the The eminent French builder, CAVAILLE-COLL, also Albert Hall organ built a few years earlier at A 453.9 showed a like and natural inclination to bear the and C 539.8. The pitch in London, in the extreme orchestra company in the matter of the pitch rise. west of Europe, and in Prague and Milan on the south-The domestic instrument, the pianoforte, may not the Clergy and Profession off every make of Pianofortes, American Organs, etc. have taken a very direct action in the rise, but it has serious and passionate efforts of expression, any no doubt had its influence; especially remembering more than there is no reason why the painter should the abnormally high pitch so generally used for instru- not use extended or contracted shadows for serious ments not intended to be employed in the concert- just as well as for comic and grotesque suggestions. room, and the product of the pursuit of a phantom To proceed, the next kind of imitation spoken of by brilliancy by excessive tension and its consequent high CHERUBINI, he calls invertible or convertible. This pitch; a course which has been disastrous to domestic is in other words, double counterpoint of the octave vocal and other music to which the pianoforte forms for the most part, the upper part being interchangeable an accompaniment. The makers of concert grands, as with the lower according to the law of inversion, and BROADWOODS and ERARDS, have discreetly followed the lower part, in like manner, being capable of the prevailing pitch for the most part. In HANDEL's exchanging positions with the upper. The usual pretime, 1751, the pitch in England was probably the cautions of double counterpoint in the octave, of highest in Europe, but it had something of the virtue course, are necessary in convertible or invertible of constancy, rising but slightly and slowly until about imitation, and care must be taken to avoid the fifth as 1840. On the continent, starting from a lower standard it becomes a fourth by inversion. The rules of double than the English pitch, a comparatively high pitch was counterpoint will come under notice in due course; attained by 1836, though this movement proceeded the form of imitation here referred to is simply most slowly in Germany. Messrs. BISHOP and canonical imitation set in double counterpoint. SON exhibit in their Inventions Exhibition organ a Periodic imitation is said to take place when a portion mechanical arrangement whereby both French and only of the theme proposed by the antecedent part is Philharmonic pitches are represented. This is of imitated. This form of imitation is usually conducted course done by a transposing apparatus, which pre-in alternated efforts; that is, one part proposes a subject sumes the Philharmonic pitch to be slightly higher, which is imitated only through a portion of its length about a third of a semitone, than it really is, so as to by the other part, which in turn offers another thematic conveniently place it exactly a semitone above the proposal which is imitated forthwith by the first part French diapason normal. In America the tendency engaged in the alternate acts of proposing and to use a high pitch reached its maximum influence imitating. Canonic imitation is one of the most and continues to be the rule. The reaction towards a important types of the art, and it was indeed the lower pitch, which set in from 1859 in Paris, has led parent of fugue. It is imitation completely and accuto the pretty general adoption of the French "dia- rately carried out, for the consequent responds to the "pason normal." This has been finally adopted in figures of the antecedent note for note from beginning France and Belgium, is very likely to accepted by to end. Canon is finite when it is finished by a coda Germany, has in part been adopted in Austria, etc., or added conclusion; it is infinite or circular when and will perhaps replace the even slightly lower pitch constructed in such manner as to return from the end accepted in Italy only last year. The adoption of of the imitation to the beginning without ceasing, ad the French pitch is now being discussed in America, infinitum. The old English round represented a with at present not much energy, however; and its popular use of the infinite canon. This subject will adoption is a matter of consideration in England at claim more attention further on. The art of conductthe present time, where, however, the slightly higher ing canon shows to best advantage after a complete Society of Arts' pitch is claiming the approval of many inspection of, and practice in, the various forms of both artists. There are those, however, who do not accept single and double counterpoint, and its study well the belief in a coming universal agreement, however precedes an entrance into the larger, freer domains of desirable. One thing only is certain that the present fugue, to which goal indeed all contrapuntal studies pitch is very generally regarded as being too high, so a retrograde movement which, if it does not finally settle upon the French "diapason normal," will most likely approach that standard within a very short distance, will at least engage the attention if it does not secure the entire approval of the musical world. E. H. TURPIN. THE LOGIC OF DOUBLE COUNTER- XV. lead. E. H. T. TO SELL, MUSICAL INSTRUMENTS of every description, also Libraries of Music, Music Plates and Copyrights, Stocks-in-Trade, &c. (Sale devoted exclusively to this class of Property) every PUTTICK & SIMPSON, 47, Leicester Square, London, W.C.-(Estabished 1794). month, single instruments inserted. Consignments received at any time. NEW EDITION. JUST PUBLISHED. SELECT VOLUNTARIES, By HENRY FARMER. ARRANGED FOR Piano, Harmonium, American Organ, or Organ, PREVIOUS to the consideration of the next type of imitation, it may be pointed out there are instances in the works of eminent masters of imitation in which the enlargement and contraction of the intervals employed lend a grotesque element of humour to the music. Such a use of the imitative faculty is, however, rare, and almost entirely confined to the works of composers masters, to suit all tastes, easy and effectively arranged. Write for list of contents of each book. of the modern instrumental school. There is no reason why the use of imitation built upon the enlarge This work contains short pieces of all modern and ancient ment or contraction of intervals should not characterise | London: JOSEPH WILLIAMS, 24, Berners St., W. Correspondence. THE RISE OF ORGAN PITCH. TO THE EDITOR OF THE MUSICAL STANDARD," SIR,-In the excellent letter on this subject which appears in your last number, there are some remarks which seem to con. flict with my statement on page 45. As there is, I believe, no real difference of opinion between Dr. Hinton and myself the contradiction being mainly traceable to the brevity of my explanation-I should like to make some further observations. The principal reason why wood pipes do not materially alter in pitch during any occasion of playing the organ in a changing temperature is, of course, that wood is a bad conductor of heat; and, consequently, alteration of internal temperature, on which, as I pointed out, alteration of pitch chiefly depends, takes place very slowly in pipes of that material. It is none the less true that if the columns of air enclosed in a wood and in a metal pipe are actually equally raised in temperature the pipes will on that account be equally sharpened. It was, I thought, superfluous to point out that the increase in the dimensions of a pipe resulting from any ordinary elevation of its temperature is very small. For a rise of 20° Fahr. the increase is (about) 0035 inch per foot in spotted metal. But the increase of course modifies all the dimensions of the pipe, and in the same ratio-the effect due to this general enlargement being, as I stated, a slight flattening-and the expression, "the increased velocity of the current of wind, resulting from increase in the dimensions of its mouth and foothole," has not (immediate) reference to increase in the height of the mouth (as Dr. Hinton seems to have understood, and which, other things apart, would, truly, flatten the pipe); possibly I am to blame in not having at this place explained more fully. Since the diameter of the foothole, and the length, and width of the opening in the mouth, between the languid and the lower lip, from which the wind issues, are all increased in the same ratio, the pressure in the pipe foot will remain unaltered. And when, maintaining the same pressure, we increase the area of any aperture through which a fluid (gaseous or liquid) is passing, the discharge increases in a higher ratio than that in which the area is increased, which, manifestly, involves an increase in the velocity. And increase of velocity (not to be confused with quantity) of the current of wind in an organ pipe, produces more rapid pulsations of the air in and near its mouth, and, consequently, a more rapid vibration of the column within the tube. It can hardly be necessary to add that the rise of pitch resulting from this cause is exceedingly small. I mentioned the point only because I wished, having ventured on criticism, to be my self strictly accurate, and as a curious fact likely to be interesting. Although the "tip of foothole" (sic) is in wood, it must be remembered that pipe metal is one of the best conductors of heat, and when to this fact we add the considerations that the extent of metal surface in actual contact with the wood is very small, and that the rise in temperature is, in any case, extremely slow, no room remains to suppose that the tip of the foot of even a front pipe (which, when the temperature of the building is rising, may not improbably be a little warmer than the wind entering it), can be at all cooler than the exposed portions. Much less is there any possibility of such a difference occurring in respect of an inside pipe, which is certain to be cooler than its wind and warmer than the air surrounding it, and in whose favours the warming of that part of the metal by conduction from the adjoining portion and by the wind which is sunk in the case therefore the circumstance that wood is a bad conductor wood. As the truth with respect to reed pipes was given (p. 27) from high authorities, I thought it unnecessary to speak of them. Nevertheless, I may be allowed to say that Dr. Hinton deserves our thanks for his concise statement of what is, without doubt, the correct explanation of the flattening (he makes an obvious slip, however, as to the effect of the lengthening of the tube); but even more for his (by no means too energetic) denunciation of the small wood pipes and the big zinc ones. As, however, such evils proverbially die hard, he will allow me to support his indictment by some explanation and data. These, Sir, I will make the subject of another letter-unless you think the subject has already had as much space as you can afford it. Charlton, 28th July. Yours faithfully, CHAS. E. HERBERT. Passing Events. The Strauss band complete their Inventions Exhibition engagement on Monday next. At Trinity College, London, a "students' invitation concert" was given on July 21st. Miss Eleonore d'Esterre-Keeling gave a morning concert the other day, at 23, Rutland Gate, in aid of the National Hospital for the Paralyzed a 11 Epileptic. The day she left London for Ems, Mdlle. Nevada, who had been invited to visit the Frincess of Wales, received from her Royal Highness a most flattering letter and a diamond and pearl brooch. The regrettable statement is made that the "national " band at the Albert Palace, has received notice of the termination of their present engagement; and in its place is to be imported from Vienna a “ladies' orchestra." Mr. Percy North's opera and quartet party, under the direction of Mr. Alfred Burnham, begin a long and varied series of engagements at the pretty little Bijou Opera House, Liverpool, on the 3rd August, with "Prizes and Blanks" by Otto Booth, and "Quid Pro Quo" by W. Bendall. A pleasing ceremony was to be witnessed in the Handel orchestra of the Crystal Palace on July 18th, when Princess Frederica of Hanover distributed the annual prizes and diplomas gained by the pupils of the Royal Normal College and Academy of Music for the Blind, Upper Norwood. In connection with Messrs. Novello and Co.'s oratorio concerts, Mr. Mackenzie is busily engaged examining candidates for admission to the choir. There are still a few vacancies, and ladies and gentlemen wishing to join should apply at once, as the rehearsals begin in the month of September. In a speech delivered in New York in connection with the College of Musicians, Mr. Bowman wisely urged a better study of the triads to the budding Beethovens and protoplasmic Wagners, who are seldom satisfied with anything less than a double-diminished thirteenth on a pedal of at least three tones. Says the Nineteenth Century: A man whose soul is being consumed by the desire to discover some new truth or to give shape to some new artistic idea, is exceedingly liable to fall below the exactions of conventional society in the matter of toilet and other small businesses of life. Among the many humorously pathetic incidents in the records of great men there is perhaps none more touching than the futile attempt of Beethoven to dress himself with scrupulous conformity to the Viennese pattern of his day. At the Athenæum, Goldhawk Road, W., Mdlle. Lilas Spontini gave her fifth and last concert of the first series, on July 23rd. The vocalists were: Mdlle. Lilas Spontini, Mdme. Inez Maleska, Miss Marian Ellis, and Mdlle. Catherine Devrient, Mrs. Annetta Frances, Miss Frances Hipwell, Mr. Stanley Betjemann, Mr. Victor Romilly, Mr. Edward de Smissen and Mr. Isidore de Lara; pianoforte solo, Mr. Henri Loge and Mr. Lindsay Sloper; violin solo, Herr Edward Calm; accompanists, Herr Carl Ryal, Mr. Theodore Drew, Mr. Russell Lochner, and Mr. J. G. Callcott. Last Saturday afternoon, at the Albert Palace, Mr. Carter's sacred cantata, "Placida, the Christian Martyr," gained a closely attentive hearing from a large audience; this was followed by Rossini's "Stabat Mater." The soloists were Miss Patti Winter, Mdme. Antoinette Sterling, Signor Fabrini, Mr. Joseph Barker, and Mr. Watkin Mills. The choruses were given by Mr. Carter's choir; there was a full band, with Mr. A. J. Caldicott at the organ. Signor Fabrini's spirited rendering of the part of Metellus proved a noteworthy feature, and met with much applause. The Processional March, by band and organ, met with an enthusiastic demand for its repetition, which was responded to by Mr. Carter, who conducted. Rossini's Stabat Mater " was given, it is scarcely necessary to say, with much excellence, and met with an appreciative reception. 66 Anent the music at the recent Royal wedding, our Isle of Wight correspondent says: The organ is placed in the gallery at the west end. The musical portion of the service (selected by the Princess) was under the direction of Mr. Walter Parratt, organist of St. George's Chapel, Windsor, who welcomed the procession by playing in a very skilful manner "The Bridegroom's March" (W. Parratt); March from the "Occasional Overture " (Handel). The Archbishop of Canterbury read the service. The choir of St. George's Chapel, Windsor, sang very effectively the 128th Psalm to a chant by Sir F. G. Ouseley, and after a short address by the Archbishop, the Anthem, "O give thanks unto the Lord" (Mendelssohn). The service over, the Royal party left the church during the strains of "The Wedding March" (Mendelssohn), and proceeded to Osborne. Service Lists. NINTH SUNDAY AFTER TRINITY. AUGUST 2nd, 1885. LONDON. ST. PAUL'S CATHEDRAL, · Morn.: Service, Te Deum and Benedictus, Martin in C; Introit, I am not worthy, Holy Lord, (Hymn 323); Holy Communion, Martin in C. Even.: Service, Magnificat and Nunc Dimittis, Gounod; Anthem, Ye people, If with all your hearts, and, Cast thy burden (Mendelssohn). TEMPLE CHURCH.-Morn.: Service, Te Deum and Jubilate, Boyce in A; Apostles' Creed, Harmonized Monotone; Anthem, Lord, for Thy tender mercies sake (Tarrant). Even.: Service, Magnificat and Nunc Dimittis, Arnold in A; Apostles' Creed, Harmonized Monotone; Anthem, O God! have mercy (Mendelssohn). ST. ALPHAGE, LONDON WALL.-Morn.: Service, Te Deum and Jubilate, Garrett in D; Introit, Author of life divine (Stainer); Kyrie Eleison, Garrett in D. Even.: Service, Mag. nificat and Nunc Dimittis, Barnby in E; Hymn, Sun of my soul, thou Saviour dear (Sir H. S. Oakeley). ST. AUGUSTINE AND ST. FAITH, OLD CHANGE.-Morn.: Service, Smart in F; Introit, Be merciful unto me (South); Holy Communion, Smart in F. Even.: Service, Garrett in E flat; Anthem, I will wash my hands in innocency (Hopkins). LEE (ST. MILDRED'S).-Morn.: Holy Communion (early celebration); Introit, The heavenly word (Dykes); Service, Gregorian (throughout); Processional Nunc Dimittis, Barnby in D. Matins, Te Deum, Barnby in B flat; Benedictus, Ross in E. Even.: Service, Bunnett in F; Anthem, Praise the Lord (Goss.) After Evensong, organ recital. ST. PAUL'S, AVENUE ROAD, SOUTH HAMPSTEAD.-Morn.: Service, Te Deum, Smart in F; Benedictus, Garrett; Kyrie, Cocks in F; Offertory, Stainer. Even.: Service, Magnificat and Nunc Dimittis, Stewart in G; Anthem, Remember now thy creator (Steggall). ST. SEPULCHRE'S, HOLBORN.-Morn.: Service, Te Deum and Benedictus, Dykes in F; Anthem, Praise God (Weldon); Kyrie and Credo, Pearce in C. Even.: Service, Magnificat and Nunc Dimittis, Palmer in F; Anthem, From the rising (Ouseley). COUNTRY. ST. ASAPH CATHEDRAL.-Morn.: Service, Chants; Anthem, How lovely are the messengers (Mendelssohn). Aft.: Service, The Litany; Anthem, Awake, awake (Stainer). ASHBURNE CHURCH, DERBYSHIRE. Morn.: Service, Smart in G; Kyrie, Credo, and Gloria, Cobb in G. Even.: Service, Lloyd in E flat; Anthem, How lovely are Thy dwellings fair (Spohr). BIRMINGHAM (ST. CYPRIAN'S, HAY MILLS).-Morn.: Service, Smith in B flat; Anthem, Hear my prayer (Mendelssohn). Even.: Service, Smart in F; Anthem, O Lord my God, I will exalt Thee (Nares). CARLISLE CATHEDRAL.-Morn.: Service, Sullivan in D; Introit, We wait for (Armes); Kyrie, Sullivan in D; Nicene Creed, Goss in D. Even.: Service, Prout in D; Anthem, Wherewithal (Elvey). DUBLIN, ST. PATRICK'S (NATIONAL) CATHEDRAL.-Morn.: Service, Te Deum and Jubilate, King in C; Anthem, Come, Holy Ghost (Attwood). Even.: Service, Magnificat and Nunc Dimittis, Stainer in B flat; Anthems, Be not afraid (Mendelssohn), and, Let God arise (Greene). Morn.: HUNTINGDON (ALL SAINTS Parish Church). Service, Te Deum, Dykes in F; Kyrie, Mackintosh in D. Even.: Anthem, From the rising of the sun (Ouseley). MANCHESTER Cathedral.- Morn.: Service, Te Deum and Benedictus, Gibbons in F; Communion, Rogers in D; Anthem, Teach me, O Lord (Attwood) Aft.: Service, Gibbons in F Anthem, Withdraw not Thou Thy mercy (Attwood). No organ. MANCHESTER (ST. BENEDICT'S, ARDWICK).-Morn.: Service, Benedictus, Cobb in G; Kyrie, Credo, Sanctus, Benedictus, Agnus Dei, and Gloria in Excelsis, Monk in C. Even.: Service, Magnificat and Nunc Dimittis, Wesley in F. MANCHESTER (ST. JOHN BAPTIST, HULME).-Morn.: Service, Kyrie, Credo, Sanctus and Gloria in Excelsis, Dykes in F; Benedictus, and Agnus Dei, Calkin in B flat. Even.: Service, Magnificat and Nunc Dimittis, Bunnett in F, ROCHESTER CATHEDRAL.-Morn.: Service, Rogers in D; Holy Communion (choral), Smart in G; Anthem, O come every one (Mendelssohn). Even.: Service, Heathcote in B flat; Anthem, And there was a pure river (Ouseley). SALISBURY CATHEDRAL-Morn.: Service, Garrett in F; Offertory, Garrett. Aft.: Service, Garrett in F; Anthem, Wherewithal (Elvey). WELLS CATHEDRAL.-Morn.: Service, Smart in F (throughout). Even.: Service, Gilbert in E; Anthem, O where shall wisdom be found (Boyce). ERRATA. The organ opening given as at All Saint's last week, should have been headed Birminghim. MARRIAGE. the Rev. Canon Duckworth, assisted by the Rev. Frederick At St. Mark's Church, Hamilton Terrace, on July 29th, by McKenzie, cousin of the bride, RICHARD SMITH-WILLIAMS, eldest surviving son of the late William Smith-Williams, of Twickenham, to MARIAN, elder daughter of Captain Joseph McKenzie, and niece of the late Edward Davies of Plymouth. NOTICE Service Lists (condensed as much as possible) should be written on POST CARDS only and should reach the Printers [BOWDEN, HUDSON & CO., 23, Red Lion Street, Holborn, London, W.C.] not later than Wednesday morning in each week. Lists are frequently omitted through not being received in time. NEWSPAPERS sent should have distinct marks opposite to the matter to which attention is required. NOTICE. All communications intended for the Editor are to be sent to his private address, 6, Argyle Square W.C. Business communications to be addressed to Weekes & Co., 14 Hanover St. ASCHERBERG PIANOS SHOW ROOMS, 211, Regent Street. THE FINEST ORGANS IN THE TRADE. 75 THE ANGELUS CARPENTER ORGANS are the finest in the world. They are celebrated for Superior Quality of Tone; unlimited variety of Combination; Uniform Scale; and unexcelled mechanical arrangements. 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