The Recent Revolution in Organ Building Being an Account of Modern Developments — Story, Setting & Ideas

The Tailor’s Lesson: Organ Divisions Explained

The foreword’s anecdote about Deacon MacNab is not merely humorous; it encapsulates the book’s pedagogical method. Miller translates organ terminology into everyday analogies. The Great, Swell, and Choir divisions are likened to layers of clothing, each serving a distinct function. This approach recurs throughout the text: technical concepts are anchored in concrete, relatable images.

Miller explicitly states that the second chapter would have answered the deacon’s questions, signaling that the book is structured to guide a novice from confusion to competence. The foreword positions the reader as a potential committee member who must “intelligently purchase an instrument” without relying solely on expert opinion. The language is direct, even blunt: a poorly chosen organ will “drive the organist to the verge of profanity” and become a “snug source of income to its builders—for repairs.”

English Foundations and American Lag

Miller credits English inventors with many modern organ features: the “vowel cavity, tone reflectors, cement swell boxes, the sound trap joint, suitable bass, the unit organ, movable console, radiating and concave pedal board, combination pedals, combination pistons and keys, the rotary blower.” This list, drawn from the excerpts, establishes a baseline of innovation.

He then asserts that the United States “lagged very far behind not only England, but also behind France, and even Germany” until recently. The revolution, he argues, began with Hilborne Roosevelt around 1874. Roosevelt’s organs are praised for “beauty of finish and artistic care” but criticized for lacking “the impressive dignity of the best European instruments.” Miller’s assessment is balanced: he notes specific strengths (Flutes, Diapasons) and weaknesses (lack of weight and dignity), and credits Roosevelt with introducing foreign methods and the adjustable combination action.

Electro-Pneumatic Action: Pioneers and Pitfalls

Miller’s firsthand account of early electric actions is one of the most vivid sections. He describes visiting a Roosevelt organ in Stetson’s hat factory, where he was shown a magnet “about six inches long!”—a detail that conveys the crude state of early electro-pneumatic technology. He quotes a contemporary report from the London Musical News (February 15, 1896) describing the Roosevelt organ in Grace Church, New York: “The electric action is of an old and clumsy pattern, operated from storage batteries … requiring constant attention.” The “full organs” and “full swells” went off slowly, producing a “disagreeable effect.”

Miller then recounts meeting Edmund Jardine in 1894, who was building an organ with a new electric action invented by his nephew. He notes that other builders were using “close imitations of the Hope-Jones” action, and that Jardine’s seemed a “very close imitation also.” Miller’s own three-year experience with the Jardine action at All Angels’ Church leads him to call it “a good one,” but he acknowledges that “the pioneers had troubles of their own.”

Reading the Revolution: What the Excerpts Reveal

The excerpts span the foreword, a technical passage on English inventions, a historical section on Roosevelt, and a detailed account of early electric actions. Together, they show a book that moves from practical motivation (helping a committee choose an organ) to historical narrative (the English roots of modern organ building) to critical evaluation of American builders.

Miller’s voice is authoritative but conversational, punctuated by anecdotes and direct quotations from contemporary sources. He does not shy from naming names or offering judgments: Roosevelt’s contribution is “wholly beneficial” but limited; the Jardine action is good but derivative. The excerpts suggest that the full book likely continues this pattern, mixing technical explanation with historical case studies and personal testimony. Readers should expect a work that is as much a chronicle of a technological transition as a practical guide.

Miller’s book is best approached as a primary source on the electro-pneumatic revolution, not a timeless manual. The technical details are period-specific, but the method of explaining complex systems through analogy and anecdote remains instructive. Readers interested in organ history will find valuable firsthand observations; those seeking practical advice should note that the author’s preferences are shaped by early 20th-century English and American practice. The excerpts offer a clear window into the book’s structure and voice.

I often find the patience of an organ builder echoed in the quiet confidence of a musical critic. Miller’s careful analysis of pistons and wind-chests, his worry over electric actions, feels like the same thoughtful ear that tunes itself to harmony and complaint in the company of musicians. At my desk, I place them side by side. Old Scores and New Readings: Discussions on Music & Certain Musicians — Story, Setting & Ideas shares that gentle, knowing skepticism. Two old friends, agreeing without a sound.