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A Re-Examination of Tempos Assigned to the Earl of Bute's
Machine Organ Author(s): Beverly Jerold Source: Early Music, Vol.
30, No. 4 (Nov., 2002), pp. 584-591Published by: Oxford University
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e* MECHANICAL INSTRUMENTS .
Beverly Jerold
A re-examination of tempos assigned to the Earl of Bute's
machine organ
THE closest thing we have to original recordings
of 18th-century music are barrel organs of the period, so they
are especially interesting for what they convey about the
performance of that time. A barrel organ is so called because of
the cylindrical barrel on which the music is encoded by means of
pins inserted around its circumference. As the barrel is rotated
these pins engage with a system of pivoted metal keys which, in
effect, 'play' the organ.1
In a book of 1775 giving instructions for pinning such a barrel
organ, Joseph Engramelle includes an engraving he made of a
builder's shop (illus.1).2 The worker on the left is pinning the
barrel of a small serinette (canary organ) with the help of a dial
divided into equal pie-like sections. The worker on the right is
doing the same on a much larger barrel. Various tools are on the
floor and hanging on the wall. In the right foreground is a
harpsichord pro- vided with the same mechanism. A mechanical
flautist is seated on a box whose open side reveals the apparatus
for his tunes. At the top rear is a barrel organ of substantial
size, and the clock by the window has a carillon.
In an article published in this journal in 1983 William Malloch
investigated such a barrel organ and drew conclusions about tempo.3
However, these conclusions appear to be seriously flawed, and it is
those shortcomings that will be addressed here. His article
concerns some 60 barrels said to have been pinned with music for a
machine organ installed in a new residence for the 3rd Earl of Bute
around 1767. Plans for the organ, however, are thought to have
begun in 1762; a design for the case is dated 1763.
Each barrel, 18" in diameter and 4' 6" in length, had a maximum
capacity of 12 minutes of music. As Mal- loch observes, the organ
and its barrels 'have com- pletely disappeared', but a Catalogue of
the music on the various barrels published in 1812 by Alexander
Cumming (1735-1814) survives,4 and contains tim-
ings of each composition to the second-'270 indi- vidually timed
pieces or sections (255 of which have been identified)'.5 Table I
illustrates how Cumming's catalogue organizes each numbered barrel
into lists of pieces and their timings.
There are discrepancies between Cumming's text and his
catalogue, for the latter includes only 56 of the original 60
barrels, plus eight improved barrels
Table 1 Contents of barrels nos.49 and 5o, as listed in
Cumming's catalogue No. 49.
HANDEL. - Judas Macchabceus min. sec.
Pious Orgies ...................... 3 o Arm, Arm, ye Brave
................ 2 34 Disdainful of Danger ............... 2 o
Sound an Alarm, and Chorus ........ 4 17
11 51
No. 5o. HANDEL. - Judas Macchabaeus
min. sec.
O Liberty .......................... 2 25 'Tis Liberty
......................... 1 55 Come Ever Smiling Liberty
........... 2 30 Sing unto God ...................... 2 23
11 43
Beverly Jerold is the author of Jean-Henry D'Anglebert and the
seventeenth-century clavecin school (Bloomington, 1986), and is a
performer on keyboard instruments
EARLY MUSIC NOVEMBER 2002 585
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1 The workshop of a maker of mechanical instruments, as depicted
in the frontispiece of Joseph Engramelle, La tonotechnie, ou l'art
de noter les cylindres (Paris, 1775) (by permission of the British
Library; 1608/5525)
584 EARLY MUSIC NOVEMBER 2002
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constructed more than 20 years later (according to his text,
there were only six of these), making a total of 64 barrels
catalogued.
Although Cumming was not involved in con-
structing this organ or its barrels,6 he was responsi- ble for a
second, mechanically improved, organ for another residence of the
earl. Completed in 1787, it was capable of playing the same barrels
as the first; the earl then had 57 of the original barrels moved to
this residence. Cumming also added another six (possibly eight)
barrels of improved design, which, however, contained popular tunes
of the period in- stead of the concert music found on the original
bar- rels. Thus the latter are the focus of our discussion.
According to Cumming's little book, prepared and published when
he was 81, he was using notes that were half a century old. In
Malloch's words, sleuthing was necessary to identify some of
the
pieces: It requires a good deal of work and even luck to
identify some of the instrumental pieces from Cumming's titles, and
in some cases only the evidence of context can provide the
identification. On barrel 22 no.3, for example, the confusing word
'Sentiment' turns out to be 'Lentement', which pro- vides the key
to finding the right 'Sara. 2nd. set Lessons' ... Barrel 3
nos.12-13 come, not from Corelli's '12th Concerto' of op.6, but his
lith. The other listing of Corelli's '12th Con- certo', the whole
of barrel 5 ... is an error for his 8th, the 'Christmas'
Concerto.
Malloch also encountered discrepancies with the
figures: 'Similar problems arise in determining tem-
pos and tempo relationships. On the same barrel I attribute the
timing of 20" for no.3 to the faded state of Cumming's notes: the
time must be 1' 20".' 7
According to Malloch, John Christopher Smith the younger
(1712-95), a composer of opera and oratorio, selected and arranged
the music to be
pinned on the barrels. But Arthur W. J. G. Ord- Hume credits the
elder Smith (d 1763): 'The con- struction of the organ was
superintended by Han- del's amanuensis, John Christopher Smith.
John Snetzler, the organ builder, was called in to collabo- rate
... John Langshaw, organist and mechanic, pinned the barrels with
music arranged by Smith.'8 Except for quoting a passage from F.-J.
Ftis about Langshaw, Ord-Hume does not name his sources, but
Snetzler is corroborated by Cumming. Smith, however, is not
mentioned in Cumming's book.
Because Malloch does not list any other citation for his
material on Smith, it is not known where he obtained statements
that are presented as factual; for instance:
Context, for example, reveals Smith's first rule: that there
should be no cuts in through-composed pieces. Often only the A
section of a da capo or dal segno aria is used (to the pause over
the word 'Fine'), but these sections never suffer internal cuts.
The inclusion of repeats in other types of piece, particularly
instrumental dances, is not consistent, but there are no cuts
within sections bearing repeat signs.9
Because no barrels exist to show what music was
actually present, and Handel often revised his work, how do we
know which version was used on the bar- rel? Or that Smith did not
simply choose those por- tions that would best fit the time
requirements? John Tobin's book documents how frequent and far-
ranging Handel's revisions could be for various per-
formances.'o How can it be deduced that no cuts were made? When
Cumming's catalogue contains
only the information seen in table 1, Malloch's state- ments
appear speculative, unless he has a source he did not cite. Without
a disclaimer that this informa- tion is purely a surmise, it seems
inaccurate to include a 'Bar count' in a chart of 'Contents of
selected barrels."' He further states: 'Smith's second rule was
evidently that there should be no transposi- tions.' Here it is
clear that Smith's rule is Malloch's deduction. He presents one
further rule from Smith that also has the flavour of a supposition:
Smith's third rule was that while each composition should have its
own appropriate tempo, there should nevertheless be rhythmic
continuity from piece to piece. ... rarely do pieces in exactly the
same tempo follow one another, but successive pieces are often
closely related in tempo-by moving at almost double or half speed,
or by halving a common pulse.
What is the basis for these statements? Beyond a
simple listing of contents, Cumming's book contains no
information whatever about the barrels or their preparation.
Without the precise number of bars used for each piece, there is no
way of positing tempo relationships. Here is another passage where
Malloch's statements appear unsupported by fact:
It is clear that continuity of tempo was an important factor in
Smith's ordering of the pieces, and one can observe how this
criterion helped to clarify the decisions concerning the four
movements from organ concertos by Handel that con- tain ad lib.
sections ... Smith simply lets the bar count stand
586 EARLY MUSIC NOVEMBER 2002
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-
and elides the ad lib. beginnings and endings, which produces a
quite natural tempo flow.12
Unless a citation has been omitted in these instances, it
appears that suppositions have been presented as fact, which
seriously undermines the validity of conclusions for extremely
rapid tempos ('The quaver pulse slides from 63 to a smashing 468
[sic] with scarcely a break') and tempo relationships ('There
appear to be the very healthy vestiges of a flexible tactus uniting
much of the contents of all 54 barrels').13 If Malloch assumed the
use of more bars for a particular piece than were actually on the
bar- rel, it would produce the fast tempos he often deduces. On the
other hand, the reverse would account for the few instances where a
tempo seems slow. The plausible tempos may represent cases where
his assumptions more or less coincide with the number of bars
actually pinned.
Let us consider Handel's Organ Concerto, op.4 no.5, for which
timings exist on barrel no.ig. This same concerto was also pinned
onto a barrel for a late 18th-century organ now in the Colt Clavier
Col- lection, Bethersden, Kent, possibly built by Henry Holland.
The difference is that here a barrel exists and has been reported
upon by David Fuller.14 In this organ the barrel is cranked by
hand, making tempo variable. However, as Fuller explains, the range
of comfortable tempo is relatively narrow: the organ suffers from
wind starvation when cranked too slowly and poor speech when
cranked too fast. Table 2 shows the metronome figures derived by
Fuller and Malloch for the Holland organ (for which a gen- uine
barrel is present), as compared with Malloch's deduced figures for
the Bute organ (for which no barrel exists).15
Fuller's figures are the more plausible. While the alla
siciliana might seem slow, it should be noted that, characteristic
of a late 18th-century fashion, it is highly ornamented on this
barrel, thus requiring a slow tempo. In all probability, the barrel
for the Bute organ contained cuts to achieve reasonable tempos.
Apart from the absence of barrels, there are other difficulties
involved with interpreting Cumming's catalogue. Malloch himself
cites the problems in identifying some of the pieces. Is it not
possible that his identifications might occasionally be
inaccurate?
Table 2 Fuller and Malloch's metronome figures for the Holland
organ, compared with Malloch's figures for the Bute organ
Holland/ Holland/ Bute/ Unit Fuller Malloch Malloch
Larghetto J c.63 c.94 75 Allegro J c.76 c.131 131 Alla siciliana
) c.84 c.148 135 Jig . c.84 c.14o 137
Because the tempo of the Allegro from Vivaldi's Concerto op.9
no.12 seems too fast, he acknowledges that he may have identified
the piece incorrectly.'6 Moreover, can we assume the timings to be
com- pletely accurate when they were produced from notes 50 years
old by a man of very great age for that period? How acute was his
vision? As noted above, Malloch indicates at least one obvious
error in the timings. And the discrepancy in the numbers of bar-
rels between Cumming's text and his catalogue, observed above,
should give us pause.
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EARLY MUSIC NOVEMBER 2002 587
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Ex.1 Handel, L'Allegro, il Penseroso, ed il Moderato, 'These
delights', bars 17-19
l Irf ,,% I I I I
these de- lights if thou canst give, these de - lights
A
RIX = V-F AtI
Cumming's catalogue lists some 36 barrels devoted to Handel's
music. The reason Malloch stresses Smith's involvement in the
project (which has not yet been confirmed by a primary source) is
apparently related to his close working relationship with Handel:
'Handel had been dead only three years when the work on them began,
and everybody involved in the project, certainly Smith and his
patron, carried with them the memory of his live interpretations.'
While it is tantalizing to contem- plate finding documentary
evidence with a close connection to Handel, the fact nevertheless
remains that no conclusions can be drawn without the exis- tence of
the barrels. The extreme tempos deduced for some pieces are a clear
indication of the inade- quacy of this method. Take, for example,
the pace of the semiquavers in the aria 'These delights if thou
canst give' from Handel's L'Allegro, ii Penseroso, ed il Moderato
(ex.1), measured as J = 155.17
Comparing his deduced tempos with tempos offered by William
Crotch (c.18o8-15) for some of the same pieces, Malloch
concludes:
Crotch's tempos are all conservative; for Corelli's Concerto
op.6 no.7 ... they are close to Smith's, though generally slower;
but his tempos for 'How excellent is thy name' [Saul] ... and 'He
gave them hailstones' [Israel in Egypt] ... are appallingly slow
compared to Smith's. They are characteristic for a man who was
evidently looking for 'the sublime' at every turn, and they
indicate that the growing solemniza- tion of Handel's entire output
... was already well under way by the beginning of the 19th
century. This is why the Bute barrels are so important. ... It
would be happy were future performances to reflect the spirit that
animated
those responsible for creating the Earl of Bute's machine
organ.'8
Crotch's tempos, however, are more tenable than those Malloch
deduces. Isn't the sublime, in the sense of touching the human
spirit in some way, what music is all about? At least this is
implied when early writers-and their numbers are legion-criti- cize
performers who are simple technicians, unable to communicate warmth
and feeling. An over-fast tempo is guaranteed to produce
meachanical execu- tion. Incorrect conclusions have been drawn
about performance because we have not always interpreted early
sources according to the standards prevailing at the time of
writing, but by those of today. For exam- ple, 'strict rhythm',
which today is almost synony- mous with mechanical playing, meant
something entirely different to them.19
Let us imagine ourselves charged by a present-day wealthy
patron, for his personal enjoyment, with the task of distributing a
large quantity of 20th-century concert music over a total of more
than 50 barrels, each of which can accommodate only 12 minutes of
music. We would probably cut a little here or there to use the time
as advantageously as possible. To attain this end, we might even
adopt a tempo some- what faster than a live orchestra would usually
play. Malloch does not believe this occurred with the bar- rels
under discussion: 'It does not appear that Smith accelerated tempos
in order to squeeze more music onto a barrel. The fact that there
remains an unused 2' 56" on barrel no.23 is significant.'20 Since
this
588 EARLY MUSIC NOVEMBER 2002
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Table 3 Chart of tempos for Judas Maccabaeus, Act I, after
Epstein
Order Title Medium Barrel/Pc. Metre Tempo Tempo Tempo ratio no.
(in words) (metronome)
6 Pious orgies, pious airs [Recit. &] Air 49-1 e Largo e
sostenuto J 132
11 Arm in arm Air 49-2 C Allegro ma non troppo J = 132 1:1
(segue to:)
11 We come Chorus 35-1 Allegro = 130 no significant
[12] [Recitative] relationship
13 O liberty, thou [Recit &] Air 50-1 C Largo = 71 choicest
treasure
[14] [Recitative] 4:3
15 'Tis liberty, dear Air 50-2 C Larghetto J = 97 liberty,
alone
barrel is exceptional in this regard, it is likely that Cumming
or the original author of the manuscript notes made an error.
Either a piece could be missing or a timing could be incorrect.
Even if we had the original barrels, their tempos would still have
to be regarded as simply approximations.
In his 1995 book, Shaping time, David Epstein bases part of his
thesis for proportional tempo on Malloch's article, using his
calculations of Cum-
ming's timings to achieve tempos for Handel's Judas
Maccabaeus.21 The portion of Epstein's chart in table 3 includes
five of some 17 sections of the oratorio that are included on
various barrels,2 together with his tempo-relationship ratios and
Malloch's tempo derivations. Of the entire group, most have
extraor- dinarily fast tempos, while no.13, on the other hand, is
very slow.
In its 12-minute maximum duration, barrel no.49 contains four
pieces, the first of which is the Largo e sostenuto 'Pious orgies,
pious airs' (ex.2a; no.6 in the chart). Its tempo is calculated as
J = 132, a pace that would scarcely permit the singer to enunciate
the text, perform the dotted demisemiquavers correctly, or convey
the expression for 'Decent sorrow, decent pray'rs will to the Lord
ascend and move his pity'. Immediately following on this barrel is
no.11 (ex.2b, whose correct title is 'Arm, arm, ye brave'), which
is
assigned the same tempo as 'Pious orgies.' Even for this Allegro
air, J = 132 is an unnaturally rapid
tempo. Thus both a Largo filled with notes of small value and an
Allegro are given the same tempo.
Now compare the tempos of the first two items on barrel no.5o,
the first of which (no.13, 'O liberty, thou choicest treasure') is
marked 'Largo', and the second (no.15, "Tis liberty, dear liberty,
alone') is a slightly faster 'larghetto' (ex.3a, b). Yet Malloch
derives a tempo well over twice as fast for the latter: J = 97, as
opposed to 4) = 71 for the Largo.23
Judas Maccabaeus was performed almost annually from 1747 to
1759, and Handel frequently revised for changing circumstances.
Which version, if any, was adopted for pinning on a barrel? The
unlikely tem- pos assigned to these pieces confirm that something
is amiss. Support is therefore lacking for Epstein's conclusion
about tempo relationships in this work: Since sequential tempos,
scattered throughout the various barrels, are nonetheless in
integral ratios, the likeliest expla- nation is that these were the
tempos common in London performances of the time. As Handel lived
in London during this period and was active in performances of his
music, and as Langshaw was a highly respected musician on the
London scene, the tempo sense reflected in these barrels would seem
to be relevant to Handel's own tempos and their connections via
these proportions.24
Without solid evidence confirming the precise number of bars
included in the timing for each piece prepared for the Bute organ,
there can be no scien- tific basis for conclusions relating to
either tempo or ratios for tempo relationships.
EARLY MUSIC NOVEMBER 2002 589
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Ex.2 Handel, Judas Maccabaeus: (a) 'Pious orgies, pious airs';
(b) 'Arm, arm, ye brave'
(a)
Pi - ous or - gies, pi - ous airs, de - cent sor - row,
(b)
Oboe senza Viol.
Oboe senza Viol.
Arm, arm ye brave! arm, arm ye brave! a
590 EARLY MUSIC NOVEMBER 2002
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Ex.3 Handel, Judas Maccabaeus: (a) '0 liberty, thou choicest
treasure'; (b) "Tis liberty, dear liberty'
(a)
Oh li-ber- ty, thou choic - est trea - sure, seat of vir - tue,
source of plea - sure! life, with -
(b) Andante larghetto
,,-4.'rTi fOf-:J'
I '"
p f p
'Tis li ber- ty, dear li- ber-ty a- lone, that gives fresh
- 0 -' " "Z *'- ' i " , '
i For a description of the mechanism, see L. G. Langwill/A. W.
J. G. Ord- Hume, 'Barrel organ', New Grove II.
2 Marie Dominique Joseph Engramelle, La tonotechnie, ou l'art de
noter les cylindres (Paris, 1775; R/Geneva, 1971),
frontispiece.
3 W. Malloch, 'The Earl of Bute's machine organ: a touchstone of
taste', Early music, xi (1983), PP.172-83. Malloch's work was
inspired by an account of this organ in A. W. J. G. Ord-Hume,
Barrel organ (London, 1978), p.88ff.
4 A. Cumming, A sketch of the proper- ties of the machine organ
invented, con- structed and made by Mr Cumming for the Earl of Bute
and a catalogue of the music of the various barrels, numbered from
one to sixty-four (London, 1812). This work contains 41 pages of
text about the organ, followed by a page listing the composers
represented on the barrels and a 32-page (unnum- bered) catalogue
of each barrel's contents, in the format of table 1. A synopsis of
this work is included in Ord-Hume, Barrel organ.
5 Malloch, 'The Earl of Bute's machine organ', p.172f.
6 According to Cumming, the earl later enlisted his help for
mechanical difficulties with the organ. Cumming's plan, however,
could not be imple-
mented within the limitations of the organ, and his ideas had to
wait until a second organ was built. Malloch conveys the incorrect
impression that Cumming was involved with building the first
organ.
7 Malloch, 'The Earl of Bute's machine organ', p.173. 8
Ord-Hume, Barrel organ, p.88f.
9 Malloch, 'The Earl of Bute's machine organ', p.173f. 10o J.
Tobin, Handel's Messiah: a critical account of the manuscript
sources and printed editions (New York, 1969).
11 Malloch, 'The Earl of Bute's machine organ', pp.179-82. 12
Malloch, 'The Earl of Bute's machine organ', p.177.
13 Malloch, 'The Earl of Bute's machine organ', p.174.
14 G. F. Handel, Two ornamented organ concertos, ed. D. Fuller
(Hacken- sack, NJ, 1980), pp.vi, xiv.
15 Malloch, 'The Earl of Bute's machine organ', pp.177f., 181.
In two movements he has assumed for the Bute organ a different
number of repeats than exist in the Holland organ. 16 Malloch, 'The
Earl of Bute's machine organ', p.176.
17 Malloch, 'The Earl of Bute's machine organ', pp.176, 183,
n.31.
18 Malloch, 'The Earl of Bute's machine organ', p.178. Crotch's
tempo for the Saul chorus is J = 73, not 65.
19 This topic is discussed in my Skill level in music
performance: the eigh- teenth century (forthcoming); its docu-
mentation will indicate that the remaining early sources thought
rec- ommend extremely fast tempos have been misinterpreted.
20 Malloch, 'The Earl of Bute's machine organ', p.174.
21 D. Epstein, Shaping time (New York, 1995), p.126ff. According
to p.127, his study 'draws upon a photocopy of the Cumming
catalogue, together with Malloch's tempo derivations and his
catalogue annotations concerning individual pieces (in my
possession courtesy of Malloch)'.
22 Omitted is 'Father of heaven', from barrel no.47.
23 A further point concerns question- able metre designations,
which would affect timings. For example, no.5o, 'O lovely peace' is
in 6/8, not common time. What version of no.19, 'Disdain- ful of
danger', has two sections in common and 6/8 time, instead of one
section in 3/8? In Cumming's catalogue there is only one timing for
this piece.
24 Epstein, Shaping time, p.129.
EARLY MUSIC NOVEMBER 2002 591
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Article Contentsp. 585p. 584p. 586p. 587p. 588p. 589p. 590p.
591
Issue Table of ContentsEarly Music, Vol. 30, No. 4 (Nov., 2002),
pp. 497-656Front Matter [pp. 497-583]EditorialDropping the Pilot:
Farewell to Arthur Boyars [pp. 500-501]
The Expressive ClavierSwirling from One Level of the Affects to
Another: The Expressive Clavier in Mozart's Time [pp.
502-516+518+520]Beethoven's Erard Piano: Its Influence on His
Compositions and on Viennese Fortepiano Building [pp. 522-538]
Images and InstrumentsThe Crozier of William of Wykeham [pp.
540-558+561-562]
Mechanical InstrumentsMichele Todini's "Galleria armonica": Its
Hitherto Unknown History [pp. 565-582]A Re-Examination of Tempos
Assigned to the Earl of Bute's Machine Organ [pp. 584-591]
Performance in ContextFinding Closure: Performance Issues in the
Agnus Dei of Ockeghem's "Missa L'homme arm" [pp. 593-607]
Review ArticleReview: A Gay-Studies Handel [pp. 608-612]
Book ReviewsReview: Spanish Opera [pp. 615-617]Review: Vivaldi's
'Flutes' [pp. 617-618]Review: Chant Studies [p. 619]Review: The
Neglected Michel Lambert [pp. 619-620]Review: Early English
Religious Drama [pp. 620-621]Review: Choral Foundations [pp.
621-623]Review: A Fardle of Hard Names [pp. 623-624]
Correction: The Awkward Idiom: Hand-Crossing and the European
Keyboard Scene around 1730 [p. 624]Music ReviewsReview: The English
Trio Sonata? [pp. 627-628]Review: A Baroque Trumpet Manuscript [pp.
628+630]Review: Anglicized Ditties [pp. 631-632]Review: Lassus and
Bach: But Not as We Know Them [pp. 634-635]
Recording ReviewsReview: A Celestial Siren and Her Music [pp.
637-639]Review: Postscript [pp. 639+641]Review: Odhecaton after 500
Years [pp. 641-642]Review: Charpentier, Sacred and Secular [pp.
645-646+648-649]
Correction: Cristbal de Morales in Toledo, 1545-6: ToleBC 25 and
'New' Works by Morales, Guerrero, Lobo, Tejeda and Ambiela [p.
649]SaleroomsInstruments [pp. 651-652]
Correction: The John Marsh Journals [p. 652]CorrespondenceDu
Fay's Canons [pp. 653-654]
Back Matter [pp. 592-656]