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Mixtures.

The new organ in Berkeley  Temple, a fair-sized four-manual organ, built by the Hutchings-Votey Company, was inaugurated by Mr. Edwin H. Lemare the last of March. The instrument has a small, but very effective, echo organ placed at the other end of the church, containing, with other stops, a Vox Humana and a set of Carillons. The diapasons are solid, and well voiced, and the special stops used for “effects” are all that could be desired. The absence of Mixtures in the great organ leaves the organ somewhat somber in its loudest combinations, and is questionable in a large organ. The inaugural recital was largely attended.

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Mr. Edwin H. Lemare, with Mrs. Lemare, will leave for Australia early in June, as Mr. Lemare is to give a series of recitals on the large organ in Sydney during the summer.

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The Seventh Organ Sonata, in the key of F, by Mons. Alex. Guilmant, has just appeared at the stores in this country. The work is dedicated to Mr. Charles Galloway, of St. Louis, who is one of the master’s pupils. The sonata is divided into six movements and is thirty-nine pages long. The first movement, entitled “Entree,” is massive in construction, having two well-contrasted themes. The second movement, Lento Assai, is but two pages and bears the title “Dreams.” The third movement, an intermezzo, is the longest movement, and has a short arpeggio theme in contrary motion between the hands which is effective, and is followed by a sustained second theme in chords. The fourth movement, Tempo di Minuetto, is bright in character, and will be popular, like the Scherzo in the fifth sonata. A Cantabile, in the composer’s characteristic style, leads to a brilliant Finale, which ends with the full power of the organ.

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John.—“Can you play that organ?”

Jimmie.—“No! but I ken lick the blower; that will make jest as much noise.”

 

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