Summary

Various The Atlantic Monthly, Volume 12…

Twelve pairs of bellows, which it is intended to move by water-power, derived from the Cochituate reservoirs, furnish the breath which pours itself forth in music. Those beautiful effects, for which the organ is incomparable, the crescendo and diminuendo,—the gradual rise of the sound from the lowest murmur to the loudest blast, and the dying fall by which it steals gently back into silence,—the dissolving views, so to speak, of harmony,—are not only provided for in the swell-organ, but may be obtained by special adjustments from the several systems of pipes and from the entire instrument.
Source: Gutenberg

Various The Atlantic Monthly, Volume 12…

And again, the half fantastic repetitions of musical forms in the principal outlines—the lyre-like shape of the bases of the great towers, the harp-like figure of the connecting wings, the clustering reeds of the columns—fill the mind with musical suggestions, and dispose the wondering spectator to become the entranced listener.
The great organ would be but half known, if it were not played in a place fitted for it in dimensions. In the open air the sound would be diluted and lost; in an ordinary hall the atmosphere would be churned into a mere tumult by the vibrations.
Source: Gutenberg

Various The Atlantic Monthly, Volume 12…

THE GREAT INSTRUMENT.
Early in the month of November the mysterious curtain which has hidden the work long in progress at the Boston Music Hall will be lifted, and the public will throng to look upon and listen to the GREAT ORGAN.
It is the most interesting event in the musical history of the New World. The masterpiece of Europe's master-builder is to uncover its veiled front and give voice to its long-brooding harmonies. The most precious work of Art that ever floated from one continent to the other is to be formally displayed before a great assembly.
Source: Gutenberg

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