the subject under review for a
long time." Nowadays many organists find it possible to play the
Overture to Tannhauser; the writer pleads guilty himself. Dr. Peace
played it at the opening of Mr. White's organ at Balruddery and stated
that he found the fine string tones it contained of peculiar value for
Wagnerian orchestral effects. Dr. Gabriel Bedart says that music ought
to be specially written for these new instruments.

While we associate the organ chiefly with its use in Church services, a
new field is opening up for it in Concert Halls, Theatres, Auditoriums,
College and School Buildings, Ballrooms of Hotels, Public Parks and
Seaside Resorts, not as a mere adjunct to an orchestra but to take the
place of the orchestra itself. The Sunday afternoon recitals in the
College of the City of New York are attended by upwards of 2,500
people, many hundreds being unable to gain admittance; and the daily
recitals at Ocean Grove during July and August, 1909, reaped a harvest
of upwards of $4,000 in admission fees. Organs have been installed in
some of the palatial hotels in New York and other cities, and one is
planned for an ocean pier, where the pipes will actually stand under
sea level, the sound being reflected where wanted and an equable
temperature maintained by thermostats.

Organists have found it necessary to make special study of these new
instruments, and the University of the State of New York has thought
the matter of sufficient importance to justify it in chartering the
"Hope-Jones Unit Orchestra School" as an educational institution.

Our review would be incomplete without some mention of

AUTOMATIC PLAYERS.

When one listens to the Welte-Mignon Piano Player, it seems difficult
to believe that a skilled artist is not at the keyboard performing the
music.

The exact instant of striking each note and the duration during which
the key is held are faithfuly recorded and reproduced with absolute
accuracy, and a pretty close approximation to the power of blow with
which each key is struck is obtained.

The first of these, that is, the time and duration of the note, is
directly recorded from the artist who plays the piece to be reproduced.
The second of these, that is, the power of tone, is subsequently added
to the record either by the artist himself or by musicians who have
carefully studied his manner of playing.

The result of this is a very faithful reproduction of the original
performance.