ALBERT HALL, LAUNCESTON, TASMANIA

Documentation of pipe organ built by

Charles Brindley for the Mechanics' Institute, Launceston, installed 1860

by John Stiller
Research Officer
Organ Historical Trust of Australia

Investigated: 5-8 and 12 February 1979.
Organ Historical Trust of Australia
P.O. Box 200, Camberwell, Victoria 3124, Australia

Introduction

The documentation of the Charles Brindley organ in the Albert Hall, Lanceston, forms part of the project funded by the Myer Foundation. This project on organ preservation has been carried out by the Organ Historical Trust of Australia on conjunction with the National Trust of Australia (Victoria), who are acting on behalf of National Trusts.
Acknowledgements
The assistance given by the following persons and organisations is gratefully acknowledged.

Contents

  1. The building
  2. The organ
  3. History
  4. Degree of originality and historic significance
  5. Pipework
    Inscriptions
  6. Action
  7. Soundboards
  8. Wind supply
  9. Console
  10. Case
  11. Swell box
  12. Cross-sectional diagram of the organ through c1
  13. References
  14. Bibliography

PLATES

(Note that only those plates with a hyperlink have been included in the on-line version of this document.)
 
1a & b Position of the organ in the Albert Hall
2 Historical note on the organ console
3 Historical note from the Great pallet chest
4 Rear view of left stop jamb
Pipework
5General view of Choir pipework
6 General view of Swell pipework
7 Great Principals 8, 4, 2-2/3, 2
8 Great Mixture 5 Ranks
9 Swell Mixture 4 Ranks
10 Shape of stoppers in metal Gedacts
11 Great metal Gedacts
12 Choir metal Gedacts
13 Great Open Diapason, Gamba and Choir Dulciana
14 Stopper shapes in wooden pipes
15 Mouths of wooden pipes
16 Swell Clarion and Oboe
Action
17Shape of squares
18 Shape of backfalls
Soundboards
19Split relief pallets for Swell soundboard
Wind Supply
20Hydraulic engine
21 Nameplate on hydraulic engine
22 Generators
Console
23General view of console (dismantled)
24 Style of lettering on stop labels
25 Style of lettering on stop labels
26 Style of lettering on stop labels
27 Style of lettering on stop labels
28 Style of lettering on stop labels
29 Shape of stop head
30 Keyboard
31 Keyboard cheeks and key arcades
32 Base of gas light fitting
33 Composition pedals
34 Console control for hydraulic engine
35 Organ bench
Case
36Decorations on display pipes
37 Decorations on display pipes (tops)
38 Shape of display pipemouths
39 Moulding profile of impost

FIGURES


1 Scaling curves for the Great Principal ranks
2 Scaling curves for the Great and Swell Mixtures
3 Scaling curves for the metal Gedacts, Narrow- scaled ranks and Flute ranks
4 Sketch of key action
5 Plan view of soundboard placement
6 Order of stopknobs
7 Shape of stop head
8 Dimensions of Pedal-board
9 Shape of keyboard cheeks
10 Cross-sectional diagram of organ through cl

1. THE BUILDING

Address: Tamar Street, Launceston, Tasmania

General details

During the investigation period, the Albert Hall was in the process of restoration. This made the measuring of the building for size, acoustics, etc., impossible. The original building in which the organ was placed, namely the Mechanics' Institute, was demolished several years ago.[1]

Position of the organ

The organ is sited behind the stage of the Albert Hall. Plates 1 a&b Only time will tell whether this position is favourable to the egress of sound from the organ in the restored hall.

Climatic conditions and heating

The interior of the Albert Hall remains cool, even on a hot day. While this is most favourable for the well-being of the organ, any proposed future installation of central heating will have to be considered in regard to its affect on the organ.

2. THE ORGAN

General condition

During the investigation period, the organ was being cleaned and repaired. The following refers to the condition of the various components in the dismantled state.

a. Pipework

Although the metal pipework has always been cone tuned, it is in relatively good condition. A great deal of it has been stolen in the past, particularly from the Choir division.

Due to lack of use in recent years, dust is present in the pipework in enormous quantities. Most of the smaller pipes do not sound at all until the dust is blown out. One is surprised to know that the organ made any sounds whatever prior to its recent dismantling.

b. Action

This has been rebushed and refelted, and should function quite satisfactorily, so long as no new friction points are introduced.

c. Soundboards

These can only be tested for runnings and murmurings once the organ has been re-erected.

d. Wind supply

The hydraulic blowing apparatus has been excellently repaired, and the double-rise bellows has been releathered. This entire section of the organ now functions perfectly.

e. Console

Several stop labels are missing, and the keys are in the process of being recovered. The music desk assembly will need to be repaired, as is also the case with the badly-made pedal-board (which isn't original) .

Case

Apart from dust removal and a light repolishing of the casework, no other work should be required here.

Current maintenance

The organ is being cleaned and repaired by Mr. Keith Davis.

3. HISTORY

1859: Organ built by Charles Brindley of Sheffield, England . 2

1860; Installed in the public Hall of the Mechanics' Institute Launceston.[3] Plate 2

1890: Presented to the Municipal Council, Launceston.[4]

1891: Installed in the Albert Hall, Launceston, opened 10th March 1891.[5] The organ had been "rebuilt" by Thomas Matanle, a former employee of "Foster (sic)& Andrews", and at that time in the employ of Fincham & Hobday. Plate 3

1906: A new pedal-board supplied by Geo. Fincham & Sons.[6]

4. DEGREE OF ORIGINALITY

a. Pipework

All pipework is original, with the exception of the top octave of the Choir Leiblich F1öte 4 ft, which is made up of Fincham pipes labelled "Har Fl", and C - B of the Swell Double Diapason 16 ft., which is a later addition.

b. Soundboards

These are entirely original except for the split relief pallets on the Great and Swell which were added in 1890/9l.[8]

c. Action

When the organ was moved to the Albert Hall, the internal layout was altered somewhat. [9] This means that the present key action dates from 1890/91. The arrangements of stopknobs was also altered at some stage, probably 1890/91 -Plate 4 , which would require an alteration in the stop action. The same applies to the composition pedals, which were originally situated to the sides of the pedal-board, but which are now more conventionally placed in front of the pedalboard.

d. Wind supply

The Melvin hydraulic engine was supplied in 1890/91 by Fincham & Hobday who were agents for that make of engine. [10]

e. Console

Except for the rearrangements already mentioned above, all console fittings such as stopknobs, stop labels, keyboards, keyboard cheeks etc., are original.

f. Case

This dates from the 1890/91 "rebuild" of the organ." It would be interesting to know if the original organ had a case or not.

g. Swell box

This is original Brindley.

HISTORIC SIGNIFICANCE

This is one of the most historically important instruments in Australia, for the following reasons:

  1. it is the largest surviving organ pre-dating 1860 in Australia,

  2. it is a rare example of the work of Charles Brindley,

  3. it is the only remaining organ in Australia which is blown by hydraulic power, and

  4. it is the earliest surviving intact example of an organ showing the influence on English organbuilding of the emininent 19th century German organbuilder, Edmund Schu1ze, from whom Charles Brindley learnt the art of crganbuilding. Nothing comparable is known to have survived in the United Kingdom. This makes it an organ of international historic value.

5.PIPEWORK

6. ACTION

Key action

All key action is mechanical with squares. The Choir action has an interesting two-sided roller board. C-B of the Great Open Diapason 8 ft were stood-off the soundboard at one stage, and operated pneumatically. During the present repairs, it is planned to place these pipes back onto the soundboard.

The pedal couplers operate by means of the usual backfall arrangements, and the Swell to Great coupler action is by means of intruding fingers.

Materials of key action: wood throughout.

Stop action

Usual trundle action, with wooden trundles and iron squares.

Combination action

The trace rods to the slider mechanism are moved by oppositely-situated wooden fans.

7. SOUNDBOARDS

Wind pressure: 70mm (2-3/4 inches)

Details of soundboards

Order of Channels Great
Chromatic		 Swell
Chromatic		 Choir
Chromatic		 Pedal
Chromatic
Placement (distance from floor
to bottom of chest)		 1.96 m 2.9 m 0.88 m -
Width of soundboard 3.38 m 2.55 m 2.74 m C-A#
2.7 m		 B-f1
1.83 m
Depth of soundboard 1.09 m 84.5 cm 67 cm 84.5 cm 85 cm
Height of pallet chest 146 mm 124 mm 124 mm 123 mm 124 mm
Depth of pallet chest 486 mm 450 mm 334 mm 450 mm 440 mm
Height of note channels 77 mm 65 mm 55 mm 70 mm 73 mm
Thickness of base board 9 mm 5 mm 6.5 mm 8 mm 5 mm
Thickness of sliders 7 mm 2.5 mm 4 mm 3 mm 5 mm
Thickness of upper board 35 mm 33 mm 30 mm 30 mm 34 mm
Type of pallets Split relief (double) Split relief (double) Simple Simple Simple
Split pallets are double-leathered, simple pallets are leathered and felted.

Order of ranks

Great
Swell
  1. Mixture 5 ranks (front)
  2. 15th. 2 ft
  3. 12th 2-2/3 ft
  4. Flöte 4 ft
  5. Principale 4 ft
  6. Rohrflöte
  7. Gamba
  8. Open Diapason 8 ft
  9. Double stop Diapason 16 ft
  10. (Trumpet 8 ft)
  1. Clarion (front)
  2. Oboe 8 ft
  3. Horn 8 ft
  4. Mixture 4 ranks
  5. Gemshorn 4 ft
  6. Flaut d'amour 8 ft
  7. Gemshorn 8 ft
  8. Double Diapason 16 ft
Choir
Pedal
  1. Leiblich Flöte 4 ft (front)
  2. Spitzflöte 4 ft
  3. (Lieblich Gedact 8 ft)
  4. Dulciana
  5. Spitzflöte 8 ft
  6. Piccolo 2 ft
  7. Clarinette 8 ft
  1. Trombone (front)
  2. Flute Bass 8 ft
  3. Bourdon 16 ft
  4. Major Bass 16 ft

Slider widths

Ranks designations as above. All in mm.
Great Swell Choir Pedal
B-f1		 Pedal
C-A#
Bearer
Rank 1
Bearer
Rank2
Bearer
Rank 3
Bearer
Rank 4
Bearer
Rank 5
Bearer
Rank6
Bearer
Rank 7
Bearer
Rank8
Bearer
Rank 9
Bearer
Rank 10
Bearer		 38
62
65
32
18
30
43
38
18
58
45
76
43
58
26
71
52
112
77
97
44		 44
55
45
55
20
54
57
63
43
48
44
44
30
68
50
76
47
 20
47
29
44
71
40
45
22
50
74
76
31
34
34
17		 20
50
71
65
132
97
164
201
48		 24
47
67
67
135
95
156
169
86

8. WINDSUPPLY

One double-rise bellows with generators attached to hydraulic engine.

Dimensions of bellows: 1.81 m x 3.4 m
Height of bellows well: 21.5 cm
Bellows weights consist of iron blocks with no inscriptions.
No Tremulant or concussion bellows present.

Wind trunk measurements

Internal cross-section Thicknes of timber
To Great 35 cm x 12.5 cm 12 mm
To Swell 29.5 cm x 10 cm 12 mm
To Choir 23.5 cm x 9 cm 12 mm
To Pedal 23 cm x 9 cm 30 mm

Safety valves: two small pull-up valves.

9. CONSOLE

Stopknobs

Diameter of face: 27 mm
Vertical distance between stopknobs: 65 mm
Horizontal distance between stopknobs: 90 mm
Diagonal distance between stopknobs: 100 mm
Length of head: 44m
Diameter of shank: 24 mm

Keyboards

3 manual keyboards of compass C-g3 (56 notes)
White keys are covered in ivory, black keys are of ebony and have rounded fronts.
Vertical distance between Manuals I & II: 77 mm [15]
Vertical distance between Manuals II & III: 77 mm [16]
Horizontal distance between Manuals I & II: 131 mm [17]
Horizontal distance between Manuals II & III: 131 mm [18]
Vertical distance between Manual I and Pedal: 718 mm [10]
Length of one octave: 164 mm
Pedal board has compass of C-f1 (30 notes)
Dimensions of Pedal-boards Fig. 8
Dengree of concavity: 32 mm lower at d0
Keyboard cheeks and arcades Plate 31, Fig. 9
Width of keyboard cheeks: 27 mm
Music desk assembly lifts out to expose mechanism.
The telltale has vanished completely.
Nameplate of builder is absent.
Swell-shutter control by iron hitch-down pedal.

10. CASE

The case was made when the organ was installed in the Albert Hall in 1890/1891.
The display pipes are all zinc dummies, and are decorated in two basic styles. Plate 36 and 37.
Material of casework: Blackwood
Treatment: french polished
Inside of the casework is the inscription "c/o C.W. Joscelune", who was Fincham & Hobday's agent in Tasmania, and was responsible for erecting the organ case.

11. SWELL BOX

The Swell box contains eleven horizontal shutters, each 14.5 cm x 1.68 cm, thickness of timber: 31 mm [20].

REFERENCES

  1. D. Goldsworthy pers.comm. 9.2.79
  2. J.R. Maidment: Gazetteer of Tasmanian Pipe Organs, p.5
  3. Historical note on organ console
  4. ibid
  5. ibid
  6. Historical research: E.N. Matthews (G.Fincham Letter Book 21/126 12 March 1909)
  7. Historical research: E.N. Matthews (G.Fincham Letter Book 7/210 29 Oct. 1890)
  8. Historical research: E.N. Matthews (G.Fincham Letter Book 14/244 25 July 1890)
  9. Launceston City Council Minute Book (5 Ma7 1890)
  10. Historical research: E.N. Matthews (G.Fincham Letter Book 14/244 25 July 1890)
  11. Launceston City Council Minute Book (18 August 1891)
  12. Information supplied by Mr Keith Davis 2.8.1979
  13. ibid
  14. ibid
  15. ibid
  16. ibid
  17. ibid
  18. ibid
  19. ibid
  20. ibid

BIBLIOGRAPHY


    P. G. Andersen:         Organ Building & Design, Allen & Unwin, l969



    W. Supper et. al.:      Richtlinien am Schutze alter wertvoller Orgeln,

         			 Verlag Merseburger, 1958



    E. N. Matthews:         Colonial organs and Organbuilders, M.U.P., l969



    BIOS Journal Volume I Ed. Michael Sayer Positif Press 1977



    John Stiller: "Adaptation of the Weilheimer Regulativ to Australian

         Conditions", OHTA News, January 1979



    E.N. Matthews: Historical Research from Fincham records.



    Launceston City Council Minute Books.
© The Organ Historical Trust of Australia