rebuilding and enlargement of the 1929 Hill, Norman & Beard organ
╩by the Schantz Organ Company, Orrville, Ohio, 1999-2000.
(from OHTA News July 1999)
Full details of the work on the Melbourne Town Hall organ, currently being carried out in the United States, have been released by the City of Melbourne and are published for the interest of readers.╩ The City of Melbourne has been advised by its organ committee, the membership of which comprises:
FURTHER NOTE ÷ FEBRUARY 2000
This instrument was of international significance as the largest entirely new organ built within the British Empire during the inter-war period and was widely recognised for its symphonic qualities and extraordinary solidity of construction.
The work in the United States has now been completed and installation of the instrument in the Melbourne Town Hall is proceeding throughout 2000 with the opening scheduled for early in 2001.
An important change to the proposal below is that far-reaching changes have since been made to the 1929 Hill, Norman & Beard console to accommodate the additional material provided by the Schantz Organ Company.╩ While it has been indicated that a heritage permit for this work has been issued, it does not appear to conform with the principles outlined in the Pipe Organ Conservation and Maintenance Guide issued in 1998 by the NSW Heritage Office in association with the Organ Historical Trust of Australia, available on the OHTA website.
It is stated that all of the original pipework survives in the scheme below (although the Echo Organ regrettably remains disconnected); however, a large quantity of additional material has been added.╩ This aspect of the project has been controversial for many years and is in contradiction with heritage principles.
Publication of the material below on the OHTA website is for public information and does not indicate that the scheme is necessarily supported by OHTA.╩ It should be noted that the organization has not had any active involvement in the current process of rebuilding and enhancement.
Further note May 2001
An announcement by Craft Victoria on its web site (http://www.craftvic.asn.au/secondwind/) advises that components removed from the organ during the Schantz rebuild bearing "the marks of the original organ makers" have been used to make "tables, CD racks, screens, letter boxes and many other useful objects" for sale to the public.
Regardless of what subjective value-judgements were made about the components which were removed during the rebuild (in itself a problematic concept), the recycling of material in this manner is contrary to any recognised principles of conservation. The items concerned should have been appropriately stored. It is regrettable that the Melbourne City Council has demonstrated its willingness to reduce cultural heritage material to consumer merchandise.
Description of technical specification and tonal design
ß General Intention
All the original pipe-work and percussions of the main organ are restored:
÷ pipes that were removed will be re-instated;
÷ pipes that were altered from their 1929 specification will be restored; and
÷ pipes missing will be re-constructed.
The organ is enhanced, at various dynamic levels, with new chorus-work, and with orchestral colours.
The additions focus on the original nature of the organ ÷ that of a Grand Romantic/Orchestral Concert Organ.
The original console (in the organ-case) will remain with little obvious change to the draw-stops.╩ New pistons will replace the 1970s pistons.╩ Fitting of the new stops would have required enlargement of the stop-jambs, involving a major re-build ÷ which was seen as inappropriate.╩ Heritage requirements intend that the original console should primarily represent the Ńoriginal voiceń of the organ.╩
When the organist first sits at the original console he will see mainly only the old stops; and the pistons will activate only those stops.╩ However, the case console may be required to access the entire organ ╬at short noticeÔ.╩ Also, the case console may be preferable for works with choir or orchestra; and it may be preferred anyway by some organists.╩ Because all the new stops could not be added to the case console, there will be a switchable option for the pistons to access the entire organ.╩ In order to set the pistons (or check the settings) to the entire organ, the new (additional) stops will be available behind the music desk.╩ It is thus a limitation resulting from Heritage requirements that the new stops will not be able to be seen when the organist is using the music desk.
A new four-manual mobile console will control the entire organ.╩ This was planned to be the primary concert console.╩ Plans have been considered to house the mobile console on its own ╬goods liftÔ sinking into the floor at the side of the Hall for easy, immediate access ÷ and where it could be used for rehearsal if necessary, or wheeled to the centre of the Hall for best use.╩ Costs currently prevent provision of the lift.
The console will thus be stored back-stage.╩ The mobile console can be easily sited near the stage, at the front or the side, and will be able to be lifted onto the stage with a readily available electric lifter.
The full List was determined and agreed by the Organ Curator and Schantz Organ Company following their more detailed examination of the organ and auditorium in their second visit ÷ March 1998.╩ Expenditure limitations led to revision resulting in some agreed additions being ╬preparedÔ only.
All divisional enclosures will be re-instated (including the originally enclosed part of the Great).
All ranks will remain with their original divisions.╩ The Great Contra Trombone 32' and Choir Dulciana Cornet III ranks are re-instated.╩ Mixtures are restored to their original pitches and breaks.╩ The pipes of the Great Fourniture VI-VII ranks were re-arranged and shortened in the 1970s to gain a higher-pitched quint mixture.╩ They are now lengthened to their original (including ╬over-lengthÔ for slots for those of string tone).╩ Included are the original 11/7',╩ 31/5'╩ &╩ 51/3' pitches.
ß Tonal Description of additions
Some choruses are enhanced, and there is a new chorus division in the Solo chamber.
A number of mf flutes and strings are added to bridge the ╬gapÔ between tonal extremes; for example, between the strident Orchestral Celestes and the gentle Swell strings.╩ As well as increasing the colour options, the new stops enhance the ability to make a gradual stop-crescendo, and also help with options for the requisite ╬pitch-clarityÔ in choral accompaniment.
This gains mf colours at 8' & 16' pitch ÷ the original 16' (unenclosed) stops are both extremely heavy.
A new Mixture provides a clear tone following restoration of the Grand Fourniture to its ╬harmonicsÔ specification.╩ This original ╬gross SesquialteraÔ effect is expected to better fit with the tromba-tone reed chorus.
The Great Octave Coupler will not be available in the full Specification.╩ That coupler was a ╬necessityÔ in trying to achieve a ╬tonal balanceÔ, but was a detriment to clarity in performance.╩ Independent ranks have been added in place of the Octave Coupler (except for the Tibia 4' which is gained by extension).╩ In keeping with the general idea of this ╬stentorianÔ division, the new chorus Mixture has a modest number of ranks in relation to the foundation upon which it sits.╩ A Harmonic Flute is added as a ╬normalÔ solo colour.╩ The original Tibia provides the extreme.
In this style of organ, a Choir division is usually a minor, or accompaniment, division.╩ It also normally includes a few mf solo colours.╩╩ A new secondary chorus division was not attempted here (the Swell on an English organ usually provides the main secondary division). A mf 4' chorus stop is added together with further quiet colours and mf solo reeds.╩ To allow the easy gathering of a more substantial Choir division in the organÔs ╬original voiceÔ, there is a Solo transfer to Choir╩ (that Solo coupling excluding the big reeds and the new Bombarde).╩ There is also the Orchestral coupling.
A ╬normalÔ English Swell provides the main secondary flue/reed chorus.╩ But, without its Octave coupler, this Swell was considered to be too far below the Great in tonal impact.╩ Thus, most organists found the Octave coupler to be mandatory ÷ this ╬extensionÔ effect detracting much from clarity of performance.
A Principal 4', a chorus Mixture and smaller Sharp Mixture are added ÷ and are primarily intended to be used rather than the Octave coupler.╩ Two mf reeds are added for smaller choruses, and for solo use.
The new Clarino Trumpet 4'÷8' crowns the reed chorus ÷ and is planned to be used before the Octave coupler (this new trumpet rank breaks to 8' in the treble, in order to maintain blend).╩ Clear colours of soft or mf tone are added at various pitches.╩╩ Two examples are:╩ there was no manual 16' Bourdon anywhere on the organ;╩ the more telling tone of Gambas is needed in addition to the original exquisitely delicate Aeoline and Celeste.
A Flute Celeste is added, after the original which arrived from England in 1927, but was removed ÷ to make way for the Piccolo 2' ÷ before the organ was opened in 1929.╩ Basic independent mutations are added here rather than on other manuals.╩ A Nasard or Cornet can be used in repertoire of various periods; but it was felt that to go further, to add a Larigot for example, was outside the present scope.╩ The new Fanfare Trumpet (Trumpet Victoria) provides a grand solo, or brief tutti, effect.╩ A Tuba Mirabilis is ╬prepared forÔ.╩ It was planned as the more ╬normalÔ big solo reed tone for this style of organ.╩ The original Tuba Sonora, with its extremely thick tone, has special uses, but is considered too sonorous for a ╬normalÔ Tuba solo.
The new flue chorus is intended to fit between the enclosed Great chorus and the ╬stentorianÔ Unenclosed Great chorus.╩ The name Bombarde is not meant to indicate mere loudness. ╩Its location in the Solo puts it under expression, as is appropriate to this style of organ.╩ The 8' & 4' flues will be of keen tone to enhance the tendency to thick tone of the other Diapason foundations.╩ It is expected that this chorus with mixtures would be included in bigger combinations to add a clarity or sheen.╩ These mixtures with their keen-toned foundations are not designed to stand ╬on their ownÔ in place of the original choruses.╩ The Fourniture will be the basic mixture to add to an 8' ensemble;╩ the Grand Chorus will add more body, including a Seventeenth (Terz) ÷ as normal to this style.╩ The Grave will add the sub pitches, that are also common to this type of chorus.
The Pedal already contains the extremes of tone.╩ New mf colours or chorus stops (or borrows) will be added at each pitch, including 32'.╩ The Swell 16' Violone is extended down.╩ A 64' borrow makes available the 32' Tibia tone in the tenor (thus, a pedal line can maintain the mild 32' effect without needing to remain in the bass); the 64' acoustic bass octave may add a little extra gravity (no great effect is expected).╩ Two extended reed ranks are added: 32'/16' & 8'/4'.╩╩ These will be of ╬normalÔ tone; allowing more sparing use of the exciting thunder of the Diaphone.
In order not to compromise the quality of work in the main organ, it was decided that the Echo could be left for a future project.╩ The Echo is an interesting ╬toyÔ division; it forms no part of the main ensemble.╩ The Echo was a ╬special effectÔ meant to sound at a distance from the organ, rather than as simply a ╬softÔ division.╩ It may have been of limited use to install the Echo within the main organ.╩ To install the organ elsewhere in the Auditorium would involve an expense far beyond the present possibilities.
Rod Junor, Organ Curator
NOTES ON THE FOLLOWING SPECIFICATION
[brackets beside Stop Name] =╩ name engraved on Old Console Stop-face
(parentheses with Stop Name)╩╩ =╩ extra engraving on New Console Stop-face
Borrows are indicated by the Superscript letters after the stop number.╩ Thus, the numbers indicate the independent voices, rather than the number of knobs on the console).
P = Percussions.╩ The numbering is separate from the pipe voice numbers.
E =╩ existing stops;╩╩ numbers unmarked are new
p.╩ =╩ pipes
r.╩ =╩ ranks
n.╩ =╩ notes
Italic╩ Typeface╩╩╩ =╩╩╩ Prepared╩ (Allowance in chamber and draw-stops provided, but pipes not installed at this time)
E╩╩╩╩╩╩╩ 1a╩╩╩╩╩╩╩╩ 16' Tibia Profunda╩╩╩╩╩╩╩╩ 12p.╩╩╩╩╩╩╩╩╩╩
E╩╩╩╩╩╩╩ 2a╩╩╩╩╩╩╩╩ 16' Double Open Diapason╩╩╩╩╩ 61p. (Unit bass)
E╩╩╩╩╩╩╩ 1b╩╩╩╩╩╩╩╩╩╩ 8' Tibia Plena 61p. Unit 32 /212/3(64) /16 /102/3 /8 /4
╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩ ╩╩╩ H.P. from 4'C
E╩╩╩╩╩╩╩ 3╩╩╩╩╩╩╩╩╩╩╩╩ 8' Diapason Phonon╩╩╩╩╩╩╩╩ 61p.╩╩╩╩╩╩╩╩╩╩
E╩╩╩╩╩╩╩ 4╩╩╩╩╩╩╩╩╩╩╩╩ 8' Open Diapason (I)╩╩╩╩ 61p.╩╩╩╩╩╩╩╩╩╩
╩╩╩╩╩╩╩╩╩╩ 5╩╩╩╩╩╩╩╩╩╩╩╩ 8' Harmonic Flute╩╩╩╩╩╩╩╩ 61p.╩╩╩╩╩╩╩╩╩╩
╩╩╩╩╩╩╩╩╩╩ 1c╩╩╩╩╩╩╩╩╩╩ 4' Tibia Octave 12p. ╩╩╩╩╩╩╩ (HP section enclosed)
╩╩╩╩╩╩╩╩╩╩ 6╩╩╩╩╩╩╩╩╩╩╩╩ 4' Octave Phonon╩╩╩╩╩╩╩╩ 61p.╩╩╩╩╩╩╩╩╩╩
E╩╩╩╩╩╩╩ 7╩╩╩╩╩╩╩╩╩╩╩╩ 4' Octave Diapason╩╩╩╩╩╩╩╩ 61p.╩╩╩╩╩╩╩╩╩╩
E╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩ ╩╩╩ ╩╩╩ [Octave Coupler]╩╩╩╩╩╩╩╩╩ (Omitted from Full Specification)
╩╩╩╩╩╩╩╩╩╩ 8╩╩╩╩╩╩╩╩╩╩╩╩ 3' Octave Quint 61p.
╩╩╩╩╩╩╩╩╩╩ 9╩╩╩╩╩╩╩╩╩╩╩╩ 2' Super Octave 61p.
╩╩╩╩╩╩╩╩ 10╩╩╩╩╩╩╩╩╩╩ IV Mixture 61n, 244p.╩╩╩╩╩╩╩╩╩╩╩╩
Enclosed (Enclosure Restored )
╩╩╩╩╩╩╩╩ 11a╩╩╩╩╩╩╩╩ 16' Contra Geigen╩╩╩╩╩╩╩╩ 61p. (Unit bass 16 & 8)
E╩╩╩╩╩ 12╩╩╩╩╩╩╩╩╩╩╩╩ 8' Open Diapason (II)╩╩ 61p.╩╩╩╩╩╩╩╩╩╩
E╩╩╩╩╩ 13╩╩╩╩╩╩╩╩╩╩╩╩ 8' Gamba Major 61p. (Bass Reinstalled )
E╩╩╩╩╩ 14╩╩╩╩╩╩╩╩╩╩╩╩ 8' Hohl FlÜte╩╩╩╩ 61p.
╩╩╩╩╩╩╩╩ 15╩╩╩╩╩╩╩╩╩╩╩╩ 8' Rohr FlÜte╩╩╩╩ 61p.
E╩╩╩╩╩ 16╩╩╩╩╩╩╩╩╩╩╩╩ 4' Principal╩╩╩╩╩╩╩ 61p.
E╩╩╩╩╩ 17╩╩╩╩╩╩╩╩╩╩╩╩ 4' Wald FlÜte╩╩╩ 61p.
E╩╩╩╩╩ 18╩╩╩╩╩╩╩╩╩╩╩╩ 3' Stopped Quint╩╩╩╩╩╩╩╩ 61p.╩╩╩╩╩╩╩╩╩╩
E╩╩╩╩╩ 19╩╩╩╩╩╩╩╩╩╩╩╩ 2' Fifteenth╩╩╩╩╩╩ 61p.
E╩╩╩╩╩ 20╩╩╩╩╩╩╩╩╩╩ 13/5'╩ Tierce╩╩╩╩╩╩╩╩╩╩ 61p.
╩╩╩╩╩╩╩╩ 21╩╩╩╩╩╩╩╩╩╩╩ V Chorus Mixture╩╩╩╩╩╩╩╩ 61n, 305p.
E╩╩╩╩╩ 22a╩╩╩ VI(-.VII) Grand Fourniture╩╩╩╩╩╩╩╩ 61n, 395p. Restored, including 11/7,╩ 31/5╩ &
╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩ ╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩ 51/3 )╩╩ (Unit bass)
E╩╩╩╩╩ 23a╩╩╩╩╩╩╩╩ 32' Contra Trombone╩╩╩╩╩╩╩╩ 61p.╩╩ Unit 32/16╩ ╩╩╩(Bass Reinstalled )
E╩╩╩╩╩ 24a╩╩╩╩╩╩╩╩ 16' Trombone╩╩╩╩ 61p. (Unit bass)
╩╩╩╩╩╩╩╩ 23b╩╩╩╩╩╩╩╩ 16' Fagotto╩╩╩╩╩╩╩╩ 12p.
E╩╩╩╩╩ 25╩╩╩╩╩╩╩╩╩╩╩╩ 8' Tromba╩╩╩╩╩╩╩╩╩ 61p.
E╩╩╩╩╩ 26╩╩╩╩╩╩╩╩╩╩╩╩ 8' Harmonic Trumpet╩╩╩╩╩╩╩ 61p.
E╩╩╩╩╩ 27╩╩╩╩╩╩╩╩╩╩╩╩ 4' Clarion╩╩╩ 61n, 73p. double top notes
╩╩╩╩╩╩╩╩ 28a╩╩╩╩╩╩╩╩ 32' Contra Violone╩╩╩╩╩╩╩╩ 12p.
E╩╩╩╩╩ 28b╩╩╩╩╩╩╩╩ 16' Violone╩╩╩╩╩╩╩╩╩ 73p. Unit 32/16
╩╩╩╩╩╩╩╩ 29a╩╩╩╩╩╩╩╩ 16' Bourdon╩╩╩╩╩╩╩ 73p. (Unit bass 16 & 8)
E╩╩╩╩╩ 30╩╩╩╩╩╩╩╩╩╩╩╩ 8' Diapason Phonon╩╩╩╩╩╩╩╩ 73p.
E╩╩╩╩╩ 31╩╩╩╩╩╩╩╩╩╩╩╩ 8' Geigen Principal╩╩╩╩╩╩╩╩ 73p.
╩╩╩╩╩╩╩╩ 32╩╩╩╩╩╩╩╩╩╩╩╩ 8' Gamba╩╩╩╩╩╩╩╩╩ 73p.
╩╩╩╩╩╩╩╩ 33╩╩╩╩╩╩╩╩╩╩╩╩ 8' Gamba Celeste╩╩╩╩╩╩╩╩ 73p.
╩╩╩╩╩╩╩╩ 34╩╩╩╩╩╩╩╩╩╩╩╩ 8' Flauto Traverso╩╩╩╩╩╩╩╩ 73p.
E╩╩╩╩╩ 35╩╩╩╩╩╩╩╩╩╩╩╩ 8' Cor de Nuit╩ 73p.
E╩╩╩╩╩ 36╩╩╩╩╩╩╩╩╩╩╩╩ 8' «oline╩╩╩╩╩╩╩╩╩╩ 73p.
E╩╩╩╩╩ 37╩╩╩╩╩╩╩╩╩╩╩╩ 8' Vox Angelica 68p. from bass F╩╩
╩╩╩╩╩╩╩╩ 38╩╩╩╩╩╩╩╩╩╩╩╩ 4' Principal╩╩╩╩╩╩ 73p.
E╩╩╩╩╩ 39╩╩╩╩╩╩╩╩╩╩╩╩ 4' Octave Gamba╩╩╩╩╩╩╩╩ 73p.
E╩╩╩╩╩ 40╩╩╩╩╩╩╩╩╩╩╩╩ 4' Harmonic Flute╩╩╩╩╩╩╩╩ 73p.
╩╩╩╩╩╩╩╩ 41╩╩╩╩╩╩╩╩╩╩╩╩ 4' Rohr Flute╩╩╩╩ 73p.
E╩╩╩╩╩ 42╩╩╩╩╩╩╩╩╩╩╩╩ 3' Harmonic Quint╩╩╩╩╩╩╩╩ 73p.
╩╩╩╩╩╩╩╩ 43╩╩╩╩╩╩╩╩╩╩╩╩ 2' Piccolo╩╩╩╩╩╩╩╩╩ 73p.
E╩╩╩╩╩ 44╩╩╩╩╩╩╩╩╩╩╩╩ 2' Salicetina╩╩╩╩╩ 73p.
╩╩╩╩╩╩╩╩ 45╩╩╩╩╩╩╩╩╩╩╩ V Chorus Mixture╩╩╩╩╩╩╩╩ 61n, 305p.
E╩╩╩╩╩ 46╩╩╩╩╩╩╩╩╩╩ III (Grave) Mixture╩╩╩╩╩╩╩╩ 73n, 219p. (Restored)
╩╩╩╩╩╩╩╩ 47╩╩╩╩╩╩╩╩╩╩ III Sharp Mixture╩╩╩╩╩╩╩╩ 61n, 183p.
E╩╩╩╩╩ 48╩╩╩╩╩╩╩╩╩╩╩╩ 8' Vox Humana 73p. in new separate Ńboxń
╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩ Vox Tremulant
╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩ Vox Pianissimo Ńboxń to closed position
╩╩╩╩╩╩╩╩ 49a╩╩╩╩╩╩╩╩ 16' Bassoon╩╩╩╩╩╩╩ 73p. (Unit bass)
E╩╩╩╩╩ 50╩╩╩╩╩╩╩╩╩╩╩╩ 8'╩╩ Oboe╩╩╩╩╩╩╩╩╩ 73p.
╩╩╩╩╩╩╩╩ 51╩╩╩╩╩╩╩╩╩╩╩╩ 8' Cornopean╩╩ 73p.
E╩╩╩╩╩ 52╩╩╩╩╩╩╩╩╩╩ 16' Double Trumpet╩╩╩╩╩╩╩╩ 73p.
E╩╩╩╩╩ 53╩╩╩╩╩╩╩╩╩╩╩╩ 8'╩╩╩ Horn╩╩╩╩╩╩╩╩╩ 73p.
E╩╩╩╩╩ 54╩╩╩╩╩╩╩╩╩╩╩╩ 8' Orchestral trumpet╩╩╩╩╩╩╩╩ 73p.
E╩╩╩╩╩ 55╩╩╩╩╩╩╩╩╩╩╩╩ 4' Clarion╩╩╩╩╩╩╩╩╩ 73p.
╩╩╩╩╩╩╩╩ 56╩╩╩╩╩╩╩╩╩╩╩╩ 4'-8' Clarino Trumpet╩╩╩╩╩╩╩╩ 73p.
CHOIR (ENCLOSED: ENCLOSURE RESTORED)
E╩╩╩╩╩ 57a╩╩╩╩╩╩╩╩ 16' Contra Salicional╩╩╩╩╩╩╩╩ 61p. (Unit bass)
E╩╩╩╩╩ 58╩╩╩╩╩╩╩╩╩╩╩╩ 8' Horn Diapason╩╩╩╩╩╩╩╩ 61p.
E╩╩╩╩╩ 59╩╩╩╩╩╩╩╩╩╩╩╩ 8' Corno Flute╩ 61p.
E╩╩╩╩╩ 60╩╩╩╩╩╩╩╩╩╩╩╩ 8' Lieblich Gedeckt╩╩╩╩╩╩╩╩ 61p.
╩╩╩╩╩╩╩╩ 61╩╩╩╩╩╩╩╩╩╩╩╩ 8' Salicional╩╩╩╩╩ 61p.
╩╩╩╩╩╩╩╩ 62╩╩╩╩╩╩╩╩╩╩╩╩ 8' Voix Celeste 61p.
╩╩╩╩╩╩╩╩ 63╩╩╩╩╩╩╩╩╩╩╩╩ 8' Flute Celeste II╩╩╩╩╩╩ 110p. II from tenor c
╩╩╩╩╩╩╩╩ 64╩╩╩╩╩╩╩╩╩╩╩╩ 4' Gemshorn╩╩╩╩ 61p.
E╩╩╩╩╩ 65╩╩╩╩╩╩╩╩╩╩╩╩ 4' Lieblich FlÜte 61p.
E╩╩╩╩╩ 66╩╩╩╩╩╩╩╩╩╩╩╩ 4' Echo Viola╩╩╩ 61p.
╩╩╩╩╩╩╩ 67╩╩╩╩╩╩╩╩╩╩╩ 4' Celestina╩╩╩ 61p.
E╩╩╩╩╩ 68╩╩╩╩╩╩╩╩╩╩╩╩ 2' Harmonic Piccolo╩╩╩╩╩╩╩╩ 61p.
E╩╩╩╩╩ 69╩╩╩╩╩╩╩╩╩╩ III Dulciana Cornet╩╩╩╩╩╩╩╩ 61n, 183p. (Restored from conversion to Twelfth)
╩╩╩╩╩╩╩ 70a╩╩╩╩╩╩╩╩ 16' Bass Cremona╩╩╩╩╩╩╩ 12p.
E╩╩╩╩╩ 71╩╩╩╩╩╩╩╩╩╩╩╩ 8' Closed Horn 61p.
╩╩╩╩╩╩╩╩ 72╩╩╩╩╩╩╩╩╩╩╩╩ 8' Cor Anglais 61p.
╩╩╩╩╩╩╩╩ 70b╩╩╩╩╩╩╩╩╩╩ 8' Cremona╩╩╩╩╩╩╩ 61p. (Unit)
╩╩╩╩╩╩╩ P1╩╩╩╩╩╩╩╩╩╩ (8')╩╩╩ Harp╩╩╩╩╩╩╩ 49bars (ex-Echo)
E╩╩╩╩╩ 73╩╩╩╩╩╩╩╩╩╩ 16' Quintaton╩╩╩╩ 73p.
E╩╩╩╩╩ 74╩╩╩╩╩╩╩╩╩╩╩╩ 8' Harmonic Claribel╩╩╩╩╩╩╩╩ 73p.
(E)╩╩╩ 75╩╩╩╩╩╩╩╩╩╩╩╩ 8' Flute celeste╩ (TC) 61p.╩╩╩╩╩╩╩╩╩ new╩ (original removed 1929 to make way for Piccolo)
E╩╩╩╩╩ 76╩╩╩╩╩╩╩╩╩╩╩╩ 8' Violoncello╩╩ 73p.
╩╩╩╩╩╩╩╩ 77╩╩╩╩╩╩╩╩╩╩╩╩ 8' Cello Celeste 73p.
E╩╩╩╩╩ 78╩╩╩╩╩╩╩╩╩╩╩╩ 8' Salicional╩╩╩╩╩ 73p.
E╩╩╩╩╩ 79╩╩╩╩╩╩╩╩╩╩╩╩ 4' Concert Flute Harmonique 73p.
╩╩╩╩╩╩╩╩ 80╩╩╩╩╩╩╩╩╩╩╩╩ 3' Nasard Harmonique 73p.
E╩╩╩╩╩ 81╩╩╩╩╩╩╩╩╩╩╩╩ 2' Harmonic Piccolo╩╩╩╩╩╩╩╩ 73p.
╩╩╩╩╩╩╩╩ 82╩╩╩╩╩╩╩╩╩╩ 13/5'╩ Tierce╩╩╩╩╩╩╩╩╩ 61p.
E╩╩╩╩╩ 83a╩╩╩╩╩╩╩╩ 16' Schalmei╩╩╩╩╩╩╩ 73p. (Unit bass)
╩╩╩╩╩╩╩╩ 84╩╩╩╩╩╩╩╩╩╩╩╩ 8' French Horn 73p.
╩╩╩╩╩╩╩╩ 85╩╩╩╩╩╩╩╩╩╩╩╩ 8' Corno di Bassetto╩╩╩╩╩╩╩╩ 73p.
E╩╩╩╩╩ 86╩╩╩╩╩╩╩╩╩╩╩╩ 8' Orchestral Oboe╩╩╩╩╩╩╩╩ 73p.
E╩╩╩╩╩ 87╩╩╩╩╩╩╩╩╩╩╩╩ 8' Clarinet╩╩╩╩╩╩╩╩ 73p.
E╩╩╩╩╩ 88a╩╩╩╩╩╩╩╩ 16'╩╩ Tuba╩╩╩╩╩╩╩╩╩ 12p.
E╩╩╩╩╩ 88b╩╩╩╩╩╩╩╩╩╩ 8'╩╩ Tuba╩╩╩ 73n, 85p. Unit╩╩╩╩╩ double top notes
E╩╩╩╩╩ 88c╩╩╩╩╩╩╩╩╩╩ 4'╩╩ Tuba╩╩╩╩╩╩╩╩╩╩╩ ÷
E╩╩╩╩╩ P2╩╩╩╩╩╩╩╩╩╩ (2') Glockenspiel 32 bars from tenor f
E╩╩╩╩╩ P3╩╩╩╩╩╩╩╩╩╩ (8') Carillon╩╩ 20 tubes from tenor a
E╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩ Carillon Mute
Bombarde sub-division (enclosed with Solo)
(no Octave doublings)
╩╩╩╩╩╩╩╩ 89╩╩╩╩╩╩╩╩╩╩╩╩ 8' Violin Diapason╩╩╩╩╩╩╩╩ 61p.
╩╩╩╩╩╩╩╩ 90╩╩╩╩╩╩╩╩╩╩╩╩ 4' Prestant╩╩╩╩╩╩╩ 61p.
╩╩╩╩╩╩╩╩ 91╩╩╩╩╩╩╩╩ I-II Grave Mixture╩╩╩╩╩╩╩╩ 57p.╩╩ also draws 92
╩╩╩╩╩╩╩╩ 92╩╩╩╩╩╩ IV-V Fourniture╩ 285p.
╩╩╩╩╩╩╩╩ 93╩╩╩╩╩╩ II-III Grand Chorus╩╩╩╩╩╩ 109p.╩╩ also draws 92
╩╩╩╩╩╩╩╩ 94a╩╩╩╩╩╩╩╩ 16' Contra Posaune╩╩╩╩╩╩╩╩ 61p. (Unit bass)
╩╩╩╩╩╩╩╩ 95╩╩╩╩╩╩╩╩╩╩╩╩ 8' Posaune╩╩╩╩╩╩ 61p.
╩╩╩╩╩╩╩╩ 96╩╩╩╩╩╩╩╩╩╩╩╩ 4' Clarion╩╩╩╩╩╩╩╩╩ 61p.
Fanfare sub-division (unenclosed)
E╩╩╩╩╩ 97╩╩╩╩╩╩╩╩╩╩╩╩ 8' Tuba Sonora 73n, 85p. Unit,╩ double top notes
╩╩╩╩╩╩╩ 98a╩╩╩╩╩╩╩╩╩╩ 8' Tuba Mirabilis╩╩╩╩╩╩╩ 73p.╩╩ Unit
╩╩╩╩╩╩╩╩ 99a╩╩╩╩╩╩╩╩╩╩ 8' Trumpet Victoria╩╩╩╩╩╩╩╩ 73p.╩╩╩ Unit
ORCHESTRAL (ENCLOSED: UNDER SEPARATE EXPRESSION)
E╩╩╩ 100a╩╩╩╩╩╩╩╩ 16' Contra Viola 73p. (Unit bass)
E╩╩╩ 101╩╩╩╩╩╩╩╩╩╩╩╩ 8' Tibia Clausa 73p.
╩╩╩╩╩╩ 102a╩╩╩╩╩╩╩╩╩╩ 8' Orchestral Strings II╩╩╩╩╩ 73n, 146p.╩ Unit 8/4
E╩╩╩ 103╩╩╩╩╩╩╩╩╩╩╩╩ 8' Viol dÔOrchestre╩ (I-II) 73n, 122p. II from mid c
E╩╩╩ 104╩╩╩╩╩╩╩╩╩╩╩╩ 8' String Celeste[s]╩╩ (II)╩╩ 73n, 146p.
╩╩╩╩╩╩ 102b╩╩╩╩╩╩╩╩╩╩ 4' Octave Strings╩ II╩╩╩╩╩╩╩╩ 12n, 24p.
E╩╩╩ 105╩╩╩╩╩╩╩╩╩╩╩╩ 4' Octave Viola 73p.
E╩╩╩ 106╩╩╩╩╩╩╩╩╩╩ 31/5' Tiercina╩╩╩╩╩╩╩ 73p.
E╩╩╩ 107╩╩╩╩╩╩╩╩╩╩╩╩ 3' Quint Viola╩╩ 73p.
E╩╩╩ 108╩╩╩╩╩╩╩╩╩╩╩╩ 2' Violette╩╩╩╩╩╩╩╩ 73p.
ECHO (ENCLOSED) #
╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩ Section I
E╩╩ 118a╩╩╩╩╩╩╩╩ 16' Lieblich Gedeckt╩╩╩╩╩╩╩ 12p.╩╩╩╩╩╩╩╩╩╩
E╩╩ 118b╩╩╩╩╩╩╩╩╩╩ 8' Lieblich Gedeckt╩╩╩╩╩╩╩ 73p.╩ Unit 16/8/4
E╩╩ 118c╩╩╩╩╩╩╩╩╩╩ 4' Lieblich FlÜte ÷╩╩╩
E╩╩ 119╩╩╩╩╩╩╩╩╩╩╩ 8' Geigen Principal╩╩╩╩╩╩╩ 73p.
E╩╩ 120╩╩╩╩╩╩╩╩╩╩╩ 4'╩╩ Viola╩╩╩╩╩╩╩╩ 73p.
E╩╩ 121╩╩╩╩╩╩╩╩╩╩╩ 4' Tibia Mollis 73p.
E╩╩ 122╩╩╩╩╩╩╩╩╩╩╩ 8' Vox Mystica 73p.
E╩╩ 123╩╩╩╩╩╩╩╩╩╩╩ 8' Musette╩╩╩╩╩╩ 73p.
E╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩ Octave / Unison Off / Sub Octave
╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩ Section II
E╩╩ 124a╩╩╩╩╩╩╩╩╩╩ 8' Viole Sourdine╩╩╩╩╩╩╩ 73p. (Unit bass)
E╩╩ 125╩╩╩╩╩╩╩╩╩╩╩ 8' Voix Celestes╩╩╩╩╩╩╩ 61p.╩ from tenor c╩
E╩╩ 126╩╩╩╩╩╩╩╩╩╩╩ 8' Zauber FlÜte 73p.
E╩╩ 127╩╩╩╩╩╩╩╩╩╩╩ 8' Unda maris╩ 61p. from tenor c
E╩╩ 128╩╩╩╩╩╩╩╩╩╩ IV Harmonia «theria╩╩╩ 292p.
E╩╩ 129╩╩╩╩╩╩╩╩╩╩╩ 8' Post Horn╩╩ 73p.
E╩╩╩╩ P6╩╩╩╩╩╩╩╩╩╩ (8')╩╩ Harp╩╩╩╩╩ 49 bars ╩╩ (temporarily installed in Choir)
E╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩ Octave / Unison Off / Sub Octave
╩╩╩╩╩ 118d╩╩╩╩╩╩╩╩ 32' Resultant╩╩╩╩╩╩╩ ÷ (bass octave = 16' + 102/3' borrow)
(E) 124b╩╩╩╩╩╩╩ 16' Violone╩╩╩╩╩╩╩ 12p. original = borrow 118(16') + 124(8')
E╩╩ 118e╩╩╩╩╩╩╩╩ 16' Bourdon╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩
E╩╩ 118f╩╩╩╩╩╩╩╩╩╩╩ 8'╩╩ Flute╩╩╩╩╩╩╩╩╩╩╩╩╩╩ (listed as╩ Flute bass╩ in 1930)
# Unusable by 1970,╩ then dismantled;╩ pipework became badly damaged; not restored at this time╩ (stored in organ chamber).╩ Drawknobs on old console for preservation, and on mobile console for preparation.
╩╩╩╩╩╩╩╩╩╩ 1d╩╩╩╩╩╩╩╩ 64' Gravissima╩ (Tibia) ÷╩╩ (bass octave = 32' + 212/3' borrow)╩
E╩╩╩ 109a╩╩╩╩╩╩╩╩ 32' Double Open Diapason╩╩╩╩╩ 12p.
E╩╩╩╩╩╩╩ 1e╩╩╩╩╩╩╩╩ 32' Tibia Profunda╩╩╩╩╩╩╩╩ 12p. extension of Great Tibia
╩╩╩╩╩╩ 110a╩╩╩╩╩╩╩╩ 32' Contra Bourdon Acoustic╩╩╩╩╩╩╩╩ ÷ (bass octave = 16' + 102/3' borrow)╩
╩╩╩╩╩╩╩╩ 28c╩╩╩╩╩╩╩╩ 32' Contra Violone╩ (Sw)╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩
E╩╩╩ 111a╩╩╩╩╩╩╩╩ 16' Great Bass╩ (Major Bass) 32p. Unit 16/8╩╩
E╩╩╩ 109b╩╩╩╩╩╩╩╩ 16' Open Diapason╩╩╩╩╩╩╩╩ 32p.╩╩ Unit 32/16/8/4
E╩╩╩╩╩╩╩ 1f╩╩╩╩╩╩╩╩╩ 16' Tibia Profunda╩ (Gt)╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩
E╩╩╩╩╩╩╩ 2b╩╩╩╩╩╩╩╩ 16' Contra Bass╩╩ (Gt) (Great Double Open)
╩╩╩╩╩╩╩╩ 11b╩╩╩╩╩╩╩╩ 16' Geigen╩╩ (Gt)╩╩╩╩╩╩╩╩╩
E╩╩╩╩╩ 28d╩╩╩╩╩╩╩╩ 16' Violone╩ (Sw)╩╩╩╩╩╩╩
E╩╩╩ 100b╩╩╩╩╩╩╩╩ 16' String Bass╩ (Orch)╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩
E╩╩╩ 110b╩╩╩╩╩╩╩╩ 16' Bourdon╩╩╩╩╩╩╩ 32p. Unit 16/102/3(32)/8
╩╩╩╩╩╩╩╩ 29b╩╩╩╩╩╩╩╩ 16' Lieblich Bourdon╩╩ (Sw)╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩
E╩╩╩╩╩ 57b╩╩╩╩╩╩╩╩ 16' Contra Salicional╩ (Ch)╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩
E╩╩╩╩╩╩╩ 1g╩╩╩╩╩╩╩ 102/3' Quint╩╩╩ (Tibia) ÷ (Great)
E╩╩╩ 111b╩╩╩╩╩╩╩╩╩╩ 8' Flute Major╩╩ 12p.
E╩╩╩ 109c╩╩╩╩╩╩╩╩╩╩ 8' Principal╩╩╩╩╩╩╩ 12p.
╩╩╩╩╩╩ 112╩╩╩╩╩╩╩╩╩╩╩╩ 8' Prestant╩╩╩╩╩╩╩ 32p.
╩╩╩╩╩╩╩╩ 11c╩╩╩╩╩╩╩╩╩╩ 8' Geigen Principal╩╩ (Gt)╩╩╩╩╩ Great 16'╩╩╩ (Independent rank
╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩ ╩╩╩╩╩╩╩╩╩╩╩╩ ╩prepared)
E╩╩╩╩╩ 28e╩╩╩╩╩╩╩╩╩╩ 8' Violone╩ [Cello]╩╩ (Sw)╩╩╩╩╩ Violone
╩╩╩╩╩╩ 113╩╩╩╩╩╩╩╩╩╩╩╩ 8' Bass Flute╩╩╩ 32p.
E╩╩╩ 110c╩╩╩╩╩╩╩╩╩╩ 8' Stopped Flute╩╩╩╩╩╩╩╩ 12p.╩╩╩╩╩╩╩╩╩╩
╩╩╩╩╩╩╩╩ 29c╩╩╩╩╩╩╩╩╩╩ 8' Lieblich Bourdon╩ (Sw)╩╩╩╩ Swell 16'
E╩╩╩ 109d╩╩╩╩╩╩╩╩╩╩ 4' Super Octave 12p.
╩╩╩╩╩╩ 114╩╩╩╩╩╩╩╩╩╩╩╩ 4' Fifteenth╩╩╩╩╩╩ 32p.
E╩╩╩╩╩ 22b╩╩╩╩╩╩╩╩ VI Grand Fourniture╩ 5 1/3' 12n. 72p. ext. of Great Fourniture
╩╩╩╩╩╩╩╩ 23c╩╩╩╩╩╩╩╩ 32' Contra Fagotto╩ (Gt)╩╩╩╩╩╩╩╩ (Great Contra Trombone)
╩╩╩╩╩╩╩╩ 49b╩╩╩╩╩╩╩╩ 16' Bassoon╩╩ (Sw)╩╩╩╩
E╩╩╩╩╩ 83b╩╩╩╩╩╩╩╩ 16' Schalmei╩ (Solo)╩╩ ╩╩╩╩╩╩╩╩╩╩╩╩
╩╩╩╩╩╩ 115a╩╩╩╩╩╩╩╩ 32' Double Ophicleide╩╩╩ 32p. Unit 32/16
E╩╩╩╩╩ 88d╩╩╩╩╩╩╩╩ 16' Tuba╩╩ (Solo)╩╩╩╩╩╩╩╩
╩╩╩╩╩╩ 115b╩╩╩╩╩╩╩╩ 16' Ophicleide╩╩╩ 12p.
╩╩╩╩╩╩╩╩ 94b╩╩╩╩╩╩╩╩ 16' Posaune╩ (Solo)╩╩╩ ╩╩╩╩╩╩╩╩╩╩╩╩
E╩╩╩╩╩ 24b╩╩╩╩╩╩╩╩ 16' Trombone╩ (Gt)╩╩╩╩ ╩╩╩╩╩╩╩╩╩╩╩╩
E╩╩╩╩╩ 88e╩╩╩╩╩╩╩╩╩╩ 8' Tuba╩╩ (Solo)╩╩╩╩╩╩╩╩
╩╩╩╩╩╩ 116a╩╩╩╩╩╩╩╩╩╩ 8' Trumpet╩╩╩╩╩╩╩ 32p.╩ Unit 8/4
╩╩╩╩╩╩ 116b╩╩╩╩╩╩╩╩╩╩ 4' Clarion╩╩╩╩╩╩╩╩╩╩ 12p.
E╩╩╩ 117a╩╩╩╩╩╩╩╩ 32' Diaphone╩╩╩╩╩ 32p. Unit 32/16
E╩╩╩ 117b╩╩╩╩╩╩╩╩ 16' (Octave) Diaphone╩╩╩╩╩ 12p.
╩╩╩╩╩╩╩ 98b╩╩╩╩╩╩╩╩╩╩ 8' Tuba Mirabilis╩╩ (Solo)╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩
╩╩╩╩╩╩╩╩ 99b╩╩╩╩╩╩╩╩╩╩ 8' Trumpet Victoria╩ (Solo)╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩
E╩╩╩╩╩ P4╩╩╩╩╩╩╩╩╩╩╩╩╩╩ Bass Drum╩ Tap
E╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩ Bass Drum╩ Roll
E╩╩╩╩╩ P5╩╩╩╩╩╩╩╩╩╩╩╩╩╩ Side Drum╩ Tap
E╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩ Side Drum╩ Roll
Pressures (as originally):
╩ Enclosed Flues:╩ ╩╩╩ ╩╩6"
╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩ Reeds: 12"╩╩
╩ Unenclosed (& Tibia from 4'C):╩ 10"╩╩
╩╩ Tibia 16' (&32') bass:╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩ ╩ 5"
╩ Flues & light reeds:╩ ╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩ ╩╩6"
╩ Reeds & Diapason Phonon:╩╩╩╩╩╩╩╩ 10"╩
╩╩╩╩╩ ╩ 5"╩╩ (or 6")╩╩╩
╩ Flues:╩╩╩╩╩ ╩ 7"
╩ Posaunes: 15"
╩ Tubas (& Fanfare Trumpet):╩╩╩╩╩╩╩ 20"
╩ Tuba Mirabilis:╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩╩ approximately╩ 25"╩╩╩ (requiring booster blower)
╩╩╩╩╩ ╩ 6"
╩╩╩╩╩ ╩ 6"
╩ Flues:╩ ╩╩╩ ╩╩4"?╩ to 6"
╩ Diaphone 20"╩╩
╩ new Reeds ╩ ?"╩╩╩╩╩