MELBOURNE TOWN HALL

rebuilding and enlargement of the 1929 Hill, Norman & Beard organ

Êby 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.Ê The City of Melbourne has been advised by its organ committee, the membership of which comprises:

• Professor Ian Harper, of the Melbourne Business School, University of Melbourne (chairman),
• Mr Martin Carlson, former Deputy General Manager of the Victorian Arts Centre (who was involved with the building of the Melbourne Concert Hall and the Casavant organ), and
• Dr June Nixon AM, Director of Music at St Paulâs Cathedral, Melbourne, who was a consultant for the restoration of the Cathedralâs Lewis organ in 1990.

______________________________________________________________________________________

FURTHER NOTE ö 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.Ê 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.Ê 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.Ê It should be noted that the organization has not had any active involvement in the current process of rebuilding and enhancement.

Description of technical specification and tonal design

á         General Intention

All the original pipe-work and percussions of the main organ are restored:

ö pipes that were removed will be re-instated;

ö pipes that were altered from their 1929 specification will be restored; and

ö        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 ö that of a Grand Romantic/Orchestral Concert Organ.

á         Consoles

The original console (in the organ-case) will remain with little obvious change to the draw-stops.Ê New pistons will replace the 1970s pistons.Ê Fitting of the new stops would have required enlargement of the stop-jambs, involving a major re-build ö which was seen as inappropriate.Ê Heritage requirements intend that the original console should primarily represent the ãoriginal voiceä of the organ.Ê

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.Ê However, the case console may be required to access the entire organ Îat short noticeâ.Ê Also, the case console may be preferable for works with choir or orchestra; and it may be preferred anyway by some organists.Ê 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.Ê 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.Ê 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.Ê This was planned to be the primary concert console.Ê Plans have been considered to house the mobile console on its own Îgoods liftâ sinking into the floor at the side of the Hall for easy, immediate access ö and where it could be used for rehearsal if necessary, or wheeled to the centre of the Hall for best use.Ê Costs currently prevent provision of the lift.

The console will thus be stored back-stage.Ê 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.

á         Specification ö Preparations are shown in Italics

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 ö March 1998.Ê Expenditure limitations led to revision resulting in some agreed additions being Îpreparedâ only.

Specification Summary

á        Restoration

All divisional enclosures will be re-instated (including the originally enclosed part of the Great).

All ranks will remain with their original divisions.Ê The Great Contra Trombone 32' and Choir Dulciana Cornet III ranks are re-instated.Ê Mixtures are restored to their original pitches and breaks.Ê The pipes of the Great Fourniture VI-VII ranks were re-arranged and shortened in the 1970s to gain a higher-pitched quint mixture.Ê They are now lengthened to their original (including Îover-lengthâ for slots for those of string tone).Ê Included are the original 1^1/7',Ê 3^1/5'Ê &Ê 5^1/3' pitches.

á        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 Îgapâ between tonal extremes; for example, between the strident Orchestral Celestes and the gentle Swell strings.Ê 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 Îpitch-clarityâ in choral accompaniment.

Enclosed Great

This gains mf colours at 8' & 16' pitch ö the original 16' (unenclosed) stops are both extremely heavy.

A new Mixture provides a clear tone following restoration of the Grand Fourniture to its Îharmonicsâ specification.Ê This original Îgross Sesquialteraâ effect is expected to better fit with the tromba-tone reed chorus.

Unenclosed Great

The Great Octave Coupler will not be available in the full Specification.Ê That coupler was a Înecessityâ in trying to achieve a Îtonal balanceâ, but was a detriment to clarity in performance.Ê Independent ranks have been added in place of the Octave Coupler (except for the Tibia 4' which is gained by extension).Ê In keeping with the general idea of this Îstentorianâ division, the new chorus Mixture has a modest number of ranks in relation to the foundation upon which it sits.Ê A Harmonic Flute is added as a Înormalâ solo colour.Ê The original Tibia provides the extreme.

Choir

In this style of organ, a Choir division is usually a minor, or accompaniment, division.Ê It also normally includes a few mf solo colours.ÊÊ 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.Ê To allow the easy gathering of a more substantial Choir division in the organâs Îoriginal voiceâ, there is a Solo transfer to ChoirÊ (that Solo coupling excluding the big reeds and the new Bombarde).Ê There is also the Orchestral coupling.

Swell

A Înormalâ English Swell provides the main secondary flue/reed chorus.Ê But, without its Octave coupler, this Swell was considered to be too far below the Great in tonal impact.Ê Thus, most organists found the Octave coupler to be mandatory ö this Îextensionâ effect detracting much from clarity of performance.

A Principal 4', a chorus Mixture and smaller Sharp Mixture are added ö and are primarily intended to be used rather than the Octave coupler.Ê Two mf reeds are added for smaller choruses, and for solo use.

The new Clarino Trumpet 4'ö8' crowns the reed chorus ö 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).Ê Clear colours of soft or mf tone are added at various pitches.ÊÊ Two examples are:Ê there was no manual 16' Bourdon anywhere on the organ;Ê the more telling tone of Gambas is needed in addition to the original exquisitely delicate Aeoline and Celeste.

Solo

A Flute Celeste is added, after the original which arrived from England in 1927, but was removed ö to make way for the Piccolo 2' ö before the organ was opened in 1929.Ê Basic independent mutations are added here rather than on other manuals.Ê 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.Ê The new Fanfare Trumpet (Trumpet Victoria) provides a grand solo, or brief tutti, effect.Ê A Tuba Mirabilis is Îprepared forâ.Ê It was planned as the more Înormalâ big solo reed tone for this style of organ.Ê The original Tuba Sonora, with its extremely thick tone, has special uses, but is considered too sonorous for a Înormalâ Tuba solo.

Bombarde Division

Flues÷

The new flue chorus is intended to fit between the enclosed Great chorus and the Îstentorianâ Unenclosed Great chorus.Ê The name Bombarde is not meant to indicate mere loudness. ÊIts location in the Solo puts it under expression, as is appropriate to this style of organ.Ê The 8' & 4' flues will be of keen tone to enhance the tendency to thick tone of the other Diapason foundations.Ê It is expected that this chorus with mixtures would be included in bigger combinations to add a clarity or sheen.Ê These mixtures with their keen-toned foundations are not designed to stand Îon their ownâ in place of the original choruses.Ê The Fourniture will be the basic mixture to add to an 8' ensemble;Ê the Grand Chorus will add more body, including a Seventeenth (Terz) ö as normal to this style.Ê The Grave will add the sub pitches, that are also common to this type of chorus.

Pedal

The Pedal already contains the extremes of tone.Ê New mf colours or chorus stops (or borrows) will be added at each pitch, including 32'.Ê The Swell 16' Violone is extended down.Ê 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).Ê Two extended reed ranks are added: 32'/16' & 8'/4'.ÊÊ These will be of Înormalâ tone; allowing more sparing use of the exciting thunder of the Diaphone.

Echo

The Echo is not installed at this stage.Ê However, the stops for the Echo division are fitted at both consoles.Ê There is space set aside within the main organ for possible future installation.Ê The Echo organ was originally located at the rear of the Hall ÷ its original location is no longer available.Ê Because the Echo organ has been dismantled for some time, it was not a Heritage requirement to re-instate it at this time.Ê The pipe-work is in very poor condition, so the cost of restoration would be Îdisproportionatelyâ high.

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.Ê The Echo is an interesting Îtoyâ division; it forms no part of the main ensemble.Ê The Echo was a Îspecial effectâ meant to sound at a distance from the organ, rather than as simply a Îsoftâ division.Ê It may have been of limited use to install the Echo within the main organ.Ê 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] =Ê name engraved on Old Console Stop-face

(parentheses with Stop Name)ÊÊ =Ê extra engraving on New Console Stop-face

Borrows are indicated by the Superscript letters after the stop number.Ê Thus, the numbers indicate the independent voices, rather than the number of knobs on the console).

P = Percussions.Ê The numbering is separate from the pipe voice numbers.

E =Ê existing stops;ÊÊ numbers unmarked are new

p.Ê =Ê pipes

r.Ê =Ê ranks

n.Ê =Ê notes

ItalicÊ TypefaceÊÊÊ =ÊÊÊ PreparedÊ (Allowance in chamber and draw-stops provided, but pipes not installed at this time)

GREAT

(UNENCLOSED)

EÊÊÊÊÊÊÊ 1aÊÊÊÊÊÊÊÊ 16' Tibia ProfundaÊÊÊÊÊÊÊÊ 12p.ÊÊÊÊÊÊÊÊÊÊ

EÊÊÊÊÊÊÊ 2^aÊÊÊÊÊÊÊÊ 16' Double Open DiapasonÊÊÊÊÊ 61p. (Unit bass)

EÊÊÊÊÊÊÊ 1^bÊÊÊÊÊÊÊÊÊÊ 8' Tibia Plena 61p. Unit 32 /21^2/3(64) /16 /10^2/3 /8 /4

ÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ ÊÊÊ H.P. from 4'C

EÊÊÊÊÊÊÊ 3ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Diapason PhononÊÊÊÊÊÊÊÊ 61p.ÊÊÊÊÊÊÊÊÊÊ

EÊÊÊÊÊÊÊ 4ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Open Diapason (I)ÊÊÊÊ 61p.ÊÊÊÊÊÊÊÊÊÊ

ÊÊÊÊÊÊÊÊÊÊ 5ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Harmonic FluteÊÊÊÊÊÊÊÊ 61p.ÊÊÊÊÊÊÊÊÊÊ

ÊÊÊÊÊÊÊÊÊÊ 1^cÊÊÊÊÊÊÊÊÊÊ 4' Tibia Octave 12p. ÊÊÊÊÊÊÊ (HP section enclosed)

ÊÊÊÊÊÊÊÊÊÊ 6ÊÊÊÊÊÊÊÊÊÊÊÊ 4' Octave PhononÊÊÊÊÊÊÊÊ 61p.ÊÊÊÊÊÊÊÊÊÊ

EÊÊÊÊÊÊÊ 7ÊÊÊÊÊÊÊÊÊÊÊÊ 4' Octave DiapasonÊÊÊÊÊÊÊÊ 61p.ÊÊÊÊÊÊÊÊÊÊ

EÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ ÊÊÊ ÊÊÊ [Octave Coupler]ÊÊÊÊÊÊÊÊÊ (Omitted from Full Specification)

ÊÊÊÊÊÊÊÊÊÊ 8ÊÊÊÊÊÊÊÊÊÊÊÊ 3' Octave Quint 61p.

ÊÊÊÊÊÊÊÊÊÊ 9ÊÊÊÊÊÊÊÊÊÊÊÊ 2' Super Octave 61p.

ÊÊÊÊÊÊÊÊ 10ÊÊÊÊÊÊÊÊÊÊ IV Mixture 61n, 244p.ÊÊÊÊÊÊÊÊÊÊÊÊ

Enclosed (Enclosure Restored )

ÊÊÊÊÊÊÊÊ 11^aÊÊÊÊÊÊÊÊ 16' Contra GeigenÊÊÊÊÊÊÊÊ 61p. (Unit bass 16 & 8)

EÊÊÊÊÊ 12ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Open Diapason (II)ÊÊ 61p.ÊÊÊÊÊÊÊÊÊÊ

EÊÊÊÊÊ 13ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Gamba Major 61p. (Bass Reinstalled )

EÊÊÊÊÊ 14ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Hohl FlšteÊÊÊÊ 61p.

ÊÊÊÊÊÊÊÊ 15ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Rohr FlšteÊÊÊÊ 61p.

EÊÊÊÊÊ 16ÊÊÊÊÊÊÊÊÊÊÊÊ 4' PrincipalÊÊÊÊÊÊÊ 61p.

EÊÊÊÊÊ 17ÊÊÊÊÊÊÊÊÊÊÊÊ 4' Wald FlšteÊÊÊ 61p.

EÊÊÊÊÊ 18ÊÊÊÊÊÊÊÊÊÊÊÊ 3' Stopped QuintÊÊÊÊÊÊÊÊ 61p.ÊÊÊÊÊÊÊÊÊÊ

EÊÊÊÊÊ 19ÊÊÊÊÊÊÊÊÊÊÊÊ 2' FifteenthÊÊÊÊÊÊ 61p.

EÊÊÊÊÊ 20ÊÊÊÊÊÊÊÊÊÊ 1^3/5'Ê TierceÊÊÊÊÊÊÊÊÊÊ 61p.

ÊÊÊÊÊÊÊÊ 21ÊÊÊÊÊÊÊÊÊÊÊ V Chorus MixtureÊÊÊÊÊÊÊÊ 61n, 305p.

EÊÊÊÊÊ 22^aÊÊÊ VI(-.VII) Grand FournitureÊÊÊÊÊÊÊÊ 61n, 395p. Restored, including 1^1/7,Ê 3^1/5Ê &

ÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ ÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ 5^1/3 )ÊÊ (Unit bass)

ÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ TremulantÊÊÊÊÊÊÊÊÊÊÊÊÊ

EÊÊÊÊÊ 23^aÊÊÊÊÊÊÊÊ 32' Contra TromboneÊÊÊÊÊÊÊÊ 61p.ÊÊ Unit 32/16Ê ÊÊÊ(Bass Reinstalled )

EÊÊÊÊÊ 24^aÊÊÊÊÊÊÊÊ 16' TromboneÊÊÊÊ 61p. (Unit bass)

ÊÊÊÊÊÊÊÊ 23^bÊÊÊÊÊÊÊÊ 16' FagottoÊÊÊÊÊÊÊÊ 12p.

EÊÊÊÊÊ 25ÊÊÊÊÊÊÊÊÊÊÊÊ 8' TrombaÊÊÊÊÊÊÊÊÊ 61p.

EÊÊÊÊÊ 26ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Harmonic TrumpetÊÊÊÊÊÊÊ 61p.

EÊÊÊÊÊ 27ÊÊÊÊÊÊÊÊÊÊÊÊ 4' ClarionÊÊÊ 61n, 73p. double top notes

SWELL (ENCLOSED)

ÊÊÊÊÊÊÊÊ 28^aÊÊÊÊÊÊÊÊ 32' Contra VioloneÊÊÊÊÊÊÊÊ 12p.

EÊÊÊÊÊ 28^bÊÊÊÊÊÊÊÊ 16' VioloneÊÊÊÊÊÊÊÊÊ 73p. Unit 32/16

ÊÊÊÊÊÊÊÊ 29^aÊÊÊÊÊÊÊÊ 16' BourdonÊÊÊÊÊÊÊ 73p. (Unit bass 16 & 8)

EÊÊÊÊÊ 30ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Diapason PhononÊÊÊÊÊÊÊÊ 73p.

EÊÊÊÊÊ 31ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Geigen PrincipalÊÊÊÊÊÊÊÊ 73p.

ÊÊÊÊÊÊÊÊ 32ÊÊÊÊÊÊÊÊÊÊÊÊ 8' GambaÊÊÊÊÊÊÊÊÊ 73p.

ÊÊÊÊÊÊÊÊ 33ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Gamba CelesteÊÊÊÊÊÊÊÊ 73p.

ÊÊÊÊÊÊÊÊ 34ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Flauto TraversoÊÊÊÊÊÊÊÊ 73p.

EÊÊÊÊÊ 35ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Cor de NuitÊ 73p.

EÊÊÊÊÊ 36ÊÊÊÊÊÊÊÊÊÊÊÊ 8' ®olineÊÊÊÊÊÊÊÊÊÊ 73p.

EÊÊÊÊÊ 37ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Vox Angelica 68p. from bass FÊÊ

ÊÊÊÊÊÊÊÊ 38ÊÊÊÊÊÊÊÊÊÊÊÊ 4' PrincipalÊÊÊÊÊÊ 73p.

EÊÊÊÊÊ 39ÊÊÊÊÊÊÊÊÊÊÊÊ 4' Octave GambaÊÊÊÊÊÊÊÊ 73p.

EÊÊÊÊÊ 40ÊÊÊÊÊÊÊÊÊÊÊÊ 4' Harmonic FluteÊÊÊÊÊÊÊÊ 73p.

ÊÊÊÊÊÊÊÊ 41ÊÊÊÊÊÊÊÊÊÊÊÊ 4' Rohr FluteÊÊÊÊ 73p.

EÊÊÊÊÊ 42ÊÊÊÊÊÊÊÊÊÊÊÊ 3' Harmonic QuintÊÊÊÊÊÊÊÊ 73p.

ÊÊÊÊÊÊÊÊ 43ÊÊÊÊÊÊÊÊÊÊÊÊ 2' PiccoloÊÊÊÊÊÊÊÊÊ 73p.

EÊÊÊÊÊ 44ÊÊÊÊÊÊÊÊÊÊÊÊ 2' SalicetinaÊÊÊÊÊ 73p.

ÊÊÊÊÊÊÊÊ 45ÊÊÊÊÊÊÊÊÊÊÊ V Chorus MixtureÊÊÊÊÊÊÊÊ 61n, 305p.

EÊÊÊÊÊ 46ÊÊÊÊÊÊÊÊÊÊ III (Grave) MixtureÊÊÊÊÊÊÊÊ 73n, 219p. (Restored)

ÊÊÊÊÊÊÊÊ 47ÊÊÊÊÊÊÊÊÊÊ III Sharp MixtureÊÊÊÊÊÊÊÊ 61n, 183p.

EÊÊÊÊÊ 48ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Vox Humana 73p. in new separate ãboxä

ÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ Vox Tremulant

ÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ Vox Pianissimo ãboxä to closed position

ÊÊÊÊÊÊÊÊ 49^aÊÊÊÊÊÊÊÊ 16' BassoonÊÊÊÊÊÊÊ 73p. (Unit bass)

EÊÊÊÊÊ 50ÊÊÊÊÊÊÊÊÊÊÊÊ 8'ÊÊ OboeÊÊÊÊÊÊÊÊÊ 73p.

ÊÊÊÊÊÊÊÊ 51ÊÊÊÊÊÊÊÊÊÊÊÊ 8' CornopeanÊÊ 73p.

EÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ Tremulant

EÊÊÊÊÊ 52ÊÊÊÊÊÊÊÊÊÊ 16' Double TrumpetÊÊÊÊÊÊÊÊ 73p.

EÊÊÊÊÊ 53ÊÊÊÊÊÊÊÊÊÊÊÊ 8'ÊÊÊ HornÊÊÊÊÊÊÊÊÊ 73p.

EÊÊÊÊÊ 54ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Orchestral trumpetÊÊÊÊÊÊÊÊ 73p.

EÊÊÊÊÊ 55ÊÊÊÊÊÊÊÊÊÊÊÊ 4' ClarionÊÊÊÊÊÊÊÊÊ 73p.

ÊÊÊÊÊÊÊÊ 56ÊÊÊÊÊÊÊÊÊÊÊÊ 4'-8' Clarino TrumpetÊÊÊÊÊÊÊÊ 73p.

CHOIR (ENCLOSED: ENCLOSURE RESTORED)

EÊÊÊÊÊ 57^aÊÊÊÊÊÊÊÊ 16' Contra SalicionalÊÊÊÊÊÊÊÊ 61p. (Unit bass)

EÊÊÊÊÊ 58ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Horn DiapasonÊÊÊÊÊÊÊÊ 61p.

EÊÊÊÊÊ 59ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Corno FluteÊ 61p.

EÊÊÊÊÊ 60ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Lieblich GedecktÊÊÊÊÊÊÊÊ 61p.

ÊÊÊÊÊÊÊÊ 61ÊÊÊÊÊÊÊÊÊÊÊÊ 8' SalicionalÊÊÊÊÊ 61p.

ÊÊÊÊÊÊÊÊ 62ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Voix Celeste 61p.

ÊÊÊÊÊÊÊÊ 63ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Flute Celeste IIÊÊÊÊÊÊ 110p. II from tenor c

ÊÊÊÊÊÊÊÊ 64ÊÊÊÊÊÊÊÊÊÊÊÊ 4' GemshornÊÊÊÊ 61p.

EÊÊÊÊÊ 65ÊÊÊÊÊÊÊÊÊÊÊÊ 4' Lieblich Flšte 61p.

EÊÊÊÊÊ 66ÊÊÊÊÊÊÊÊÊÊÊÊ 4' Echo ViolaÊÊÊ 61p.

ÊÊÊÊÊÊÊ 67ÊÊÊÊÊÊÊÊÊÊÊ 4' CelestinaÊÊÊ 61p.

EÊÊÊÊÊ 68ÊÊÊÊÊÊÊÊÊÊÊÊ 2' Harmonic PiccoloÊÊÊÊÊÊÊÊ 61p.

EÊÊÊÊÊ 69ÊÊÊÊÊÊÊÊÊÊ III Dulciana CornetÊÊÊÊÊÊÊÊ 61n, 183p. (Restored from conversion to Twelfth)

ÊÊÊÊÊÊÊ 70^aÊÊÊÊÊÊÊÊ 16' Bass CremonaÊÊÊÊÊÊÊ 12p.

EÊÊÊÊÊ 71ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Closed Horn 61p.

ÊÊÊÊÊÊÊÊ 72ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Cor Anglais 61p.

ÊÊÊÊÊÊÊÊ 70^bÊÊÊÊÊÊÊÊÊÊ 8' CremonaÊÊÊÊÊÊÊ 61p. (Unit)

EÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ Tremulant

ÊÊÊÊÊÊÊ P1ÊÊÊÊÊÊÊÊÊÊ (8')ÊÊÊ HarpÊÊÊÊÊÊÊ 49bars (ex-Echo)

SOLO (ENCLOSED)

EÊÊÊÊÊ 73ÊÊÊÊÊÊÊÊÊÊ 16' QuintatonÊÊÊÊ 73p.

EÊÊÊÊÊ 74ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Harmonic ClaribelÊÊÊÊÊÊÊÊ 73p.

(E)ÊÊÊ 75ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Flute celesteÊ (TC) 61p.ÊÊÊÊÊÊÊÊÊ newÊ (original removed 1929 to make way for Piccolo)

EÊÊÊÊÊ 76ÊÊÊÊÊÊÊÊÊÊÊÊ 8' VioloncelloÊÊ 73p.

ÊÊÊÊÊÊÊÊ 77ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Cello Celeste 73p.

EÊÊÊÊÊ 78ÊÊÊÊÊÊÊÊÊÊÊÊ 8' SalicionalÊÊÊÊÊ 73p.

EÊÊÊÊÊ 79ÊÊÊÊÊÊÊÊÊÊÊÊ 4' Concert Flute Harmonique 73p.

ÊÊÊÊÊÊÊÊ 80ÊÊÊÊÊÊÊÊÊÊÊÊ 3' Nasard Harmonique 73p.

EÊÊÊÊÊ 81ÊÊÊÊÊÊÊÊÊÊÊÊ 2' Harmonic PiccoloÊÊÊÊÊÊÊÊ 73p.

ÊÊÊÊÊÊÊÊ 82ÊÊÊÊÊÊÊÊÊÊ 1^3/5'Ê TierceÊÊÊÊÊÊÊÊÊ 61p.

EÊÊÊÊÊ 83^aÊÊÊÊÊÊÊÊ 16' SchalmeiÊÊÊÊÊÊÊ 73p. (Unit bass)

ÊÊÊÊÊÊÊÊ 84ÊÊÊÊÊÊÊÊÊÊÊÊ 8' French Horn 73p.

ÊÊÊÊÊÊÊÊ 85ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Corno di BassettoÊÊÊÊÊÊÊÊ 73p.

EÊÊÊÊÊ 86ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Orchestral OboeÊÊÊÊÊÊÊÊ 73p.

EÊÊÊÊÊ 87ÊÊÊÊÊÊÊÊÊÊÊÊ 8' ClarinetÊÊÊÊÊÊÊÊ 73p.

EÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ Tremulant

EÊÊÊÊÊ 88^aÊÊÊÊÊÊÊÊ 16'ÊÊ TubaÊÊÊÊÊÊÊÊÊ 12p.

EÊÊÊÊÊ 88^bÊÊÊÊÊÊÊÊÊÊ 8'ÊÊ TubaÊÊÊ 73n, 85p. UnitÊÊÊÊÊ double top notes

EÊÊÊÊÊ 88^cÊÊÊÊÊÊÊÊÊÊ 4'ÊÊ TubaÊÊÊÊÊÊÊÊÊÊÊ ö

EÊÊÊÊÊ P2ÊÊÊÊÊÊÊÊÊÊ (2') Glockenspiel 32 bars from tenor f

EÊÊÊÊÊ P3ÊÊÊÊÊÊÊÊÊÊ (8') CarillonÊÊ 20 tubes from tenor a

EÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ Carillon Mute

Bombarde sub-division (enclosed with Solo)

(no Octave doublings)

ÊÊÊÊÊÊÊÊ 89ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Violin DiapasonÊÊÊÊÊÊÊÊ 61p.

ÊÊÊÊÊÊÊÊ 90ÊÊÊÊÊÊÊÊÊÊÊÊ 4' PrestantÊÊÊÊÊÊÊ 61p.

ÊÊÊÊÊÊÊÊ 91ÊÊÊÊÊÊÊÊ I-II Grave MixtureÊÊÊÊÊÊÊÊ 57p.ÊÊ also draws 92

ÊÊÊÊÊÊÊÊ 92ÊÊÊÊÊÊ IV-V FournitureÊ 285p.

ÊÊÊÊÊÊÊÊ 93ÊÊÊÊÊÊ II-III Grand ChorusÊÊÊÊÊÊ 109p.ÊÊ also draws 92

ÊÊÊÊÊÊÊÊ 94^aÊÊÊÊÊÊÊÊ 16' Contra PosauneÊÊÊÊÊÊÊÊ 61p. (Unit bass)

ÊÊÊÊÊÊÊÊ 95ÊÊÊÊÊÊÊÊÊÊÊÊ 8' PosauneÊÊÊÊÊÊ 61p.

ÊÊÊÊÊÊÊÊ 96ÊÊÊÊÊÊÊÊÊÊÊÊ 4' ClarionÊÊÊÊÊÊÊÊÊ 61p.

Fanfare sub-division (unenclosed)

EÊÊÊÊÊ 97ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Tuba Sonora 73n, 85p. Unit,Ê double top notes

ÊÊÊÊÊÊÊ 98^aÊÊÊÊÊÊÊÊÊÊ 8' Tuba MirabilisÊÊÊÊÊÊÊ 73p.ÊÊ Unit

ÊÊÊÊÊÊÊÊ 99^aÊÊÊÊÊÊÊÊÊÊ 8' Trumpet VictoriaÊÊÊÊÊÊÊÊ 73p.ÊÊÊ Unit

ORCHESTRAL (ENCLOSED: UNDER SEPARATE EXPRESSION)

EÊÊÊ 100^aÊÊÊÊÊÊÊÊ 16' Contra Viola 73p. (Unit bass)

EÊÊÊ 101ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Tibia Clausa 73p.

ÊÊÊÊÊÊ 102^aÊÊÊÊÊÊÊÊÊÊ 8' Orchestral Strings IIÊÊÊÊÊ 73n, 146p.Ê Unit 8/4

EÊÊÊ 103ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Viol dâOrchestreÊ (I-II) 73n, 122p. II from mid c

EÊÊÊ 104ÊÊÊÊÊÊÊÊÊÊÊÊ 8' String Celeste[s]ÊÊ (II)ÊÊ 73n, 146p.

ÊÊÊÊÊÊ 102^bÊÊÊÊÊÊÊÊÊÊ 4' Octave StringsÊ IIÊÊÊÊÊÊÊÊ 12n, 24p.

EÊÊÊ 105ÊÊÊÊÊÊÊÊÊÊÊÊ 4' Octave Viola 73p.

EÊÊÊ 106ÊÊÊÊÊÊÊÊÊÊ 3^1/5' TiercinaÊÊÊÊÊÊÊ 73p.

EÊÊÊ 107ÊÊÊÊÊÊÊÊÊÊÊÊ 3' Quint ViolaÊÊ 73p.

EÊÊÊ 108ÊÊÊÊÊÊÊÊÊÊÊÊ 2' VioletteÊÊÊÊÊÊÊÊ 73p.

EÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ Tremulant

ECHO (ENCLOSED) #

ÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ Section I

EÊÊ 118^aÊÊÊÊÊÊÊÊ 16' Lieblich GedecktÊÊÊÊÊÊÊ 12p.ÊÊÊÊÊÊÊÊÊÊ

EÊÊ 118^bÊÊÊÊÊÊÊÊÊÊ 8' Lieblich GedecktÊÊÊÊÊÊÊ 73p.Ê Unit 16/8/4

EÊÊ 118^cÊÊÊÊÊÊÊÊÊÊ 4' Lieblich Flšte öÊÊÊ

EÊÊ 119ÊÊÊÊÊÊÊÊÊÊÊ 8' Geigen PrincipalÊÊÊÊÊÊÊ 73p.

EÊÊ 120ÊÊÊÊÊÊÊÊÊÊÊ 4'ÊÊ ViolaÊÊÊÊÊÊÊÊ 73p.

EÊÊ 121ÊÊÊÊÊÊÊÊÊÊÊ 4' Tibia Mollis 73p.

EÊÊ 122ÊÊÊÊÊÊÊÊÊÊÊ 8' Vox Mystica 73p.

EÊÊ 123ÊÊÊÊÊÊÊÊÊÊÊ 8' MusetteÊÊÊÊÊÊ 73p.

EÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ Octave / Unison Off / Sub Octave

ÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ Section II

EÊÊ 124^aÊÊÊÊÊÊÊÊÊÊ 8' Viole SourdineÊÊÊÊÊÊÊ 73p. (Unit bass)

EÊÊ 125ÊÊÊÊÊÊÊÊÊÊÊ 8' Voix CelestesÊÊÊÊÊÊÊ 61p.Ê from tenor cÊ

EÊÊ 126ÊÊÊÊÊÊÊÊÊÊÊ 8' Zauber Flšte 73p.

EÊÊ 127ÊÊÊÊÊÊÊÊÊÊÊ 8' Unda marisÊ 61p. from tenor c

EÊÊ 128ÊÊÊÊÊÊÊÊÊÊ IV Harmonia ®theriaÊÊÊ 292p.

EÊÊ 129ÊÊÊÊÊÊÊÊÊÊÊ 8' Post HornÊÊ 73p.

EÊÊÊÊ P6ÊÊÊÊÊÊÊÊÊÊ (8')ÊÊ HarpÊÊÊÊÊ 49 bars ÊÊ (temporarily installed in Choir)

EÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ Octave / Unison Off / Sub Octave

ÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ Tremulant

Echo Pedal

ÊÊÊÊÊ 118^dÊÊÊÊÊÊÊÊ 32' ResultantÊÊÊÊÊÊÊ ö (bass octave = 16' + 10²/3' borrow)

(E) 124^bÊÊÊÊÊÊÊ 16' VioloneÊÊÊÊÊÊÊ 12p. original = borrow 118(16') + 124(8')

EÊÊ 118^eÊÊÊÊÊÊÊÊ 16' BourdonÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ

EÊÊ 118^fÊÊÊÊÊÊÊÊÊÊÊ 8'ÊÊ FluteÊÊÊÊÊÊÊÊÊÊÊÊÊÊ (listed asÊ Flute bassÊ in 1930)

# Unusable by 1970,Ê then dismantled;Ê pipework became badly damaged; not restored at this timeÊ (stored in organ chamber).Ê Drawknobs on old console for preservation, and on mobile console for preparation.

PEDAL

ÊÊÊÊÊÊÊÊÊÊ 1^dÊÊÊÊÊÊÊÊ 64' GravissimaÊ (Tibia) öÊÊ (bass octave = 32' + 21^2/3' borrow)Ê

EÊÊÊ 109^aÊÊÊÊÊÊÊÊ 32' Double Open DiapasonÊÊÊÊÊ 12p.

EÊÊÊÊÊÊÊ 1^eÊÊÊÊÊÊÊÊ 32' Tibia ProfundaÊÊÊÊÊÊÊÊ 12p. extension of Great Tibia

ÊÊÊÊÊÊ 110^aÊÊÊÊÊÊÊÊ 32' Contra Bourdon AcousticÊÊÊÊÊÊÊÊ ö (bass octave = 16' + 10^2/3' borrow)Ê

ÊÊÊÊÊÊÊÊ 28^cÊÊÊÊÊÊÊÊ 32' Contra VioloneÊ (Sw)ÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ

EÊÊÊ 111^aÊÊÊÊÊÊÊÊ 16' Great BassÊ (Major Bass) 32p. Unit 16/8ÊÊ

EÊÊÊ 109^bÊÊÊÊÊÊÊÊ 16' Open DiapasonÊÊÊÊÊÊÊÊ 32p.ÊÊ Unit 32/16/8/4

EÊÊÊÊÊÊÊ 1^fÊÊÊÊÊÊÊÊÊ 16' Tibia ProfundaÊ (Gt)ÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ

EÊÊÊÊÊÊÊ 2^bÊÊÊÊÊÊÊÊ 16' Contra BassÊÊ (Gt) (Great Double Open)

ÊÊÊÊÊÊÊÊ 11^bÊÊÊÊÊÊÊÊ 16' GeigenÊÊ (Gt)ÊÊÊÊÊÊÊÊÊ

EÊÊÊÊÊ 28^dÊÊÊÊÊÊÊÊ 16' VioloneÊ (Sw)ÊÊÊÊÊÊÊ

EÊÊÊ 100^bÊÊÊÊÊÊÊÊ 16' String BassÊ (Orch)ÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ

EÊÊÊ 110^bÊÊÊÊÊÊÊÊ 16' BourdonÊÊÊÊÊÊÊ 32p. Unit 16/10^2/3⁽32)/8

ÊÊÊÊÊÊÊÊ 29^bÊÊÊÊÊÊÊÊ 16' Lieblich BourdonÊÊ (Sw)ÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ

EÊÊÊÊÊ 57^bÊÊÊÊÊÊÊÊ 16' Contra SalicionalÊ (Ch)ÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ

EÊÊÊÊÊÊÊ 1^gÊÊÊÊÊÊÊ 10^2/3' QuintÊÊÊ (Tibia) ö (Great)

EÊÊÊ 111^bÊÊÊÊÊÊÊÊÊÊ 8' Flute MajorÊÊ 12p.

EÊÊÊ 109^cÊÊÊÊÊÊÊÊÊÊ 8' PrincipalÊÊÊÊÊÊÊ 12p.

ÊÊÊÊÊÊ 112ÊÊÊÊÊÊÊÊÊÊÊÊ 8' PrestantÊÊÊÊÊÊÊ 32p.

ÊÊÊÊÊÊÊÊ 11^cÊÊÊÊÊÊÊÊÊÊ 8' Geigen PrincipalÊÊ (Gt)ÊÊÊÊÊ Great 16'ÊÊÊ (Independent rank

ÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ ÊÊÊÊÊÊÊÊÊÊÊÊ Êprepared)

EÊÊÊÊÊ 28^eÊÊÊÊÊÊÊÊÊÊ 8' VioloneÊ [Cello]ÊÊ (Sw)ÊÊÊÊÊ Violone

ÊÊÊÊÊÊ 113ÊÊÊÊÊÊÊÊÊÊÊÊ 8' Bass FluteÊÊÊ 32p.

EÊÊÊ 110^cÊÊÊÊÊÊÊÊÊÊ 8' Stopped FluteÊÊÊÊÊÊÊÊ 12p.ÊÊÊÊÊÊÊÊÊÊ

ÊÊÊÊÊÊÊÊ 29^cÊÊÊÊÊÊÊÊÊÊ 8' Lieblich BourdonÊ (Sw)ÊÊÊÊ Swell 16'

EÊÊÊ 109^dÊÊÊÊÊÊÊÊÊÊ 4' Super Octave 12p.

ÊÊÊÊÊÊ 114ÊÊÊÊÊÊÊÊÊÊÊÊ 4' FifteenthÊÊÊÊÊÊ 32p.

EÊÊÊÊÊ 22^bÊÊÊÊÊÊÊÊ VI Grand FournitureÊ 5 ^1/3' 12n. 72p. ext. of Great Fourniture

ÊÊÊÊÊÊÊÊ 23^cÊÊÊÊÊÊÊÊ 32' Contra FagottoÊ (Gt)ÊÊÊÊÊÊÊÊ (Great Contra Trombone)

ÊÊÊÊÊÊÊÊ 49^bÊÊÊÊÊÊÊÊ 16' BassoonÊÊ (Sw)ÊÊÊÊ

EÊÊÊÊÊ 83^bÊÊÊÊÊÊÊÊ 16' SchalmeiÊ (Solo)ÊÊ ÊÊÊÊÊÊÊÊÊÊÊÊ

ÊÊÊÊÊÊ 115^aÊÊÊÊÊÊÊÊ 32' Double OphicleideÊÊÊ 32p. Unit 32/16

EÊÊÊÊÊ 88^dÊÊÊÊÊÊÊÊ 16' TubaÊÊ (Solo)ÊÊÊÊÊÊÊÊ

ÊÊÊÊÊÊ 115^bÊÊÊÊÊÊÊÊ 16' OphicleideÊÊÊ 12p.

ÊÊÊÊÊÊÊÊ 94^bÊÊÊÊÊÊÊÊ 16' PosauneÊ (Solo)ÊÊÊ ÊÊÊÊÊÊÊÊÊÊÊÊ

EÊÊÊÊÊ 24^bÊÊÊÊÊÊÊÊ 16' TromboneÊ (Gt)ÊÊÊÊ ÊÊÊÊÊÊÊÊÊÊÊÊ

EÊÊÊÊÊ 88^eÊÊÊÊÊÊÊÊÊÊ 8' TubaÊÊ (Solo)ÊÊÊÊÊÊÊÊ

ÊÊÊÊÊÊ 116^aÊÊÊÊÊÊÊÊÊÊ 8' TrumpetÊÊÊÊÊÊÊ 32p.Ê Unit 8/4

ÊÊÊÊÊÊ 116^bÊÊÊÊÊÊÊÊÊÊ 4' ClarionÊÊÊÊÊÊÊÊÊÊ 12p.

EÊÊÊ 117^aÊÊÊÊÊÊÊÊ 32' DiaphoneÊÊÊÊÊ 32p. Unit 32/16

EÊÊÊ 117^bÊÊÊÊÊÊÊÊ 16' (Octave) DiaphoneÊÊÊÊÊ 12p.

ÊÊÊÊÊÊÊ 98^bÊÊÊÊÊÊÊÊÊÊ 8' Tuba MirabilisÊÊ (Solo)ÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ (or Trumpet Victoria 4')

ÊÊÊÊÊÊÊÊ 99^bÊÊÊÊÊÊÊÊÊÊ 8' Trumpet VictoriaÊ (Solo)ÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ

EÊÊÊÊÊ P4ÊÊÊÊÊÊÊÊÊÊÊÊÊÊ Bass DrumÊ Tap

EÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ Bass DrumÊ Roll

EÊÊÊÊÊ P5ÊÊÊÊÊÊÊÊÊÊÊÊÊÊ Side DrumÊ Tap

EÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ Side DrumÊ Roll