Cover
Rieger-Kloss Varhany, Krnov,
Czech Republic, Opus 3715
First Congregational Church,
Beloit, Wisconsin
On a stormy night in August 1998, a spark from a bolt of
lightning ignited old timbers and a hidden fire burned undetected for almost
five hours. By morning, nothing but four stone walls were left standing of the
historic 136 year-old First Congregational Church. Not only did the members of
this college community's congregation lose their building, but also lost in the
fire were the church's large Aeolian-Skinner organ, which had been assembled in
the mid-fifties by the Boston firm utilizing large sections of previous
instruments the church had owned over its many years, a just-acquired concert
grand piano, together with one of the most comprehensive choral music libraries
to be found in Southern Wisconsin. Henry DeBruyne, the congregation's director
of music and organist for almost four decades, whose complete music collection
was housed at the church, found he had nothing left following the fire.
Not to be deterred, members of the congregation, under the
leadership of its former minister, The Reverend Dr. Richard E. Hotchkin,
decided to build a new church and pipe organ. After much research, the
Janesville, Wisconsin architectural firm of AYA Associates was engaged to
design a place of worship, and the organ builder Rieger-Kloss Varhany, Krnov,
Czech Republic, was commissioned to construct a new organ to specifications
exceeding those of the former organ.
Three years later, on August 12, 2001, First Church's
congregation moved into their new edifice, built in the historic New England
tradition, erected on the same spot as the former building. The new First
Congregational Church Meeting House was dedicated on Saturday, October 13,
2001, led by its newly appointed minister, The Reverend Shawn Stapleton. The
Rieger-Kloss organ was inaugurated on Sunday, October 14, to a standing room
only audience in a recital by Merrill N. Davis III. Another large audience
greeted the Ukrainian concert organist, Volodymyr Koshuba, when he performed
November 27.
Negotiations for acquiring and designing the new organ were
handled by Euro Musik Corporation of Bloomingdale, Illinois, the Rieger-Kloss
firm's exclusive importer for the North American continent, and its president,
Matt Bechteler, together with Merrill "Jeff" Davis, artistic and
marketing director, and William E. Gray, Jr., design and sales consultant.
The organ's more than 3,800 pipes were voiced and finished
by Jan Kostera, Jr., Frantisek Kutalek, and Tomas Fafilek over a two-month
period. An additional crew of eight men flown from the Czech Republic erected
the massive forty-foot high oak organ case and its three stacked levels of
slider chests. All of the organ's façade pipes are made from a heavy
cast alloy of 75% tin. Walker Technical Company of Zionsville, Pennsylvania
provided the instrument's computer system with its 256 levels of memory, a full
MIDI interface equipped with an instant playback sequencer, together with the
three 32' pedal flue voices, chimes, harp, celesta, and zimbelstern.
There are several novel and interesting tonal design
features incorporated into the Beloit instrument:
1) A Grand Résonance division, which is a 29-note
upward extension of the Pedal division's voices, giving the instrument a secondary Great, especially appropriate for the performance of the romantic literature where complete pedal independence is neither desired or needed. To
"crown" the Résonance mixtures is a large multi-rank descant
Grand Fourniture, which breaks into 32' pitches in the higher reaches of the
keyboard. Both an elegant sounding Tuba Magna and a Principal Cornet give this
division both commanding solo and ensemble presence.
2) It is interesting to note that the Swell reeds contain no
flue pipes--even in their uppermost registers: the 8' Trompette harmonique
boasts double length pipes beginning in the upper portion of the tenor octave
and the 4' Hautbois-Clairon breaks back as a mixture in its treble--the result
is an exceedingly rich 16-8-4 Swell reed chorus grounded by a weighty 16'
Basson. This particular reed treatment came about as the result of observations
Merrill Davis made while performing recitals on a number of contemporary
Spanish organs.
3) Both the Swell strings and Great 8' Flûte
harmonique are direct Cavaillé-Coll copies.
4) The Great 8' Erzähler is a wood prototype of a late
17th-century South German Bell Gamba--whose pipes possess a charming bell-like
speech characteristic.
5) The Great Doppelflöte 4' is a copy of a 19th-century
Gebrüder Rieger double-mouth stopped metal flute with holes pierced in the
caps, which give this voice a slight 11/3' overtone. In combination with the
division's 8' harmonic flute, the sound is indescribably liquid--the perfect
combination for the opening of Marcel Dupré's Prelude and Fugue in
G-Minor.
6) There are three cornets: the large five-rank
Résonance principal cornet (described above), a very beautiful cornet
decomposé of flutes on the Swell, and an eloquent two to three-rank
Great Sesquialtera (with a flat-seventh added at a-sharp below middle c), which
acts as both a beautiful solo stop when drawn with the division's flutes and is
also most successful as a secondary and colorful chorus mixture.
7) The Great English Trumpet is voiced to blend perfectly
with the Great ensemble, but because of its very quick speech is the ideal
voice for early English trumpet voluntaries.
8) Many organists have remarked on the beauty of the organ's
16' Violone. Playing chords on it utilizing its middle, tenor, and bass octaves
is an experience to behold.
The Beloit Rieger-Kloss instrument has many other tonal
highlights. The acoustics of the room, with its 55-foot ceiling, hardwood
flooring, hard plastered walls and ceiling, are certainly no determent to the
magnificent sound of the organ.
First Congregational Church, Beloit, warmly welcomes
organist visitors to come and sit down to play and experience their new organ;
organist Henry DeBruyne and pastor Shawn Stapleton look forward to showing the
organ to visitors.
--Merrill N. Davis III
GRAND RÉSONANCE (Manual I or IV)
32'
style='mso-tab-count:1'> Bourdonbass
(Sw)
16'
style='mso-tab-count:1'> Prestant
Diapason (29 pipes)
8'
style='mso-tab-count:1'> Octave
(12 pipes)
8'
style='mso-tab-count:1'> Hohlflöte
(29 pipes)
51/3' style='mso-tab-count:1'> Quinte (29 pipes)
4'
style='mso-tab-count:1'> Superoctave
(29 pipes)
22/3'
style='mso-tab-count:1'> Grand Mixture
IV–V (116 pipes)
Descant
Grand Fourniture IV–VIII (g-8') (108 pipes)
Mounted
Cornet V (f-8') (220 pipes)
16'
style='mso-tab-count:1'> Tromba
(c) (49 notes)
8'
style='mso-tab-count:1'> Tuba
Magna (hooded) (68 pipes)
4'–8'
style='mso-tab-count:1'> Clarina Magna (61
notes)
GREAT (Manual II)
Unenclosed:
16'
style='mso-tab-count:1'> Violonprestant
(61 pipes)
8'
style='mso-tab-count:1'> Principal
(61 pipes)
8'
style='mso-tab-count:1'> Violoncelle
(12 pipes)
4'
style='mso-tab-count:1'> Octave
(61 pipes)
2'
style='mso-tab-count:1'> Superoctave
(61 pipes)
11/3'
style='mso-tab-count:1'> Mixture
IV–V (296 pipes)
Enclosed:
8'
style='mso-tab-count:1'> Flûte
harmonique (61 pipes)
8'
style='mso-tab-count:1'> Erzähler
(61 pipes)
4'
style='mso-tab-count:1'> Doppelflöte
(61 pipes)
22/3'
style='mso-tab-count:1'> Sesquialtera
II–III (161 pipes)
8'
style='mso-tab-count:1'> English
Trumpet (71 pipes)
Great
Tremulant
Chimes
(digital)
SWELL (Manual III - Enclosed)
16'
style='mso-tab-count:1'> Bourdonbass
(12 pipes)
8'
style='mso-tab-count:1'> English
Diapason (61 pipes)
8'
style='mso-tab-count:1'> Bourdon
(61 pipes)
8'
style='mso-tab-count:1'> Viole-de-Gambe
(61 pipes)
8'
style='mso-tab-count:1'> Voix
céleste (F) (56 pipes)
4'
style='mso-tab-count:1'> Principal
(61 pipes)
4'
style='mso-tab-count:1'> Nachthorn
(61 pipes)
22/3' style='mso-tab-count:1'> Nasard (61 pipes)
2'
style='mso-tab-count:1'> Recorder
(61 pipes)
13/5' style='mso-tab-count:1'> Tierce (61 pipes)
2'
style='mso-tab-count:1'> Petite
Fourniture IV (244 pipes)
16'
style='mso-tab-count:1'> Basson
(61 pipes)
8'
style='mso-tab-count:1'> Trompette
harmonique (61 pipes)
8'
style='mso-tab-count:1'> Basson-Hautbois
(12 pipes)
4'–16'Hautbois-Clairon
(61 pipes)
style='mso-tab-count:1'> Swell
Tremulant
CHOIR (Manual I or IV - style="mso-spacerun: yes"> style='mso-tab-count:1'> Enclosed)
8'
style='mso-tab-count:1'> Geigendiapason
(61 pipes)
8'
style='mso-tab-count:1'> Holzgedackt
(61 pipes)
8'
style='mso-tab-count:1'> Vox
Angelica I–III (159 pipes)
4'
style='mso-tab-count:1'> Fugara
(61 pipes)
4'
style='mso-tab-count:1'> Rohrflöte
(61 pipes)
2'
style='mso-tab-count:1'> Octave
(61 pipes)
11/3' style='mso-tab-count:1'> Quinte (61 pipes)
1'
style='mso-tab-count:1'> Blockflöte
(61 pipes)
1'
style='mso-tab-count:1'> Scharff
IV (244 pipes)
8'
style='mso-tab-count:1'> Clarinette
(61 pipes)
Choir
Tremulant
8'
style='mso-tab-count:1'> Trompeten
(Ped)
Harp
(digital)
Celesta
(digital)
Zimbelstern
(digital)
PEDAL (Unenclosed)
32'
style='mso-tab-count:1'> Flûte
ouverte (digital)
32'
style='mso-tab-count:1'> Untersatz
(digital)
32'
style='mso-tab-count:1'> Contre
Gambe (digital)
16'
style='mso-tab-count:1'> Prestant
Diapason (32 pipes)
16'
style='mso-tab-count:1'> Subbass
(32 pipes)
16'
style='mso-tab-count:1'> Violonprestant
(Gt)
16'
style='mso-tab-count:1'> Bourdonbass
(Sw)
102/3' style='mso-tab-count:1'> Grand Nasard (Subbass)
8'
style='mso-tab-count:1'> Octave
(20 pipes)
8'
style='mso-tab-count:1'> Hohlflöte
(12 pipes)
8'
style='mso-tab-count:1'> Violoncelle
(Gt)
8'
style='mso-tab-count:1'> Bourdon
(Sw)
51/3' style='mso-tab-count:1'> Quinte (32 pipes)
4'
style='mso-tab-count:1'> Superoctave
(32 pipes)
22/3'
style='mso-tab-count:1'> Mixture IV (128
pipes)
32'
style='mso-tab-count:1'> Kontreposaune
(12 pipes)
16'
style='mso-tab-count:1'> Posaune
(32 pipes)
16'
style='mso-tab-count:1'> Basson
(Sw)
8'
style='mso-tab-count:1'> Trompeten
(12 pipes)
8'
style='mso-tab-count:1'> Tuba
Magna (Résonance)
4'
style='mso-tab-count:1'> Clarina
Magna (Résonance)
4'
style='mso-tab-count:1'> Hautbois
(Sw)
2'
style='mso-tab-count:1'> Kornett
(24 pipes)
Chimes
(digital)
The Fowler Organ Company, Lansing, Michigan, has completed the restoration and renovation of
the 1933 Casavant organ at St. Mary Cathedral in Lansing. The organ was
relocated to the cathedral in 1958 and moved from the transept loft to the rear
gallery in the late 1960s, along with the replacement of the original console,
blower, and other modifications. By the early 1990s, the action was in need of
restoration and other difficulties began to arise. The present project included
rebuilding of the original electro-pneumatic wind-chests and reconstruction of
the wind supply system with a new blower and extensive use of wood and PVC wind
lines to replace the flexible hoses from the previous work. Solid state control
switching and a new three-manual drawknob console in the French terraced style
were also provided. The console is built of red oak and mahogany with keys of
bone and rosewood, and turned rosewood drawknobs, and is equipped with a state
of the art multi- memory combination action, manual transfer, transposer, MIDI
and record/ playback system.
When the instrument was originally installed in the
cathedral there was no formal façade; wood and fabric grills covered the
expression boxes, and the central Great and Pedal were left open to view. As
part of the renovation, a new case front was designed which includes speaking
pipes from the Great 16' Double Diapason and 8' Diapason ranks as well as the
horizontal Fanfare Trumpet. The case is built of red oak to match existing
woodwork in the church.
The original tonal design was typical of the period with a
fairly strong English influence. Given the cathedral's fine acoustic and ideal
placement of the organ, it was decided to retain the English-Romantic concept
and to make modifications to improve clarity and ensemble. Redundant ranks were
replaced with more colorful or useful stops to provide a wider range of color
and dynamic power.
While the organ retains a strong romantic influence, it is
not thick or tubby sounding. The voicing of all ranks increased tonal
definition and harmonic content without sacrificing the richness of generous
scales. Mixtures and added voices were scaled and voiced to blend into the
ensemble.
Some decisions to retain the original character of certain
stops did result in interesting challenges. This was particularly true in the
Choir where the Clarinet stop is fine sounding but would not tolerate lower
wind pressure. This division is the most subtle in voicing and dynamic power
and yet operates on the highest pressure of the three manual divisions.
The instrument was dedicated in memory of the former
director of music, David J. Ferland, in whose honor the present director,
William P. Rowan, composed a grand march--Ferland's March, published by
MorningStar--which was premiered at the dedication recital played by Joseph
Jackson.
Three manuals and pedal, 50 ranks, electro-pneumatic action;
SSL capture combination action, 32 memory levels, programmable crescendo;
transposer, manual transfer, MIDI control system; Chimes, Cymbelstern,
Rossignol.
--Brian Fowler
GREAT
16'
style='mso-tab-count:1'> Double
Diapason
8' style='mso-tab-count:1'> Diapason
8'
style='mso-tab-count:1'> Flute
Harmonique
8' style='mso-tab-count:1'> Bourdon
8' style='mso-tab-count:1'> Gemshorn
4' style='mso-tab-count:1'> Octave
4' style='mso-tab-count:1'> Hohlflute
22/3' style='mso-tab-count:1'> Twelfth
2' style='mso-tab-count:1'> Fifteenth
IV style='mso-tab-count:1'> Mixture
8' style='mso-tab-count:1'> Trumpet
8'
style='mso-tab-count:1'> Fanfare
Trumpet
Chimes
Gt
16-UO-4
Sw/Gt
16-8-4
Ch/Gt
16-8-4
MIDI
to Gt
Gt/Ch
Transfer
SWELL
16' style='mso-tab-count:1'> Bourdon
8' style='mso-tab-count:1'> Diapason
8'
style='mso-tab-count:1'> Rohr
Bourdon
8'
style='mso-tab-count:1'> Viole
de Gambe
8'
style='mso-tab-count:1'> Viole
Celeste
8' style='mso-tab-count:1'> Aeoline
4' style='mso-tab-count:1'> Octave
4'
style='mso-tab-count:1'> Traverse
Flute
2' style='mso-tab-count:1'> Octavin
V
style='mso-tab-count:1'> Plein
Jeu
16' style='mso-tab-count:1'> Fagott
8' style='mso-tab-count:1'> Trompette
8' style='mso-tab-count:1'> Hautbois
8'
style='mso-tab-count:1'> Vox
Humana
4' style='mso-tab-count:1'> Clarion
Tremulant
Sw
16-UO-4
MIDI
to Sw
CHOIR
8'
style='mso-tab-count:1'> Geigen
Principal
8'
style='mso-tab-count:1'> Spire
Flute
8' style='mso-tab-count:1'> Dolce
8'
style='mso-tab-count:1'> Unda
Maris
4'
style='mso-tab-count:1'> Geigen
Octave
4' style='mso-tab-count:1'> Koppelflute
2'
style='mso-tab-count:1'> Italian
Principal
II style='mso-tab-count:1'> Sesquialtera
III
style='mso-tab-count:1'> Sharp
Mixture
8' style='mso-tab-count:1'> Clarinet
Tremulant
8'
style='mso-tab-count:1'> Fanfare
Trumpet
Ch
16-UO-4
Sw/Ch
16-8-4
Gt/Ch
MIDI
to Ch
PEDAL
32'
style='mso-tab-count:1'> Double
Open Wood
32'
style='mso-tab-count:1'> Grand
Bourdon
16'
style='mso-tab-count:1'> Open
Wood
16'
style='mso-tab-count:1'> Double
Diapason
16' style='mso-tab-count:1'> Subbass
16'
style='mso-tab-count:1'> Bourdon
(Sw)
8' style='mso-tab-count:1'> Octave
8'
style='mso-tab-count:1'> Bass
Gedeckt
4' style='mso-tab-count:1'> Choralbass
4' style='mso-tab-count:1'> Flute
32' style='mso-tab-count:1'> Bombarde
32'
style='mso-tab-count:1'> Contra
Fagott
16' style='mso-tab-count:1'> Trombone
16'
style='mso-tab-count:1'> Fagott
(Sw)
8' style='mso-tab-count:1'> Tromba
4'
style='mso-tab-count:1'> Fagott
(Sw)
Gt/Ped
8-4
Sw/Ped
8-4
Ch/Ped
8-4
MIDI
to Ped
Goulding & Wood, Inc., Indianapolis, Indiana, has completed a new organ for St. John's
Episcopal Church, Crawfordsville, Indiana. St. John's is the oldest Episcopal
Church building in the state of Indiana, with the original structure dating
back to 1837. The new instrument is the third pipe organ for the parish, and it
is the first time they have had an organ installation in the rear gallery. In
preparation of the instrument, the balcony was extended, a hardwood floor was
laid, and a wood rail was installed.
The new instrument is the second in a series of three
electro-pneumatic unit organs for our shop, and all three have very similar
tonal designs. Balanced choruses, while comprising the same ranks, allow for a
classically inspired terraced plenum effect. Scaling of the 8' Principal is
generous at 150 mm, and its voicing is full and rich. The Principal, Octave,
Salicional and Celeste are 50% tin, while the Rohr Flute and mutations are 70%
lead. The 8' pitches work well in combination, creating an effective jeux de
fonds, while the single reed works well in both solo and ensemble combinations.
The shallow case, which ranges from three to five feet in depth, allows a
maximum of tonal egress into the room, and its design highlights the Federalist
detail of the church's architecture.
Installation of the organ occurred in mid-March 2002, and
the final tuning and tonal regulation took place during Holy Week. The organ
was first used for services on Easter morning, and the dedicatory Evensong and
recital followed on 14 April, 2002. Mark Reed, a doctoral candidate at Indiana
University and organist at a sister parish in the diocese, played the inaugural
recital to a full congregation.
--Jason Overall
GREAT
16'
style='mso-tab-count:1'> Gedeckt
(A)
8'
style='mso-tab-count:1'> Principal
(B)
8'
style='mso-tab-count:1'> Rohr
Flute (A+E)
8'
style='mso-tab-count:1'> Salicional
(C)
8'
style='mso-tab-count:1'> Salicional
Celeste (TC) (D)
4'
style='mso-tab-count:1'> Octave
(B+H)
4'
style='mso-tab-count:1'> Gedeckt
(A)
22/3' style='mso-tab-count:1'> Quint (TC) (G)
2'
style='mso-tab-count:1'> Block
Flute (E)
13/5' style='mso-tab-count:1'> Terz (TG) (F)
11/3' style='mso-tab-count:1'> Mixture II (G+H)
16'
style='mso-tab-count:1'> Hautbois
(I)
8'
style='mso-tab-count:1'> Hautbois
(I)
SWELL
8'
style='mso-tab-count:1'> Gedeckt
(A)
8'
style='mso-tab-count:1'> Salicional
(C)
8'
style='mso-tab-count:1'> Salicional
Celeste (TC) (D)
4'
style='mso-tab-count:1'> Principal
(B)
4'
style='mso-tab-count:1'> Rohr
Flute (E)
4'
style='mso-tab-count:1'> Salicional
(C)
4'
style='mso-tab-count:1'> Salicional
Celeste (D)
2'
style='mso-tab-count:1'> Octave
(H)
13/5' style='mso-tab-count:1'> Terz (TG) (F)
11/3' style='mso-tab-count:1'> Quint (G)
8'
style='mso-tab-count:1'> Hautbois
(I)
4'
style='mso-tab-count:1'> Hautbois
(I)
PEDAL
32'
style='mso-tab-count:1'> Resultant
(A)
16'
style='mso-tab-count:1'> Gedeckt
(A)
8'
style='mso-tab-count:1'> Principal
(B)
8'
style='mso-tab-count:1'> Salicional
(C)
8'
style='mso-tab-count:1'> Gedeckt
(A)
4'
style='mso-tab-count:1'> Principal
(B)
4'
style='mso-tab-count:1'> Rohr
Flute (E)
2'
style='mso-tab-count:1'> Octave
(H)
11/3' style='mso-tab-count:1'> Mixture II (G+H)
16'
style='mso-tab-count:1'> Hautbois
(I)
8'
style='mso-tab-count:1'> Hautbois
(I)
4'
style='mso-tab-count:1'> Hautbois
(I)
Tonal resources
A 16'
style='mso-tab-count:1'> Gedeckt
style='mso-tab-count:1'> 73
pipes
B 8' style='mso-tab-count:1'> Principal style='mso-tab-count:1'> 73
C 8' style='mso-tab-count:1'> Salicional style='mso-tab-count:1'> 73
D 4'
style='mso-tab-count:1'> Salicional
Celeste 56
E 4'
style='mso-tab-count:1'> Rohr
Flute 73
F 13/5'
style='mso-tab-count:1'> Terz
(G20–G56) 37
G 11/3' style='mso-tab-count:1'> Quint style='mso-tab-count:1'> 56
H 2' style='mso-tab-count:1'> Octave style='mso-tab-count:1'> 61
I 16' style='mso-tab-count:1'> Hautbois style='mso-tab-count:1'> 73
Schoenstein & Co.,
organ builders of San Francisco, have built a comprehensive symphonic-style
church organ of 39 voices, 46 ranks for Covenant Presbyterian Church in
Madison, Wisconsin. There are six Swell boxes enclosing all of the manual
stops. Two of these are the Schoenstein double expressive type. The Celestial
box contains the high pressure chorus reeds, Mixture, and Vox Humana of the
Swell. These stops are separately enclosed within the Swell box and speak into
it. Thus, the stops within have double the normal range. In the same way, the
Ethereal division is located within the Solo box. It includes the high pressure
Tuba and Schoenstein's incisive Voix Sérénissime and Celeste,
keen orchestral strings. To further expand the dynamic range of these divisions,
the flute-type Celeste of the Great (enclosed) is available at both unison and
octave pitches on the Swell, and the Voix Sérénissime and Celeste
are available at octave pitch in the Ethereal. The Swell boxes may be arranged
in any order on the expression shoes through a shutter selector system.
The Choir has a fully developed family of echo diapason and
flute tone. The Salicional is a small scale, colorful diapason. The Twelfth,
Fifteenth and Nineteenth are all of narrow scale. The Solo Gamba, Celeste,
French Horn, and English Horn are all based on E.M. Skinner models. There are
several interesting flute tones including open and stopped wood, harmonic, and
a very narrow scale English-style Lieblich Gedeckt with pierced stoppers. Wind
pressures are 41/2", 5", 10", and 15".
The divisions of the organ surround the entire chancel and
speak into a fan-shaped building of modern architecture through decorative
grilles. Acoustical renovation was undertaken prior to the organ installation
and was under the direction of Kirkegaard & Associates of Downers Grove,
Illinois.
Schoenstein & Co. is a member of the Associated Pipe
Organ Builders of America and the International Society of Organbuilders.
Senior craftsmen are members of the American Institute of Organbuilders.
--Larry Simpson
GREAT (Expressive, Manual II, 41/2" wind)
16'
style='mso-tab-count:1'> Corno
Dolce (12 pipes)
8'
style='mso-tab-count:1'> Open
Diapason
8'
style='mso-tab-count:1'> Harmonic
Flute (42 pipes, Corno Dolce bass)
8'
style='mso-tab-count:1'> Lieblich
Gedeckt (wood & metal)
8'
style='mso-tab-count:1'> Corno
Dolce
8'
style='mso-tab-count:1'> Flute
Celeste (TC)
4' style='mso-tab-count:1'> Principal
4'
style='mso-tab-count:1'> Lieblich
Gedeckt (12 pipes)
2' style='mso-tab-count:1'> Fifteenth
11/3' style='mso-tab-count:1'> Mixture IV
8'
style='mso-tab-count:1'> Clarinet
(Ch)
Tremulant
16'
style='mso-tab-count:1'> Bass
Tuba (Ethereal)
8'
style='mso-tab-count:1'> Tuba
(Ethereal)
4'
style='mso-tab-count:1'> Tuba
Clarion (Ethereal)
Chimes
(Solo)
Harp
(Ch)
Celesta
(Ch)
SWELL (Expressive, Manual III, 5" wind)
16'
style='mso-tab-count:1'> Bourdon
(wood, 12 pipes)
8'
style='mso-tab-count:1'> Open
Diapason
8'
style='mso-tab-count:1'> Bourdon
(metal)
8'
style='mso-tab-count:1'> Echo
Gamba
8'
style='mso-tab-count:1'> Vox
Angelica
8'
style='mso-tab-count:1'> Corno
Dolce (Gt)
8'
style='mso-tab-count:1'> Flute
Celeste (Gt)
4' style='mso-tab-count:1'> Gemshorn
4'
style='mso-tab-count:1'> Forest
Flute
4'
style='mso-tab-count:1'> Flute
Celeste (II)(Gt)
2' style='mso-tab-count:1'> Flageolet
8' style='mso-tab-count:1'> Oboe
Tremulant
Sw
16-UO-4
CELESTIAL (Expressive subdivision of Sw, 10" wind)
16'
style='mso-tab-count:1'> Contra
Fagotto (hooded)
8'
style='mso-tab-count:1'> Cornopean
(hooded)
2'
style='mso-tab-count:1'> Mixture
III–V (5" wind)
8'
style='mso-tab-count:1'> Vox
Humana (5" wind)*
Celestial
couples with Swell.
*In
separate fixed expression box inside Celestial box.
Separate
tremulant controlled by Swell Tremulant knob.
CHOIR (Expressive, Manual I,
41/2"
wind)
16'
style='mso-tab-count:1'> Contra
Salicional (12 pipes)
8'
style='mso-tab-count:1'> Stopped
Diapason (wood)
8' style='mso-tab-count:1'> Salicional
8'
style='mso-tab-count:1'> Unda
Maris (TC)
4'
style='mso-tab-count:1'> Salicet
(12 pipes)
4'
style='mso-tab-count:1'> Chimney
Flute (metal)
22/3' style='mso-tab-count:1'> Twelfth (TC)
22/3'
style='mso-tab-count:1'> Nazard (from Chim
Fl)
2'
style='mso-tab-count:1'> Fifteenth
(12 pipes)
2'
style='mso-tab-count:1'> Harmonic
Piccolo
13/5' style='mso-tab-count:1'> Tierce (TC)
11/3' style='mso-tab-count:1'> Nineteenth (TC)
8' style='mso-tab-count:1'> Clarinet
Tremulant
Ch
16-UO-4
Chimes
(Solo expression Walker Digital)
Harp
(Walker Digital)
Celesta
(Walker Digital)
Cymbelstern
SOLO (Expressive, Manual I, 10"
wind)
8'
style='mso-tab-count:1'> Concert
Flute (wood)
8' style='mso-tab-count:1'> Gamba
8' style='mso-tab-count:1'> Celeste
8'
style='mso-tab-count:1'> French
Horn
8'
style='mso-tab-count:1'> English
Horn
Tremulant
Solo
16-UO-4
ETHEREAL (Expressive subdivision of Solo, 15" wind)
16'
style='mso-tab-count:1'> Bass
Tuba (12 pipes)
8'
style='mso-tab-count:1'> Tuba
(hooded)
4'
style='mso-tab-count:1'> Tuba
Clarion (ext)
8'
style='mso-tab-count:1'> Voix
Sérénissime (5" wind)
8'
style='mso-tab-count:1'> Voix
Celeste (TC, 5" wind)
4'
style='mso-tab-count:1'> Voix
Celeste (II)
Ethereal
couples with Solo.
Tuba
does not couple.
PEDAL (5" wind)
32'
style='mso-tab-count:1'> Open
Diapason (Walker Digital)
32'
style='mso-tab-count:1'> Contra
Gamba (Walker Digital)
32'
style='mso-tab-count:1'> Contra
Bourdon (Walker Digital)
16'
style='mso-tab-count:1'> Open
Wood
16'
style='mso-tab-count:1'> Sub
Bass
16'
style='mso-tab-count:1'> Salicional
(Ch)
16'
style='mso-tab-count:1'> Bourdon
(Sw)
16'
style='mso-tab-count:1'> Corno
Dolce (Gt)
8'
style='mso-tab-count:1'> Principal
(12 pipes)
8'
style='mso-tab-count:1'> Salicional
(Ch)
8'
style='mso-tab-count:1'> Stopped
Diapason (Ch)
8'
style='mso-tab-count:1'> Bourdon
(Sw)
4'
style='mso-tab-count:1'> Fifteenth
(12 pipes)
4'
style='mso-tab-count:1'> Flute
(Gt)
32'
style='mso-tab-count:1'> Contra
Posaune (Walker Digital)
16'
style='mso-tab-count:1'> Bass
Tuba (Ethereal)
16'
style='mso-tab-count:1'> Contra
Fagotto (Celestial)
8'
style='mso-tab-count:1'> Tuba
(Ethereal)
8'
style='mso-tab-count:1'> Fagotto
(Celestial)
4'
style='mso-tab-count:1'> Tuba
(Ethereal)
4'
style='mso-tab-count:1'> Clarinet
(Ch)
Chimes
(CC, Solo)
