\u00a0<\/p>\n
Note: The pictures from this article are currently missing, however are in the process of being found and added.<\/strong><\/p>\n ORGAN BUILDING IN NEW SOUTH WALES<\/strong><\/p>\n BETWEEN 1850 and 1900. <\/strong><\/p>\n A project submitted as part of the requirements for the degree of Bachelor of Arts (Honours) in the Department of Music, University of Sydney.<\/p>\n WILLIAM PIERCE<\/p>\n SYDNEY, 1953<\/p>\n PAGE 1<\/p>\n This project on organ building in New South Wales between 1850 and 1900 is in two parts. The first part describes the mechanism and tonal production of organs of this period while the second part describes the work of British and Australian builders in the local field.<\/p>\n The mechanical and tonal developments leading up to the present-day modern British organ have been treated by many able and experienced enthusiasts of the instrument so that this section is in no way original. It is hoped however, that not only will it assist in an understanding of the descriptions in the second section but that it will also stress those aspects of the craft which gave the instruments of this period their own particular character.<\/p>\n The second part, recording the work of British and Australian builders in the local field attempts to show the extent of organ-building activity in New South Wales at this time. It endeavours to show who were the important firms, where examples of their work are to be found and to give a detailed description of at least one instrument representative of each firm’s work. In the case of Australian builders, notes on organs built since 1900 have been included in order to give some idea of trends since then, as well as to complete the work of certain builders and place as many instruments as possible on record.<\/p>\n While the instruments have been classified according to their builders, the possible history of individual instruments should not be overlooked. Some of the instruments proved to have quite an interesting history upon enquiry. However, time has prevented this being done in every case so that further evidence may possibly be brought forward.<\/p>\n Finally, this project does not attempt to weigh the advantages and disadvantages of the instruments of this period from a present-day performer’s point of view, although one or two observations have been made; rather it aims to record as many instruments as possible.<\/p>\n Much of the information in the second section has been obtained from different local enthusiasts but particularly valuable has been a collection of photographs and specifications as well as a collection of press cuttings made by the late Robert Cherry, both collections having been made available through the kindness of Mrs. Cherry.<\/p>\n To all those who have helped the writer in his efforts, his grateful thanks is extended.<\/p>\n C O N T E N T S<\/strong><\/p>\n Preface<\/p>\n British Organ Builders:<\/p>\n Australian Organ Builders:<\/p>\n LIST OF DIAGRAMS<\/p>\n INTRODUCTION<\/strong><\/p>\n [pg1] Grove defines the organ as “a wind instrument, the basic principle of which is that its tones are produced by means of a number of pipes, each pipe producing only one note.” The organ consists of a number of departments. Those connected to the manuals (keyboards) are known as choir, great, swell, (and more rarely) solo, and echo organs, (in keyboard order, from bottom to top), while the department connected to the pedals is known as the pedal organ. Organs are designated as one, two, three-manual instruments etc. according to their number of manuals.<\/p>\n Within each department are found stops (ranks of pipes) of various pitches and tones. These pitches, identified according to the approximate length of the lowest pipe (CC) run in octaves (32′, 16′, 8′-fundamental pitch, 4′, and 2′) as well as at other intervals (5 1\/3-fifth diatonic note above, and 2 2\/3′-twelfth diatonic note above.) Whereas 8′ is the basic manual pitch, 16′ is the basic pedal pitch. In order to reinforce the upper partials of the prime note, stops known as “mixtures” are used, imparting brilliance to the ensemble tone of the instrument. These stops contain more than one rank of pipes (two, three, sometimes five or more) which usually speak some upper diatonic note such as 12. 15. 17. 19, 21 and others. As this reinforcing is most desirable in the lowest part of the compass, these stops “break” back to lower intervals and fewer notes as they ascend.<\/p>\n Flue stops are [pg2] classified according to the acoustic principle on which they operate, the flue or the reed. Flue stops are classified tonally as diapason (fundamental organ tone), flute or string tone, while reed stops are either chorus or solo stops, the chorus reed being part of the fundamental tonal architecture while the solo reed is an imitation of some orchestral instrument.<\/p>\n In addition to contrast between stops there is also contrast between manuals. This includes contrast of volume and tone. Thus the great organ possesses diapason tone in ranks of 16′, 8′, 4′, and 2′ pitch for its basic tone. The swell organ is more subdued in volume yet its character besides the softer combinations is essentially that of brilliance and “fire” from flue “upperwork” and chorus reeds. This department is always enclosed in a box, which by means of a “louvre” front enables the player to achieve various degrees of expression without “registration” (or stop) changes.<\/p>\n The choir organ which is also sometimes enclosed, is a department consting of light accompanying stops and does not usually contain diapason work, its foundation more often being flute tone. From the foregoing description it will be readily seen that an elaborate mechanism is necessary to place such a variety of tone and pitch under the control of the performer.<\/p>\n [pg3] THE MECHANISM OF THE INSTRUMENT<\/p>\n The mechanism of the organ may be divided into four parts:<\/p>\n The bellows which supply the wind for the pipes consist of a reservoir supplied with wind from the feeder. From the reservoir the wind is conveyed through a “wind trunk” of either metal or wood to the wind chest, a substantial box extending the whole length of the sound-board, about equal to it in depth and about two-thirds its width. Here we find the sound-board pallets. The key action is the mechanism enabling the player to open these pallets. The type of key (and also stop) action used in most of the instruments of this period is “tracker” action. This type of action consists of a key, sticker, roller and tracker connecting with a pull-down attached to the pallet.<\/p>\n \u00a0<\/p>\n On pressing down the key – working on a metal pin – the further end rises, lifting the vertical sticker. This in turn, lifting the front arm of the horizontal roller, causes the roller to revolve slightly and the back arm, at the opposite end of the roller to descend. This back arm is attached to the tracker made to any length necessary to reach from the back roller arm to the pull-down. Cloth discs and bushings ensure silence during operation.<\/p>\n To lighten the tracker action as much as possible, “relief” pallets are used to reduce the resistance at the pallet. There are two types: the “jointed” pallet in which two or three inches of the fore part move first and then the remainder, [pg4] perhaps for nearly a foot in length; and the “double” pallet in which a small valve is placed on the back of the large one, opening first.<\/p>\n The second system of mechanism is the draw-stop action which enables the player to operate a “slider” which lies beneath each rank of pipes. Thus, when in the “on” position, holes drilled in the slider allow the wind to pass through similary positioned holes in the wind chest and upper boards. The slider is connected to its respective draw-stop by a moveable “trundle” and trace rod. When the draw-stop is drawn forward, the trundle literally “turns the corner”, partly revolving and moving the trace rod. The lower end of the lever is drawn inwards causing the upper end to move outwards and take the slider end with it. This action is reversed when the draw-stop is pushed in.<\/p>\n The action of a manual coupler consists of a set of levers (“backfalls”) acting on each key. As the front of the backfall lifts, the far end descends and presses down a “sticker” resting on the back end of the T-shaped backfall of the manual-action which is then set in motion. The octave and suboctave couplers consist of splayed backfalls which extend from any given key to the tracker of its octave or suboctave. When the draw-stop is put in, the backfalls rise from the stickers at the front end. The pedal couplers work in a similar manner.<\/p>\n There are two other forms of coupler: the “ram” and the “tumbler”. The tumbler consists of a “stock” which turns on [pg5] a centre when the coupler is on. The tumbler lies in the vertical position between the two sets of keys while it is horizontal when “off”.<\/p>\n The swell box in the organs of this period are operated by either a trigger lever which is held in certain fixed positions by a notched rod (the “fixed” positions of the particular organs in this project being, with few exceptions, only two; “open” or “closed”) or by a balanced swell pedal which when operated by pressure on either toe or heel will remain fixed in any one position. Both pedals operate the louvres by means of rods which work on the leverage principle.<\/p>\n Mention must be made of supplementary actions designed to overcome the physical effort required to operate the tracker mechanism. The development of supplementary actions was the outstanding contribution of the builders of this period (French, Cavaille-Coll as well as British) to the mechanism of the organ. This development arose through the need for an easier type of action to operate the larger organs then coming into vogue. In this respect, the development also embodied stop and coupler mechanism.<\/p>\n In the Barker lever action, depression of the key admits heavy pressure wind to a small external motor (something like a feeder) causing it to distend or inflate, and operate an ordinary tracker action leading to the pallet. Upon releasing the key, a small valve is opened, emptying the motor, which then collapses [pg6] allowing the pallet spring to close the pallet.<\/p>\n Tubular-pneumatic action is of two kinds. In the supply, charge or pressure system, depression of the key admits wind to a tube conveying it to further pneumatic work, which in turn exhausts an inflated motor subject to wind pressure within and without, causing it to collapse and pull down the tracker attached to it.<\/p>\n In the exhaust system, depression of the key exhausts the tube and motor from the key end of the tube, opening the pallet as before.<\/p>\n Further developments of the period were the early experiments and patents in electric action by Gauntlett, Barker and Bryceson showing still further the keen interest and desire for mechanical development.<\/p>\n THE PRACTICE OF TONAL PRODUCTION<\/strong><\/p>\n The developments shown in organ mechanism between 1850 and 1900 were not without parallel in the field of tonal production. The organ of the period tended to “bigness” not only in the number of manuals and stops but, especially towards the turn of the century in the actual volume output per pipe of the fundamental flue and reed ranks. The treatment of large-scale diapasons with the necessary increase in wind pressure, the increased scales of wood stops in the pedal department, the use of 16′ and even 32′ stops on the manuals together with the treatment of chorus reeds such as seen in Hill’s best work, the popularity of the solo tuba In the large specifications and the use of higher pressures for reed choruses as introduced by Henry Willis are all manifestations of this “bigness”. The effect of the sentimental outlook of the period is also important, any specification really true to the period showing soft string stops of the gamba and celeste class as well as the quieter solo reed stops of the corno di basseto, orchestral oboe and vox humana classes.<\/p>\n What however, is the most significant feature of organ tone of this period is the high degree of craftsmanship embodied in voicing of individual and ensemble ranks. This craftsmanship gave the organ a dignity and grandeur which places the work of the master builders of this time in the annals of organ-building history.<\/p>\n Although what follows is a technical account of tonal production methods, this is not the secret of the art of these men. Their results came from skill of the highest order and what they accomplished cannot be gained from any paper account but only by practical listening experiment.<\/p>\n The greater number of pipes in the instrument of this period are flue pipes. A flue pipe consists of a foothole which takes wind under pressure from the wind-chest; the foot itself in which the wind builds up pressure; the languid which separates the foot from the body except for a narrow slit called the flue, through which the wind passes; the mouth which consists of upper and lower lips flanked by the “ears”; and the body or “speaking” length in which the sound waves are set in motion.<\/p>\n The factors determining the quality of tone to be produced are wind pressure; diameter in proportion to length; shape; width of mouth; height of mouth; depth and numbers of “nicks”; and material.<\/p>\n The wind pressure depends on firstly, the pressure from the bellows (which in the case of the instruments to be discussed would be 2 \u00bd to 3 \u00bd lb per square inch) and secondly, bore of the foothole where the wind loses pressure by friction the more the foothole becomes restricted. The process of adjusting the wind pressure in the pipe is known as “regulating”.<\/p>\n The diameter in proportion to the length of the pipe gives the “scaling”. This is taken at the lowest note, the inside measurement being the one taken. The scaling of organ pipes depends on the size and acoustical qualities of a building, while the proportions of each organ pipe in a set cannot be maintained throughout the compass, i.e. although a pipe an octave above another is half its length, the other proportions, diameter and volume of air in the tube is not proportional.<\/p>\n The mouth of a pipe is said to bear some proportion to the circumference of the pipe, e.g. a pipe may have a “1\/3 rd” mouth. The “cut-up”,, the distance from the top of the bottom lip to the edge of the top lip is made proportional to the width of the mouth. As the out is made higher, so is there an increase in power. When the cut-up is low a string tone results; when medium, diapason tone is produced and when high, flute tone is produced. Thus it will be seen that the cut-up effects the harmonic development of the note, giving it its particular tone quality. Especially important in the harmonic development the note is the shape of the upper lip which may be modified within certain limits, a blunt, thick lip curtailing the harmonics while a sharp, thin edge encourages them. Between these two extremes there are many variants of “edge formation” (with or without the bevelling of the upper lip) which modifies the tone in the subtlest manner.<\/p>\n To explain this. it should be remembered that it is here the secondary vortex (or sound eddy) forms combining with the primary vortex formed at the flue to produce a periodic vibration of the wind-stream at the mouth of the pipe from back to front, It is thus that the vortex system with its own fundamental note and harmonies acts as the originator of the sound produced by the pipe as a whole. This system operates given three aerial conditions; the outside stagnant air, the inside stagnant air and the air stream flowing from the flue. Two sets of vortices are generated at the flue, one set hitting the upper lip, the other set missing it. Hence the necessity for the condition of the outside stagnant air. It is the function of the vortices in this conditioned environment that produces edge tone.<\/p>\n These vortices set in oscillation the air stream in the mouth about midway between the two lips which in turn sets in motion the air column in the ‘body of the pipe which in turn starts vibrating longitudinally. The air column now becomes the greater influence in the partnership, profoundly affecting the mouth tone. It is the relationship between the vortices or edge tone and the body of air in the tube or column tone that makes the flue pipe a “coupled” system and it is the fact that the pitch of the edge tone can be made to rise or fall to that of the column tone which makes the treatment of the upper lip so important.<\/p>\n The “ears” which are not required for the very small high-pitched pipes provide some measure of protection from the outside air and help to restore the balance of pressure to some extent. Their addition lowers the pitch of the note slightly.<\/p>\n The “nicks” are V-shaped impressions made in the bottom lip and languid to steady tone and to elimate a snarling tone generally undesirable. Diapasons and pipes with few overtones require to be sparsely yet deeply nicked; oppositely, gambas and small-scale work generally require to be nicked closely and with faint impressions in proportion to the extent it is desired to retain the keenness, in effect of tone, of the untreated edge, so that in many cases the nicking has the appearance of microscopic saw teeth forming a continuous serrated edge.<\/p>\n Wood pipes may be nicked on the block alone or on the cap, or both. Wood basses are generally nicked on the block alone while large-scale 16’ basses are left unnicked.<\/p>\n The reed pipe, like the flue pipe is a “coupled” system between the vibrations of the reed and those of the air column in the tube. Either of them can be made to control the other within certain limits; for instance, the pipe may be sharpened in pitch by shortening the vibrating length of the tongue or by shortening the effective length of the tube. There is a certain degree of material control of the reed and tube, but this cannot be pushed too far as the pitch will change suddenly.<\/p>\n The tongue of the reed which is made from brass is curved, this curve varying from parabolic to logarithmic in shape. This shape is important to the tone, enabling, the tongue to cover and uncover the shallot by a rolling and unrolling process.<\/p>\n There are three main types of shallot; the open shallot, the closed shallot and the filled-in shallot. The first gives a loud tone, rich in harmonies; the second, a popular type. gives a brilliant tone when used with small-scaled tubes and high wind pressures while the third is used for producing tromba, horn or other smooth reed tone.<\/p>\n The type of tone is also influenced by the nature of the metal used in making the various parts of the reed. The boot and block should be heavily made and the reed tubes should be made of an alloy rich in tin. A certain reinforcement is desirable where the tube fits into the block, and in order that there shall be a proper transformation of the energy of the wind which passes the reed, the tubes should have a critical bore at the top.<\/p>\n By acoustic theory, a conical tube reinforces the harmonics in their natural series. Thus conical tubes are used for pipes of trumpet tone, the power varying to a certain extent with the width of the tube. Wooden tubes can be used and zinc is often used for the largest pipes. The swell oboe may be made with a “close” tone. The tube consists of a narrow cone surmounted by a conical bell which is partially covered at the top by soldering on a regulating cap or shade. Opening the cap gives a brighter tone while closing the cap makes the tone smoother but weaker.<\/p>\n The orchestral oboe has a thin cylindrical tube with a bell and the opening of the shallot is very narrow. If a “double bell” is fitted to an orchestral oboe type of reed, its tone becomes that of a cor anglais.<\/p>\n The clarinet type of stop has cylindrical tubes which reinforce the odd-numbered harmonics only. The tube is half-length and capped while an extremely thin tube gives musette tone.<\/p>\n The vox humana is a type of clarinet with a short tube usually of one-eight length.<\/p>\n Before leaving the question of tonal production mention should be made of two types of flue pipe not already discussed. These are the harmonic pipe and the stopped pipe. The former is a pipe double the required length and pierced not quite half-way down so as to sound the first harmonic. It usually has a very sweet tone.<\/p>\n The latter consists of a pipe with a stopper at the top and only half the necessary length. This is explained acoustically by the fact that the node is now at the end of the pipe instead of at the centre as in the case of open pipes.<\/p>\n Finally, mention should be made of the effect of a building upon the tone of an instrument. The acoustic properties of a building can very often be the best “voicer” an instrument can have. Curved ceilings which diffuse the sound can greatly enhance the tone of an organ by creating considerable reverberation period, though this can have its extremes too, thus be-coming a disadvantage instead of an asset.<\/p>\n BRITISH ORGAN BUILDERS<\/strong><\/p>\n An Organ by Bevington and Sons<\/strong> of London.<\/p>\n This firm was founded in 1784 by Henry Bevington who had been an apprentice to Ohram and Nutt, who were the successors to Snetzler, and eminent organ builder who settled in England in 1740 after leaving his native country, Germany.<\/p>\n The Organ at All Saints’ Church of England, Hunter’s Hill.<\/strong><\/p>\n This 2-manual, tracker-action organ of 26 speaking stops was purchased for \u00a3810. Adding shipping and erection costs, it would have cost nearly \u00a31000. Mr. C. J. Jackson of Detersham put up and tuned the instrument in the short space of twelve days, on the north side of the chancel. The casework is of pitch pine, the Pedal bourdon flanks the arch of the northern transept while the chancel front consists of the Great double diapason. The pipes are decorated in sea-green and gold, steel grey and maroon.<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n Swell Organ:<\/em>The harmonic flute goes to tenor C only. The bell gamba has a flute bass. The diapason is a keen stop. The harmonic flute has a prominent third harmonic. The mixture ranks are 12 15 19 at CC; at gg# this breaks back to 8 15. The cornopean and oboe are harmonic (i.e. they are flue pipes) from ccc#.<\/p>\n Great Organ:<\/em> THe 8′ flute is a stopped wood pipe to middle c then open pipes to the top. It is a true clarabella in sound and workmanship. The bass pipes have high curved mouth and the whole rank is amply winded.The stop is very beautiful in tone. The salicional is a most distinctive stop of its kind, being halfway between salicional and dulciana tone. The 4′ flute is of stopped metal, finely nicked and fitted with the usual “chimneys.” The “ears” come well out over the mouth, thus: The mixture ranks at CC are 12 15 and 22 and it breaks at middle C to give 15 19 22. The trumpet has hooded pipes. This is done to prevent dust and dirt affecting speech. The double diapason is metal throughout.<\/p>\n Choir Organ:<\/em> The stopped flute is deeply nicked. The dulciana is metal throughout, nicked on both edges. The 4′ flute is nicked on both block and cap. The clarionet et bassoon is of very good tone considering its age, the bassoon pipes (lowest octave) having pierced flares.<\/p>\n Pedal Organ:<\/em> Both these stops are of big scale.<\/p>\n This instrument is a most solid piece of workmanship. The pipework is of the finest materials. The pipe metal is a “mixture” of high quality and the pipes are very heavy to lift. There is a high degree of “finish” in each pipe and the voicing both in sound and appearance is most artistic. Everything is neatly done. The existence of a double open metal stop on the great organ to its bottom note says much for the standard of organ-building carried out by this firm. This stop would surely have been borrowed for the pedal department had the action been pneumatic instead of tracker.<\/p>\n In vouching for the builders’ work Dr. E. Hopkins of the Temple Church, London in a report dated March 14th, 1884 spoke of the good tone and excellent workmanship of the instrument.<\/p>\n He spoke of the Salicional, voix celestes, vox angelica and lieblich gedact as stops of distinctive character. He described the general effect of the great organ as full and bright without being at all cutting or piercing.<\/p>\n The present writer was informed there was another Bevington organ in Sydney but Mr. Ken Noad, a partner of the firm which maintains the majority of Sydney organs, does not know of it.<\/p>\n AN ORGAN BY BRYCESON OF LONDON<\/em><\/p>\n The Organ at St. Brigid’s Roman Catholic Church, Marrickville<\/strong><\/p>\n This church situated in Marrickville Road seats just under 2000 people. It is a large, lofty building with a semi-circular roof. This may account for the considerable sound reverberation period which greatly enhances the organ tone. The instrument, which is situated on the northern side of the western gallery, is a 3-manual organ of 39 speaking stops built in 1865.<\/p>\n According to Father Stanislaus, priest-in-charge of the music at St. Brigid’s, the organ early in the present century belonged to a Mr. McQuade, a theatrical entrepeneur. It is believed that McQuade bought the organ second-hand in England and had it installed in a specially constructed room in his home at Darling Point. In 1915, the Sydney piano firm of Rendall added a pedal trombone 16′ and a set of chimes. About 1920, the organ was purchased for the present church at a cost of \u00a31,500. It was re-erected here by C. Richardson but the pedal trombone and set of chimes were not connected.<\/p>\n With the exception of the pedal stops and the lowest octave of the swell double diapason, the organ is tracker action. The casework consists of pipes from the metal open 16′ and the great open diapason 8′. The mechanical condition of the organ is very poor. While the key action operates satisfactorily enough, the stop mechanism and composition pedals are clumsy to operate. The flue and even reed work has stood remarkably well and there is plenty of good pipe material in the instrument. It is proposed to install electric action in the near future<\/p>\n The specification reveals a variety of quieter stops at different pitches. There is no “extension” work in the instrument.<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n Swell Organ: The swell bourdon sounds the lowest octave only and thus provides the bass for the missing lowest octave of the double open diapason, a wood stop. Unless the player wished to obtain a 16’bass with the left hand while using and 8′ stop with the right and when playing on the same manual, there seems to be no reason why the two stops shouldn’t be regarded as one rank and have only one Drawstop as in the case of the great 16′ stop.<\/p>\n There are also no basses to the keraulophon, lieblich gedact or gedact flute. To overcome this, there is a stop’t bass 8′ available by separate Drawstop and only speaking the lowest octave. This is done for economy reasons, the metal and wood for the lowest and largest pipes thereby being saved.<\/p>\n The open diapason is wood in its lowest octave. The keraulophon is typical of its type possessing circular hole, slot and tuning slide. The principal is of metal throughout the manual compass. The gedact flute is a stopped metal pipe. Only one break could be detected in the mixture which gave 17 19 22 at CC and 12 15 from middle C upwards. The oboe and Cornopean were typical stops of their class. The viole d’orchestre and vox humana are in a separate box opening into and with the swell box. They are at present disconnected.<\/p>\n The spare fourteenth slide has been added to the front of the original soundboard. This slide was possibly to hold a rank of hautboy pipes, a spare bottom octave of such pipes lying underneath the organ at present.<\/p>\n All scalings at CC<\/p>\n Choir Organ:<\/em> Although labeled cor anglais, these pipes belong to the orchestral oboe class. The 2′ gemshorn pipes are inverted conical in shape and at the unusual 2″ pitch are very pleasant. The 4′ gamba is metal through out. The flute d’amour is a stopped wood pipe. The 8′ gamba is the only stop possessing a bass octave, the stop’s bass here serving the same purpose as its namesake on the swell.<\/p>\n The disconnected trombone pipes have no tongues. It has wooden resonators for the lowest octave and metal pipes, some mitred, for the rest of its compass. It is of very poor quality.<\/p>\n BRITISH ORGAN BUILDERS 2<\/strong><\/p>\n Some Organs by Forster and Andrews<\/strong> of Hull, England.<\/p>\n This firm commenced business in 1843. The partnership was responsible for many fine instruments all over the world.<\/p>\n The organ at All Saints’ Church of England, Woollahra<\/strong><\/p>\n This church contains a very fine 3-manual organ of 30 speaking stops built by this firm in 1882. It is situated in the second bay at the eastern end of the north aisle of the church, a large and lofty stone building with a satisfactory reverberation period for sound. The instrument is in an ideal position, speaking directly into the chancel and nave.<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n The Great Organ:<\/em> The diapason chorus on this organ possesses both weight and brilliance of tone. The scale of the 8′ diapason is approx. 7″, the mouth being approx. 5″ x 1 \u00bd”. The scale of the principal is 3 1\/8″. The twelfth and fifteenth add the necessary coherence to the 8′ and 4′ ranks, their scales being 2 1\/8″ and 1″ respectively. The posaune is voiced on similar but softer lines to a trumpet. Like all the reeds on this organ, it suffers from age.<\/p>\n The three flutes in this department take their place with the many beautiful examples by this firm to be heard around Sydney. The bourdon and gedact are almost identical in scaling and voicing. The flute harmonique is a pierced metal stop of pleasant quality. The string stop, viola di gamba is a bearded metal stop with unique string quality. This does not prevent it blending admirably with the flutes and diapasons.<\/p>\n Swell organ:<\/em>The double diapason is a misnomer, being a bourdon right through its compass. It possesses no lowest octave. The open diapason is a charming stop, possessing the ideal neutral colour for such a stop in this department. The principal is bright and assertive. The fifteenth and mixture complete the diapason chorus. The 8′ flute is very rich in tone while the 4′ flute is much quieter the upper lip being curved.<\/p>\n Choir Organ:<\/em> This consists of a family of 8′, 4′ and 2′ flutes<\/p>\n The Organ at Bourke St. Congregational Church, Sydney<\/strong> The 2-manual instrument of 20 speaking stops was installed in the church by this firm in 1887 at a cost of \u00a3600. It was presented to the church by three sisters, the Misses Baxter who had a girls’ school in Albion St., Surry Hills. The organ was opened on June 10th, 1888.<\/p>\n The organ is situated at the western (pulpit) end of the church, the pipe work being placed a good eight feet above the floor of the church. It is a most favourable position. The organ tone is helped by the considerable sound reverberation period as well as by the semi-circular domed recess in which the organ is placed.<\/p>\n The pedal department shows the usual deficiency of the period-the absence of 8′, 4′ and mixture work to make this department independent of the manuals. The absence of a chorus reed on the swell organ robs this department of one of it’s most characteristic tone qualities.<\/p>\n The console is divided from the organ by the pulpit and is placed on the floor of the building. Thus the tracker action has to run back a considerable length, at least eight to ten feet on the floor level then a further eight feet up to the pallets. In spite of this, the touch is remarkably light, being only noticeably heavy when coupled. The detached console gives the player a better chance to judge his effects.<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n The great solo reed, corno di basseto still showed some of its original “woody” tone. This stop as treated by this firm has a ‘very distinct tone of great richness.<\/p>\n The Organ at St. Saviour’s Anglican Cathedral, Goulburn <\/strong>(according to the late R. Cherry’s collection.)<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n Other organs built by this firm:<\/p>\n St. John’s Church of England, Glebe, 1883<\/strong> 2 manuals, 15 stops, 3 couplers.<\/p>\n Great Hall, University of Sydney, 1887<\/strong> 3 manuals, 36 speaking stops, 7 couplers.<\/p>\n This instrument was added to and electric action added by Hill, Norman and Beard (Aust.) in 1933.<\/p>\n BRITISH ORGAN BUILDERS 3<\/strong><\/p>\n Some Organs by William Hill and son<\/strong> of London.<\/p>\n This firm was started about 1755 by John Snetzler, who was succeeded in 1780 by his foreman, Ohrmann. Ohrmann had a partner, W. Nutt in 1780 who was afterwards joined by Thomas Elliot about 1803. Elliot carried on alone, taking in a partner, William Hill in 1825, who had married his daughter. Elliot died in 1832, leaving Hill alone until 1837, when he was joined by Frederick Davidson. After 1838, Davidson left to go into partnership with John Gray and the firm became W. Hill and Son.<\/p>\n A partner of the firm, Arthur George Hill, wrote a valuable book of “Organ-cases and Organs of the Middle Ages and Renaissance, etc.”, 1883, as well as designing many very fine cases for the firm’s instruments. He was responsible for the casework of the Sydney Town Hall organ. There is also a very fine organ-case at the Hunter-Baillie Memorial Church, Annandale which was possibly designed by him. The lack of organ-cases in New South Wales makes these two very fine examples all the more pleasing.<\/p>\n In an article on Hill organ-cases in “The Organ”, Oct. 1944, Ernest E. Adcock refers to Dr. A G. Hill’s knowledge of the proper treatment for organ pipes in casework. He illustrates this by the case designed for the Sydney Town Hall organ and says: The late Rev. Andrew Freeman, a noted authority on English and Continental organ-cases, said it was the most successful 32ft. front which had ever emanated from England.<\/p>\n The firm amalgamated with Norman and Beard in 1914 and is now in business under the name of Hill, Norman and Beard.<\/p>\n The Sydney history of the firm as far as the present writer can gather, is as follows:<\/p>\n The Town Hall organ was built at the London works and erected by a team of men sent out. These men were under the supervision of the firm’s representative in Sydney, a Mr. Edward Mylrea searched out business for the firm, specified, obtained the necessary details and forwarded this to London. When the completed instrument was landed, he would then supervise or carry out himself the erection.<\/p>\n Another of this firm was Holroyd. Mr. W. Pogson knew Holroyd from at least the 1910’s to the late 1920’s. But if a note by the late Mr. Cherry is correct, then Holroyd erected the Hill organ in the Roman Catholic cathedral at Goulburn during or after 1890.<\/p>\n The firm has representatives at the present time in Sydney and Melbourne.<\/p>\n The Organ at Newtown Methodist Church<\/strong><\/p>\n This organ was erected by Messrs. Hill & Son of London, under the direction of the late Mr. F. Morley, at that time Organist at the Bourke Street Methodist Church.<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n\n
\n
\n
\n
\n
\n\n
\n \u00a0<\/td>\n \u00a0<\/td>\n<\/tr>\n \n \u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n\n
\n \u00a0<\/td>\n \u00a0<\/td>\n<\/tr>\n \n \u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n\n
\n \u00a0<\/td>\n \u00a0<\/td>\n<\/tr>\n \n \u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n\n
\n \u00a0<\/td>\n \u00a0Barker Lever Pneumatic Action<\/td>\n<\/tr>\n \n \u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n\n
\n \u00a0<\/td>\n \u00a0Pressure Pneumatic Action<\/td>\n<\/tr>\n \n \u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n\n
\n \u00a0<\/td>\n \u00a0Exhaust Pneumatic Action<\/td>\n<\/tr>\n \n \u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n\n
\n \u00a0<\/td>\n \u00a0<\/td>\n<\/tr>\n \n \u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n\n
\n \u00a0<\/td>\n \u00a0<\/td>\n<\/tr>\n \n \u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n\n
\n \u00a0<\/td>\n Various types of stops.<\/td>\n<\/tr>\n \n \u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n\n
\n SWELL ORGAN<\/td>\n<\/tr>\n \n Oboe<\/td>\n 8′<\/td>\n<\/tr>\n \n Cornopean<\/td>\n 8′<\/td>\n<\/tr>\n \n Mixture<\/td>\n 3 rks<\/td>\n<\/tr>\n \n Principal<\/td>\n 4′<\/td>\n<\/tr>\n \n Harmonic Flute<\/td>\n 4′<\/td>\n<\/tr>\n \n Voix celestes<\/td>\n 8′<\/td>\n<\/tr>\n \n Vox angelica<\/td>\n 8′<\/td>\n<\/tr>\n \n Bell Gamba<\/td>\n 8′<\/td>\n<\/tr>\n \n Hohl flute<\/td>\n 8′<\/td>\n<\/tr>\n \n Open diapason<\/td>\n 8′<\/td>\n<\/tr>\n \n Double diapason<\/td>\n 16′<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n\n
\n GREAT ORGAN<\/td>\n<\/tr>\n \n Trumpet<\/td>\n 8′<\/td>\n<\/tr>\n \n Full Mixture<\/td>\n 2 2\/3′<\/td>\n<\/tr>\n \n Flauto traverso<\/td>\n 4′<\/td>\n<\/tr>\n \n Principal<\/td>\n 4′<\/td>\n<\/tr>\n \n Salicional<\/td>\n 8′<\/td>\n<\/tr>\n \n Claribel<\/td>\n 8′<\/td>\n<\/tr>\n \n Open diapason<\/td>\n 8′<\/td>\n<\/tr>\n \n Double diapason<\/td>\n 16′<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n\n
\n CHOIR ORGAN<\/td>\n<\/tr>\n \n Clarionet et bassoon<\/td>\n 8′<\/td>\n<\/tr>\n \n Suabe flote<\/td>\n 4′<\/td>\n<\/tr>\n \n Dulciana<\/td>\n 8′<\/td>\n<\/tr>\n \n Lieblich gedact<\/td>\n 8′<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n\n
\n PEDAL ORGAN<\/td>\n<\/tr>\n \n Bourdon<\/td>\n 16′<\/td>\n<\/tr>\n \n Open diapason<\/td>\n 16′<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n\n
\n COUPLERS<\/td>\n<\/tr>\n \n Swell to Pedal<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Great to Pedal<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Choir to Pedal<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Swell to Great<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Pedal Organ super octave<\/td>\n \u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n\n
\n ACCESSORIES<\/td>\n<\/tr>\n \n Composition pedals: Swell(2), Great(3)<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Compass: manuals CC-G 56n.<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Compass: pedals CCC-F 30n.<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Great to pedal reversible poppet<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Lever swell pedal<\/td>\n \u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
\n<\/div>\n
\n<\/div>\n\n\n
\n SWELL ORGAN<\/td>\n<\/tr>\n \n Vox humana<\/td>\n 8′<\/td>\n<\/tr>\n \n Cornopean<\/td>\n 8′<\/td>\n<\/tr>\n \n Oboe<\/td>\n 8′<\/td>\n<\/tr>\n \n Mixture<\/td>\n III ranks<\/td>\n<\/tr>\n \n Gedact flute<\/td>\n 4′<\/td>\n<\/tr>\n \n Principal<\/td>\n 4′<\/td>\n<\/tr>\n \n Viol d’orchestre<\/td>\n 8′<\/td>\n<\/tr>\n \n Keraulophonee<\/td>\n 8′<\/td>\n<\/tr>\n \n Lieblich gedact<\/td>\n 8′<\/td>\n<\/tr>\n \n Stopped bass<\/td>\n 8′<\/td>\n<\/tr>\n \n Open diapason<\/td>\n 8′<\/td>\n<\/tr>\n \n Double diapason<\/td>\n 16′<\/td>\n<\/tr>\n \n Bourdon<\/td>\n 16′<\/td>\n<\/tr>\n \n Spare slide<\/td>\n 4′<\/td>\n<\/tr>\n \n Tremulant<\/td>\n \u00a0<\/td>\n<\/tr>\n \n \u00a0<\/td>\n \u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n\n
\n GREAT ORGAN<\/td>\n<\/tr>\n \n Trumpet<\/td>\n 8′<\/td>\n<\/tr>\n \n Fifteenth<\/td>\n 2′<\/td>\n<\/tr>\n \n Twelfth<\/td>\n 3′<\/td>\n<\/tr>\n \n principal<\/td>\n 4′<\/td>\n<\/tr>\n \n Harmonic flute<\/td>\n 4′<\/td>\n<\/tr>\n \n Salicional<\/td>\n 8′<\/td>\n<\/tr>\n \n Soft keraulophone<\/td>\n 8′<\/td>\n<\/tr>\n \n Great open diapason<\/td>\n 8′<\/td>\n<\/tr>\n \n Bourdon and double open diapason<\/td>\n 16′<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n\n
\n PEDAL ORGAN<\/td>\n<\/tr>\n \n Trombone (disconnected)<\/td>\n 16′<\/td>\n<\/tr>\n \n Open diapason (wood)<\/td>\n 16′<\/td>\n<\/tr>\n \n Open diapson (metal)<\/td>\n 16′<\/td>\n<\/tr>\n \n Bourdon<\/td>\n 16′<\/td>\n<\/tr>\n \n Violon<\/td>\n 8′<\/td>\n<\/tr>\n \n Bass flute<\/td>\n 8′<\/td>\n<\/tr>\n \n Gemshorn<\/td>\n 4′<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n\n
\n CHOIR ORGAN<\/td>\n<\/tr>\n \n Cor anglais<\/td>\n 8′<\/td>\n<\/tr>\n \n Clarionet<\/td>\n 8′<\/td>\n<\/tr>\n \n Gemshorn<\/td>\n 2′<\/td>\n<\/tr>\n \n Gamba<\/td>\n 8′<\/td>\n<\/tr>\n \n Flute d’amour<\/td>\n 4′<\/td>\n<\/tr>\n \n Voix celestes<\/td>\n 8′<\/td>\n<\/tr>\n \n Gamba<\/td>\n 8′<\/td>\n<\/tr>\n \n Echo dulciana<\/td>\n 8′<\/td>\n<\/tr>\n \n Rohr flute<\/td>\n 8′<\/td>\n<\/tr>\n \n Stop’t bass<\/td>\n 8′<\/td>\n<\/tr>\n \n Tremulant<\/td>\n \u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n\n
\n COUPLERS<\/td>\n<\/tr>\n \n Swell to choir (disconnected)<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Swell to great<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Swell superoctave<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Choir suboctave to great<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Swell to pedal<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Great to pedal<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Choir to pedal<\/td>\n \u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n\n
\n ACCESSORIES<\/td>\n<\/tr>\n \n Composition pedals: Swell(3),Choir (2), Great and pedal(3)<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Compass: manuals CC-A 58n.<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Compass: pedals CCC-F 30n.<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Lever swell pedals to swell and choir<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Concave and slightly convex pedal board<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Drawstops at right angles to manuals<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Wind pressure: 3 1\/2″<\/td>\n \u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n\n
\n Great Organ Scalings<\/td>\n<\/tr>\n \n diapason<\/td>\n 5 \u00bc “<\/td>\n<\/tr>\n \n principal<\/td>\n 3 \u00bc “<\/td>\n<\/tr>\n \n twelfth<\/td>\n 2″<\/td>\n<\/tr>\n \n fifteenth<\/td>\n 1 3\/8 “<\/td>\n<\/tr>\n \n 16′ wood<\/td>\n 7 \u00be” x 6 \u00be”<\/td>\n<\/tr>\n \n metal (ten. C)<\/td>\n 3 1\/8″<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n\n
\n Pedal Organ Scalings<\/td>\n<\/tr>\n \n Open metal 16′<\/td>\n 8 5\/8 “<\/td>\n<\/tr>\n \n open wood<\/td>\n 11 1\/2 x 3 3\/4″<\/td>\n<\/tr>\n \n bourdon<\/td>\n 8″ x 9 1\/2″<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n\n
\n SWELL ORGAN<\/td>\n<\/tr>\n \n Oboe<\/td>\n 8′<\/td>\n<\/tr>\n \n Cornopean<\/td>\n 8′<\/td>\n<\/tr>\n \n Mixture<\/td>\n IV rks<\/td>\n<\/tr>\n \n Fifteenth<\/td>\n 2′<\/td>\n<\/tr>\n \n Principal<\/td>\n 4′<\/td>\n<\/tr>\n \n Gedact Flute<\/td>\n 4′<\/td>\n<\/tr>\n \n Voix celestes<\/td>\n 8′<\/td>\n<\/tr>\n \n Gamba<\/td>\n 8′<\/td>\n<\/tr>\n \n Stopped diapason<\/td>\n 8′<\/td>\n<\/tr>\n \n Open diapason<\/td>\n 8′<\/td>\n<\/tr>\n \n Double diapason<\/td>\n 16′<\/td>\n<\/tr>\n \n Tremulant<\/td>\n \u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n\n
\n GREAT ORGAN<\/td>\n<\/tr>\n \n Posaune<\/td>\n 8′<\/td>\n<\/tr>\n \n Full mixture<\/td>\n V rks<\/td>\n<\/tr>\n \n Fifteenth<\/td>\n 2′<\/td>\n<\/tr>\n \n Twelfth<\/td>\n 3′<\/td>\n<\/tr>\n \n Flute harmonique<\/td>\n 4′<\/td>\n<\/tr>\n \n Principal<\/td>\n 8′<\/td>\n<\/tr>\n \n Gedact<\/td>\n 8′<\/td>\n<\/tr>\n \n Viola da gamba<\/td>\n 8′<\/td>\n<\/tr>\n \n Open diapason<\/td>\n 8′<\/td>\n<\/tr>\n \n Bourdon<\/td>\n 16′<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n\n
\n CHOIR ORGAN<\/td>\n<\/tr>\n \n Corno di bassetto<\/td>\n 8′<\/td>\n<\/tr>\n \n Flautino harmonique<\/td>\n 2′<\/td>\n<\/tr>\n \n Flauto traverso<\/td>\n 4′<\/td>\n<\/tr>\n \n Lieblich gedact<\/td>\n 8′<\/td>\n<\/tr>\n \n Dulciana<\/td>\n 8′<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n\n
\n PEDAL ORGAN<\/td>\n<\/tr>\n \n Trombone<\/td>\n 16′<\/td>\n<\/tr>\n \n Principal<\/td>\n 8′<\/td>\n<\/tr>\n \n Bourdon<\/td>\n 16′<\/td>\n<\/tr>\n \n Open diapason<\/td>\n 16′<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n\n
\n COUPLERS<\/td>\n<\/tr>\n \n Swell octave<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Swell suboctavel<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Swell to Great<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Swell to Pedal<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Great to Pedal<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Choir to Pedal<\/td>\n \u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n\n
\n ACCESSORIES<\/td>\n<\/tr>\n \n Composition pedals: Swell(3), Great(4)<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Compass: manuals CC-a 58n.<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Compass: pedals CCC-F 30n.<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Great to pedal reversible poppet<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Lever swell pedal<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Action: Barker lever to Great, acting on Swell couplers to Great.<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Straight, concave pedalboard<\/td>\n \u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
\n<\/div>\n\n\n
\n SWELL ORGAN<\/td>\n<\/tr>\n \n Oboe<\/td>\n 8′<\/td>\n<\/tr>\n \n Mixture<\/td>\n II rks<\/td>\n<\/tr>\n \n Flautino<\/td>\n 2′<\/td>\n<\/tr>\n \n Principal<\/td>\n 4′<\/td>\n<\/tr>\n \n Gamba<\/td>\n 8′<\/td>\n<\/tr>\n \n Lieblich gedact<\/td>\n 8′<\/td>\n<\/tr>\n \n Open diapason<\/td>\n 8′<\/td>\n<\/tr>\n \n Bourdon<\/td>\n 16′<\/td>\n<\/tr>\n \n \u00a0<\/td>\n \u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n \n\n
\n GREAT ORGAN<\/td>\n<\/tr>\n \n Corno di basseto<\/td>\n 8′<\/td>\n<\/tr>\n \n Mixture<\/td>\n III ranks<\/td>\n<\/tr>\n \n Fifteenth<\/td>\n 2′<\/td>\n<\/tr>\n \n Twelfth<\/td>\n 2 ‘<\/td>\n<\/tr>\n \n Harmonic flute<\/td>\n 4′<\/td>\n<\/tr>\n \n Dulciana<\/td>\n 8′<\/td>\n<\/tr>\n \n Stopped diapason<\/td>\n 8′<\/td>\n<\/tr>\n \n Open diapason<\/td>\n 8′<\/td>\n<\/tr>\n \n Bourdon<\/td>\n 16′<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n \n\n
\n PEDAL ORGAN<\/td>\n<\/tr>\n \n Bourdon<\/td>\n 16′<\/td>\n<\/tr>\n \n Open diapason<\/td>\n 16′<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n \n\n
\n COUPLERS<\/td>\n<\/tr>\n \n Swell to great<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Swell to pedal<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Great to pedal<\/td>\n \u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n \n\n
\n ACCESSORIES<\/td>\n<\/tr>\n \n Composition pedals: Swell (2), Great (3)<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Compass: manuals CC-G 56n.<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Compass: pedals CCC-F 30n.<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Lever swell pedal<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Straight , concave pedal board<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Drawstops at right angles to manuals<\/td>\n \u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n \n\n
\n Great Mixture Breaks<\/td>\n<\/tr>\n \n CC: 19 22 26<\/td>\n \u00a0<\/td>\n<\/tr>\n \n C: 15 19 22<\/td>\n \u00a0<\/td>\n<\/tr>\n \n mid. C: 19 22 26<\/td>\n \u00a0<\/td>\n<\/tr>\n \n gg: 15 19 22<\/td>\n \u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n
\n<\/div>\n\n\n
\n SWELL ORGAN<\/td>\n<\/tr>\n \n Clarinet<\/td>\n 4′<\/td>\n<\/tr>\n \n Oboe<\/td>\n 8′<\/td>\n<\/tr>\n \n Horn<\/td>\n 8′<\/td>\n<\/tr>\n \n Dulciana cornet<\/td>\n III rks<\/td>\n<\/tr>\n \n Fifteenth<\/td>\n 2′<\/td>\n<\/tr>\n \n Principal<\/td>\n 4′<\/td>\n<\/tr>\n \n Salicional<\/td>\n 8′<\/td>\n<\/tr>\n \n Celeste<\/td>\n 8′<\/td>\n<\/tr>\n \n Stopped diapason<\/td>\n 8′<\/td>\n<\/tr>\n \n Open diapason<\/td>\n 8′<\/td>\n<\/tr>\n \n Bourdon<\/td>\n 16′<\/td>\n<\/tr>\n \n \u00a0<\/td>\n \u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n \n\n
\n GREAT ORGAN<\/td>\n<\/tr>\n \n Tromba<\/td>\n 8′<\/td>\n<\/tr>\n \n Mixture<\/td>\n V ranks<\/td>\n<\/tr>\n \n Fifteenth<\/td>\n 2′<\/td>\n<\/tr>\n \n Twelfth<\/td>\n 2 ‘<\/td>\n<\/tr>\n \n Harmonic flute<\/td>\n 4′<\/td>\n<\/tr>\n \n \u00a0<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Principal<\/td>\n 4′<\/td>\n<\/tr>\n \n Stopped diapason<\/td>\n 8′<\/td>\n<\/tr>\n \n Claribel<\/td>\n 8′<\/td>\n<\/tr>\n \n Open diapason No.2<\/td>\n 8′<\/td>\n<\/tr>\n \n Open diapason No.1<\/td>\n 8′<\/td>\n<\/tr>\n \n Double open diapason<\/td>\n 16′<\/td>\n<\/tr>\n \n 1 blank knob<\/td>\n \u00a0:<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n \n\n
\n PEDAL ORGAN<\/td>\n<\/tr>\n \n Posaune<\/td>\n 16′<\/td>\n<\/tr>\n \n Principal<\/td>\n 8′<\/td>\n<\/tr>\n \n Bass flute<\/td>\n 8′<\/td>\n<\/tr>\n \n Stopped diapason<\/td>\n 8′ (?16′)<\/td>\n<\/tr>\n \n Open diapason<\/td>\n 16′<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n \n\n
\n COUPLERS<\/td>\n<\/tr>\n \n Swell to choir<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Swell to great<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Choir to Great<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Swell to Pedals<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Great to Pedals<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Choir to Pedals<\/td>\n \u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n \n\n
\n ACCESSORIES<\/td>\n<\/tr>\n \n Pistons: Swell(4), Great(5), Choir(3)<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Horshoe pedals: Great to pedal<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Swell tremulant<\/td>\n \u00a0<\/td>\n<\/tr>\n \n Straight, concave pedalboard<\/td>\n \u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n
\n<\/div>\n
\n“It is a truly marvellous conception and it greatly enhanced by the perfect way in which the large and small pipes are mingled. The shapely mouths of the 32ft’s and the absolutely correct ranking of the mouths of the show pipes contribute no little to its beauty and excellence. I do not think a more faithful imitation of seventeenth-century Renaissance work can be found anywhere; it is set above the orchestra and must present a thrilling sight to the beholder. If Dr. Hill had designed none other but this example, it would have sufficient to place him among the mortals in this respect.”<\/p>\n
\n<\/div>\n\n\n
\n SWELL ORGAN<\/td>\n<\/tr>\n \n Oboe<\/td>\n 8′<\/td>\n<\/tr>\n \n Principal<\/td>\n 4′<\/td>\n<\/tr>\n \n Hohl Flute<\/td>\n 8′<\/td>\n<\/tr>\n \n Open diapason<\/td>\n 8′<\/td>\n<\/tr>\n \n Bourdon<\/td>\n 16′<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n\n
\n GREAT ORGAN<\/td>\n<\/tr>\n \n Mixture(only perhaps)<\/td>\n II rks<\/td>\n<\/tr>\n \n Fifteenth<\/td>\n 2′<\/td>\n<\/tr>\n \n Wald Flute<\/td>\n 4′<\/td>\n<\/tr>\n \n Principal<\/td>\n 4′<\/td>\n<\/tr>\n \n Dulciana<\/td>\n 8′<\/td>\n<\/tr>\n \n Stopped diapason<\/td>\n 8′<\/td>\n<\/tr>\n \n Open diapason<\/td>\n 8′<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n