| St. Matthew's Church, Lightcliffe |
I N F O R M A T I O N
Instruments: St.Matthew's
Parish Church, Lightcliffe nr.Halifax
Additional Information Section
Updated 6th January 1999
John Snetzler & The Second Lightcliffe
Chapel.
The second chapel of St. Matthew at Lightcliffe was built in 1775.
It contained an organ by John Snetzler (who also built an organ
for Halifax Parish Church in 1766), possibly built for the Priestley
family of Lightcliffe.
The case was of the three compartment style, and may well have been delivered at the same time as the Halifax Parish Church instrument. It was installed in St. Matthews by Ohrmann and Nutt, Snetzler' s successors, in 1787.
J. Horsfall Turner in his Lightcliffe Old Chapel etc details the organ's opening and a specification: "The organ was given in 1787 by William Priestley... It was constructed by Snetzler...in July 1787, and was opened the next month, August 24th, when "Messiah" was performed... It has an excellent mahogany case, gilt pipes in front, and is protected by glass doors. There are five drawknobs each side of the keys, from GG to F, omitting GG#.
"On the left there are - blank, Principal Bass, Flute, Stopped Diapason, Open Diapason; on the right - Open Diapason (wood, treble, substituted for a Cornet), Fifteenth, Principal, Open Diapason (metal, treble), Oboe to middle C. The organ has a manual, seven stops and 350 pipes."
SUMMARIZED SPECIFICATION
LEFT JAMB: RIGHT JAMB: Blank Open Diapason (Wood) Principal Bass Fifteenth Flute Principal Stopped Diapason Open Diapason (Metal) Open Diapason Oboe (to middle C)
The Third Parish Church of St. Matthew at
Lightcliffe.
The Original Organ.
The present St. Matthews Church was built in 1875, and consecrated
on September 21st of that year. Brief details concerning the organ
builder and cost are given in Revd. M.G.S. Whitcombs Lightcliffe
Centenary Brochure (1975). For further details, we must refer
to an anonymous (probably Horsfall Turner) account of Lightcliffe
New Church, from which the following extract is taken:
At the back of the choir stalls there is a magnificent organ. It was built by Mr. A. Kirkland (late Booth), of Wakefield. It is blown by a two cylindered horizontal hydraulic engine, with double beat equilibrium valve, made by Mr. Kirkland, of Mansfield. The organ, which is well voiced, has two manuals, and two stops upon the pedals. In the Great Organ are Bourdon, 16 feet; Open and Stopped Diapason, and Gamba, 8 feet; Dolcan (a short stop), Principal and Lieblich Flute, 4 feet; Twelfth, 3 feet; Fifteenth, 2 feet; and a two-rank Mixture; in all 604 pipes-all except for the Dolcan being through stops from CC to G, 56 notes. The Swell is of the same range, having Open and Stopped Diapason, Gemshorn and 8 feet Trumpet, all through stops, with a Viol DAmour to C; in all 262 pipes. The pedal organ is from CCC to F, 30 notes, having Double Open Diapason and Bourdon stope, together 60 pipes, making the whole number of stops 17, and of pipes 926. There are also the usual couplers-swell to great, swell to pedals, great to pedals and three composition pedals. The pipes, which rise under the arches of the chapel on the north side of the chancel, in which it stands, and on the east side of the Nave, are richly illuminated. This part of the work was executed by Messrs. Clayton and Bell. The lower portion of the instrument facing the nave is covered by an oak screen. Mr. Cook is the organist.
First signs of trouble.
This organ proved unsatisfactory as in 1903 it was sold for a
grand sum of £60 and a new organ commissioned from Mr. William
Andrews of City Organ Works, Bradford, costing in total £1350.
This project included the erection of the blower house in the
current car park, from where the organ is still blown today. The
wind is conveyed via tubing under the car park, into the cellar,
then up in to the organ chamber. Andrews instrument contained
2381 pneumatic tubes, and over 8000 metres of piping.
A testimonial to the qualities of the instrument is printed in William Andrews 1905 catalogue, along with a specification of the Lightcliffe organ.
I have pleasure in stating that the Organ which you supplied to Lightcliffe Church during my term of office as Churchwarden continues to give satisfaction, both as regards purity of tone, variety of stops, and mechanism.
The organ has been much praised, not only by members of
our own Congregation, but also by many visitors, who have remarked
how fortunate the Parish is to possess such an instrument.
C.V. Woodcock (Churchwarden),
Lightcliffe, August 18. 1905.
Andrews' mechanism collapses.
However, the instrument, whilst undeniably being excellent in
terms of voicing suffered problems with the action. The Vicar
reported in 1924 that a number of stops were out of action because
of the collapse of the mechanism and the paralysis was spreading.
This fault was apparently typical with the suction action [see
Appendix] Andrews used in his instrument. Thus, in 1924 a rebuild
by the famous firm of William Hill & Son, and Norman &
Beard Ltd. was carried out, at a cost of £1500.
The 1924 Rebuild.
During that rebuild there were several tonal changes: The Great
Organ Twelfth and Fifteenth were combined to form a Grave Mixture,
and the 16ft and 4ft reeds were removed from the same division.
The Swell Organ remained unaltered. The Choir Organ Clarionet
& Bassoon was revoiced, and renamed, as a Clarinet, the Cor
Anglais was revoiced, and the Choir Tuba (and hence the Great
Tromba) was also revoiced, and transposed to 8ft pitch. 18 new
metal pipes were added to the Pedal Organ Trombone, making that
an independent rank. Unison Off couplers were added to Swell and
Choir divisions, and the Andrews Swell and Choir Tremulants were
removed, new units being fitted in replacement. The piston action
was totally renewed. A new Tubular Pneumatic action was installed,
the old suction action [see Appendix] being dispensed with. The
console was remade, raised slightly, and set further back. The
Reeds were taken back to the workshop to be revoiced. The contract
stipulated that the work was to be finished for Dedication Day,
September 21st, 1924. (Interestingly, the rededication of the
organ in 1993 took place on The Patronal and Dedication Festival
of the Church, 19 September, 1993)
In retrospect, this rebuild whilst undoubtedly being excellent in terms of the work done on the action (it lasted nearly 70 years), was detrimental to the specification: tonal flexibility was diminished, and piston provision (although rationalised from the eccentric Andrews provision) was reduced.
The 1980 Rebuild.
In the late 1970s to early 1980s, work was carried out by Messrs.
J.T. Jackson & Son, organ builders of Leeds, who kept the
organ playable up until mid-1992. Their work entailed a thorough
cleaning of the instrument, and several tonal alterations, presumably
at the request of the organist: The Great Tromba was renamed Trumpet,
and new harmonic treble pipes were provided. The Choir Clarinet
and Cor Anglais were removed to make way for a Block Flute 2ft
and Larigot 11/3ft. The Tuba was renamed Trumpet, the Salicional
as Open Diapason (and perhaps revoiced also). Nothing more is
known about the work undertaken during this period, no records
exist as part of the P.C.C. archive, and the organ builders have
not been able to supply further information.
A time of trouble.
During the period 1979 to 1992, the organ suffered many problems.
In March 1982, rain and grit entered the organ chamber, causing
major problems. Following a report from the organ builders, roof
repairs were carried out, which themselves caused problems for
the organ: The workmen had not protected the organ properly during
work, and rain and grit blocked many of the pipes. References
to such problems continue in the tuning book up until 1988, when
the organ builder reports further rain entry. It was only in 1993
that the results of this rain entry were realised: The water had
penetrated the chests, and had damaged all the internal leatherwork,
necessitating its replacement during the latest rebuild. In addition,
the old boiler heating system, located beneath the organ, had
dried out the leather in the main reservoirs, and these too have
had to be releathered. This system has now been removed. By 1993,
the organ had become increasingly difficult to play. Various stops
and notes frequently refused to play, the piston action became
slow and could not provide enough wind to move the drawstops.
The overall lack of wind due to the massive leaks throughout the
instrument was also increasingly evident, with the organ playing
out and a constant loud hissing whenever the organ was in use.
The Choir organ lagged behind the rest of the instrument by about
a second.
The 1993 rebuild.
Initial consultations on a possible rebuild took place in 1991,
involving from an early stage the Diocesan Organ Adviser, who
together with the Churchs Organist and Assistant Organist oversaw
the project from conception to completion. Two schemes of rebuilding
were suggested, and put to a variety of regional organ builders:
Firstly, that the organ should be overhauled in its entirety, the soundboards and action (the old Hill pneumatics from 1924-1926) being restored.
Secondly, that the organ should be cleaned and overhauled, but discarding the Hill pneumatic action and replacing it with modern, solid-state electric action.
In addition, several supplementary tonal alterations were suggested:
Swell Organ: Convert Oboe to 16ft pitch, add a new 2ft
stop in place of Spitz Flöte, and recast the Mixture.
Great Organ: Remove the 22/3 rank from the Grave Mixture
to form a 2ft rank, remove the Corno Dolce and add a new 3 rank
Mixture (19:22:26).
Choir Organ: Remove Larigot, and add Clarinet.
Remove Dulciana, and add Sesquialtera 12:17.
It was also suggested that each builder we consulted should be asked to comment on the possibility of staging the work, i.e. carrying out the work on the Choir Organ at a later date. This was advised against by most builders for reasons accepted by the P.C.C., namely that work planned as a second stage in general is never carried out.
The organ appeal.
An Organ Appeal was launched in September 1992 with a large, three-day
Flower Festival. The aim of the appeal was to raise £20 000
over two years, enabling work to begin, and then to raise a further
£20 000 over the next two years. However, the indefatigable
efforts and enthusiasm of the Vicar and congregation led to the
raising of £20 000 over one year, thus enabling work
to begin a year ahead of schedule, in 1993. At present, there
is still about £10 000 to raise.
Requotations were sought from all the organ builders we had originally consulted, and also from Wood of Huddersfield, who had not originally quoted. After much discussion and consultation, it was decided that we should approach Wood of Huddersfield, and ask them to carry out the rebuild, starting in early 1993.
History Re-written.
It had always been assumed that the organ was a 1900s instrument
built by Norman & Beard, and in the 1920s rebuilt by the new
Hill & Son, and Norman & Beard Ltd.. However, documentation
produced by Philip Wood when he came to view the instrument proved
us wrong: this came in the form of a photocopy of two pages from
the catalogue of William Andrews, The City Organ Works, Bradford,
Yorkshire. On pages 8 and 9 of their brochure is given the specification
of the new Lightcliffe organ, a photograph of the two organ cases
in the Chancel and a testimonial to the qualities of the instrument
by a Churchwarden.
William Andrews commenced organ building on his own account in 1898, having previously been a factory manager in the Bramley organ works of the renowned J.J. Binns for fifteen years. His knowledge of sound organ building, experience and technique, learnt with Binns is obvious in the Lightcliffe organ. Although his style of building and quality of workmanship was similar to Binns, there were of course substantial differences particularly with regard to pipework and especially his use of German made stops of special character, in addition to his own substantial pipes. A high proportion of the pipework in the Lightcliffe instrument was imported from Laukhuff in Germany.
Work carried out during the 1993 rebuild:
The organ was dismantled on February 22. 1993, and work was completed
on September 17. 1993, two days before the Rededication Service.
The organ was stripped down for complete cleaning and overhaul. The pipe chests, drawstop actions, manual underactions, key boards, pedal board, stop jambs and tremulants were taken back to the works for adaptation and electrification of primary actions.
The 1924 key and pedal action pneumatic systems were discarded and a new Solid State Note Switching system fitted together with a new Capture system piston action.
Over the years the Great Principal chorus had lost a lot of its original character. They are now significantly brighter, thanks to thorough cleaning and the addition of the new Mixture.
The Great Grave Mixture (formed by Hill, Norman and Beard) was returned to its original state as independent Twelfth and Fifteenth ranks. [This is a slight deviation from the original scheme. It was discovered that Hill, Norman and Beard had simply blocked together the original Twelfth and Fifteenth slides to create the Grave Mixture. Thus, it was a simple task to return these to independent operation.]
The Swell Mixture was recast to a composition of 15:19:22, thanks to the generosity of an anonymous benefactor. [The proposed conversion of the Oboe to 16ft was not carried out due to two factors: (a) the finding of extra funds was not possible, and (b) the Swell Box would have needed building out by about 100mm, which was not practicable.]
On the Great, the Corno Dolce was removed, and new Mixture, of 19:22:26 composition, was installed. [Although the Corno Dolce was an unusual stop, which some may feel should have justified its retention, it was of little use in the instrument and the opportunity of adding the new Mixture could not be missed.]
On the Choir, the Larigot was moved to the Dulciana soundboard, that stop being removed altogether. A Clarinet, sadly not the original Andrews, was placed on the former Larigot slide. As a result, the Larigot is now a Tenor C stop. [Note, this deviates from the suggested scheme of removing the Larigot and adding a Sesquialtera. The organists felt that the Larigot was a far more useful stop on this instrument, and is more in keeping with the overall sound of the Choir division. Although the Larigot and Block Flute were additions after the neo-classical school, they do work surprisingly well.] The Claribel Flute was renamed Vienna Flute. Each pipe of this rank is labelled Vienna Flute, though the stop knob and specifications have always used the former name.
The Choir Organ reservoir was repaired; all other reservoirs were releathered throughout. New solenoid slider actions replaced the old Hill, Norman & Beard pneumatics.
The rededication by the Bishop of Pontefract, Revd. John T. Finney, took place on September 19, 1993, the Patronal and Dedication Festival of the Church. The inaugural Organ Recital was given by Philip C. Tordoff, M.A. (Cantab.), F.R.C.O., Organist of Halifax Parish Church, and J. William Kay, on December 10, 1993.
Notable Features.
Stops of interest:
The Echo Gamba is a particularly well voiced example of its genre. The bold string quality is retained throughout the rank, making it a useful solo stop. It works well with the Tremulant, which is quite light and slow, and with the Voix Celestes or Rohr Flöte.
The Rohr Flöte itself is a beautifully voiced rank, with much clarity in the bass and middle registers, and a bright chirpiness in the upper register. [Note: some new Binns pipework replaced damaged Andrews pipework in the upper octaves in the 1993 rebuild.]
The Vienna Flute is a very rare stop, and is a development of earlier Orchestral Flute ranks. The mouth is round, and the wind is blown across the mouth as in the orchestral instrument. It is a beautiful rank which works well as a solo or foundation stop.
The Flauto Traverso is, like the Vienna Flute, well-voiced, with a very clear and bright tone, unlike the dull examples which are found all too often in instruments of this period.
The Trumpet unit (present on the Choir at 8ft, and 16ft, 8ft and 4ft on the Great) is placed at the very front of the main case on its own soundboard. It is an extremely loud rank (voiced boldly and brightly) in comparison with the rest of the instrument, and as such works best as a solo stop. However, when perfectly in tune, it adds power and gravitas to a full organ chorus. Even then, it does not overpower the congregation and choir. The Pedal Trombone (the bass of which forms the bottom octave of the Double Trumpet) is a German rank. It speaks quickly, and each note is clear and well-defined. It is not overpowering and can be used with half organ upwards.
The Great Bourdon is an independent rank, not borrowed or extended as is often the case. It adds texture to the full Great chorus, though without making the sound muddy. It is also very chirpy and flutey in the top two to three octaves, and can be used as a nice solo stop. It combines well with the Echo Gamba.
The Swell Horn is bright and resilient, though it is not overly loud. It adds well to the flue chorus to form the English Full Swell sound, and also works well as a solo rank. The Oboe is a singing and lyrical stop which sounds particularly well when used with the Echo Gamba and Tremulant. It also allows for a miniature English Full Swell to be formed, and adds well to the English Full Swell.
The Choir Viol dOrchestra is made of tin. It has a hard, strong and striking tone, completely unlike the romantic examples of, say, Harrison & Harrison. It works well as a solo stop, but with discretion can be used to add to combined chori of Great and Choir.
Other features.
Unusually, there is a set of 6 ventil controls just inside the
organ case, which the organist can use to shut-off various sections
of the organ in the event of a cipher. Ventils are provided for:
Pedal Trombone, Pedal Open Diapason, Swell Bass, Great Bass, Tromba
unit, Bourdon.
Both expression boxes are operated mechanically. In the case of the Swell box this is not unusual. It might be expected that the Choir box at the opposite side of the church from console operates electrically or by some other transmission system, but this is not the case. An ingenious system of levers runs from behind the console, under the church floor and finally up the side of a pillar in the Chancel to operate the Choir box. The system is a testimony to Andrews skills - there is no jerkiness, unevenness or heaviness in the mechanism, which operates just as well as the more conventional mechanism controlling the Swell box.
Organ Repertoire.
Owing to the presence of much German-oriented pipework within
the Lightcliffe instrument, it can cope better than many other
church organs throughout the region with the German Baroque repertoire,
basically because of the uncommon brightness and silveryness of
the Great Principal Chorus. The Choir organ can also form a useful
small chorus for such music by using the Vienna Flute, Gemshorn,
Blockflute and Larigot. The Choir Open Diapason does not blend
too well with the enclosed division. It is the Pedal division
which lets the instrument down in performances of the larger-scale
works of the period, though the German Pedal Trombone does blend
well. It should be noted that the Swell and Choir divisions can
both be added with some success to the Pedal to augment that division.
In addition, the organ contains some beautiful Romantic voices, allowing successful performances of much of the Romantic repertoire, although not as successfully say, as the organ in Halifax Parish Church, because of the high content of German pipework.
Not a great deal of modern music has been performed on this instrument, though visiting recitalists have played works by Langlais and his contemporaries. The organ copes quite well with such music, basically because of the German voicing of much of the instrument. The 1980 Larigot and Blockflute have proved very useful in this field.
Accompanimental Use.
Of course, this instrument was designed primarily for choral and
congregational accompaniment. This task it has always performed
well, providing a wide range of colours allowing for much variety
in the accompaniment of the Choir in anthems and psalms. The large
stop-list also allows for successful accompaniment of both large
and small congregations. The addition of the multilevel piston
system in 1993 has further enhanced the organs flexibility, allowing
quick and very diverse changes of registration to be made.
Overall success.
All in all, the organ is very successful. As well as proving an
excellent instrument for accompaniment, it also copes well with
much of the organ repertoire. Today, it possesses a fast and precise
action, and is a very flexible instrument. It is used regularly
throughout the week, and thankfully the clergy and congregation
value it greatly. The organ contains some excellent pipework which
thankfully has remained largely untouched. It is a credit to William
Andrews, and to Wood of Huddersfield, whose rebuild last year
will, I am sure, be regarded by future organists as the most successful:
it has greatly improved the speech of the instrument and enhanced
its tonal flexibility. The organ is now far more useful and useable
than ever before.
Notes on the specifications.
Compass: The Compass has always been: Manuals - 61 notes, pedals
- 30 notes
Swell Mixture: The drawstop was engraved IV rks until 1993, and was recorded as such on all specifications. However, it is known that from 1980 it contained only three ranks. There is no evidence as to whether it ever actually contained four ranks, though it is unlikely. It is recorded as IV in all of the following pre-1993 specifications.
Corno Dolce (1905-1993) : Referred to as a Corno Flute in all Hill, Norman & Beard documentation.
Choir Tuba (1905-1980): In their records of the 1905 organ, Hill, Norman & Beard record this as an 8ft rank, rather than the 16ft printed in Andrews' catalogue. The latter is assumed to be accurate, and is the version used here.
Choir Salicional (1905-1980) & Open Diapason (1980 onwards):
This is unenclosed, the pipes forming the south frontage. The
rest of this division is enclosed.
GREAT ORGAN Bourdon 16 Wood Large Open Diapason 8 Spotted Metal Small Open Diapason 8 Spotted Metal Corno Dolce 8 Spotted Metal Hohl Flöte 8 Wood Principal 4 Spotted Metal Harmonic Flute 4 Spotted Metal Twelfth 2 2/3 Spotted Metal Fifteenth 2 Spotted Metal Contra Tromba 16 Metal & Wood Tromba 8 Metal Clarion 4 Metal |
SWELL ORGAN Lieblich Bourdon 16 Wood & Metal Geigen Principal 8 Spotted Metal Rohr Flöte 8 Wood & Metal Spitz Flöte 8 Spotted Metal Echo Gamba 8 Spotted Metal Voix Celestes (T.C.) 8 Spotted Metal Geigen Principal 4 Spotted Metal Wald Flöte 4 Wood Mixture IV Spotted Metal Oboe 8 Metal Horn 8 Metal |
CHOIR ORGAN Salicional 8 Spotted Metal Dulciana 8 Spotted Metal Claribel Flute 8 Wood Viol dOrchestra 8 Tin Flauto Traverso 4 Spotted Metal Gemshorn 4 Spotted Metal Cor Anglais 8 Metal Clarionet & Bassoon 8 Metal Tuba (from Great) 16 Metal |
PEDAL ORGAN Open Diapason 16 Wood Sub Bass 16 Wood Echo Bourdon 16 Wood Quint 10 2/3 Wood Principal 8 Wood Flute Bass 8 Metal & Wood Trombone 16 Metal & Wood |
COUPLERS Swell to Great Swell to Choir Choir to Great Swell Octave Swell Sub-Octave Swell to Great Octave Swell to Great Sub-Octave Choir Octave Choir Sub-Octave Choir to Great Octave Choir to Great Sub-Octave Swell to Pedal Great to Pedal Choir to Pedal RESERVOIRS 1 for Swell: 3.5in. wind 1 for Great: 3.5in. wind 1 for Great reeds: 6in. wind 1 for Choir: 3in. wind 1 for Pedal Open Diapason: 4in. wind 1 for Composition Action: Vacuum 1 for Drawstop Action: Vacuum |
ACCESSORIES 4 Composition Pedals: Great & Pedal 4 Composition Pedals: Swell 1 Composition Pedal: Pedal (Soft) 1 Piston: Great Reeds 3 Pistons: Choir (Adjustable) 1 Piston: Swell & Great Octaves (Reversible) 1 Piston: Great to Pedal (Reversible) Swell Tremulant Choir Tremulant Complete hydraulic blowing plant of 2 engines and 5 feeders. Wesley-Willis scale pedalboard Spotted metal front pipes Solid ivory drawstops Tubular Pneumatic Action throughout. Composition & Drawstop action: Vacuum. |
GREAT ORGAN Bourdon 16 Large Open Diapason 8 Small Open Diapason 8 Corno Dolce 8 Hohl Flöte 8 Principal 4 Harmonic Flute 4 Grave Mixture II (12:15) Tromba 8 |
SWELL ORGAN Lieblich Bourdon 16 Geigen Principal 8 Rohr Flöte 8 Spitz Flöte 8 Echo Gamba 8 Voix Celestes (T.C.) 8 Geigen Principal 4 Wald Flöte 4 Mixture IV Oboe 8 Horn 8 |
CHOIR ORGAN Salicional 8 Dulciana 8 Claribel Flute 8 Viol dOrchestra 8 Flauto Traverso 4 Gemshorn 4 Cor Anglais 8 Clarinet 8 Tuba 8 |
PEDAL ORGAN Open Diapason 16 Sub Bass 16 Echo Bourdon 16 Quint 10 2/3 Principal 8 Flute Bass 8 Trombone 16 |
COUPLERS (Grouped Together) Swell to Great Swell to Choir Choir to Great Swell Octave * Swell Unison Off * Swell Sub-Octave * Choir Octave * Choir Sub-Octave * Choir Unison Off * Swell to Pedal Great to Pedal Choir to Pedal * denotes grouped departmentally |
PISTONS Swell Slip: Swell 1 2 3 4 Great Slip: Great to Pedal 1 2 3 4 5 Choir Slip: Choir 1 2 3 4 Toe, Bass End (Left to Right) Sw 4 3 2 1 G/P Toe, Treble End (Left to Right) Gt 1 2 3 4 5 |
GREAT ORGAN Bourdon 16 Large Open Diapason 8 Small Open Diapason 8 Corno Dolce 8 Hohl Flöte 8 Harmonic Flute 4 Principal 4 Grave Mixture II (12:15) Trumpet 8 |
SWELL ORGAN Lieblich Bourdon 16 Geigen Principal 8 Rohr Flöte 8 Spitz Flöte 8 Echo Gamba 8 Voix Celestes (T.C.) 8 Geigen Principal 4 Wald Flöte 4 Mixture IV Oboe 8 Horn 8 Tremulant Octave Sub Octave Unison Off |
CHOIR ORGAN Open Diapason 8 Claribel Flute 8 Dulciana 8 Viol dOrchestra 8 Flauto Traverso 4 Gemshorn 4 Block Flute 2 Larigot 1 1/3 Trumpet 8 Tremulant Octave Sub Octave Unison Off |
PEDAL ORGAN Open Diapason 16 Sub Bass 16 Echo Bourdon 16 Quint 10 2/3 Principal 8 Flute Bass 8 Trombone 16 |
COUPLERS (Grouped together) Choir to Great Swell to Great Swell to Choir Swell to Pedal Great to Pedal Choir to Pedal |
PISTONS Swell Slip: Swell 1 2 3 4 Great Slip: Great to Pedal 1 2 3 4 5 Choir Slip: Choir 1 2 3 4 Toe, Bass End (Left to Right) Sw 4 3 2 1 G/P Toe, Treble End (Left to Right) Gt 1 2 3 4 5 |
GREAT ORGAN Bourdon 16 Large Open Diapason 8 Small Open Diapason 8 Hohl Flöte 8 Harmonic Flute 4 Principal 4 Twelfth 2 2/3 Fifteenth 2 Mixture 19-22-26 Double Trumpet 16 Trumpet 8 Clarion 4 |
SWELL ORGAN Lieblich Bourdon 16 Geigen Principal 8 Rohr Flöte 8 Spitz Flöte 8 Echo Gamba 8 Voix Celestes 8 Geigen Principal 4 Wald Flöte 4 Mixture 15-19-22 Oboe 8 Horn 8 Tremulant Octave Sub Octave Unison Off |
CHOIR ORGAN Open Diapason 8 Vienna Flute 8 Viol dOrchestra 8 Flauto Traverso 4 Gemshorn 4 Block Flute 2 Larigot 1 1/3 Clarinet 8 Trumpet 8 Tremulant Octave Sub Octave Unison Off |
PEDAL ORGAN Resultant Bass 32 Open Diapason 16 Sub Bass 16 Echo Bourdon 16 Principal 8 Flute Bass 8 Trombone 16 |
COUPLERS (Grouped departmentally) Choir to Great Swell to Great Swell to Choir Swell to Pedal Great to Pedal Choir to Pedal Great and Pedal Combinations Coupled Generals on Swell Toe Pistons CAPTURE SYSTEM 8 Levels of piston memory. Combined Divisional and General memories Multilevel System by S.S.L. |
PISTONS Swell Slip: S/P 1 2 3 4 5 6 7 8 G5 G6 G7 G8 Great Slip: C/G S/G G/P 1 2 3 4 5 6 7 8 G1 G2 G3 G4 Choir Slip: Set S/C C/P 1 2 3 4 5 6 Gen. Can. Toe Pistons: Treble end: 8 to Pedal (or Gt & Ped.) & G/P Bass end: 8 to Swell or Generals & S/G G1, G2 etc... denotes General Piston 1, 2 etc... All coupler pistons are reversible. |
