JULIAN RHODES' DREAM ORGANS
THE QUEST FOR VERY LARGE ORGANS The quest for very large organs is not new. Marking points on the journey include Amiens Cathedral, with 2500 pipes by 1422; the Castle Church at Prague, with 4 manuals and 74 stops by 1588; Ulm Minster, with 100 stops in 1856; and the Royal Albert Hall, London, with 111 stops in 1871.
Today the world's largest organs are in the USA. Each of the 'big three' is strongly individual: the clean, majestic lines of Atlantic City; the teeming, labyrinthine detail of West Point; the warm inclusiveness of the Wanamaker organ. Each has influenced my Liber Organum.
The desire for very large organs has a number of motives. Civic and ecclesiastical pride have played their part, as has the need to project sound in a large building. The desire for a complete tonal palette goes hand in hand with that peculiar richness of sound given by large numbers of pipes sounding together. Stephen Bicknell wrote, on hearing the organ at St. Sulpice: "This tutti is a sound of unbelievable complexity: the ear hears so many consituent components that the mind is dazzled." William H. Barnes, writing about the Wanamaker organ, said: "One of its most satisfying features is the richness and mellowness of tone that is produced by hundreds of stops voiced with a moderate degree of power. The wealth of tonal texture is indescribable."
DESIGNING LIBER ORGANUM During a period of enforced convalescence in 1989 I toyed with the idea of drawing up an organ stoplist which carried all tonal possibilities to a logical conclusion. The first draft totalled 2,295 stops in 73 divisions played from 7 manuals. A second draft doubled this size. It became apparant that I was constructing a stoplist which was utterly impractical from all normal points of view. It would in effect be impossible to build. It could not realistically be housed anywhere, nor could it be kept in tune. Its extremes of pitch and volume would be incompatible with human hearing. I therefore proceeded with my organ-dream quite without restraint, and a third draft doubled the size of the organ once more. Former subdivisions were expanded and divided, new ones created. The fourth draft, completed in 1995, is the current Liber Organum. It is a more coherent, more colourful remodelling of its predecessor, somewhat reduced in size. All possibilities are far from exhausted, but it seems an appropriate place at which to halt.
This stoplist is that of an 'invisible organ'. Although it will not be made manifest, its structure and concepts are nonetheless real. They may be played upon by the mind of the reader. Moving beyond the bounds of physical possibility, it becomes its own musical cosmos.
GUIDING PRECEPTS FOR THE DESIGN
1. That exploration and development should be pursued without respect for traditional bounds
and thus2. That there should be no limit on size.
3. That traditional concepts and role-models should be a starting point for the main structures
but equally4. That new tonal resources should be introduced
and5. That extra-musical and philosophical symbolism should be incorporated.
6. That duplication should be avoided as far as possible.
7. That it should not be merely eclectic, a compendium of diverse features past and present
and therefore8. That it must have unity of purpose
and also9. That despite its size it should maintain measure, balance and proportion in all its parts.
GENERAL NOTES The registers of Liber Organum are distributed among twelve levels, which have a tenuous connection with normal manual divisions, and form a ladder from lowest to highest, thus:
Avernus Most levels contain several subdivisions. Some are derived from traditional types of manuals and divisions; others are entirely new. For example, the 'Atrium' level includes subdivisions resembling traditional Positive and Choir models, but also 'Chamois' and 'Iridian' sections which are unlike anything extant.
Styx
Terrene
Inceptual
Atrium
Median
Resonance
Nebula
Belvedere
Corona
Aerial
Celestial
In most cases, traditional division-types are expanded far beyond normal limits. For example, the Positive subdivision of the Atrium level is itself divided into 12 sections. Two of these include metal and wood principal choruses from 32' to 1/32' as well as other voices; they each have some 170 stops. Pedal sections are located on all levels throughout the instrument.
While each level is complete within itself, the organ is conceived as a whole: its tonal families and colours are echoed and developed throughout the various levels.
The stoplist contains many new stop-names. A selection of these is defined below. Many are taken from ancient and non-European musical instruments. Names from non-European languages have usually been Anglicised.
Throughout the stoplist, f = flat; n = natural; sh = sharp; sl. = slightly; v. = very.
In mixture specifications, if 'f' or 'sh' precedes the pitch of a rank, a semitonal change is meant.
If 'f' or 'sh' follows the pitch of a rank, detuning to form a celeste beat is meant.The following account does not describe every division and subdivision. Brief extracts from the stopist are included.
1. AVERNUS LEVEL
(76 stops)This name was given by the Romans to a lake in Campania, believed to be the entrance to the underworld.
This division is located in a well beneath the floor, and is subterranean in spirit. Ranks include:
CHOEUR HADES: A 3-rank Vox Humana(flat, natural &sharp). Muted, throaty tone.
DOMDANIEL: A thin, hard-toned trumpet. The name, from the Latin 'Domus Danielis', is that of a mythological submarine hall where a magician met with his acolytes - the "infernal cave" of Carlyle.
2. STYX LEVEL
(161 stops)'Styx' is the name of the mythological river flowing between earth and the underworld.
This level is located between Avernus and Terrene levels, in a well to the rear of, and slightly above, Avernus.
There are Fluxit, Vox, Flauto and Chamada divisions, the latter including:
DMUZZI: A virile-toned chamade-horn. This Babylonian name is that of the God Tammuz, who returns to the earth from the underworld each spring.
3. TERRENE LEVEL
(107 stops)This name, from Milton's 'Paradise Lost' (VI-78) means 'of the earth'.
There is much earth symbolism in the stop-names, which include:
AVICINIUM: A colouring mixture. The name, which means 'birdsong' in Latin, has sometimes been given to 'toy' bird-stops.
FISTULA RURESTRIS: A rustic-toned oboe. The name means 'rural pipe' in Latin.
VOX VINOLATA: A bucolic, bubbly Vox Humana. The name comes from the Latin 'Vinolentus', meaning 'drunken'. (Lund Cathedral - Strand 1836)
AQUARELLE: A mild, neutral-toned Dulciana. The name is French for 'water-colour'.
TERRENE LEVEL - LOWER I 16 Flute du Terre 8 Brown Earth 8 Wald Horn 8 Flute du Terre 8 Green Grass II 5 1/3 Earth 5th 4 Loamy Earth 4 Flute du Terre 2 2/3 Earth 12th 2 Fertile Earth III Wald Cornet 12.15.17 IV Growing Earth 19.22.26.29 16 Country Horn 8 Country Horn II 8 Whole Earth 8 Heath Flute 4 Whole Earth 4 Field Flute 2 2/3 Flute 12th 2 Whole Earth 2 Forest Flute 1 1/3 Flute 19th 1 Shepherds Flute IV Avicinium 24.26.f28.36 8 Fistula Rurestris 4 Hemiol III 2 Merula III Vox Vinolata 16'.1sh.5 8 Krum Horn chamada: 8 Stag Horn TERRENE LEVEL - PEDAL: LOWER 32 Root Flute 16 Fond du Terre 16 Trunk Flute 16 Salicis 10 2/3 Terre 5th 8 Fond du Terre 8 Branch Flute II Terre Quartan 12.15 2 Leaf Flute III Terre Ripieno 32 Bass Crook Horn 16 Baritone Crook Horn 16 Fagus 8 Tenor Crook Horn
4. INCEPTUAL LEVEL
(122 stops)The name means 'that which begins'.
This level contains recreations of ancient organ-types, forming a bridge between the symbolic realms of the lowest three levels and the main body of the instrument. Registers include:
MAGREPHA: An instrument used in Jewish worship in old-testament times. Possibly a kind of bagpipe, it has also been claimed as an early organ. Here it is a 3-rank Musette.
RHYTUM: The mechanically-blown Greek war-horn, with its single strident reed pipe.There are Hydraulus and Byzantine chests among others.
INCEPTUAL LEVEL - LOWER IV Magrepha IV Mashroquitha III Ktesibios (8'open. 8'stopped. 8'reed) IV Pneumatica (open: 8.15 stopped: 1.8.15 reed: 8) 8 Earth Sheng 8 + 5 1/3 Copper Rhytum 2-16 Sheng (breaking) 16 + 8 + 4 Horn Rhytum 8 Sheng 8 + 3 1/5 Brass Rhytum 4 Sheng 8 Harmonic Sheng INCEPTUAL LEVEL - PEDAL: LOWER 16 Sheng 16 + 8 Rhytum
5. ATRIUM LEVEL
(1337 stops)The name is an architectural term meaning a court or portico; this level is so called because of its role as a 'portico' to the main body of the instrument above it.
The Loggia division, like those throughout the organ, is a chest which stands at the front of the level and comprises a tonal cameo of specialised/original ranks. Here, they evoke a warm, Spanish night, with such names as Luna Roja, Olive Horn, Andaluza, and Zampa.
The Iridian division (the name means 'rainbow-hued', from Iris, the Greek goddess) includes:
The Lamprine division is comprised of chamade reeds; the name means 'glowing', from the Latin 'Lampyris', a glow-worm. It includes:PHOENICE: An undulating harmonic-flute pair of gentle timbre. The name is an old Greek term for the constellation Ursa Major.
OCCULUS: An undulating narrow-scale open-flute pair of soft, bright timbre. The name is a Latin term for the constellation Corona Borealis.
There are also several Positive and Choir sections, as well as Dolcan, String and Vox divisions.AZZANGO: A brilliant chorus-mixture. The name means 'cymbal' in Persian.
XIPHIAS: A thin-toned trumpet. The name, mentioned in Smart's "Song to David" (1763), is a 17th-century term for the constellation Dorado and means 'swordfish'.
ASTERION: A glittering chorus-mixture. The name means 'starry' in Latin.
XARAMELLAT: A brassy shawm, for which instrument this is the Portuguese name. (Lérida Cathedral - Tellez 1544)
ATRIUM LEVEL - CHOIR CHORUS Left: 16 Flauto Tenore II all stops n+n, open wood 8 Flauto Soprano II 8 Flauto Soprano II 4 Flauto Descant II 2 Flautino II 1 Flautinissimo II Centre: 16 Choral Diapason III 8 Choral Diapason Forte IV 8 Choral Diapason Dolce III 8 Flauto Triangolare 8 Viola d'Amore II n+sh 4 Choral Diapason III 4 Flauta Basca 2 2/3 Choral Diapason 12th 2 Choral Diapason III Triuna 12.15.17 VIII Jeux 17.19.22.24.26.f28.29 8 Chalumeau à Cheminée 16 Choralbrass 8 Choralbrass 4 Choralbrass 8 Cor de Paix Right: 16 Tibæ Serranæ II all stops n+sh 8 Tibæ Serranæ II 4 Tibæ Serranæ II 2 2/3 Tibæ Serranæ II 2 Tibæ Serranæ II 1 Tibæ Serranæ II
6. MEDIAN LEVEL
(1998 stops)The name means 'placed in the middle'; this level forms the heart of the instrument.
The Loggia division is called 'Temenos' (meaning a sacred enclosure) and is a musical illustration of certain philosophical concepts illustrated by Robert Fludd (1574-1637) and Athanasius Kircher (1602-1680), including the 'world monochord' and the organ of the 7 days of creation.
In the Great sections, the Centre division is augmented by Upper and Lower divisions (emphasising high and low pitches respectively) and expanded by Left and Right divisions. This 5-fold structure is an expression of Pythagorean and ancient Egyptian number symbolism.
Great Centre has the following 8' diapasons:
8 Diapason Magna 1 8 Diapason Magna 2 8 Diapason Major 3 8 Diapason Major 4 8 Diapason Major 5 8 Diapason Median 6 8 Diapason Median 7 8 Diapason Temenos 8 8 Ordinance 8 Diapason Temenos 9 8 Diapason Median 10 8 Diapason Median 11 8 Diapason Minor 12 8 Diapason Minor 13 8 Diapason Minor 14 8 Diapason Minima 15 8 Diapason Minima 16There are also 8 Voce Umanas, 5 strings and 6 flutes, and a total of 83 independent diapasons from 64' to 1/4', 8 chorus mixtures and 8 colouring mixtures. There are 24 reed stops, some with two ranks, from 32' to 1', and several reed mutations.
Swell is divided into 4 sections, each emphasising different tonal colours. Other divisions include Solo, Piano and String.
Bastarda ('crashing' in Latin), comprises:
ZUBAN: A gutsy, full-toned reed. The name means 'claw' in Arabic.
KHAZDUM: A rough, piercing reed. The name means 'scorpion' in Persian.
HUTABHUJ: A fierce-toned reed. The name means 'devourer of the sacrifice' in Hindi.
LESATH: A biting-toned reed. The name is from the Arabic 'Al Las'ah', meaning 'the sting.'
MEDIAN LEVEL - TEMENOS: KIRCHER 2 Harmonia I diei 2 2/3 Harmonia II diei 4 Harmonia III diei 5 1/3 Harmonia IV diei 8 Harmonia V diei 16 Harmonia VI diei× L'Universal est lui-même
MEDIAN LEVEL - TEMENOS: FLUDD 8 Monochordon Mundi 8 Unison 4 Diapason 5 1/3 Proportio Sesquialtera 2 2/3 Diapente 4 Proportio Dupla 2 Disdiapason 2 10/11 Proportio Sesquitertia 1 5/11 Diatessaron 2 Proportio Tertia
¤ The Ark of Gnosis
MEDIAN LEVEL - SOLO CENTRE IV-VI Grand Diapasons 1.1.1.8 / 1.1.1.1.8.8 8 Flauto Rex III Crystal Clarions 1.8.8. (unencl.) 8 Stentor Celeste III-VI f+n+sh / v.f+f+n+n+sh+v.sh III-V Grand Octave 8.8.15 / 8.8.8.15.15 4 E Cho (unencl.) IV Hexquialtera 8.12.15.17 XV Chromelodeon 16'.1.4.5.7.8.f10.12.13 14.15.f17.19.21.22 XXVII Cascade 3.5.8.8.10.12.15.15.17.19.f21.22.22.24.26 f28.29.29.31.33.36.38.40.43.45.47.50 8 Parthenia IV 16 Karnifera 8 Magha 8 Karnifera 4 Karnifera
7. RESONANCE LEVEL
(1333 stops)This level contains divisions which complement and expand the possibilities of the Median level.
The Grand Chorus and Eclat divisions are in effect 'super Great' and 'super Swell' sections.
Stridor has one section of diapasons and mixtures, and three sections of chorus and chamade reeds. Its stops include:
The String divisions include the following families of Viol tone:ATORAGE: A mixture. The name is from 'Al Thurayya', meaning 'several small parts' in Arabic.
GISBANAMRUSARPAN: These reed pipes are arrayed like radiating spokes, forming a circle. This Babylonian name means 'the shining disk in the front'.
MARUSHAPUUMASHMASHU: A rich, commanding chamade-horn. This Babylonian name means 'the front mouth of the twins', here referring to the location of the pipes in the facade.
MASTABBATURTUR: A fairly unassertive 2-rank reed stop. This Babylonian name means 'the little twins'.
PAPILSAK: A brassy, commanding trumpet. This Akkadian name means 'sceptre' or 'great fire'.
ARKUSHAPUUMASHMASHU: A rich, firm trumpet. This Babylonian name means 'the rear mouth of the twins', here referring to the location of the pipes behind the facade.
There are three String divisions: no.1 with 8' stops; no. 2 with stops from 32' to 1',including quint and tierce harmonics; no. 3 with stops from 128' to 1/2', including septième, none and onza harmonics.- di Concerto
- di Ripieno
- Acuta
- Sorda
- Rico
- Dolce
RESONANCE LEVEL - LOGGIA 8 Block Flute 8 Bladder Pipe 4 Clear Flute 4 Ivory Pipe 2 Lovebird 1 1/3 Quint Pipe IV Ciderne 8.12.16.sh18 IV Bazuk 5.f9.12.f15 IV Ciderne 15.19.21.sh23 IV Bazuk 12.f16.19.f22 16 Phagotum 16 Tournebout 8 Phagotum 8 Tournebout 8 Tiorba 8 Vulgaris 4 Phagotum 4 Tournebout 8+8 Black Cornett 8+8 White Cornett RESONANCE LEVEL - ECLAT LEFT 32 Tibia Plena 32 Harmonic Gemshorn 16 Tibia Plena 16 Tibia Cuspida 16 Harmonic Gemshorn 16 Harmonic Gemshorn flat 16 Horn 16 Doppelquintade 10 2/3 Tibia 5th 8 Tibia Plena 8 Tibia Armonica 8 Tibia Cuspida 8 Tibia Mollis 8 Tibia sharp 8 Tibia flat 8 Stentor Gemshorn 8 Harmonic Gemshorn sharp 8 Harmonic Gemshorn 8 Harmonic Gemshorn flat 8 Muted Harmonic Gemshorn 8 Muted Harmonic Gemshorn flat 8 Horn 8 Doppelquintade 8 Flute Courte 5 1/3 Tibia 5th 5 1/3 Harmonic Gemshorn 5th 4 Tibia Plena 4 Tibia Cuspida 4 Harmonic Gemshorn 4 Harmonic Gemshorn flat 4 Muted Harmonic Gemshorn 4 Horn 4 Doppelquintade 4 Flute Courte 3 1/5 Tibia 10th 2 2/3 Tibia 12th 2 2/3 Harmonic Gemshorn 12th 2 2/3 Doppelquintade 12th 2 Tibia Plena 2 Tibia Cuspida 2 Harmonic Gemshorn 2 Harmonic Gemshorn flat 2 Doppelquintade 1 3/5 Tibia 17th 1 3/5 Harmonic Gemshorn 17th 1 1/3 Tibia 19th 1 1/3 Harmonic Gemshorn 19th 1 Tibia Plena 22nd 1 Tibia Cuspida 22nd 1 Harmonic Gemshorn 22nd 1 Doppelquintade 22nd IV Tibia Pleno 5.8.12.15 IV Tibia Pleno 12.15.19.22 IV Tibia Pleno 19.22.26.29 II Tibiaton f7.10 II Tibiaton f14.17 II Tibiaton f21.24 VI Gemsarmonia 10.12.15.17.19.22 II Paletta 12.f16 II Paletta 19.f23 16 Oboe Shawm 8 Clarinet Pileata 8 Oboe Shawm 8 Grunge 4 Oboe Shawm 16 Menschenstimme 8 Menschenstimme 8 Menschenstimme sharp 4 Menschenstimme 64 Cor Harmonique 32 Cor Royale 32 Cor Harmonique 21 1/3 Zink 5th 16 Cor Royale 16 Cor Harmonique 16+16 Zinks II 10 2/3 Cor Harmonique 5th 8 Cor Royale 8 Cor Harmonique ac. 8 Cor Harmonique gr. 8+8 Zinks II 8 + 3 5/9 Zinks II 1/4 - 8 Zink breaks back at middle C 6 2/5 Zink 3rd 5 1/3 Cor Harmonique 5th 4 Cor Royale 4 Cor Harmonique 4 + 4 Zinks II 3 1/5 Cor Harmonique 10th 2 2/3 Cor Harmonique 12th 2 Cor Royale 2 Cor Harmonique 2 + 8/9 Zinks II 1 3/5 Cor Harmonique 17th 1 1/3 Cor Harmonique 19th 1 Cor Harmonique 22nd 4/5 Zink 24th 2/3 Zink 26th 1/2 Cor Harmonique 29th RESONANCE LEVEL - ECLAT RIGHT 32 Montre 16 Montre 16 Montre Conique 16 Flûte à Pavillon 16 Flûte à Pavillon sharp 16 Grand Gamba 16 Grand Gamba sharp 10 2/3 Montre 5th 8 Montre 1 8 Montre 2 8 Montre Conique 8 Montre à Pavillon 8 Montre sharp 8 Flûte Fondamentale 8 Flûte à Pavillon sharp 8 Flûte à Pavillon 8 Flûte à Pavillon flat 8 Doppelrohrgedackt wood 8 Grand Gamba sharp 8 Grand Gamba 1 8 Grand Gamba 2 8 Grand Gamba flat 6 2/5 Montre 3rd 5 1/3 Montre 5th 5 1/3 Flûte à Pavillon 5th 4 Montre 1 4 Montre 2 4 Montre Conique 4 Flûte à Pavillon 4 Flûte à Pavillon sharp 4 Doppelrohrgedackt 4 Grand Gamba 4 Grand Gamba sharp 3 1/5 Montre 10th 2 2/3 Montre 12th 2 2/3 Flûte à Pavillon 12th 2 2/3 Grand Gamba 12th 2 Montre 2 Montre Conique 2 Flûte à Pavillon 2 Grand Gamba 1 3/5 Montre 17th 1 3/5 Flûte à Pavillon 17th 1 3/5 Grand Gamba 17th 1 1/3 Montre 19th 1 1/3 Flûte à Pavillon 19th 1 Montre 22nd 1 Flûte à Pavillon 22nd 4/5 Montre 24th 2/3 Montre 26th 1/2 Montre 29th 1/3 Montre 33rd 1/4 Montre 36th V Pleno 12.15.17.19.22 V Pleno 19.22.24.26.29 V Pleno 26.29.31.33.36 V Pleno 33.36.40.43.45 IV Cymbale 36.43.47.50 IV Cymbale 43.50.54.57 II Tient sh19.f21 II Tient sh26.f28 III Armonia 6.8.10 III Armonia 13.15.17 III Armonia 20.22.24 16 Riem 8 Heckel Clarinet 8 Heckel Musette 8 Riem 8 Pommer Shawm 4 Riem 16 Anthropoglossa 8 Anthropoglossa 4 Anthropoglossa 64 Cornamusa 32 Post Horn 32 Cornamusa 16 English Post Horn 16 Post Horn 16 Cornamusa 16 Cinq 10 2/3 Post Horn 5th 8 English Post Horn 8 Post Horn ac. 8 Post Horn gr. 8 Cornamusa ac. 8 Cornamusa gr. 8+8 Cinqs II 5 1/3 Post Horn 5th 4 English Post Horn 4 Post Horn 4 Cornamusa 4 Cinq 3 1/5 Cornamusa 10th 2 2/3 Post Horn 12th 2 English Post Horn 2 Post Horn 2 Cornamusa 1 3/5 Cornamusa 17th 1 1/3 Post Horn 19th 1 Post Horn 22nd 1 Cornamusa 22nd 1/2 Cornamusa 29th
7. NEBULA LEVEL
(319 stops)There are many small mutation divisions scattered throughout the organ, but this level is solely an exploration of the possibilities of the harmonic series. It culminates in the division of a semitone into 16 parts. A short extract:
16/31 29th flat 128/249 29th 7-8 flat 64/125 29th 3-4 flat 128/251 29th 5-6 flat 32/63 29th 1-2 flat 128/253 29th 3-8 flat 64/127 29th 1-4 flat 128/255 29th 1-8 flat 1/2 29th 8/17 30th flat 4/9 30th 8/19 31st flat 2/5 31st
7. BELVEDERE LEVEL
(1063 stops)The name is an architectural term meaning a raised turret. Belvedere and Corona levels form the heart of the upper part of the instrument.
The Loggia division contains stops evoking ancient and medieval instruments. Other sections include Positive, Great, Recit, Soave and Stentor.
BELVEDERE LEVEL - LOGGIA Centre XVI Aquilaris (strings: 16'.1.5.8.12.sh13.15 open flutes: 4f.f11.f18 quintadenas: 1.8.12.15) Left Right VIII Psaltery 16' VI Manduria 16' 16'.10 2/3'.1.1. 16'.1.1sh.f3.5.8f 5.f7.10.12 8 Galoubet 8 Aulos 8 Crwth VIII Psaltery 8' 8 Crwth sharp 1.5.8.8.12.f14.17.19 VI Manduria 8' 4 Aulos 1.8.8sh.10f.12.15f VII Psaltery 4' 4 Galoubet 8.12.15.19.f21.24.26 VI Manduria 4' 2 Aulos 8.15.15sh.f17.19.22f VI Psaltery 2' 2 Galoubet 15.19.22.26.28.31 8 Bladder Reed BELVEDERE LEVEL - POSITIVE LEFT 32 Baryton 16 Aequale 16 Wood Fauxbourdon 16 Gems Horn 16 Baryton 16 Baryton flat 8 Aequale 1 8 Aequale 2 8 Canora 8 Flauto Becco 8 Wood Bourdon 8 Gems Horn sharp 8 Gems Horn 8 Baryton sharp 8 Baryton 8 Baryton flat 8 Monochorde à Roue 5 1/3 Wood Nasat 5th 5 1/3 Baryton 5th 4 Aequale 1 4 Aequale 2 4 Canora 4 Flauto Becco 4 Wood Nason 4 Gems Horn 4 Baryton 4 Baryton flat 3 1/5 Gems Horn 10th 2 2/3 Aequale 12th 2 2/3 Wood Nasat 12th 2 Aequale 1 2 Aequale 2 2 Wood Flageolet 2 Gems Horn 2 Baryton 1 3/5 Gems Horn 17th 1 1/3 Aequale 19th 1 1/3 Wood Nasat 19th 1 Aequale 22nd 1 Wood Fife 22nd 4/5 Gems Horn 24th 2/3 Aequale 26th 1/2 Aequale 29th 1/3 Aequale 33rd 1/4 Aequale 36th IV Rep. Mixture 19.22.26.29 IV Rep. Mixture 26.29.33.36 II Klein Zimbalo 40.43 II Klein Zimbalo 47.50 II Klein Zimbalo 54.57 II Mollterz f21.24 II Stir 30.34 III Baryton Armonia 12.f14.15f 16 Dudelsack 16 Nonapipe 8 Trompeta Respalda 8 Photinx 8 Hautbois 8 Septapipe 8 Left Minimapipe 4 Trompeta Respalda 4 Terzpipe 2 Quintpipe BELVEDERE LEVEL - POSITIVE CENTRE 8 Hierodofono 8 Salicionale 18th-century style 8 Flauta Flamenca 8 Petit Viola II n+sh 4 Flauto Hemiol 4 Petit Viole II n+sh III Fortura 8.12.15 III Concerto Flauti 16' n+n+sh III Concerto Flauti 8' n+n+sh III Concerto Flauti 4' n+n+sh II Concerto Flauti 2' n+sh IX Tolosana 1.8.12.f14.15.17.19.f21.22 VI Tolosana en Eco 1.8.12.15.17.19 IX Khamshish 15.19.22.24.26.29.31.33.36 32 Bass Rankett 16 Tenor Rankett 8 Barem 8 Alto Rankett 8 Sordun II Ranketts 3.f7 5 1/3 Rankett 5th 4 Treble Rankett II Ranketts 10.f14 2 2/3 Rankett 12th 2 Soprano Rankett 8+8 Vicackha BELVEDERE LEVEL - POSITIVE RIGHT 32 Gravo stopped 16 Regula 16 Brummbass 16 Tenor Quinton viol 16 Tenor Quinton sharp 10 2/3 Bourdon 5th 8 Regula 1 8 Regula 2 8 Conus 8 Magic Flute 8 Bach Flute 8 Pommer metal 8 Alto Quinton sharp 8 Alto Quinton 8 Alto Quinton flat 8 Salamis 8 Salamis flat 8 Clavimonochordon 5 1/3 Regula 5th 5 1/3 Bourdon 5h 4 Regula 1 4 Regula 2 4 Conus 4 Magic Flute 4 Nachtpipe 4 Treble Quinton 4 Treble Quinton sharp 2 2/3 Regula 12th 2 2/3 Quinton 12th 2 2/7 Bourdon flat 14th 2 Regula 1 2 Regula 2 2 Conus 2 Nachtpipe 2 Haut Quinton 2 Haut Quinton sharp 1 3/5 Regula 17th 1 3/5 Bourdon 17th 1 1/3 Regula 19th 1 1/7 Bourdon flat 21st 1 Regula 22nd 1 Nachtpipe 22nd VIII Maera 1.5.8.12.15.17.19.22 IV Regula Ripieno 19.22.26.29 III Scharf 29.33.36 II Dezima 18.20 II Mollterz f28.31 II Stir 32.35 III Quinton Farber 12sh.f14.17 16 Rohr Dulzian 10 2/3 Dudelsack 5th 8 Clarin del Mar 8 Dudelsack 8 Cromhorne 8 Rohr Dulzian 8 Right Minimapipe 5 1/3 Dudelsack 5th 4 Clarin del Mar 4 Rohr Dulzian 3 1/5 Rohr Dulzian 10th 2 Clarin del Mar 2 Rohr Dulzian BELVEDERE LEVEL - POSITIVE CHAMADAS Centre 32 Tartold 16 Tartold 16 Chazozoroth 8 Tartold 8+8 Chazozoroth 5 1/3 Tartold 5th 4 Tartold 4 Chazozoroth 2 2/3 Tartold 12th 2 Tartold Left Right 16 Wood Kurtal 16 Rohr Shalmey 8 Taratamtara 8 Salpinx 8 Buccan Horn 8 Calamus 8 Wood Kurtall 8 Rohr Shalmey 8 Geigen Kurtall 5 1/3 Salpinx 5th 6 2/5 Kurtall 3rd 4 - 16 Salpinx breaking 4 - 16 Taratamtara breaking 4 Rohr Shalmey 4 Wood Kurtall 3 1/5 Rohr Shalmey 10th 2 Taratamtara 2 Rohr Shalmey BELVEDERE LEVEL - RECIT 16 Geigen 16 Dolce Geigen II f+n 16 Orchestral Cello 16 Orchestral Cello Celeste sharp 16 Tenor Orchestral Flute 16 Chest Flute 16+8 Pleno II 8 Geigen sharp 8 Geigen 1 8 Geigen 2 8 Geigen flat 8 Liebesgeigen 8 Liebesgeigen sharp 8 Dolce Geigen II n+sh 8 Dolce Geigen II f+n 8 Dolcette 8 Orchestral Viola 8 Orchestral Viola Celeste sharp 8 Alto Orchestral Flute 1 wood 8 Alto Orchestral Flute 2 metal 8 Alto Orchestral Flute Celeste sharp 8 Horn Flute 8 Chest Flute 8 Hohlpfeife 8 + 5 1/3 Pleno II 4 Geigen 4 Dolce Geigen II fl+n 4 Dolcette 4 Orchestral Violin 4 Orchestral Violin Celeste sharp 4 Orchestral Flute 1 wood 4 Orchestral Flute 2 metal 4 Cigar Flute 4 + 2 2/3 Pleno II 4+2 Pleno II 3 1/5 Geigen 10th 2 Geigen 2 Dolce Geigen 2 Orchestral Piccolo 2 Ciuffoli Protei 2 + 1 1/3 Pleno II 2+1 Pleno II 1 3/5 Geigen 17th III Pleno Rinforz. 1.5.8 III Pleno Rinforz. 8.12.15 III Pleno Rinforz. 15.19.22 III Pleno Acuta 22.24.26.29 III Pleno Acuta 29.31.33.36 IV Geigen Ripieno 12.15.19.22 IV Geigen Ripieno 19.22.26.29 III Dolce Geigen Armonia 8.10.f14 IV Dolce Geigen Armonia 15.17.f21.22 16 Kinura 16 Physharmonika 8 Conoclyte 8 Kinura 8 Physharmonika 4 Conoclyte 4 Physharmonika 32 Flugelhorn brass 16 Anfar 16 Flugelhorn 16 Scriari 10 2/3 Flugel 5th 8 Anfar 8 Flugelgorn ac. 8 Flugelhorn gr. 8 Scriari 8 Zink 5 1/3 Flugel 5th 4 Anfar 4 Flugelgorn ac. 4 Flugelhorn gr. 4 Scriari 3 1/5 Zink 10th 2 2/3 Flugel 12th 2 Anfar 2 Flugelhorn 1 1/3 Zink 19th 1 Flugelhorn
10. CORONA LEVEL
(1017 stops)The name means 'crown'; this levels crowns the large chorus-sections of the organ.
The Loggia division contains stops evoking ancient Egyptian instruments. Other divisions include Accord, Great, Harlequin, Barocco, String and Coruscation.
CORONA LEVEL - ACCORD LEFT 32 Tolkann 16 Flautado II 16 Suabe Flute 16 Gemsceleste II n+sh 16 Tolkaan 16 Tolkaan flat 8 Flautado II 8 Suabe Flute open wood 8 Flûte à Cheminée metal 8 Rohrpfeife wood, narrow-scale 8 Gemsceleste II n+sh 8 Gemsceleste II n+f 8 Tolkaan sharp 8 Tolkaan 1 8 Tolkaan 2 8 Tolkaan flat 5 1/3 Tolkaan 5th 4 Flautado II 4 Suabe Flute 4 Rohrpfeife 4 Gemsceleste II n+sh 4 Tolkaan 4 Tolkaan flat 3 1/5 Suabe 10th 2 2/3 Flautado 12th 2 2/3 Tolkaan 12th 2 Flautado II 2 Suabe Flute 2 Rohrpfeife 2 Tolkaan 1 3/5 Flautado 17th 1 3/5 Suabe 17th 1 1/3 Flautado 19th 1 Flautado 22nd 1 Tolkaan 22nd V Lleno 19.22.24.26.29 soft III Faber f14.16.19 III Gemsarmonia 8f.12.15 III Tolkaan Armonia 17.19.f21 16 Baryphone 8 Melophone 8 Melophone flat 8 Cor Pastorale 8 Geigen Krummhorn 4 Kalophone 16 Clarone 8 Clarone 4 Clarone CORONA LEVEL - ACCORD CENTRE 16 Dulciana Diapason 16 Dulcett II n+sh 16 Koppel 16 Pisces V v.f+f+n+sh+v.sh 8 Dulciana Diapason 8 Adhara 8 Glockenpfeife 8 Koppel 8 Dulcett II n+sh 8 Dulcett II n+fl 8 Russhorn 8 String Flute II 8 Pisces V v.f+f+n+sh+v.sh 4 Dulciana Diapason 4 Oiseau du Paradis 4 Glockenpfeife 4 Koppel 4 Dulcett II n+sh 4 Pisces V v.f+f+n+sh+v.sh 2 2/3 Dulciana Diapason 12th 2 2/3 Koppel 12th 2 Dulciana Diapason 2 Ciuffoli di Primavera II 2 Koppel 2 Pisces IV f+n+n+sh XV Pisces Piffaro Basso 32'.32'sh.16'.16'sh.10 2/3'. 1.1sh.5.f7.8.8sh.10.12.f14.15 VII Pisces Piffaro Soprano 12sh.15.15sh.17.19.f21.22 VII Dulzina 19.22.24.26.29.33.36 III Armonia f14.15.17 16+4 Zampogna 8 Kinhorn 8 Clarinette à Pavillon 8 Zampogna 16 Euphone 8 Euphone 4 Euphone CORONA LEVEL - ACCORD RIGHT 32 Dulciana 16 Montre Doux 16 Flauta Bellica 16 Flûte du Vent 16 Dulciana 16 Dulciana sharp 8 Montre Doux 8 Montre Étroit 8 Flûte à Chanson 8 Flauta Bellica 8 Flûte du Vent 8 Dulciana sharp 8 Dulciana 1 8 Dulciana 2 8 Dulciana flat 8 Dulciana II v.sh+v.f 8 Voix des Anges III f+n+sh 4 Montre Doux 4 Flûte de Chasse 4 Flauta Bellica 4 Flûte du Vent 4 Dulciana 4 Dulciana sharp 2 2/3 Montre Doux 12th 2 2/3 Dulciana 12th 2 2/3 Bourdon 12th 2 Montre Doux 2 Flauta Bellica 2 Flûte du Vent 2 Dulciana 2 Dulciana sharp 1 3/5 Dulciana 17th 1 1/3 Dulciana 19th 1 1/3 Bourdon 19th 1 Dulciana 22nd 1/2 Dulciana 29th III Petit Jeu 15.19.22 V Armonia 12.15.17.19.22 III Farber 18.f21.24 II Farber 25.27 16 Bassoon 16 Sordo Pipe 8 Chiarina 8 Oböe 8 Holz Cremona 8 Box Pipe 8 Flicorne 4 Flicorne CORONA LEVEL - GREAT 32 Fauxbass 16 Gothic Diapason 16 Night Diapason 16+8 Biffaro II 16 Ludwigtone f+n 16 Aquarian Flute 16 Flauto Mistico 16 Viola II n+n 10 2/3 Bourdon 5th 8 Principal Diapason 8 Gothic Diapason 1 8 Gothic Diapason 2 8 Chorus Diapason 8 Night Diapason 1 8 Night Diapason 2 8 Muted Diapason 8+4 Biffaro II 8 Ludwigtone 1 n+f 8 Ludwigtone 2 n+sh 8 Gross Flute open 8 Gross Gedeckt 8 Melodic Flute 8 Aquarian Flute 8 Flauto Mistico 8 Flauto Mistico flat 8 Stopped Diapason 8 Broad Quintone 8 Narrow Quintone 8 Viola II 1 n+n 8 Viola II 2 n+sl.sh 8 Viola II 3 f+sh 8 Viola II 4 n+sh 8 Æolina II n+sh 5 1/3 Gothic Diapason 5th 5 1/3 Ludwigtone 5th f+n 4 Gothic Diapason 4 Chorus Diapason 4 Night Diapason 4 + 2 2/3 Biffaro II 4 Ludwigtone f+n 4 Aquarian Flute 4 Flauto Stoppo 4 Flauto Mistico 4 Viola II n+n 3 1/5 Diapason 10th 2 2/3 Gothic Diapason 12th 2 2/3 Night Diapason 12th 2 Gothic Diapason 2 Chorus Diapason 2 Night Diapason 2 Aquarian Flute 2 Fifre Percée 2+1 Biffaro VIII Mixture 5.8.12.15.17.19.19.22 VI Mixture 15.22.22.24.26.29 III Couronne 29.31.33 II Tonus Fabri 10.13 II Tonus Fabri 17.20 16 Rohr Krummhorn 8 Gross Kinura 8 Hobo Doppio 4 Bigeare 16 Vox Corona 8 Vox Corona 1 8 Vox Corona 2 16 Posaune 16 Bombeggi 8 Posaune 8+8 Bombeggi II 8 Cornetto I-III 8 Dulz Claron 5 1/3 Posaune 5th 4 Posaune 4 Bombeggi 2 2/3 + 2 Posaunes II   CORONA LEVEL - BAROCCO: APOLLONIAN 16 Bordone 8 Principale 1 8 Principale 2 8 Alba 8 Corno di Camoscio 5 1/3 5 4 Principalino 1 4 Principalino 2 4 Flaut Duss 2 2/3 12 2+2 Principalini II 2 Flaute 1 3/5 17 1 1/3 19 1 1/7 f21 1 22 1 22 4/5 24 2/3 26 2/3 26 1/2 29 1/2 29 2/5 31 1/3 33 1/4 36 1/4 36 1/5 38 1/6 40 1/8 43 IV Kunstzimbel f28.30.32.34 16+16 Marino II n+sh 8+8 Marino II n+sh 4+4 Marino II n+sh 8 Tromba da Caccia 4 Trombita CORONA LEVEL - BAROCCO - DIONYSIAN 16 Pink Wood Flute 8+4 Compensum II 8 Pink Wood Flute open 8 Pink Wood Flute stopped 8 Fugari 5 1/3 Pink Wood 5th 4 Pink Wood Flute open 4 Pink Wood Flute stopped 4 Saliceti 3 1/5 Pink Wood 10th 2 2/3 Pink Wood 12th 2 2/3 + 2 Compensum II 2 Pink Wood Flute open 2 Pink Wood Flute stopped 1 3/5 Pink Wood 17th 1 Pink Wood Flute 22nd V Corneta 1.8.10.12.15 VII Barakish 1.4.8.12.14.f17.19 16+16 Trombini II n+n 8+8 Trombini II n+n 4+4 Trombini II n+n 2 2/3 + 2 Trombini II n+n 16 Misabon 8 Kuthast 8+8 Violetas II n+sh 16+16 Miriliton II n+f 8+8 Miriliton II n+f 4+4 Miriliton II n+f 5 1/3+3 1/5 Miriliton II n+fl 2+2 Miriliton II n+f CORONA LEVEL - BAROCCO - REED-CHESTS Left Right II Fabri f7.10 II Fabri 9.f14 16 Apple Regal 16 Knob Regal 8 Waldpipe 8 Pastorita 8 Barrel Regal 8 Ear Regal (alla Praetorius) 5 1/3 Waldpipe 5th 4 Pastorita 4 Cembalo Regal 2 Gaitas Centre 32 Bass Krummhorn 16 Baritone Krummhorn 16 Shalmey 10 2/3 Krum 5th 8 Alto Krummhorn 8 Krumregal 8 Shalmey 8 Böe 5 1/3 Krum 5th 4 Treble Krummhorn 4 Shalmey 3 1/5 Krum 10th 2 Descant Krummhorn chamada: 16 Ximzi 8 Ximzi 4 Ximzi 2 2/3 - 10 2/3 Ximzi 5th (breaking) 2 Ximzi CORONA LEVEL - CORUSCATION LOWER Left Right 32 Argent 32 Or 16 Argent 1 16 Or 16 Argent 2 8 Or 1 10 2/3 Argent 5th 8 Or 2 8 Argent 1 4 Or 1 8 Argent 2 4 Or 2 5 1/3 Argent 5th 2 2/3 Or 12th 4 Argent 1 2 Or 1 4 Argent 2 2 Or 2 2 Argent 1 Or VIII Metal Cornet VIII Wood Cornet 1.8.12.f14.15.17.18.19 1.5.8.10.12.15.16.17 16 Viejos 16 Bajon 8 Bajon 8 Orlos 8 Chirimia 4 Chirimia 4 Orlos 4 Viejas 16+16 Cor de Ninevah 16+16 Cor de Babylon 8+8 Cor de Ninevah 8+8 Cor de Babylon 4+4 Cor de Ninevah 4+4 Cor de Babylon 8 8 8 Cor de Jericho 8 8 8
11. AERIAL LEVEL
(283 stops)This name was first introduced by G.A. Audsley in his book "The Temple of Tone" (1925), to describe a division of "extremely soft and refined tonality". Like Audsley's concept, this level includes fully developed choruses and is an integral part of the instrument.
The Loggia division has an oriental flavour. Other divisions include Aire, Great and Sonance.
12. CELESTIAL LEVEL
(118 stops)This is the uppermost level of the organ. Divisions include Ethereal, Astral and Empyrian.
CELESTIAL LEVEL - EMPYRIAN V Windharp 1.8.12.15.19 IV Windharp 8.15.19.22 III Windharp 15.22.26 8 Etherophone XI Choeur Seraphique 16.1f.1.1sh.5.8.8sh. 12.15.15sh.22 8 Uranion ° Ineffabilis
Back to the index page to Liber Organum
Back to the front page of the website