JULIAN RHODES' DREAM ORGANS
1856 was a watershed for the small British organ. In that year the first 'Scudamore' organ was built, its tonal complement a simple Open Diapason 8ft. The small British organ would never be the same again; romanticism had burst into the arena, and would hold sway for nearly a century.A typical small organ of the previous 200 years might have had a tonal complement of 8.4.2.II, or perhaps 8.4.4.2, or even 8.8.4.2. There had certainly been nothing like this before:
I: 8 II: 8 III: 8 Pd: 16A moderate-sized chamber organ by Snetzler might have contained, on one manual, 8.8.8.4.4.2.III. But now seven registers might be distributed as follows:
I: 8.8 II: 8.4 III: 8.4 Pd: 16It is in those instruments with the fewest stops that the most decisive choices have to be made, and in which a tonal aesthetic is most sharply crystallised. None of the following stoplists has more than 13 speaking registers, and within that number we see in sharp relief some of the traits of high-romantic organ building.
Most important is the abandonment of complete choruses in favour of a variety of tonal effects: what Carlton Michell called the replacement of negative timbres by positive ones; what T. Burham Scott described as the abandonment of black and white for the loveliness of colours.
The romantic ethos places feeling above structure, intuition above intellect. These organs, in the proliferation of their gentle, mezzo-piano registers and charming small effects, recall the words of Praetorius, describing the organs of that arch-romantic builder Esaias Compenius: "frembder, sanffter, subtiler" - ethereal, soft, subtle. These qualities are central to the romantic aesthetic.
We also note a concern for the comfort and ease of the performer. The designers of these instruments chose to distribute a small tonal palette among three manuals, which shows that rapid changes of tonal colour, and the constant presence of contrasted combinations, were of prime importance to their musical needs. It also shows that these instruments were intended, for all their diminutive appearance, to be large organs in miniature.
Residence of Mr. Smallwood, Durham. 4 stops
Harrison & Harrison 1882.
GREAT SWELL CHOIR
8 Open Diapason 8 Gamba 8 Lieblich Gedact
PEDAL
16 Bourdon
Couplers: 5 unison (no Choir to Great); Swell 8ve to Great.
Compass: 56/30.
Source: 'The Harrison Story' by Laurence Elvin (Lincoln 1974).
This stoplist is so unusual that its designer, presumably Mr. Smallwood himself,
must have considered that an expensive three-manual console with its attendant mechanism was
vital to the musical success of his scheme. His gains in distributing three unison
stops between three manuals included:
- the facility to pass seamlessly from one tonality to another, and to dialogue quickly between timbres, without the encumbrance of stop-changes.Note the Swell octave to Great coupler, enabling the Gamba to sound at 4ft. pitch on Great while playing at 8ft. on Swell.
- the facility to produce solo and accompaniment in several simultaneously contrasting tonalities, something impossible with fewer manuals.
- for a working organist, the advantage of rehearsing repertoire on a three-manual console and thereby making manual changes second nature.
St. Mary Magdelene, Hatfield Hyde, Hertfordshire. 5 stops
Anon., undated.
GREAT SWELL CHOIR
8 Open Diapason 8 Oboe 8 Dulciana
4 Flute
PEDAL
16 Bourdon
Couplers: Swell to Great, Great to Pedal.
Lever Swell pedal.
Tremulant affecting both Swell and Choir.
Compass: Choir CC to g3, 68 notes; Great & Swell C to g3, 56 notes; Pedal 30 notes.
Source: Haycraft files & Drane notebooks.
Like several of the church organs given here, it seems likely that this instrument was once
a domestic practice organ. There is one more stop than in Mr. Smallwood's organ (above), and
the introduction of reed tone increases the range of colour while omitting the brightness
of ensemble that Mr. Smallwood's Gamba would have given.Note the unusual Choir compass, down to 16ft. C; perhaps a soundboard from the 1820s - 40s was re-used in this organ. There seems to be no advantage to it, especially as there is no Choir to Pedal coupler.
The disposition makes possible that favourite combination of the time, Oboe accompanied by Dulciana.
Residence organ, Leicester. 6 stops
Henry Mills & Son (Measham) c.1903.
GREAT SWELL CHOIR
8 Open Diapason 8 Gamba 8 Dulciana
8 Rohr Flute 4 Principal
PEDAL
6 unison couplers. No stops.
Compass: 56/30.
Source: 'Organists' Review', February 1997.
The above organ rebuilt by Arthur Armstrong 1975-6, and installed
at his residence at Ashby Magna.
GREAT SWELL CHOIR
8 Open Diapason 8 Gamba 8 Dulciana
8 Rohr Flute 4 Principal 2 Fifteenth (new)
1 1/3 Nineteenth (new; ext. 15th)
6 unison couplers. PEDAL
Compass: 56/30. 16 Bourdon (new)
Tracker action; 15th & 19th electric action.
Source: 'Organists' Review', February 1997.
The original six stops show a marked preference for unison colour, including three
open metal stops at 8ft. A variety of diapason, dulciana and string tone, often including
such ambivalent registers as Violin Diapason and Keraulophon, was an essential tonal resource
in contemporary repertoire.The 4ft. stop is a Principal, bringing the number of open metal registers to four out of a total of six stops. A flute or gemshorn was often favoured instead of the Principal in small organs.
The lack of a pedal 16ft. in the original scheme is surprising. Perhaps it was prepared for but never inserted. The 1975-6 rebuild remedied this, and also added an extended (!) rank of upperwork. As such it was typical of its time.
Residence of W.H. Monk, London. 7 stops
Willis 1867.
Later installed at Kilkhampton Methodist, Cornwall.
GREAT SWELL CHOIR
8 Open Diapason 8 Salcional 8 Lieblich Gedact
4 Flûte Harmonique 8 Hautboy 4 Principal
PEDAL
16 Bourdon
Couplers: 5 unison (no Swell to Choir); Great 8ve.
Four general composition pedals.
Lever swell pedal.
Compass: 56/30.
Mechanical action.
Source: visit 1998.
This little organ has a fine sound, and benefits from an extremely clever design. I know
of nothing else like it in Father Willis's work.To read a detailed account of this organ, click here and then return to this page by using the 'back' button on your web browser.
Residence organ, location unknown. 7 stops
Harrison & Harrison 1896.
Installed 1946 at St. Andrew, Blackhall, Durham.
GREAT SWELL CHOIR
8 Open Diapason 8 Lieblich Gedact 8 Salicional
8 Dulciana 4 Octave Gamba 4 Concert Flute
PEDAL
Couplers: 3 to Pedal; Swell to Great. 16 Bourdon
Balanced swell pedal.
Source: Hoar collection.
This is a versatile little scheme with lots of colour, well-contrasted ensembles, and none of
the tuning problems caused by reeds. It would be even more versatile with a Swell to Choir
coupler.
Victoria College of Music, London. 7 stops
G.H.C. Foskett 1922.
Installed at St. Nicholas of Myra, Worth Matravers, Dorset, by Gray & Davison 1958.
GREAT SWELL CHOIR
8 Open Diapason 8 Viola da Gamba 8 Dulciana
8 Stopped Diapason 4 Flauto Traverso
4 Principal Tremulant PEDAL
16 Sub Bass
Couplers: 3 to Pedal, Swell to Great.
Balanced swell pedal.
Compass: 58/30.
Tubular-pneumatic action.
3in. wind.
Source: 'Musical Opinion', December 1959.
A bold Great chorus, a colourful Swell, and an accompanimental Choir. The latter manual
justifies its existence by facilitating dialogues of contrasted solo colours: Great Stopped
Diapason and Swell Gamba; Great Principal and Swell Flauto Traverso, all accompanied by the
Choir Dulciana.
St. Saviour, Swindon, Wiltshire. 8 stops
Lindsay Garrard (Lechdale) 1912.
GREAT SWELL CHOIR (in the Swell box)
8 Open Diapason 8 Lieblich Gedackt 8 Dulciana
8 Clarabella 4 Viola 8 Voix Celestes tc
Tremulant 4 Lieblich Flute
5 unison couplers (no Swell to Choir); PEDAL
8ve, unison off & sub8ve to Swell; 16 Bourdon
8ve, unison off & sub8ve to Choir.
Lever pedal to Swell and Choir.
Compass: 58/30.
Exhaust-pneumatic action.
Source: 'The Organ' quarterly, October 1954.
A design rather like the Harrison residence organ (two stoplists previous), in which Swell and
Choir have complementary flute/string and string/flute pairs at 8ft. and 4ft. pitch. This is
perhaps the smallest organ of its type to include an undulating rank; colour was everything.
Like the above scheme, pneumatic action is applied to an instrument with but a few stops. The
advantage here is lightness of touch when the octave couplers are in play. They further
extend the palette of colour.
United Reformed Church, Caterham, Surrey. 8 stops
T.R. Willis (London) 1910 for Oxted URC;
installed here 1952 & rebuilt by Bishop 1971; new Diapason pipes 1985.
GREAT SWELL CHOIR
8 Open Diapason 8 Gamba 8 Lieblich Gedackt
4 Principal 4 Gemshorn 4 Flute
2 Fiftenth
PEDAL
Balanced swell pedal. 16 Bourdon
Compass: 56/30.
Source: Michael Watcham.
A thoroughly rebuilt organ, its stoplist now eminently suitable for the baroque and
classical repertoire. The presence of three manuals enables performance of works using
three contrasting terraced dynamics.
Anderson Baptist, Reading, Berkshire. 9 stops Norman & Beard 1908 for Trinity College of Music, London. Rebuilt here with additions, Monk & Gunther 1931. GREAT SWELL CHOIR 8 Open Diapason 8 Gamba 8 Dulciana 8 Stopped Diapason 4 Dulcet 4 Principal 8 Oboe PEDAL 4 Flute 16 Bourdon Couplers: 3 to Pedal, Swell to Great, Swell to Choir. Trigger swell pedal. Source: Drane notebooks.Another organ with a purely accompanimental Choir division; the range of solo colour on Great and Swell is considerable.
St. Laurence, Elstronwick, Humberside. 9 stops Hill & Son 1900. Provenance uncertain. GREAT SWELL CHOIR 8 Open Diapason 8 Gedact 8 Dulciana 8 Stopped Diapason 8 Oboe 8 Keraulophon 4 Principal 4 Suabe Flute Couplers: Swell to Great, Great to Pedal. PEDAL Trigger swell pedal. 16 Bourdon Source: Hoar collection.Here the Swell organ fulfils an alternating role of solo and accompaniment, while Great and Choir have their own ensembles. The absence of a Choir to Pedal coupler is unfortunate.
Trinity College, London. 8-10 stops
Designed by J.W. Hinton; built by B.& C. Robson 1877.
GREAT SWELL CHOIR
16 Bourdon by coupler 8 Flute Traversiere* 8 Salicional
8 Stopped Diap. bass 4 Flute Harmonique*
8 Viole de Gambe* 2 Piccolo Harmonique*
4 Flute Octaviante
8 Hautbois* PEDAL
16 Contrebasse
Couplers: Great to Choir**, Great to Swell**, Great to Pedal, Swell to Pedal.
Reversible pedals for Great to Pedal, Swell to Pedal.
2 combination pedals.
* = tin, by Zimmerman of Paris.
** = named according to the custom of the day; probably meaning Choir and Swell to Great.
Source: Bernard Edmonds in BIOS Reporter, April 1997
(from 'Musical Standard' xiii p681.)
Does "Bourdon by coupler" mean that the single Great stop borrows the Pedal Contrebasse,
presumably with extra treble pipes? If so, this organ has an early example
of the 'coupler manual' familiar to us since the 1970s; except that extra flexibility is present
here as the Swell to Great and Choir to Great couplers can be selected individually by the player.This Francophile scheme is an interesting and ingenious one.
Dutch Embassy Chapel, Istanbul, Turkey. 11 stops
Rutt 1914.
GREAT SWELL CHOIR
8 Open Diapason 8 Hohl Flöte 8 Dulciana
8 Lieblich Gedackt 8 Viole d'Orchestre 4 Flute
4 Gemshorn 8 Closed Horn 8 Clarinet
PEDAL
5 unison couplers (no Choir to Great); 16 Sub Bass
Swell 8ve & Sub8ve.
Compass: 61/30.
Tubular-pneumatic action.
Installed in the American Girl's College, Istanbul, after the 1918 armistice.
Source: Penrose collecton.
The presence of a chorus reed makes this organ suited to a role in leading singing
in a church. Note how, by 1914, the range of timbres has broadened to include the
Hohl Flöte and Viole d'Orchestre.
The Chapel, Weymouth College, Dorset. 10 stops
Norman & Beard (Norwich) 1898; "practice organ".
GREAT SWELL CHOIR
8 Open Diapason 8 Open Diapason 8 Lieblich Gedact
4 Principal 8 Rohr Flute 8 Dulciana
8 Salicional
4 Flute Couverte PEDAL
8 Oboe 16 Bourdon
Tremulant
6 unison couplers.
Tubular-pneumatic action; detached console.
Source: Harvey collection.
Great diapasons at 8ft. and 4ft., a surprisingly complete Swell division, and two gentle
Choir registers - all within 10 speaking stops.
Masonic Hall, Bath, Avon. 10 stops
Norman & Beard (Norwich) undated, rebuilt Griffen & Stround (Bath), date unknown.
GREAT SWELL CHOIR
8 Open Diapason 8 Violin Diapason 8 Clarabella
4 Gemshorn 8 Lieblich Gedact 8 Dulciana
8 Salicional
8 Voix Celeste PEDAL
8 Oboe 16 Bourdon
6 unison couplers.
Lever swell pedal.
Compass: 58/30.
Source: Drane notebooks.
Apart from the Gemshorn 4ft. this is an Octopod, and no octave couplers were supplied
in an attempt to create the effect of more upperwork. The plethora of unison tone would
make this organ suitable for 'mood music'.
Newbridge Hill Methodist, Bath, Avon. 10 stops
Griffen & Stroud (Bath) 1935.
GREAT SWELL CHOIR
8 Open Diapason 8 Violin Diapason 8 Lieblich Gedackt
8 Gamba 8 Salicional 4 Wald Flute
4 Principal 4 Gemshorn
8 Horn PEDAL
16 Bourdon
5 unison couplers (no Choir to Great).
Lever swell pedal.
Compass: 58/32.
Tubular-pneumatic action.
Source: Michael Watcham c.1975.
4ft. stops on all three manual divisions, and a chorus reed: a bold church organ. But
note also the range of 8ft. colour, especially the open metal ranks on Geat and Swell. Choir
contains the only manual flutes.
St. Leonard, Mundford, Norfolk. 11 stops
Harrison & Harrison 1914.
GREAT SWELL CHOIR
16 Contra Dulciana tc 8 Violin Diapason 8 Salicional
8 Open Diapason 4 Lieblich Flöte 4 Harmonic Flute
8 Claribel Flute 8 Cornopean
4 Octave
PEDAL
16 Sub Bass
6 unison couplers; Swell 8ve. 8 Flute
Lever swell pedal.
Source: 'The Organ' quarterly, April 1932.
A very clever 11-stop scheme, typical of the 'multim-in-parvo' nature of many small Harrison
organs. The octave coupler increases the effectiveness of the full swell; and a
manual double appears for the first time in these stoplists. Note the three contrasted
manual flutes and the amount of diapason/dulciana/string tone.The swell organ is like that at Cleator Parish Church (1902); click here to see the stoplist, and to read George Dixon's thoughts (1942-50) about small organ design; then return to this page by using the 'back' button on your web browser.
Residence of Mr. Cambridge, Stanton Court, Weymouth. 12 stops
Bishop & Son 1880-1
GREAT SWELL CHOIR
8 Open Diapason 8 Violin Diapason 8 Flauto Dolce
8 Stopped Bass & 8 Lieblich Gedacht 8 Vox Angelica
Clarabella 4 Harmonic Flute
8 Dulciana 2 Harmonic Piccolo
PEDAL
5 unison couplers (no Choir to Great). 16 Bourdon
5 composition pedals. 8 Violoncello
2 1/2in. wind.
Source: 'Bishop and Son, Organ Builders' by Laurence Elvin (Lincoln 1984).
One more stop than the previous scheme, but an organ with a totally different character.
Five of the
ten manual stops are flutes, and the flute chorus on Swell includes the only upperwork in
the instrument. The Swell is rather like a conventional Choir organ; the Choir is an
echo/accompanimental division. The Vox Angelica was almost certainly not an undulating rank,
but a gentle salicional or dulciana, further emphasising the sweet, unassertive nature of
the whole. Note the absence of reeds.
Residence of Mr. Gatty Sellars, Parklands, Leicester. 12 stops
E.O. Yorston c.1905
GREAT SWELL CHOIR
8 Open Diapason 8 Keraulophon 8 Dulciana
8 Stopped Diapason 4 Gemshorn 8 Gamba
4 Principal 8 Oboe 2 Piccolo
4 Wald Flute Tremulant 8 Clarinet
PEDAL
5 unison couplers (no Choir to Great). 16 Bourdon
Compass: 56/30.
Source: 'Organist & Choirmaster' September 1905.
Is the specification of the Choir division suspect? It is certainly unusual, especially
in view of the fact that there is no Choir to Great coupler to play the 2ft. Piccolo through.
Note the four open metal 8ft. ranks - Audsley's beloved "free organ tone".
Evangelical Church, Chesham, Buckinghamshire. 12 stops
E.O. Yorston 1892 for a residence in London.
Installed here Rest Cartwright 1941.
GREAT SWELL CHOIR
8 Open Diapason 8 Viol d'Orchestre 8 Dulciana
8 Stopped Diapason 8 Lieblich Gedact 4 Flute
4 Principal 4 Gemshorn 2 Piccolo
2 Flageolet (wd.) 8 Clarinet tc
PEDAL
16 Bourdon
5 unison couplers (Swell sub8ve to Great and no Choir to Great).
Combination pedals: 2 Great, 3 Swell.
Lever pedal to Swell.
Compass: 58/30.
Source: Drane notebooks.
An earlier organ by E.O. Yorston; the presence of a Viol d'Orchestre suggests that later tonal
changes were made. The choruses on Swell and Choir, both to 2ft., add versatility in
small-scale baroque music. To stop short an 8ft. Clarinet at tenor C has always seemed
to me a particularly useless practice. Coupled through, a full-length rank often makes an acceptable chorus
reed; and missing its bass octave it cannot be coupled to the pedals, where it creates an
effective bassoon-like underpinning to combinations on Great and Swell.
Park Road Methodist, St. Leonards, Sussex. 12 stops
Dalladay (Hastings)? c.1900?
GREAT SWELL CHOIR
8 Open Diapason 8 Open Diapason 8 Lieblich Gedact
8 Rohr Flute 8 Gamba 8 Dulciana
4 Principal 4 Principal 4 Harmonic Flute
2 Fifteenth 8 Oboe
PEDAL
6 unison couplers. 16 Bourdon
Lever swell pedal.
Compass: 56/30.
Mechanical action.
Source: visit 1994.
A well-balanced little church organ scheme, which would arguably be still more useful
with a small Swell Trumpet rather than an Oboe to complement the Great diapason chorus.
On the other hand, even a brief glance through contemporary repertoire reveals many occasions
when an Oboe is almost essential.
St. Joseph, Austenwood Common, Gerrards Cross, Buckinghamshire. 12 stops
Builder & date unknown.
GREAT SWELL CHOIR
8 Open Diapason 16 Double Diapason 8 Dulciana
8 Violone 8 Open Diapason
8 Claribel 4 Gemshorn PEDAL
4 Harmonic Flute 8 Oboe 16 Bourdon
Tremulant 8 Flute
8 Violoncello
Couplers: 5 unison (including 'Choir to Swell', omitting Choir to Pedal);
Swell8ve; Great sub8ve.
Thumb pistons: 3 to Great; 3 to Swell and Choir.
Toe pedal for full organ.
Lever swell pedal.
Source: Hoar collection.
It is unusual to find a single-stop accompanimental Choir division in a scheme with twelve
speaking registers. The 16ft. Double Diapason would add dignity and richness to the whole
organ as well as to the full swell. The Pedal disposition is unusual: is the 8ft. Violoncello
the same rank as the Great Violone 8ft.? Note the usefulness of the Swell octave coupler, and
the apparent uselesness of the Great suboctave - unless you enjoy playing everything up
an octave.
Residence of Mrs. Mark Bell, location unknown. 12 stops
Bishop & Son c.1938
GREAT SWELL CHOIR
8 Open Diapason 8 Lieblich Gedacht 8 Dulciana
8 Rohr Flute 8 Viol d'Orchestre 8 Echo Oboe tc (special stop; wood)
8 Aeoline 8 Voix Celestes
4 Flauto Traverso 4 Salicet PEDAL
8 Trompette Harmonique 16 Bourdon
6 couplers.
Tremulant.
5 composition pedals.
Compass: 61/30.
2 1/2in. wind to Swell and Pedal, 1 3/4in. to Choir, Great not stated.
Source: 'Bishop and Son, Organ Builders' by Laurence Elvin (Lincoln 1984).
The most recent all-new organ in these stoplists, and this would be evident from the stop
names even were the date unknown. Upperwork is whittled down to a minimum, but a colourful
array of romantic unison voices is promised. Note the five 8ft. stops of "free organ tone".
Residence organ, location unknown. 13 stops
Gray & Davison, undated.
Installed c.1910 at High Street Methodist, Herne Bay, Kent.
GREAT SWELL CHOIR
8 Open Diapason 8 Violin Diapason 8 Wald Flute
8 Stopped Diapson 8 Lieblich Gedact 8 Dulciana
4 Principal 8 Gamba
4 Gemshorn PEDAL
2 Fifteenth 16 Bourdon
8 Cornopean 8 Violoncello
5 unison couplers.
Balanced swell pedal.
Compass: 58/30.
Mechanical action.
Source: Michael Watcham c.1980.
The diapason upperwork is divided between Great and Swell. How much more useful the Choir
division would have been with the flute stop at 4ft. instead of 8ft. pitch
Residence of T. B. Mellor, Belper, Derbyshire. 13 stops
Grunwell (Derby) 1874.
GREAT SWELL CHOIR
8 Open Diapason 8 Gedact 8 Lieblich Gedact
8 Stopt Diapson 8 Gamba 8 Dulciana
4 Principal 4 Gemshorn 4 Flute
2 Fifteenth 8 Clarionet tc
PEDAL
5 unison couplers. 16 Sub Bass
Lever swell pedal. 8 Gamba
Compass: 58/30.
Mechanical action.
Source: 'Historic Organs in Derbyshire': Rodney Tomkins (Cromford 1998).
The above organ as rebuilt since 1987 by Edmund Stowe (Derby), and
installed in 1994 at Holy Trinity, Milford, Derbyshire.
GREAT SWELL CHOIR
8 Open Diapason 8 Gedact 8 Lieblich Gedact
8 Stopt Diapson 4 Spitz Flute tc 8 Gamba
4 Principal II Mixture 4 Flute
2 Fifteenth 2 Gemshorn
PEDAL
5 unison couplers. 16 Sub Bass
Lever swell pedal. 8 Gamba
Compass: 58/30.
Mechanical action.
Source: 'Historic Organs in Derbyshire', Rodney Tomkins (Cromford 1998).
A good former design has now been transformed into a really useful little classical
stoplist. There are contrasting choruses on all three manuals; the Gamba 8ft. gives
even the Pedal a measure of independence. The Dulciana has gone in accordance with
much modern practice; but the example in this organ was said to have been a poor stop.
Residence of Basil Harwood, Almondsbury, nr. Bristol. 13 stops
Bishop & Son c.1907
GREAT SWELL CHOIR
8 Open Diapason 16 Lieblich Bourdon 8 Rohr Flute
8 Clarabella 8 Violin Diapason 4 Flauto Dolce
4 Principal 8 Echo Gamba
8 Voix Celestes PEDAL
4 Geigen Principal 16 Sub Bass
8 Oboe 16 Lieblich Bourdon (Swell)
7 couplers.
5 composition pedals.
Lever Swell pedal.
Tubular-pneumatic action.
Source: 'Bishop and Son, Organ Builders' by Laurence Elvin (Lincoln 1984).
A miniature high-church organ for a retired Cathedral organist. The presence of a second
16ft. pedal stop is a boon - now both soft and loud manual combinations can be supported
properly. The usual compromise, of course, is to voice the Pedal Bourdon on the loud side;
but this makes it intolerable with soft combinations. Where there must be but a single 16ft.
Pedal register I would always opt for a quietly voiced one; in my experience, it is by far
the more useful, and often appears to grow in volume as manual stops are added.
Residence of Percy Daniel, Clevedon, Somerset. 13 stops
Case and stops marked * by Wiiliam Bates 1790
Stopped Diapason also old, maker unknown.
Other stops and enlargement by Daniel c.1934.
GREAT SWELL CHOIR
8 Open Diapason* 8 Viola da Gamba 8 Open Diapason
8 Stopped Diapson 8 Lieblich Gedackt* 4 Nason*
8 Dulciana* 4 Dulcet 2 2/3 Nazard
4 Principal* Tremulant
PEDAL
32 Contra Bourdon
5 unison couplers (no Swell to Choir) 16 Bourdon*
plus Great sub8ve, Swell 8ve. 8 Bass Flute
Swell pedals to Swell and Choir.
Source: 'The Organ' quarterly, January 1934.
By 1956 the organ had been altered as follows:
GREAT SWELL CHOIR
8 Open Diapason 8 Stop Diapason 8 Open Diapason
8 Corno Dolce 4 Principal 8 Dulciana
8 Vox Angelica 8 Cor Oboe 4 Nason
4 Flute Tremulant
PEDAL
32 Contra Bourdon
5 unison couplers (no Swell to Choir) 16 Bourdon
plus Choir sub8ve & 8ve to Great, Swell 8ve. 8 Bass Flute
Swell pedals to Swell and Choir.
Source: 'The Organ Club Journal', January 1979.
To finish, a very interesting scheme by an organ builder for his own residence organ. The 'old
English' character of Great and Choir had been diluted by 1956, also the romantic colour of
the Swell, and the instrument was perhaps less characterful as a result. Note the Nazard and,
of course, the 32ft. Contra Bourdon, two luxurious touches in a 13-stop scheme.
Return to the Romantic Zenith index
SOURCES
The Hoar and the Penrose collections, the Haycraft files and the Drane notebooks
are collections of stoplists and other material. They were formerly housed in the Organ Club
library at the Royal College of Organists, London, where I passed many hours in the early
1990s. Since that time they have been moved to the British Organ Archive, Birmingham, and are now
included in the information available in the NPOR.
My thanks to Michael Watcham for additional stoplists.
Julian Rhodes
December 1999
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