Note: Not extant. Not playable. (in this location)
2024-10-23 - From The Spectator (Hamilton, ON, March 2, 1882): "The organ is 14 feet wide, and 20 feet high, set in an alcove in the south end of the church on a platform some three feet from the floor. The case is made of white ash, with black walnut mouldings and trimmings. It is of handsome design, of the Gothic style. In the center above the keyboard are eleven large metal pipes of a dark color, prettily gilt; on each side three large metal pipes stand, ornamented in similar style, and at each side of the organ case next the front still another large metal pipe is placed. The three pipes on each side of the center are so placed as apparently to form three sides of an octagon tower, which stands out in front of the body of the organ case, and tapers off and rests on a pedestal at its base. The whole effect is very pleasing .... from the above scheme it will be seen that, considering the size, the instrument contains a great variety of solo stops arranged in such a manner as to give several beautiful combinations. The organ is sufficiently powerful for the church, and all the stops have the merit of producing such a separate distinct quality of tone, and also of being voiced so that the quality of tone produced is smooth and melodious, rather than powerful and coarse. This is especially true of the stops in the swell organ. There the viol di gamba is a stop of beautiful tone, which produces an effect as though the music was heard from a great distance. The oboe has a remarkably good tone, free from that harshness which is too often characteristics [sic] of the oboe in pipe organs. The 16-feet Bourdon stop in the swell has a peculiar effect. Used in connection with other solo stops, even the very soft-voiced viol di gamba, the bourdon does not overpower the added tone, but gives it depth, leaving the distinctive quality of the viol di gamba plainly distinguishable. The Walde flute and piccolo are of good quality also. The great organ is quite staisfactory in its composition, and adds considerable volume to the tone in conjunction with the swell. The clarabella is perhaps the most brilliant stop in the great organ. The Trumpet has not been tuned when a Spectator reporter heard the organ last evening. The 16-goot pedale [sic] Bourdon has a splendid effect. There is a depth and volume of tone which adds greatly to the power of the organ, yet it is of such a full musical quality, without being at all harsh, that it can be used with good effect in conjunction with any of the solo stops. Mr. Edward Lye of Toronto is the maker of the organ, and the organ committee of the First Methodist church declare that they are fully satisfied with the work done for them by Mr. Lye. Many of them are mechanics, and say that that attention to the niceties of detail in construction of even the smallest parts has been shown by Mr. Lye, proving him to be a builder who is a thorough and conscientious mechanic. The organ will be heard to advantage on the night of the concert under the able hands of Mr. Whiteley, when a better opportunity than has yet occurred will be given to judge of its merits and demerits." -Andrew Henderson
Tremolo to Swell; Bellows Signal; Forte & Piano Combinations (Manual 1); Adjustable Swell Pedal Source: The Spectator (Hamilton, ON) March 2, 1882
Great Open Diapason 8, Dulciana 8 (Spotted metal), Clarabella 8 (Wood), Stopped Diapason Bass 8 (Wood), Harmonic Flute 4, Principal 4, Fifteenth 2, Twelfth 2 2/3, Trumpet 8
Swell Violin Diapason 8, Stopped Diapason Treble 8 (Wood), Bourdon 16 (Wood), Stopped Diapason Bass 8 (Wood), Viol di Gamba 8 (Spotted Metal), Octave 4, Walde [sic] Flute 4 (Wood), Piccolo 2 (Wood & Metal), Oboe 8
Pedal Bourdon 16 (Wood), Violone 8 (Wood & Metal)
Swell to Great 8, Great to Pedal 8, Swell to Pedal 8
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