2025-04-11 - The earliest scheme for a new organ was proposed by T C Lewis in 1910 to a specification drawn up by Richard Runciman Terry, the first Master of Music. This proposal was for a large organ in several parts divided between the Apse and Tribunes. Largely for financial reasons, only the Choir Organ in the Apse was ever built. It was another ten years before Cardinal Bourne approached John Courage asking him to be the adviser on a new scheme for the Grand Organ. The first stage of the Grand Organ (only 33 stops) was inaugurated by Dupré in 1922. Over the next ten years, Dupré and others, including Reginald Goss-Custard, Edwin Lemare, Joseph Bonnet and Guy Weitz to name but a few, gave recitals which provided funds towards the gradual augmentation of the specification. By 1932, work was completed, the specification now 11 stops larger than had originally been intended. Recitals were well attended, particularly those of Dupré, and continued until the outbreak of war in 1939. After a complete restoration, the organ was reopened in 1985 by David Hill, who was then Master of Music. The pipework was cleaned having lain for years under a thick blanket of dust and soot from candles and incense, and extensive revoicing was carried out where necessary. An eight-level solid-state capture system was installed, and the action was overhauled. More recently, these improvements were continued with another overhaul of the action and with the installation of a 256-level capture system with a cross-channel advancer making registration changes much easier. The 1996 work also enables much fuller and more comprehensive use of the Grand Organ from the Apse console. --from cathedral website -Paul R. Marchesano
Generals on Swell foot pistons. † Second Division (1984) Source: Builder document
GREAT Double Open Diapason 16, Bourdon † 16 (Second Division (1984)), Open Diapason No 1 8, Flûte Harmonique † 8 (Second Division (1984)), Open Diapason No 2 8, Open Diapason No 3 † 8 (Second Division (1984)), Quint † 5 1/3 (Second Division (1984)), Octave 4, Principal † 4 (Second Division (1984)), Flûte Couverte † 4 (Second Division (1984)), Tenth † 3 1/5 (Second Division (1984)), Octave Quint 2 2/3, Twelfth † 2 2/3 (Second Division (1984)), Fifteenth † 2 (Second Division (1984)), Super Octave 2, Grand Chorus V (15.19.22.26.29), Double Trumpet 16, Trumpet 8, Clarion 4
SWELL Violon 16, Geigen Diapason 8, Rohrflöte 8, Echo Viole 8, Violes Célestes 8, Octave Geigen 4, Suabe Flute 4, Twelfth 2 2/3, Fifteenth 2, Harmonics III (17.19.22), Oboe 8, Vox Humana 8, Tremulant, Waldhorn 16, Clarion 4, Trompette 8
CHOIR Contra Dulciana 16, Viola 8, Open Diapason 8, Sylvestrina 8, Cor de Nuit 8, Cor de Nuit Célestes 8, Gemshorn 4, Nason Flute 4, Octavin 2, Nazard 2 2/3, Tierce 1 3/5, Trumpet 8, Tremulant
SOLO (Enclosed except Tuba Magna) Quintaten 16, Violoncello 8, Violoncello Célestes 8, Salicional 8, Unda Maris 8, Tibia 8, Concert Flute 4, Cor Anglais 16, Piccolo Harmonique 2, Orchestral Oboe 8, Corno di Bassetto 8, Tremulant, French Horn 8, Orchestral Trumpet 8, Tuba Magna 8 (unenclosed)
PEDAL Double Open Bass 32, Open Bass 16, Open Diapason 16, Contra Bass 16, Sub Bass 16, Violon 16, Dulciana 16, Octave 8, Principal 8, Flute 8, Super Octave 4, Seventeenth 3 1/5, Twenty-second 2, Nineteenth 2 2/3, Contre Bombarde 32, Bombarde 16, Trombone 16, Octave Trombone 8
CHOIR to CHOIR 16, CHOIR to CHOIR, CHOIR to CHOIR 4, SWELL to SWELL 16, SWELL to SWELL, SWELL to SWELL 4, SOLO to SOLO 16, SOLO to SOLO, SOLO to SOLO 4, GREAT to PEDAL 8, CHOIR to PEDAL 8, SWELL to PEDAL 8, SOLO to PEDAL 8, SWELL to CHOIR 8, SOLO to CHOIR 8, CHOIR to GREAT 8, SWELL to GREAT 8, SOLO to GREAT 8, SOLO to SWELL 8, GREAT to SOLO (Great Reeds on Solo), GREAT to CHOIR (Great Second Division on Choir), GREAT to PEDAL (Great and Pedal Combinations)
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