Romantic & Virtuosic makes Adam Brakel’s wonderful organ playing available on CD for the first time, and presents the first CD recording of the excellent 109-rank Austin completed in 2000 at the large and resonant Episcopal Church of Bethesda-by-the-Sea in Palm Beach, Florida. The stoplist appears at the end of the long description, below.

DUDLEY BUCK: Concert Variations on the Star-Spangled Banner, Op. 23
HERBERT NANNEY: Adagio from Sonata in E Minor
JOSEPH BONNET: Étude de Concert
MAX REGER: Fantasie und Fuge D Minor, op. 135b
ANDREW FLETCHER: Cantilena
FRANZ LISZT: St. Francis of Paola Walking on the Waves
JEANNE DEMESSIEUX: Six Études
Pointes
Tierces
Sixtes
Accords Alternés
Notes répétées
Octaves

Reviews Matthew Power in Choir & Organ:
Adam Brakel . . . does indeed go through a work-out with this demanding program of Reger, Bonnet, Liszt, and Demessieux . . . Sure technical mastery is combined with informed interpretation, presented on this 109-rank Austin organ . . . There are copious sleeve notes and a specification so detailed as to fascinate the most introspective of organ nuts. . . . this disc conceals hidden depths.

Reviews David Wagner in The Diapason:
. . . We are in the golden age of organ audio recordings. Here is  . . . an interestingly planned and beautifully executed recording with varied literature . . . and superb CD booklet. . . . The Six Etudes were performed by Demessieux in her debut recital and remain some of the most technically difficult pieces in the entire organ repertoire. Brakel plays these pieces not with shallow virtuosity but with total musical understanding of these pieces, which constantly make equal technical demands of both hands and feet. . . .A "serious recording" does not, however, preclude "a fun recording." Real gems here include the Adagio from Herbert Nanney's Sonata in E Minor. An important teacher who studied with Dupre, Nanney organized and directed the doctoral program in organ performance at Stanford University. By the time he retired in 1985 he had taught a generation of organists who went on to hold significant teaching positions and performance careers at American universities. . . . Another gem on this recording is Joseph Bonnet's Etude de Concert, op. 7, no. 2, published in 1910. This is a piece in the French symphonic tradition that bears a striking resemblance to the Gigout Scherzo in E-flat Major, played with lightness and clarity. Also included is Andrew Fletcher's Cantilena from Five Miniatures for Organ (listed on the composer's website as Five Meditations), where the signature soft registrations in which Austin always excelled are on full pp-p-mp display.  . . . Buy this CD!  You will not be disappointed.

Reviews Jonathan Dimmock in the AAM Journal:
Adam Brakel’s recording is, indeed, virtuosic! It includes the Demessieux Six Etudes, Reger’s large Fantasie and
Fugue in D minor, as well as Liszt’s St. Francis of Paola Walking on the Waves. All difficult music! Adam pulls
this off magnificently, along with Dudley Buck’s Concert Variations on “The Star-Spangled Banner,” Herbert Nanney’s Adagio from Sonata in E minor, Bonnet’s Etude de Concert, and Andrew Fletcher’s Cantilena from Five Miniatures for Organ. The organ, at Bethesda-by-the-Sea Episcopal Church in Palm Beach, FL, is a huge Austin (109 ranks). The
picture on the cover of the CD shows Adam appearing very buff in a white tee shirt, and clearly he aims to set the organ world alight with dazzling technique. NPR in Florida called him an “organ prodigy, with the technique and virtuosity that most concert pianists could only dream of, having the potential to be the leading organist of his generation… the Franz Liszt of the organ.” Certainly this recording reflects his extreme prowess. Very difficult repertoire is executed with great care and finesse. I applaud his work and encourage many more recordings from him!

Adam Brakel pursues the dual career of concert artist and church musician, playing frequent organ recitals in the U. S. and abroad as well as directing the music program at St. Frances Xavier Cabrini Parish in Spring Hill, Florida. Having transitioned from prodigy to mature musician, Brakel received in 2010 the Graduate Performance Certificate from Peabody Conservatory, Baltimore, where he had earlier completed the master’s degree, studying with Donald Sutherland as the recepient of multiple scholarships. While at Peabody, Brakel was guest assisting organist at the Basilica of the National Shrine of the Immaculate Conception in Washington, DC.

Adam Brakel was awarded an American Guild of Organists scholarship as a junior in high school and then enrolled at Duquesne University where he studied organ with John Walker and David Craighead as well as harpsichord with Rebecca Rollett, graduating magna cum laude in 2006 and receiving the Andre Marchal Award for Excellence in Performance. While a student at Duquesne, Brakel became the associate organist at St. Paul Roman Catholic Cathedral in Pittsburgh and was seen several times weekly throughout western Pennsylvania via television broadcasts from the cathedral as he played for Masses and accompanied the choir.

He then enrolled at Juilliard, receiving numerous awards including the John Dexter Bush Scholarship and the Alice Tully Award. In New York, he became assistant organist at the Church of St. Ignatius Loyola, playing for choral performances, masses, rehearsals and concerts. He also performed at St. Patrick’s Cathedral and Central Synagogue. At age 25, he was appointed director of music and organist at St. Ignatius Cathedral in Palm Beach Gardens, Florida, and is among the younger appointees to direct a cathedral music program. He served two years before promotion to his current post in St. Petersburg.

As a performer and a top prize winner of many competitions, Adam Brakel distinguished himself in the Albert Schweitzer Organ Competition, the Reuter/Augustana Arts Undergraduate Organ Competition, the Gruenstein Memorial Organ Competition, the John Rodland Memorial Scholarship Competition, the French Organ Music Seminar Competition, and the Carlene Neihart International Organ Competition. He played concert tours in England in 2009 and 2010 and studied in France in 2008, performing in Toulouse.
Starting musical studies at the age of four and declared a prodigy in his youth, Adam Brakel was compared to Liszt, Gould, Bernstein, and Paganini. National Public Radio in Florida called him “an absolute organ prodigy, with the technique and virtuosity that most concert pianists could only dream of, and having the potential to be the leading organist of his generation . . . the Franz Liszt of the organ.” The internationally known organist Gillian Weir said of Brakel, “He is to be commended for his devotion to the art of performance, and to music itself.”

Notes on the Music
Like many of his contemporaries, the multifaceted American composer Dudley Buck (1839-1909) imported European compositional traditions into the United States with his compositions. Born in Hartford, Connecticut, he studied organ and composition at musical centers such as Leipzig, Dresden and Paris. Upon returning to America, he held prestigious church-music positions in Chicago and Boston, but his longest tenure was at Holy Trinity Church in Brooklyn, New York, 1877-1902. Throughout his professional life, Buck composed several organ and orchestral pieces, and he was a famous pedagogue and a writer of music, publishing numerous books. Apropos to the organ world, he published a book The Influence of the Organ in History in 1882.

This recording’s metaphorical premier coup d’archet is Buck’s sparkling Concert Variations on The Star-Spangled Banner, op. 23, composed and published in 1868, the same year Grieg composed his Piano Concerto in A Minor, op. 16. The tune to this American anthem was composed in late eighteenth-century Britain, was already known in the United States, and became associated with American patriotism when Francis Scott Key selected it as the setting for his poem The Defence of Fort McHenry written in September, 1814, Key having witnessed the British bombardment of Fort McHenry near Baltimore during the War of 1812. It was sung publicly in October, 1814, and was published with the music as the The Star-Spangled Banner shortly thereafter. Interestingly enough, it was not until 1931 that the The Star-Spangled Banner officially became the national anthem of the United States. While many characterize the melody as difficult for people to sing due to its octave-and-a-half range, it has always been an immensely popular tune and Buck demonstrates its versatility and potential through five exciting variations. These variations became so popular that he orchestrated the work later in life.

Op. 23 shows Buck’s indebtedness to many compositional traditions. While variation technique for the keyboard reaches back at least to the sixteenth century, certain genres and devices became standard in the eighteenth and nineteenth centuries. For example, inclusion of dance-like and fugal variations became staples of many Haydn and Mozart works, especially in their finales. Additionally, as we will hear in the Joseph Bonnet and Andrew Fletcher works on this CD, tonal pieces often employ the flatted-sixth key area, a modulation that became increasingly common after late Beethoven and Schubert. The Star-Spangled Banner variations include all of these traditions: opening theme; a florid, contrapuntal elaboration; a lively toccata/gigue variation; a solo pedal cadenza - no organ variation set would be complete without it; a harmonically daring and beautiful slow variation; and concluding fugue that calls for the powerful brass stops atop a plenum registration. While variation technique can set strict parameters on compositional creativity due to the primacy of the pre-existing melody, Buck’s slow variation illustrates quite colorfully how pliable the anthem is and how far one can push its lyrical and tonal boundaries. Parallel-minor, flatted-sixth, and Neapolitan harmonies abound. Taken en masse, this work closely illustrates the compositional traditions that the composer inherits. It is also entirely fitting of this style that Adam Brakel embellishes a few measures. The work is an apt opening to this recording, displaying lyricism, learned qualities and virtuosity for the organ.

As one of the great American organ pedagogues, California-born Herbert Boswell Nanney (1918-1996) contributed to organ repertory as well; the Adagio from the Sonata in E Minor is the only organ work published during his life. He began composing the sonata between 1939 and 1940, around the time he received an undergraduate degree from Whittier College. Nanney then earned an Artist’s Diploma from the Curtis Institute in 1947 and an M.A. from Stanford in 1951. Before permanently returning to Stanford as university organist and music professor, he joined the Army during World War II and had the opportunity to study organ with Marcel Dupré in Paris in 1944 and 1945. In the 1960s, Herbert Nanney organized and directed the doctoral program in organ performance at Stanford. Pedagogy may be his great and enduring legacy in the American organ- performing tradition – by the time he retired from his university post in 1985, eighteen of his musical progeny had significant teaching posts and/or successful concertizing careers. Among them was Adam Brakel’s first mentor at Duquesne University in Pittsburgh, Pennsylvania, John Walker.

The Adagio is an intensely lyrical work set in the dominant key, B major, of the overall sonata’s tonality, E minor, and is in a ternary form. The main theme, its accompanying harmony and idiomatic writing reflect the nineteenth-century organ traditions of France and England. The phrases are characteristically long, lending themselves to the colorful orchestral timbres of the organ. Nanney further demonstrates these registration potentialities by interpolating a perpetual triplet motion which he uses to increasingly thicken the texture, lushly underscoring the theme.

The Stanford Special Collections and University Archives house the original sketches of the sonata in a larger collection titled The Herbert Nanney Papers. The collection additionally consists of other compositions, newspaper clippings, concert reviews, personal correspondences, program notes, and the composer’s musical sketches.

The Bordeaux-born composer Joseph Bonnet (1884-1944) formally began his composing career in 1908 with his Variations de Concert, op. 1, shortly after he won the first prize in Alexander Guilmant’s (1837-1911) organ class at the Paris Conservatory. He then became the organist at St. Eustache Church, concertized extensively, and collaborated with several contemporaries. For example, he performed the organ part of Mahler’s Second Symphony, “The Resurrection,” under the latter’s baton. Bonnet also succeeded Guilmant as the concert organist of the Paris Conservatory in 1911 and moved to the United States in 1917, establishing the organ department of the Eastman School of Music in 1921. He subsequently returned to Paris, the United States and finally settled in Montreal, Canada. While there, he was an ambassador for French music and founded the organ classes at the Montreal Conservatory. Bonnet died in 1944.

The Étude de Concert is the second piece of Bonnet’s op. 7, the Douze pieces nouvelles pour grand-orgue. Op. 7 is one of three sets of twelve pieces for organ; he published opp. 5, 7, and 10 in 1909, 1910, and 1913, respectively. This concert study directly stems from the French symphonic-organ tradition that Guilmant and C. M. Widor (1844-1937) initiated in France and the work also bears remarkable similarities to those of Eugene Gigout (1844–1925), namely the Scherzo in E Major for organ. Bonnet’s D-major Étude de Concert is in a clear ternary form – the outer sections in D major and the central one is curiously in G major. The piece has a perpetual, staccato eighth-note motion in groups of three, which yields a quasi-scherzo, quasi-gigue flavor. Bonnet’s harmonic plan situates this work most strongly in the high-Romantic tradition by moving to the “transcendent” key of B-flat major, the flatted-sixth degree of the overall tonality of D major in the central section. Despite a harmonic context that normally suggests sublimity and expansiveness, the element of playfulness – perhaps even dance – is never far away in this piece, notwithstanding some virtuosic double thirds in both hands and running scales in the pedal line.

Considered to be the most important German composer for the organ after J. S. Bach, Max Reger’s (1873-1916) life is intimately bound to a precarious, historicist time: the turning point between late- nineteenth-century romanticism and early- twentieth-century modernism. The composer’s heightened command of counterpoint, voice-leading and harmony— often framed within seventeenth- and eighteenth-century genres—have consistently presented massive technical challenges to performers and scholarly challenges to theorists and musicologists. The particular nexus of Reger’s musical qualities make for some of the most difficult, but unique and personal musical utterances. The music marks a unique blend of the traditional and the modern, reflecting a time that felt itself in dramatic shift. Composed one year before he died in 1915, Reger’s Fantasia and Fugue in D Minor, op. 135b, shows this blend in a number of ways. The piece also juxtaposes nicely all three elements of the lyrical, learned and virtuosic.

The Fantasia immediately evokes the seventeenth-century rhapsodic, rhetorical stylus phantasticus, showcasing virtuosity and some of the most jarring harmonies and textures. The free, mercurial shifts between homophonic and contrapuntal textures vivify this music, characterizing it in a quasi-prose manner. Whereas fantasia traditionally denotes compositional and performative abandon, the fugue’s learned qualities impose restraint due to its contrapuntal design. In Reger’s fugue (a double fugue, no less), he displays a typical procedure by casting it in three clearly demarcated sections. The first two respectively introduce the subject and countersubject, while the third section culminates in their combination. The first subject exhausts eleven pitches of the chromatic scale (save for a B-natural) and receives a full exposition in four voices. The second subject takes on the melodic and rhythmic profile of a gigue and is in three voices. Also, it is typical of Reger to accrete the texture and dynamics throughout the work, pushing ever forward, especially within the final section in preparation for a grand synthesis of fugal subjects.

This work may also feature the precarious blend of old and new through its dedication. The dedicatee is Richard Strauss, the composer with whom Reger vied for musical dominance in Germany from about 1904-1915. Strauss wished to show musical progress through the genres of tone poems and music dramas. Reger, on the other hand, wished to show progress through time-honored forms and genres of instrumental music. These two composers present a concentrated microcosm of the familiar “Program-vs.-Absolute” trope in fin-de-siècle Germany. It is perhaps ironic, then, that Strauss is the dedicatee of a Fantasy and Fugue.

While Reger composed more organ music before he died, op. 135b is uncommon for his late style. Most of the works, like the Thirty Chorale Preludes, op. 135a, and the Seven Organ Pieces, op. 145, are comparatively lighter in texture and difficulty. Op. 135b recalls the style of Reger’s so-called “Weiden” period from about 1896-1904, when he wrote the bulk of his large organ works – the chorale fantasies, the large preludes and fugues, and the Variations and Fugue on an Original Theme, op. 73. After 1904, Reger’s organ output declined substantially and he focused on chamber music. Op. 135b is Reger’s final large-scale organ work.

The term cantilena originally applied to non-ecclesiastical monophonic chants from the ninth century onward. The more well-known meaning of the term began in the late-eighteenth century denoting a lyrical piece for voice or an instrumental passage written in a smooth style, akin to a cradle song, which is neither rapid nor capricious. In either case, a cantilena always denotes primacy of melody. Andrew Fletcher’s composition reflects the genre’s later manifestation. His Cantilena is one piece from his Five Miniatures for Organ. While the vast majority of Fletcher’s published music is based on hymn and chorale tunes, it seems like an ironic twist that a cantilena would appear in his oeuvre, given the genre’s secular origins. This example is one of his few free organ works, though it can easily function both as a concert piece and as a liturgical meditation.

Through its fifty-eight bars, the Cantilena tightly packs a number of colorful compositional devices and registrations. Fletcher casts the work in a ternary form and delineates each section by melodic treatment and key. In the initial E-flat-major section, the composer sets a consistent walking-bass line with a left-hand accompaniment in parallel sixths under a free, lyrical melody. Fletcher employs the melody in succession between a harmonic flute and cello-toned registration. In the central section, the pedal line takes the melody with a 4' flute. This section moves, as in the first and preceding pieces on this program, to in the enharmonic flatted-sixth key of B major, again evocative of nineteenth- century harmonic conventions. The last section returns to E-flat major and the melodic interplay from the first section.

Andrew Fletcher is a multifaceted musician: composer, organist, pianist, arranger and conductor. Educated in Birmingham and Oxford University, he is currently a Fellow of the Royal College of Organists. He conducts the Solihull Choral Society, functions as the Organ Adviser to the Diocese of Worcester, and is the organist at Birmingham University. He concertizes extensively in the United States, England, and Europe in addition to his extensive work in choral conducting and church music. Fletcher composed the Cantilena for Adam Brakel, to whom he is a mentor and friend.

While living in Rome during the 1860s, Franz Liszt (1811-1886) significantly increased his productivity in liturgical and religiously based music. In 1862, for example, he wrote the piano version of his famous Weinen, Klagen, Sorgen, Zagen and arranged it for organ in 1863. This arrangement has become one of Liszt’s most notable large-scale works for the instrument. That same year, he also composed the dramatic-religious Deux Legèndes (S. 175) for piano. The second of these legends is called St. François de Paule marchant sur les flots, or St. Francis of Paola Walking on the Waves. This piece depicts Giuseppe Miscimarra’s The Life of St. Francis of Paola, a rather stormy legend.

In the original manuscript, Liszt added his own preface to the works and a quotation that tells the story of each scenario. In St. Francis of Paola Walking on the Waves, the music attempts to pictorialize a scene not unlike the Gospel story of Christ walking on the water, in which boatmen refuse to take St. Francis onto their boat. If he is a saint, they taunt, he should walk on the water himself. He then spreads his cloak upon the water’s surface and does so, using the cloak as a sort of raft to the utter amazement and immediate regret of the boatmen. St. Francis of Paola Walking on the Waves features triplet figurations, long dramatic crescendos bolstered by tremolos and chordal passages, and left-hand cascades to perhaps suggest the imagery and climax of walking on water. The piece concludes jubilantly in E major with a triple-forte dynamic, replete with Liszt’s characteristic grandiose and thrilling virtuosity. Of all his religious music dating from his years in Rome, the two legends are among the most popular and frequently performed.

These legends bear a charmed life since Liszt first composed them for solo piano and orchestrated them shortly after, rendering them analogous to the Dudley Buck variations. The legends’ existence through such media renders them remarkably fluid. However, it was common for Liszt to revise, transcribe, and arrange many works, and the Deux Legèndes directly fall into this practice.  Moreover, this work appealed to many artists as a suitable piece for the organ. Composers Saint-Saens, Max Reger and twentieth- century organists including Louis Robilliard and Lionel Rogg transcribed this Legend for the instrument. Adam Brakel chose the Rogg transcription for this CD.

According to many, no organist, before or after her, could claim such an auspicious and meteoric rise to fame as Jeanne Demessieux (1921–1968). Her first public recital took place in February, 1946, after a rigorous incubation period with her mentor, Marcel Dupré. Her debut caused a sensation in the Parisian musical world, one that was not to be repeated. Dupré invested many years of training in Demessieux, especially the years between 1941 and her debut. He tirelessly championed her as the greatest organist in the world—quite an encomium from such a lofty virtuoso-organist. Even Maurice Duruflé said, albeit on the humorous side, that all other organists play the pedals like elephants next to Demessieux. Indeed, her talent was unprecedented, demanding the creation of a new technique. In many ways, the electrifying musicianship, virtuosity, and demand for a new technique of Jeanne Demessieux is analogous to the nineteenth- century phenomena of such virtuoso pianists as Chopin, Kalkbrenner, Hummel, and, of course, Liszt.

Many details of Demessieux’s life remain vague: her poor health, the decisive schism between her and Dupré, and her untimely death, always beg for more elucidation and clarification. The reasons for her break with her mentor are unknown, but he refused ever to speak to her again. This event had devastating effects on her, yet she continued to identify herself as his musical protégé and heir. Her greatest musical testimonies to this once unassailable musical relationship and devotion to her mentor are the Six Études, op. 5, which she performed in her debut recital.

These six studies are among the most technically demanding pieces in the organ repertory. Within these studies, the manuals and pedals generally have equal technical challenges, denoting Demessieux’s demand for the suppleness and movement of the ankles to match those of the wrists: No. 1, Pointes; No. 2, Tierces; No. 3, Sixtes; No. 4, Accords alternés; No. 5, Notes répétées; and No. 6, Octaves. Respectively, each étude treats a specific technique: alternation of primarily single pitches (toes, fingers, figurations, etc.), execution of thirds and sixths, alternation of chords, repeated notes and octaves. These works are a lasting contribution to twentieth- century organ composition and are a fitting finale with which to conclude a recording of such lyrical, learned and virtuosic music.

The Episcopal Church of Bethesda-by-the-Sea, Palm Beach, Florida
Austin Organs, Inc., op. 2777, 1999-2000
109 ranks (chancel 67, gallery 42) all stops appear on each of two identical four-manual consoles

Chancel Great
16 Violone
8 Diapason
8 Violone
8 Bourdon
4 Octave
4 Nachthorn
2 Fifteenth
IV Fourniture (2’)
III Cymbal (1’) †
16 Double Trumpet †
8 Trumpet †
4 Clarion †
8 Cor Séraphique SOLO
Tremolo
Chant Organ
Unison Off
Tower Bells
MIDI
† enc. with Chancel Choir

Gallery Great enclosed
16 Bourdon
8 Principal
8 Bourdon
8 Bois Céleste II
4 Octave
4 Rohrflute
2 Principal
II Sequialtera TC
IV Mixture (1’)
16 Kontra Trompete
8 Trompete
8 Cromorne
8 Cor Séraphique SOLO
Tremolo
Chimes
Zymbelstern
Unison Off
MIDI

Chancel Swell enclosed
16 Lieblich Gedeckt
8 Diapason
8 Flûte à Cheminée
8 Viola
8 Viola Céleste
8 Flauto Dolce
8 Flute Céleste TC
4 Principal
4 Flûte Octaviante
4 Viola
4 Viola Céleste
2 Flautino
III Plein Jeu (2’)
III Cymbal (1’)
16 Waldhorn
8 Cornopean
8 French Trumpet
8 Oboe
8 Vox Humana (in a box)
4 Clarion
8 Cor Séraphique SOLO
Tremolo
Vox Humana Tremolo
MIDI
Swell 16
Unison Off
Swell 4
Chant Organ

Gallery Swell (enclosed)
16 Contra Gamba
8 Geigen Principal
8 Flûte Oûverte
8 Viole de Gambe
8 Voix Céleste
8 Nitsua
8 Nitsua Céleste
4 Principal
4 Flûte Harmonique
4 Viole de Gambe
4 Voix Céleste
2 Blockflute
1-1/3 Larigot
III Mixture (2’)
16 Bassoon
8 Trompette
8 Hautbois
8 Vox Humana (in a box)
4 Clairon
8 Cor Séraphique SOLO
Tremolo
Vox Humana Tremolo
MIDI
Swell 16
Unison Off
Swell 4

Chancel Choir enclosed
16 Dulciana
8 Geigen Diapason
8 Hohlflute
8 Dulciana
8 Unda Maris TC
4 Octave Geigen
4 Koppel Flute
2-2/3 Nasard
2 Piccolo
1 Tierce
1 Larigot
16 Clarinet
8 Clarinet
8 Cor Séraphique SOLO
Tremolo
Harp
Celesta
MIDI
Choir 16
Unison Off
Choir 4
Chant Organ

Chancel Solo (enclosed)
8 Gamba
8 Gamba Céleste
8 Harmonic Flute
4 Orchestral Flute
8 English Horn
8 French Horn
8 Tuba Mirabilis
4 Tuba Clarion
16 Cor Séraphique TC
8 Cor Séraphique
4 Cor Séraphique
MIDI
Tremolo
Chant Organ
Harp
Celesta
Tower Bells
Chimes GAL GT
Solo 16
Unison Off
Solo 4

Chancel Chant Organ
8 Gedeckt
4 Suave Flute
2 Spitzflute

Chancel Pedal
32 Open Wood
32 Untersatz
16 Principal
16 Bourdon
16 Violone GT
16 Lieblich Gedeckt SW
16 Dulciana CH
8 Octave Bass
8 Gedeckt
8 Flûte à Cheminée SW
4 Choral Bass
III Mixture (2’)
64 Ophicleide
32 Grand Cornet VI
32 Ophicleide
16 Trombone
16 Double Trumpet GT
16 Waldhorn SW
8 Trumpet
4 Clarion
4 Clarinet CH
8 Cor Séraphique SOLO
Tower Bells
Chant Organ
MIDI

Gallery Pedal
32 Contra Violone
16 Open Wood
16 Principal
16 Subbass
16 Bourdon GT
16 Gamba SW
8 Octave
8 Bourdon GT
4 Choral Bass
III Mixture (2’)
32 Contra Posaune
16 Posaune
16 Kontra Trompete GT
16 Bassoon SW
8 Trompete
4 Clarion
4 Cromorne GT
8 Cor Séraphique SOLO
Chimes
MIDI

Reversibles
Open Wood 32
Untersatz 32
Ophicleide 32
Contra Violone 32
Contra Posaune 32
Ophicleide 64
Chancel Swell/Pedal
Gallery Swell/Pedal
Chancel Great/Pedal
Gallery Great/Pedal
Solo/Pedal
Choir/Pedal
Chant on Pedal
Chancel Swell/Great
Gallery Swell/Great
Choir/Great
Solo/Great
All Swells to Swell
Narthex call light
Chancel Tutti
Gallery Tutti
Full Organ

Chancel Couplers
Great/Pedal 8
Swell/Pedal 8
Swell/Pedal 4
Choir/Pedal 8
Choir/Pedal 4
Solo/Pedal 8
Solo/Pedal 4
Swell/Great 16
Swell/Great 8
Swell/Great 4
Choir/Great 16
Choir/Great 8
Choir/Great 4
Solo/Great 16
Solo/Great 8
Solo/Great 4
Swell/Choir 16
Swell/Choir 8
Swell/Choir 4
Solo/Choir 16
Solo/Choir 8
Solo/Choir 4
Great/Choir 8
Great/Solo 8
Swell/Solo 8
Choir/Solo 8
Choir/Swell 8
Solo/Swell 8

Gallery Couplers
Great/Pedal 8
Swell/Pedal 8
Swell/Pedal 4
Swell/Great 16
Swell/Great 8
Swell/Great 4
Swell/Choir 16
Swell/Choir 8
Swell/Choir 4
Great/Choir 8
Swell/Solo 16
Swell/Solo 8
Swell/Solo 4
Great/Solo 8

Pedal Divide*
Chancel Swell/Pedal Acc
Chancel Choir/Pedal Acc
Gallery Swell/Pedal Acc
Gallery Great/Pedal Acc
*Selecting Pedal Divide blocks manual-to-pedal couplers to the bottom 12 Pedal keys; selecting any of the ACC (Accompaniment) couplers (Chancel or Gallery) enables the selected division to couple to the bottom 12 Pedal keys; all “regular” pedal couplers work in the top 1½ octaves

Accessories
Piston sequencer
All Swells to Swell
Great/Choir transfer
Chancel Organ off
Gallery Organ off
MIDI sequencer
80 levels of memory (individually lockable)
Transposer
Melody Solo (couples Solo to Great on top note only)
Pedal Pizzicato (momentarily brings on Chancel Pedal Bourdon 16’)
Auto Pedal (when playing on Great, plays pedal division on bottom note only)
General Cancel
Chancel Cancel
Gallery Cancel
Division cancellers
Adjustable Crescendo Pedal
Adjustable Tutti
Recordable memory set-up
Adjustable music rack