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Summer Echoes, Gordon Turk at Ocean Grove - [OAR-166] $15.98

Gordon Turk plays the 205-rank organ on 5 manuals and pedal at the Ocean Grove (New Jersey) Auditorium, a beachfront building constructed in 1894 to accommodate audiences of 10,000 or more at the Methodist camp meeting grounds.  Originally built in 1908 by Robert Hope-Jones as "the largest organ in the world" with 14 ranks of pipes playing on enormous wind pressures (up to 50") and contained in four concrete swell boxes bearing thick, lead-covered swell shades, the organ was enlarged over the years to conform more closely to the expectations of musicians and needs of the concert series which occurs every summer at Ocean Grove. Tremendous sound!

Program:
Karg-Elert: March Triomphale, Clair de lune
Gigout: Toccata
Gigout: Grand choeur dialogué
Clérambault: Basse et Dessus de Trompette (1st Suite)
Guilmant: March on a Theme of Handel
Debussy: Cortege (Petite Suite, trans. Roques)
Debussy: Romance (trans. Turk)
Horatio Parker: Allegretto from Sonata in E-flat, op. 65
Charles Albert Stebbins:
In Summer
Meyerbeer: March from Le Prophet (trans. Best)
Dubois: Chant Pastoral
Eric Thiman: A Scherzetto for the Flutes
Oliphant Chuckerbutty: Paean, a Song of Triumph (Fanfare)
H. Alexander Matthews: The Passing of Summer



Summer Echoes
Program Notes by Gordon Turk

Sigfrid Karg-Elert
(1877-1933), was a prolific composer. His works are stylistically late-romantic, influenced by French Impressionism, Expressionism, and his contemporary Max Reger. He developed a style that blended rich chromaticism with expanding harmonies, which are made coherent by his extensive knowledge of musical theory. Marche Triomphal is based on the chorale Now thank we all our God, however it is difficult to hear the chorale melody which is submerged in the dense chromatic harmonies. Contrasting choruses of three manual divisions, supported by sonorous pedals and constant momentum, all unite to provide the compelling energy of this march. Clair de lune, a tone poem, is at the other end of the sound spectrum; it is subtle, yet vividly reflects the influence of Impressionism in its rich chromaticism and sinuous harmonies. This performance employs many ethereal and orchestral sounds of the instrument, including “celesta” bells near the end of the composition.

Eugène Gigout (1844-1925) was a composer of many works for organ, but during his lifetime he was known primarily as an organist and improviser. He held the post of organist of the Church of Saint-Augustin, Paris, for 62 years. Later in his life he succeeded Guilmant as professor of organ and composition at the Paris Conservatory. This disc contains two of his very popular organ compositions. The Toccata (in B Minor) is a fast-paced study in ”perpetual motion” for the hands, balanced by sustained notes and rhythmic accents on the pedals. The middle of the toccata has an imitative dialogue between manuals which is followed by rapid scale passages and chords for the manuals over the sonorous pedal theme. Subtle chromaticism adds sparkle to the breathless pace, but clarity of lines is a signature of this toccata.

Grand Chœur Dialogué, composed in the late Romantic style, is a conversation between the Récit (Swell manual) at forté level and the Grand Orgue (Great manual) at fff level. This performance begins on the distant Gallery division located at the west end of the auditorium (almost 300 feet from the main organ), which is in dialogue with the pipes of the ”main organ” at the east end of the building. With each restatement of the the theme, both gallery and main organ divisions gradually increase to fortissimo level. This is followed by a passage for manuals alone, composed in a contrapuntal style and treated as a fugal exposition. As this theme and sequential motives are developed the opening theme returns, this time played on the powerful Tromba Major, located in the west-end gallery. Then all the themes converge in a coda charged with chromatic lines and harmonies in rapid-­fire dialogue and sequences, driving to the concluding powerful chords, on the sounds of full organ.

Louis-Nicolas Clérambault (1676-1749) the son of a violinist of the Royal Orchestra (the 24 violons du Roi), was a composer of many choral and vocal works (both sacred and secular), including many cantatas, and compositions for violin, harpsichord and organ. He was organist of various churches in Paris. His Livre d’Orgue contains two suites, and the trumpet dialogue is a movement from the Suite du Premier Ton. The movement titled Basse et Dessus de Trompette (”bass and treble of the Trumpet”) is a lively dialogue between the upper and lower ranges of the trumpet stop, accompanied by foundation stops. Characteristically, the treble portions of the dialogue are often played on a Cornet stop, which includes colorful mutation pitches, and the agile passages of the trumpet part include notes inégales in which some notes are played slightly longer than written and some shorter, bringing vitality and élan to the music. Also characteristic of this school of music, many notes are ornamented with turns and trills, giving a further improvisatory quality.

Félix-Alexandre Guilmant (1837-1911) was highly regarded as an organist, the teacher of many celebrated pupils, a scholar of sacred music, and a prolific composer. He was organist of the the church LaTrinité in Paris for 30 years and also taught at the Paris Conservatory. His many works for organ included eight symphonies and a multitude of individual pieces. March on a theme of Handel has a hybrid three-part structure: Introduction, Fugal section plus development of the opening theme, and Conclusion. Based on the chorus “Lift up your heads” from Handel’s oratorio Messiah, it begins on subdued foundation and reed stops in a homophonic (chordal) texture. This is followed by a brighter, energetic contrapuntal (fugal) section that is based on a theme original to Guilmant. He then returns to the opening Handelian theme, combining chordal and scale passages. As this begins to crescendo, the commanding Tromba Major pipes in the rear gallery ring out with Handel’s theme “Lift up your heads” which leads to the fortissimo conclusion.

Claude Debussy (1862-1918) was perhaps the most significant innovator of Impressionism in musical composition, even though he denied this and disliked the term. His music is imbued with tints of subtle colors and ravishing harmonies. Cortege, an elegant procession, is the second movement from his Petite Suite for piano (four hands), and was transcribed for organ by Léon Roques. Romance, a song for voice and piano (transcribed for organ by Gordon Turk), was set to the poetry of Paul Bourget. The subtle charm of this chanson d’amour is experienced in the understatement of the French language, the expressiveness of the melody, and the lush harmonies. Subtle and expressive stops of the organ provide the accompaniment on one manual, to the colorful Tibia stop (with tremolo) for the vocal melody on another manual, with countermelodies played on yet another manuals requiring the player to play most of this piece on three manuals (and pedals) simultaneously.

Horatio Parker (1863-1919) was born in Massachusetts, studied for three years in Munich as a pupil of Joseph Rheinberger, and returned to the US for a distinguished career as organist of various churches in New York City and Boston. He was also appointed to the faculty of Yale University and was a highly regarded teacher and composer. His largest solo organ composition was Sonata in E-Flat, Op. 65 (1908). The third movement of this sonata is a colorful and humorous scherzo titled Allegretto, composed in the unusual key of B-flat minor. The Allegretto features the bass and middle registers of the Solo Clarinet stop, flute stops in the middle and upper registers, foundation stops for running scales played on the pedals, and an accompaniment played on bright, lean flute and string stops of the Swell division. The Allegretto has a clearly delineated ABA form, and concludes in an understated fashion with subtle arpeggios on the wooden Doppelflöte pipes.

Charles Albert Stebbins (1874-1958) composed only a few pieces for organ. In Summer, a tone-poem for organ in ABA form, begins on some of the softer, most distant pipes of the Auditorium Organ, in a “shimmering haze,” which is followed by a plaintive melody on the Flugel Horn. It then progresses through various changes of registrations, including horn-calls on the Oboe Horn and French Horn stops, and jubilantly crescendos to fortissimo before returning to the opening plaintive melody, and finally fading into the distant horizon. This evocative mood can be experienced in the words of a poem inscribed by the composer on the first page of the music:
In Summer
The plaintive piping of the God Pan floats through the shimmering haze;
The lazy, far-off hillsides doze, and dream of other days,
Till joyous youths of Arcady sweep by in sunburnt rout,
And leave the listening leafy trees drunk with their golden shout.

Giacomo Meyerbeer (1791-1864) was celebrated as a composer of operas to an almost cultish adulation by the masses. His vastly popular opera, Le Prophet, includes a Coronation March reflecting the pomp and pageantry so typical of his music. Meyerbeer’s orchestration is colorful, including brass fanfares, trumpet solos, echo horns, and passages for strings and woodwinds, all of which are reflected in the registration of stops for this organ version. The transcription from orchestral score to organ score was made by English organist William Thomas Best, considered the greatest concert organist of nineteenth-century England.

Théodore Dubois (1837-1924) was organist of Le Madeleine, a famous Parisian church, and was also professor and later director of the Paris Conservatory. He is probably best known for his cantata The Seven Last Words of Christ for chorus, soloists, and orchestra, and although he composed many works for organ, they are little known today. Chant Pastoral is lively and colorful, yet plaintively pastoral in mood. It utilizes the Oboe stop of the (Récit) Swell division (and in this performance also the Flugelhorn pipes) contrasted with the Harmonic Flutes, that are so characteristic of 19th-century French organs.

Eric Harding Thiman (1900-1975) was an organist, esteemed music educator, conductor and composer. He was organist and choirmaster of City Temple, a Congregational Church in London, and was revered for his skill as an improviser. He was an enthusiastic advocate for congregational singing and was chairman of the music committee of Congregational Praise.A Scherzetto for the Flutes is a gentle romp on the colorful Gedeckt pipes (flute-like)  of the Principal Chorus Division in the main organ, echoed by the Koppelflöte pipes of the rear gallery division.

Oliphant Chuckerbutty (1884-1960) English organist, was well known as a church organist and  as a cinema organist. He was a graduate of the University of London (1909), and the same year was appointed organist-choirmaster of Holy Trinity, Paddington, where he served until 1948. He also held positions in several cinemas and also the Café Royal, where they had an Aeolian organ. Pæan – A Song of Triumph (Fanfare) is one of his few published (in 1948) organ compositions, and it utilizes the bold Tuba Major pipes for the fanfare portions of this piece. I found this composition in a music store on a side street in Cambridge, England, and could not help but be intrigued with the composer’s name. The musical score looked interesting, so I purchased it forthwith, and have been delighted with my purchase ever since.

H. Alexander Matthews (1879-1973) was born and educated in England, and migrated to the USA in 1900. He was organist-choirmaster of two Episcopal churches in Philadelphia, first at St. Luke and the Epiphany and later at St. Stephen’s. He composed a large amount of choral music and many pieces for organ. Some of the organ compositions are appropriate for church services, and others have more programmatic titles and moods. The Passing of Summer – ”An Impression for the Organ” is a tone-poem, expressive and colorful; the harmonies are highly chromatic, the rhythms and dynamic levels are fluid, constantly changing. The Impression is an “aural painting“ of changing seasons, created in this performance by the use of five keyboards and pedals, six expression pedals controlling the dynamic levels, and twenty-­nine piston changes, all within the brief span of fifty-seven measures of music.

Gordon Turk is critically acclaimed as a concert organist whose “athletic performance brings lots of flair to the organ console” (Flint Journal). His playing is “a seamless integration of interpretation and virtuosity” (Newark Star Ledger), and “it is a moving experience to hear him” (New York Times).

He has performed throughout the United States, Europe, Russia, Ukraine, and Japan. His concert tours, both in the USA and abroad, have included solo recitals in concert halls, universities, cathedrals and churches, performances in organ festivals, and concerts with orchestras. He has received competition prizes for performances of the music of J. S. Bach and was also a winner in the national improvisation competition of the American Guild of Organists. He has presented masterclasses on organ interpretation and improvisation in the United States and abroad.

As Organist & Artist in Residence of the historic Ocean Grove Auditorium, Dr. Turk plays this celebrated auditorium pipe organ for the twice-weekly recitals in July and August, and for Sunday services. He is also Founder and Artistic Director of the chamber music series Summer Stars which is presented in the exceptional acoustics of this vintage hall, performing concerts with various solo instruments, string and brass ensembles, and also concertos for organ and symphony orchestra.

Dr. Turk is Organist and Choirmaster of St. Mary’s Episcopal Church, Wayne, Pennsylvania, where he directs professional and volunteer singers in a broad spectrum of choral music. He is Professor of Organ at Rowan University in New Jersey. He has recorded several organ CDs and has composed choral, vocal, and organ compositions, and Elegy for string orchestra and oboe which has been featured in a TV broadcast in Japan.
Gordon’s interest in and passion for the pipe organ began as a youth, and has led to a life-long study of the instrument, including its history, physical and musical development and the literature/repertoire that has evolved with it. He has been the tonal consultant for the design and construction of several new pipe organs and also the restoration of historic and vintage instruments.

The Auditorium Organ
The Ocean Grove Camp Meeting Association was founded in 1869 as a sea-side, summer retreat for worship, education, and recreation. Initially, an open-air meeting space beneath a large roof was surrounded by a community of tents. Later, shelters combined half of a wooden cottage with half of canvas tent, and most of them still exist. The present, fourth, auditorium was erected in 1894 as an enclosed wooden building with sliding doors and windows opening to the outside air on three sides. It is approximate­ly 300 feet long, and 150 feet wide, with seating for 6,500 on the main floor and in a horse-­shoe balcony on three sides.

The Auditorium housed a pipe organ from the Washington Square Dutch Reformed Church in New York. It was built in 1840 by Henry Crabb of Brooklyn and rebuilt and enlarged to three manuals and 24 ranks (22 stops) in 1855 by Richard M. Ferris of New York. The Reformed congregation sold the building in 1876 to Methodists, who eventually closed the church in 1895 and gave the organ to Ocean Grove.

In 1907, the Ocean Grove Association contracted with Robert Hope-Jones (1859-1914), an English organbuilder who relocated to American in 1903, to build an organ for the auditorium. Hope-Jones was regarded as a brilliant engineer and mechanical innovator who had novel, idiosyncratic tonal concepts of tonal design. One of his ideas was to place pipes of like timbre (tonal quality) in individual chambers, and he constructed the Ocean Grove organ based on that design.

Four concrete pipe chambers were construct­ed in the area behind the choir loft, and Hope-­Jones grouped the pipes of similar tonal char­acter in individual chambers; each rank of pipes played at multiple pitches. The chamber groupings represent the four characteristic families of pipe organ tone: Reed (brass and wood­wind), Diapason, Flute, and String pipes. The floor of each chamber is located about 25 feet below the top row of the choir-loft, and the tone-openings are located on the ceiling of each chamber. Large, lead-lined louvers cover the openings, and these movable louvers are controlled by four expression pedals operated by the organist at the console. These louvers (or shades) mute the sound when they are in the closed position and allow the pipes to be heard at full volume when opened. As the sound travels upward, it is reflected by a parabolic curve (twelve feet above the chamber openings – where the wall joins the ceiling) into the interior of the auditorium. The wooden ceiling of the auditorium acts as an expansive sounding-board, effectively distributing the music throughout the room. The upper (attic) side of this wooden parabolic curve is covered with cement, which gives an additional reflective element. While the majority of the Hope-­Jones pipes were located inside these chambers, one powerful rank of Dia­phonic Diapason pipes was un­enclosed in the open space above the tone-­openings. The new organ was inaugurated in July, 1908.

The original Hope-­Jones organ consisted of approximately 1,154 pipes, which represents a modest-sized instrument for such a large space. Hope-Jones compensated, however by building the pipes of an unusually large scale (i.e., the relationship of circumference and diameter of a pipe to its height) and very high wind pressures. Consequently, the pipes produced a powerful sound that filled the auditorium. The two electric blowers located in the basement sent air under pressure to the organ chambers where it was stored in wooden reservoirs with expanding panels constructed of leather and wooden ribs, delivering a steady supply of wind at precisely regulated pressure to the individual pipes.

By the 1960s, the instrument was in dire need of mechanical repairs, and the Camp Meeting Association contracted with a local firm to renovate the instrument and to add pipes that would enhance its versatility. This renovation of the late 60s and early 70s repaired some of the mechanical problems, unfortunately removing 6 of the original 14 ranks of pipes and their windchests, rather than repair them. Ranks of new pipes were added, of a more modern style and normal scale, were too small to make an impact in the large au­dit­or­ium, and they were in­compatible with Hope-­ Jones tonal concepts and the pipes he built to achieve them.

When Gordon Turk began his tenure as Auditorium Organist in 1974, he met John Richard Shaw (1934-2019), who was to become the most influential personality in the developmental history of this instrument. John had been a summer vacationer in Ocean Grove, both as a teen and as an adult, and had become friends with Josephine Eddowes, Auditorium Organist for many years. John‘s mother was a church organist, and, as a teenager, he helped install the Möller pipe organ in his home church in West Grove, Pennsylvania. His and Gordon’s shared interest in the auditorium organ was the beginning of an ongoing collaboration that has brought the instrument to its status among the larger organs in the world, with 203 ranks, more than 13,000 pipes, and a complex and versatile musical personality.

The first of their projects included the addition of ranks of pipes that would fill musical gaps in the organ’s ensemble and enhance its versatility. The process was slow for two reasons: 1)  work could be done only during the off-season months; and,  2) negative aspects of the 1960-70s renovation required reconsideration and reworking. Fortunately, Shaw and Turk were able to recover two of the missing Hope-­Jones ranks, the 8' Open Diapason pipes, and the 8' Clarinet pipes.

The on-going work of renovation and expansion that began in 1975 included the collaboration of organ builders, organ technicians, organ pipe factories, and also public relations and funding by private individuals. All of this came under the organization and supervision of John Shaw. John’s professional career was in public education, where he began as a teacher,  then principal, superintendent, and director of operations and facilities of a large school district in Delaware. He brought all of these skills into his avocational dedication to the auditorium organ. John and Gordon worked through the winter months in planning and directing the organ program, having a master tonal plan as a goal.

The instrument had three previous consoles before the present console. The present console was built for the very large Longwood Gardens Aeolian organ of 1929 in Kennett Square, Penn­sylvania, at the estate of Pierre S. DuPont, where it served until it was replaced in 1959. The older console was given away and relegated to storage for years. In the 1980s, Shaw and Turk learned of its existence and obtained it for rebuilding over five years for the Ocean Grove Auditorium organ.

The console had four manuals and more than two hundred ivory stop tablets. When installed, it became one with the auditorium organ and the room. As the instrument grew in size and scope, it became obvious that a fifth manual (keyboard) was needed as a ”home base” for additional ranks of pipes. In 199-, five new manuals, a new pedalboard, and bench were crafted to order by the esteemed P&S Organ Supply Co. in Suffolk, England.
Many of the added ranks of pipes were built for the auditorium by the A. R. Schopp firm in Alliance, Ohio, including an extensive new division of pipes in the rear balcony called the Gallery-Echo Division. Its case was designed by architect Frank L. Friemel of Canyon, Texas. In addition to the new ranks, many vintage ranks of pipes have been added to the instrument in the past thirty-­five years; pipes that are prized for their specific tone-color and pedigree, built by the firms of E. M. Skinner, Aeolian-Skinner, Kimball, Aeolian, and Möller.
The organ in its present state has an extraordinary palette of tone colors, and is versatile in a way not imagined before 1975. It has a vast dynamic range from softest whisper at PPP to a powerful resonance at ffff. The four 32' pedal ranks provide a thrilling fundamental that can only be fully appreciated in person, in the auditorium space. The many diapason ranks represent various eras of organ design from baroque and classic to noble and sonorous, while the many ranks of strings and flutes have a wide spectrum of tones from warm subtlety to keen, shimmering intensity. The impressive tonal resources of the auditorium organ make possible the performance of organ literature of many and various periods and styles, however its most impressive tonal quality is the musicality that resides of the heart and soul of this instrument.

During the summer season, the organ is played for Sunday services, accompanying the singing of large congregations, the auditorium choir, professional soloists, and solo organ pieces. In additional there are fourteen organ recitals during July and August, which make great demands of the instrument and performers. So, the instrument is in constant use for practicing and performances.

The Auditorium Organ, 2019
Ocean Grove, New Jersey

205 ranks, 12,852 pipes, 5 manuals and Pedal

Great
Manual 2, Unenclosed
16’ Open Diapason
8 Open Diapason
8 Second Diapason
8 Third Diapason
8 Harmonic Flute
8 Waldflute
8 Keraulophone
5-1/3 Quinte
4 Octave
4 Principal
4 Harmonic Flute
3-1/5 Tierce
2-2/3 Twelfth
2 Fifteenth
1-3/5 Seventeenth
1-1/7 Septieme
IV Full Mixture
IV Sharp Mixture
16 Double Trumpet
8 Trumpet
4 Clarion
8 Cello Céleste II So
8 Viole da Gamba II So
8 Orchestral Violes II So
8 Vox Humana So

Prinicpal Chorus
Floating, Unenclosed
8 Principal
8 Gedeckt
4 Principal
4 Spindle Flute
2 Octave
V Grave Mixture
IV Mixture

Positiv

Floating, Unenclosed
8 Principal
8 Geigen Diapason
8 Bourdon
4 Octave
4 Koppelflöte
2-2/3 Quint
2-2/3 Nazard
2 Super Octave
2 Blockflöte
1-3/5 Tierce
1-1/3 Quint
1 Piccolo
IV Mixture
III Cymbel
16 Cor Anglais
8 Trumpet
8 Rohr Schalmei
8 Cor Anglais
Tremulant

Choir

Manual 1, Enclosed
16 Erzahler
8 Conical Diapason
8 Clarabella
8 Erzahler
8 Erzahler Céleste
8 Gamba
8 Gamba Céleste
8 Viole damour
8 Viole Céleste
8 Viola
8 Viola Céleste
8 Kleine Erzahler
8 Erzahler Céleste
8 Flauto Dolce
8 Flauto Dolce Céleste
4 Flute
16 Fagotto
8 Trumpet
8 Waldhorn
8 English Horn
4 Clarion
Tremulant

Choir High Pressure Enclosed
8 Diapason
4 Octave
2 Super Octave
V Mixture
8 Stentorphone
4 Stentorphone
8 Viole dorchestre
8 Viole Céleste III
4 Orchestral Violes II
8 Vox Humana
Tremulant

Swell
Manual 3, Enclosed
16 Bourdon
16 Contre Viole
8 Diapason
8 Principale
8 Voce Umana
8 Harmonic Flute
8 Bourdon
8 Viole
8 Viole Céleste
8 Unda Maris II
4 Principal
4 Harmonic Flute
4 Voce Umana II
4 Gamba Céleste II
2-2/3 Quint
2 Harmonic Nasard
2 Principal
2 Harmonic Flute
1-3/4 Harmonic Tierce
1-1/3 Harmonic Larigot
IV Mixture
IV Cymbel
16 Double Trumpet
8 Trumpet
8 Oboe
4 Clarion
Tremulant

Solo
Manual 4
8 Tibia Plena
8 Tibia Clausa
8 Concert Flute
8 Cello Céleste II
8 Viola da Gamba II
8 Orchestral Violes II
4 Major Flute
4 Tibia Clausa
4 Concert Flute
2-2/3 Flute
2 Flute
16 Tromba
8 Tromba
4 Tromba Clarion
16 Bombarde
8 Harmonic Trumpet
16 Clarinet
8 Clarinet
8 Heckelphone
8 Oboe Horn
8 Orchestral Oboe
8 Vox Humana
Tremulant
Solo Harp
Xylophone
Glockenspiel
Chimes

Fanfare Manual 5
Unenclosed, *Enclosed
16 Violonecello*
8 Diapason Major
8 Doppel Flute
8 Violonecello*
8 Violonecello Céleste*
16 Bombarde
8 Bombarde
8 Tuba Major

Orchestral
Floating, Enclosed
16 Gemshorn
8 Horn Diapason
8 Traverse Flute
8 Gedeckt
8 Gemshorn
8 Gemshorn Céleste
8 Viole dOrchestre
8 Viole Céleste
8 Gamba
8 Gamba Céleste
8 Echo Gamba Céleste II
4 Octave
4 Harmonic Flute
4 Doppleflöte
4 String Céleste II
2-2/3 Nasard
16 Bell Clarinet
8 Tuba Horn
8 Oboe Horn
8 Clarinet
8 Vox Humana
Chimes
Glockenspiel
Celesta
Tremulant

Pedal

Unenclosed, *Enclosed
32 Contra Diaphone
32 Contra Tibia*
16 Open Wood
16 Major Bass
16 Diapason
16 Violone
16 Contra Bass
16 String Deep
16 Bourdon
16 Tibia Clausa*
16 Subbass*
16 Gemshorn*
16 Viole*
16 Violoncello
10-2/3 Quint
8 Octave
8 Principal
8 Open Wood
8 Bourdon
8 Tibia Clausa*
4 Choral Bass
4 Bourdon
IV Mixture
32 Contre Bombarde
16 Trombone
8 Trumpet
16 Posaune
16 Cor Anglais
4 Rohr Schalmei
32 Contra Trombone*
16 Tromba*
16 Bombarde*

Gallery/Echo

Floating, Unenclosed:
16 Violin Diapason
8 Diapason
8 Violin Diapason
8 Bourdon
4 Octave
4 Koppelflöte
8 Tromba Major
Floating, Enclosed:
16 Violone Cello
8 Principal
8 Concert Flute
8 Cello
8 Cello Céleste
8 Muted Viole
8 Muted Viole Céleste
8 Orchestral Viole
8 Viole Céleste
8 Salicional
8 Voix Céleste
4 Principal
4 Concert Flute
2 Principal
16 Double Cornopean
8 Cornopean
8 Flugel Horn
8 French Horn
8 Vox Humana
Tremulant

Echo Pedal
Unenclosed, *Enclosed
16 Violin Diapason
16 Bourdon
16 Violone Cello*
8 Violin Diapason
8 Bourdon
16 Double
Cornopean*

Couplers:
Normal couplers

Expression Pedals
Left to Right
String
Solo flutes
Choir/Orchestral
Swell
Solo Reeds
Gallery

Pistons
General: 19 hand and toe
Ch, Gt, Sw, So: 8 each
Orch: 5; Fanf: 3 Gal: 3
Ped: 5

250 memory levels

Summer Echoes, Gordon Turk at Ocean Grove
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