Spectacular, rarely heard or never-before-heard works for organ and orchestra are played by Peter Richard Conte at the Wanamaker Organ and the New Jersey orchestra Symphony in C directed by Stilian Kirov in this DVD+CD set produced in  cooperation with the Friends of the Wanamaker Organ. Recorded in a live concert in the Grand Court of Macy’s, Philadelphia. On the DVD video presentation of the program, Thomas Murray introduces the music and the features.

LISZT/DUPRÉ: Fantasia & Fugue on Ad nos ad salutarem undam, arranged for organ & orchestra by Dupré in 1930, and lost until discovered in 1997
GIGOUT: Grand Choeur Dialogué arranged for organ & orchestra by Guy Ropartz ca. 1900

VAUGHAN WILLIAMS: Fantasia on a Theme by Thomas Tallis, arr. organ & orch. by Peter Richard Conte

GUILMANT: Symphony No. 1 in D Minor, Op. 42, for organ and orchestra

  I.  Introduction (Largo e maestoso) et Allegro
  II. Pastorale. Andante quasi allegretto
  III. Final. Allegro assai

Franz Liszt (1835-1921), the flamboyant pianist-composer, also is a household word among the music-minded. His 1850 Fantasia and Fugue on on Ad nos ad salutarem undam, (For us men and for our salvation), a favorite virtuoso display piece of the late Virgil Fox, is Heavy Organ at its most hair-raising. Built on a theme from Meyerbeer’s opera Le Prophète, the result is a Lisztian keyboard romp that is playful with severe technical demands. This organ and orchestra arrangement by Marcel Dupré — making its American premiere tonight —includes sharp chords from the Organ reminiscent of the most spine-chilling works of Bach, Buxtehude and Reubke. Prepare for pure Lisztian fire!

Born in 1984 in Sofia, Bulgaria, Mr. Kirov is a graduate of The Juilliard School in orchestral conducting, where he was a student of James DePreist. In 2012, he studied at the Aspen Academy of Conducting and, in 2013, was one of three Conducting Fellows at Tanglewood. In 2010, he was awarded the Chautauqua Music Festival’s David Effron Conducting Fellowship, and returned in 2012 and 2018 as a guest conductor. Mr. Kirov holds a master’s degree in conducting from the Ecole Normale de Musique in Paris. A gifted pianist, Stilian Kirov was Gold Medalist of the 2001 Claude Kahn International Piano Competition in Paris.

Peter Richard Conte, appointed Wanamaker Grand Court Organist in 1989, is only the fourth person to hold the title since the organ first played in 1911. He performs concerts twice daily, six days each week, on the largest fully-­functioning musical instrument in the world. Mr. Conte is also Principal Organist of Longwood Gardens, and, since 1991, has served as Choirmaster and Organist of Saint Clement’s Church, Philadelphia, where he directs a professional choir in an extensive music program in the Anglo-Catholic tradition.

Mr. Conte is highly regarded as a skillful performer and arranger of organ transcriptions. He has been featured several times on National Public Radio and on ABC Television’s Good Morning America and World News Tonight. Mr. Conte performs extensively through­out the United States and Canada under the management of Phillip Truckenbrod Concert Artists and has appeared as a featured artist at American Guild of Organists’ National and Regional Conventions. He has performed with the Philadelphia Orchestra, Peter Nero and the Philly Pops, and with numerous orchestras around the country.

The Wanamaker Grand Court Organ at Macy’s has thrilled Philadelphia shoppers and visitors every business day since 1911. Eighty years after the organ’s inauguration, an organization of Friends was formed, in the fall of 1991, to support the preservation and musical mission of this irreplaceable American treasure. Built by the Los Angeles Art Organ Company for the 1904 St. Louis World’s Fair, the Wanamaker Organ was designed by renowned organ architect George Ashdown Audsley, author of The Art of Organ-Building. This heroic instrument had more than 10,000 pipes, and its construction was on such a lavish scale that its $105,000 price tag ($27 million in today’s dollars) forced its builder into bankruptcy.

The Friends of The Wanamaker Organ, Inc., is a world-wide group of sponsors and supporters formed to encourage the preservation and musical mission of this American masterpiece. Special introductory contributions of just $25 entitle the donor to become a Friend and to receive four issues of The Stentor, the Society’s lively quarterly historical newsletter and restoration update. Added tax-deductible donations support Friends concerts and programs. 

Thomas Murray, concert organist and recording artist, is Principal Organist and Artist in Residence at Christ Church, Episcopal, in New Haven and Professor Emeritus in the Practice of Organ and University Organist at Yale University. He was appointed Professor in 1981 and retired in 2019. He taught many leading performers and is wdely known for his interpretations of Romantic repertoire and orchestral transcriptions; his recordings are highly acclaimed. Stereophile selected his Raven CD of Mendelssohn Organ Sonatas as a Record to Die For in 2020, despite it having been originally released on the Sheffield label in 1973! High Fidelity magazine has credited him with “. . . consummate skill and artistry in treating the organ as a great orchestra,” and the American Record Guide said of his Elgar CD: “Murray’s performance and his handling of the immense resources of the Woolsey Hall organ are beyond superlatives. . . the shape of every phrase, the use of every color. . . could not be more perfect.” 

Born in California in 1943, Murray studied with Clarence Mader at Occidental College. In 1986, the American Guild of Organists named him International Artist of the Year. In 2003, the Royal College of Organists in England awarded him an FRCO diploma honoris causa, and in 2007 he received the Gustave Stoeckel Award for excellence in teaching from the Yale University School of Music. He has performed worldwide as an organ soloist and with major symphony orchestras.

Profound thanks are expressed to the many working tirelessly behind the scenes to make this production possible, including Macy’s Christopher Bannon, Barbara Beck, Elina Kazan, Emily Hawkins, Julie Strider, Amy Kule and Jennifer Follo; Grand Court Organist Peter Richard Conte; Curators Curt Mangel and Matthew Taft; Friends’ Wyncote Grant recipients Jonathan Buchanan, Jacob Davidson, Scott Kip, Michael Lawrence and Nicholas A. Myers; Steve Emery, Professional Organ Symposium participants and supporting volunteers John Adams, Laura and Roy Blanchard, Nathan Bryson, Don and Jan Drury, Brant Duddy, Tom Engstrom and Valerie Kuehn, Mary Anne Fry, Scott Herr and family, Sam Hughes, Evan Jones, Judi Kosco, Bob Knight, Roger Lane, Rudy Lucente, Ralph E. McDowell, Paul Miller, Steven Moore, Sean O’Donnell, Stephen Ross, RBY Productions, Barbara and Rick Seifert and Jesse Arcus, Michael C. Smith, Nikola Sizgorich, Jim Stemke, Bruce Todd, David Tuck, Jim and Melanie Twyne, Kris Yeaworth and Bob Moore; Volunteer coordinator Claire Whiting; Emcee and Friends Music Liaison Rudy Lucente; Friends board members Ray Biswanger, Brant Duddy (emeritus) Bill Eads, Dennis Elwell, Michael Stairs and Colvin Randall; Symphony in C president Pamela Brant

Recording engineers: Charles Gagnon and Jim Stemke with William Houston

"Richness and mellowness of tone are results which are directly proportional to the number of subdued tones that are combined, all of which will blend into a rich ensemble. A marvelous example of this is the magnificent organ in the Wanamaker store in Philadelphia. This organ is one of the largest and in some ways the finest organ in the world today.

Starting from scratch, nobody would build an organ like the Wanamaker Organ. Its unique sound, cherished by legions of fans, resulted by happenstance and from a series of enhancements. It is a mammoth instrument that was tailor-made for one specific site and wound up in quite another.

Organbuilder Murray M. Harris was the flashy financier-builder who charmed investors and customers into enabling creation of his superior instruments, and William Boone Fleming was the exacting action designer who instilled refined and meticulous organ-action workmanship into an organ intended for the ages. What could possibly go wrong?

Also noteworthy, in a design that made sense for the Kansas City hall, was the presence of only a handful of high-pressure stops on 22 inches of wind. Almost the entire remainder was on moderate wind-pressures, mainly at five inches. (More extensive use of higher pressures would come in the next decade or two, as designers sought more presence in ever-larger arenas.) In the convention hall, too, the assigned windpressures made sense for a free-standing installation with easy egress of sound. The instrument’s record-breaking size would compensate for any limitations from moderately voiced pipes.

Once installed at Wanamaker’s, however, the re-housed organ became a horse of a different color. Heavy masonry walls and a solid overarching ceiling boxed-in the instrument on five sides. The sound could emerge only from front openings that satisfied the architectural circumstances. In the Grand Court that meant the organ facade was the only outlet for sound-egress. In this huge chamber, opening the side shades of the expression boxes meant that much sound was simply diffused through a forest of pipes and could no longer escape. Sound was projected forward effectively, but only when it could emerge solely via front expression shades. That created a megaphone effect.

As if those weren’t problems enough, the builders had erected the big metal pipes of the old organ case—pipes that really played—just behind pipes of the present ornamental organ facade, the two rows of pipes forming a “wall of zinc” constituting a sonic barricade.

____________

What does one do when the world’s largest pipe organ is underwhelming?  Wisely, attempts at loudening the existing pipes using higher pressures were not made. Doing that would involve changing the mouth cut-up of the flue pipes, throwing all the stops out of relationship with each other, while altering their inherent “personalities.” Particularly impacted would be the cohesiveness of reed and diapason choruses. Such a pipe overhaul had been done during the first enlargement, in 1915, of Yale’s Woolsey Hall organ—much to its detriment, according to its historian Edward W. Flint (The Newberry Memorial Organ at Yale University). At Yale, Flint says, the treble pipes became fluty and the basses became hard and over­blown. Goosing the Pedal pipes resulted in windiness and forced tone.

Work began by adding stops to each home keyboard to give the respective divisions more stops to command. Blending continued to stem from unusually deep chambers and windchests placed off-axis from case openings. Broader pallettes of tone colors bolstered the seamless blending in orchestrations and crescendos. The soft-but-rich sound of the Wanamaker Organ was blossoming.

Added pipework and higher wind pressures provided much needed power and presence. (The intentionally soft Echo, on five inches of wind, was an exception—it was simply doubled in size.) Manual divisions benefitted from new pipe-work starting at 11 inches of windpressure, with 15 inches utilized for the new Grand Swell and Grand Choir. The Grand Choir was under double expression behind the Grand Swell. The Great received an additional flute and diapason unit (on the Tibia Chest), and was further beefed up with a new 8-rank Mixture and a Trumpet.

An often overlooked Wanamaker Organ design secret is its “overstocked” Pedal. Many large Pedal organs consist of just a few 32’ and 16’ ranks, a handful of other bold stops, a reed chorus, and possibly one or two mixtures. The remaining stops are usually gathered via octave extensions and borrows from manual divisions—all filling out the bass line. Combined with manual coup­ling, this results in an effective bass, but not a truly independent musical line. A genuinely independent bass is only achievable by a proliferation of ranks exclusively played by the Pedal. Attempting such a configuration requires scores of big pipes that are quite costly and require considerable space. In this department, too, they were mainly moderately voiced.

As schemed by George Ashdown Audsley, the 1904 World’s Fair Organ had 31 sets of Pedal pipes. That number was increased to 54 with this first enlargement. To be sure, many of the additions were bold, and powerful mixtures were added. Also included was a configuration of softer strings and flutes. The additions enabled a rich blending of bass in the Pedal division that, like in the manual divisions, allowed for a smooth Pedal character without the intrusion of forced tone. This extended the range of crescendos possible through the enhanced ability to build up and melt down tonal combinations without audiences being distracted from the orchestral illusion by noticing the addition or subtraction of individual stops. This fit in with the playing of the best symphonic organists, and is a technique Peter Richard Conte uses to great effect. Wrote Nelson Barden of the great Wagner transcription champion Edwin H. Lemare, “Lemare practiced stop changing assiduously. He believed that ‘the audience should never be made aware that there are any stops at all.’”

“Dr. Courboin had a fertile and imaginative mind. As long as the Wanamakers were willing to spend money to increase the size of the organ, Dr. Courboin could think of ways to spend it.... No one has ever made this organ sound as marvelous as Dr. Courboin. When he played it the more than half a million dollars spent on it over the years seemed to be justified.”

Tonal experiments from the turn-­of-­the-­century, furthered by factory mass-production expertise, resulted in the perfection of numerous imitative orchestral stops during the first two decades of the 20th century. Rodman had enjoyed hearing his instrument in concert with the Philadelphia Orchestra. The retailer and arts patron wanted to re-create much of that magic in everyday organ-solo concerts. His favorite organist, Charles M. Courboin, was the design mastermind who intuitively knew just what was needed.

Courboin and his fellow Wanamaker consultants (whom he seemed to dominate), took the Wanamaker Organ as first enlarged, with its seven divisions (Pedal, Choir, Great, Swell, Solo, Echo and Ethereal), and brought its potential for musical enchantment to a higher level. Knowing that pipe organ windchests could be wired together in new ways to harness existing resources in novel relationships, Courboin took the two augmented divisions from the Choir and Swell (which were markedly louder than the rest of their home divisions) and reworked them (with slight alteration) into a new, single 51-rank Solo division. Then he took the original Solo, original Swell and original String sections and merged their pipework into a single huge Swell division—now on two levels.

The most radical departure from organ-design convention Courboin conceived was a new, gigantic String organ. It enjoyed a direct outlet to the Grand Court from the entire fourth floor frontage. Here, on an exorbitant scale, was created a whole organ-within-an-organ of just string stops. Not only were there scores of stops of 8’ tone, but every stop, from deep Pedal stops to mutations, compound stops and prominent mixtures, was fashioned out of string pipes.

The effects of a 32’ enclosed Diaphone and a 32’ enclosed Contra Gamba, both mounted horizontally at the rear of the chamber, were really enhanced in a good way by the enveloping architecture. These bass stops, which rumble in the chamber, were refined by masonry and distance to provide a soft, ravishing, deep bass purring effect that must be experienced to be appreciated.

By this time, there was an arsenal of reeds in the Wanamaker Organ, yet the instrument lacked many of those newer imitative reeds that had been perfected since this organ’s early days. Particularly lacking were assertive woodwinds and other novelty stops that may be thought of as the character actors of our play — Oboes, Clarinets, Eng­lish Horns, Bassoons, Saxophones, Post Horns and other metal re-creations, producing buzzy, hollow or nasal sounds. Such stops add a distinctive presence that the headliners of our musical pageant — trumpets, trombones and tubas — do not possess.

Alas, all did not go well for the new Orchestral division. This time, bad chamber design was the culprit — perhaps induced by a profit motive. Store old-timers said that Courboin was getting private commissions from certain companies toward which he directed Wanamaker work. These associates said Courboin wanted the String to occupy the full Fourth Floor, making it an exceptionally large installation at the sacrifice of significant selling space. Evidently Rodman Wanamaker was not willing to surrender yet more floorspace for an Orchestral division.

So, the Orchestral was squeezed into the little remaining vacant space of the Main Chamber. There, almost unbelievably, it played directly into a horizontal band of masonry, with meager expression openings at top and bottom. Further, the chamber itself was fashioned out of a sound-absorbing fiberboard. As elsewhere, there were side expression shades, but they only scattered the sound. In this roost, Courboin placed one or more of virtually every orchestral reed in the Kimball organ company catalog, backed by a diverse assortment of flute pipes useful in themselves or for adding color and body to the reeds.

Today, upon a Store player’s first acquaintance, the huge array of Wanamaker console resources is beyond bewildering. Some major divisions simply do not possess the impact their traditional names imply. As noted, the Choir is exceedingly soft and very seldom used by itself or without most of it being engaged. The Great requires the registration of dozens of stops to pull its weight. Mutations here and elsewhere in the Organ can be astonishingly underwhelming.

The relocated Orchestral division also makes it a go-to for solo voices. The floating String, Vox Chorus and Echo all are actually aptly named and quite useful accessories. In short, it is dangerous to take the stop names and divisions at face value as only significant console experience can reveal the bold from the unassuming. Frequently, dozens of stops will be needed for a desired effect while other stops in the same row are endowed with unexpected power. Only experience and coaching can cut through the confusion.

The String Organ also has certain voices that emerge clearly, such as the Nasard Gambas, Gamba and Violin Diapason, that aren’t apparent for solo potential when just looking at the tabs.

One factor Courboin did champion was the addition of more dedicated expression shoes — now nine of them —further allowing the most versatile artists to craft new expressions of blended tone.

A final accidental factor in the Wanamaker Organ’s beauty has come from the more recent decision to enclose the upper floors of the Grand Court in glass, providing a wonderful reverberation to the Organ and preventing its sound from being dispersed to the far corners of the vast Wanamaker Building. The deliberate relocation of the Orchestral Division to a special chamber on the Fourth Floor, undertaken by curator Curt Mangel, has also finally allowed an amazing resource to be heard in its full glory.

___________

Marcel Dupré, dean of mid 20th century French organists and an extraordinarily gifted improviser and composer, had an entirely different take than that of his star pupil, Mlle. Dem­essieux, having played the Wanamaker organ many times. In a French lecture on The Organ in the United States, he came to terms with his experiences: “The giant organs in America intrigue French organists [who wonder if all the stops are truly necessary]. My answer is that the massed effect and depth of sound produced by these instruments is astonishing. Then, on playing them, you realize that every stop does have its own characteristic effect. Each family of stops on each keyboard presents a gradation of intensity and volume, which allows an almost infinite subtlety in combining stops. Think of a great box of pastels, where each color contributes its own shade and hue to the whole spectrum. Among these immense instruments, the most outlandish, and practically the biggest in the world, is the Wanamaker of Phila­delphia...there is no borrowing or duplexing, even on the pedals.... It seems that the era of the building of these giants is over. They remain, nevertheless, as wit­nesses to a period where material possi­bilities seemed limitless.”

Thus, with eight expressive divisions, the Wana­maker Organ evolved, as Rodman Wana­maker wished, into a gigantic organ-and-orchestra in pipes — a peculiar result that no one had the slightest inkling of bringing into being at the outset, and a phenomenon that only assumed its final form as the evolving instrument suggested its own best direction for enlargement by its limitations and unexpected subtleties. It has been said that a success has many fathers, but this instrument began its present life orphaned by circumstances, raising itself into something unique and unrepeatable — our majestic Wanamaker Organ,

The Wanamaker Grand Court Organ, Philadelphia

MAIN PEDAL ORGAN (5"-22") 50 ranks, 1665 pipes
    64    Gravissima (resultant) (wood)    25 pipes
    32    Contra Diaphone (wood)    32 pipes
    16    Diaphone (wood)    12 pipes
    8    Stentorphone (metal)    12 pipes
    32    First Contra Open Diapason    (wood) 32 pipes
    32    Second Contra Open Diapason    (metal) (Great)
    32    Contra Bourdon (wood)    32 pipes
    16    First Open Diapason (wood)    32 pipes
    16    Second Open Diapason (metal)    32 pipes
    16    Third Open Diapason (wood)    32 pipes
    16    Violone (wood)    32 pipes
    16    Gamba (metal)    32 pipes
    16    Dulciana (metal)     (Choir)
    16    Bourdon (wood)    32 pipes
    16    Soft Bourdon (wood)     (Swell)
    16    Open Flute (wood)    32 pipes
    8    Second Tibia (wood)    12 pipes
    4    Second Tibia (wood)    12 pipes
    10-2/3    Open Quint (metal)    32 pipes
    10-2/3    Stopped Quint (wood)    32 pipes
    8    First Tibia (wood)    32 pipes
    8    Open Diapason (wood)    32 pipes
    8    Octave Soft Bourdon (wood)    32 pipes
    8    Octave (metal)    32 pipes
    8    Soft Flute (wood)    32 pipes
    4    Soft Flute (wood)    32 pipes
    4    First Tibia (wood)    32 pipes
    8    First Cello (metal)    32 pipes
    8    Second Cello (metal)    32 pipes
    4    Principal (metal)    32 pipes
    4    Octave (metal)    32 pipes
    32    Grand Mutation X (metal, 1,5,8,10,12,15,17,19,22,24)
             220 pipes
    32    Mixture VIII (metal, 1,5,8,10,12,15,17,19)    (Great)
    16    Mixture VI (metal) (Great) (this is the same
         mixture as above, less the 16 Open Diapason
         and the 10 Quint)
        Mixture VII (metal, 10,12,15,17,19,22,24)    224 pipes
    32    Contra Bombarde (wood)    32 pipes
    16    Bombarde (wood/metal)    12 pipes
    8    Bombarde (metal)    12 pipes
    16    Trombone (metal)    32 pipes
    16    Tuba (metal)    32 pipes
    16    Euphonium (metal)    32 pipes
    16    Contra Fagotto (metal)    32 pipes
    8    Octave Fagotto (metal)    32 pipes
    8    Tromba (metal)    32 pipes
    4    Clarion (metal)    32 pipes

Each of the following pedal divisions is grouped with the main pedal stop tablets, but enclosed in the chamber with its respective manual organ.

ETHEREAL PEDAL ORGAN 4 ranks, 128 pipes
    32    Acoustic Bass (wood)     32 pipes
            (16 Diapason below plus independent 10)
    16    Diapason (wood)    32 pipes
    16    Bombarde (metal)    32 pipes
    8    Bombarde (metal)    32 pipes

ECHO PEDAL ORGAN 2 ranks, 64 pipes
    16    Open Diapason (wood)    32 pipes
    16    Stopped Diapason (wood)    32 pipes

STRING PEDAL ORGAN 17 ranks, 652 pipes
    32    Contra Diaphone (wood) (24")    32 pipes
    16    Diaphone (wood)    12 pipes
    8    Diaphone (wood)    12 pipes
    32    Contra Gamba (metal) (24")    32 pipes
    16    Gamba (metal)    12 pipes
    8    Gamba (metal)    12 pipes
    16    First Violone (wood)    32 pipes
    8    First Violone (wood)    12 pipes
    16    Second Violone (metal)    32 pipes
    8    Second Violone (metal)    12 pipes
    4    Violone (metal)    12 pipes
    16    Viol (metal)    32 pipes
    8     Viol (metal)    12 pipes
    16    Viol (metal; tuned slightly sharp)    32 pipes
    8    Viol (metal; tuned slightly sharp)    12 pipes
    32    Mixture XII 32’ Contra Diaphone plus the following:
    16    Mutation Diaphone (metal)    32 pipes
    16    Mutation Viol (metal)    32 pipes
    10-2/3    Mutation Viol (metal)    32 pipes
    8    Mutation Viol (metal)    32 pipes
    5-1/3    Mutation Viol (metal)    32 pipes
    4    Mutation Viol (metal)    32 pipes
    2-2/3    Mutation Viol (metal)    32 pipes
    2    Mutation Viol (metal)    32 pipes
    1-3/5    Mutation Viol (metal)    32 pipes
    1-1/3    Mutation Viol (metal)    32 pipes
    4/5    Mutation Viol (metal)    32 pipes

VOX CHORUS PEDAL ORGAN 2 ranks, 64 pipes
    16    First Vox Humana (metal)    32 pipes
    16    Second Vox Humana (metal)     32 pipes

CHOIR ORGAN (5") 24 ranks, 1452 pipes
    16    Double Dulciana (metal)    61 pipes
    8    Dulciana (metal)    61 pipes
    8    Open Diapason (metal)    61 pipes
    8    Violin Diapason (metal)    61 pipes
    8    Stopped Diapason (wood)    61 pipes
    8    Concert Flute (wood)    61 pipes
    8    Salicional (metal)    61 pipes
    8    Quintadena (metal)    61 pipes
    8    Vox Angelica (metal)    61 pipes
    8    Vox Celeste (metal)    49 pipes
    8    Keraulophone (metal)    61 pipes
    4    Forest Flute (wood)    61 pipes
    4    Salicet (metal)    61 pipes
    2    Piccolo (metal)    61 pipes
    16    Soft Cornet VI (metal; 22,15,17,19,22,26)    366 pipes
    16    Saxophone (metal)    61 pipes
    8    Saxophone (metal)    61 pipes
    8    English Horn (metal)    61 pipes
    8    Clarinet (metal)    61 pipes

GREAT ORGAN (5"-16")
Unenclosed Great 28 ranks, 1696 pipes
    32    Sub Principal (metal)    61 pipes
    16    Contra Gamba (metal)    61 pipes
    16    Double Diapason (metal)    61 pipes
    10-2/3    Sub Quint (wood)    61 pipes
    8    Diapason Phonon (metal)    61 pipes
    8    Diapason Major (metal)    61 pipes
    8    First Diapason (metal)    61 pipes
    8    Second Diapason (metal)    61 pipes
    8    Third Diapason (metal)    61 pipes
    8    Fourth Diapason (wood)    61 pipes
    8    Gamba II (metal)    122 pipes
    8    Major Tibia (wood)    61 pipes
    8    Mezzo Tibia (wood)    61 pipes
    8    Minor Tibia (wood)    61 pipes
    8    Double Flute (wood)    61 pipes
    8    Nasard Flute II (metal)    122 pipes
    4    Octave (metal)    61 pipes
        Mutation VIII (32’ series)    476 pipes
    8    Harmonic Trumpet (metal)    61 pipes
Enclosed Great 29 ranks, 1159 pipes (Expressive, in Choir)
    8    Covered Tibia (wood)    61 pipes
    8    Harmonic Flute (metal)    61 pipes
    5-1/3    Quint (metal)    61 pipes
    4    Principal (metal)    61 pipes
    4    Harmonic Flute (metal)    61 pipes
    3-1/5    Tierce (metal)    61 pipes
    2-2/3    Octave Quint (metal)    61 pipes
    2    Super Octave (metal)    61 pipes
        Mixture VII (metal, 12,15,19,22,24,26,29)    427 pipes
    16    Double Trumpet (metal)    61 pipes
    8    Tuba (metal)    61 pipes
    8    Trumpet (metal)    61 pipes
    4    Harmonic Clarion (metal)    61 pipes
Great Chorus (Unenclosed) 14"-16", 11 rks, 779 pipes
    8    Chorus Diapason Magna (metal)    61 pipes
    8    Chorus Stentorphone (wood/metal)    73 pipes
    8    Chorus First Diapason (wood/metal)    73 pipes
    8    Chorus Second Diapason (wood/metal)    73 pipes
    8    Chorus Third Diapason (wood)    73 pipes
    8    Chorus Major Flute (wood)    73 pipes
    8    Chorus Double Flute (wood)    73 pipes
    8    Chorus Gamba (metal)    73 pipes
    4    Chorus Octave (metal)    73 pipes
    4    Chorus Flute (wood)    73 pipes
    2-2/3    Chorus Nasard (metal)    61 pipes

SWELL ORGAN (5"-22") 53 ranks, 3312 pipes
    16    Double Diapason (metal)    61 pipes
    16    Soft Bourdon (wood)    61 pipes
    8    Stentorphone (metal)    61 pipes
    8    Horn Diapason (wood/metal)    61 pipes
    8    Violin Diapason (metal)    61 pipes
    8    Bell Flute (metal)    61 pipes
    8    Orchestral Flute (wood)    61 pipes
    8    Harmonic Flute (metal)    61 pipes
    8    Grand Flute II (wood)    122  pipes
    8    Double Flute (wood)    61 pipes
    8    Tibia Dura (wood)    61 pipes
    8    Clarabella (wood)    61 pipes
    8    Melodia (wood)    61 pipes
    8    Soft Dulciana (metal)    61 pipes
    8    Gamba Celeste II (metal)    122 pipes
    8    Gamba (metal)    61 pipes
    5-1/3    Quint Bourdon (wood)    61 pipes
    4    Harmonic Flute II (metal)    122 pipes
    4    First Octave (metal)    61 pipes
    4    Second Octave (metal)    61 pipes
    2-2/3    Nazard (metal, from String Mixture)    
    2    Piccolo (metal)    61 pipes
        String Mixture V (metal, 15,19,22,26,29)    265 pipes
        Mixture VI (metal, 12,15,17,19,22,26)    366 pipes
    16    Bass Tuba    61 pipes
    16    Bass Trombone    61 pipes
    16    Contra Fagotto (metal)    61 pipes
    16    Double Oboe Horn (metal)    61 pipes
    8    Tuba    61 pipes
    8    Trombone (metal)    61 pipes
    8    Oboe (metal)    61 pipes
    8    Fagotto (metal)    61 pipes
    8    Trumpet (metal)    61 pipes
    8    Horn (metal)    61 pipes
    8    Bassett Horn (metal)    61 pipes
    8    Clarinet II (metal)    122 pipes
    8    Clarinet (metal)    61 pipes
    8    Vox Humana II (metal)    122 pipes
    4    Harmonic Clarion (metal)    61 pipes
    4    Musette (metal)    80 pipes

ORIGINAL STRING 18 ranks, 1098 pipes
    16    Contra Bass (wood)    61 pipes
    8    Violoncello (metal)    61 pipes
    8    Viol (metal)    61 pipes
    8    Viol (metal, tuned slightly sharp)    61 pipes
    8    Viola (metal)    61 pipes
    5-1/3    Quint Viol (metal)    61 pipes
    4    Octave Viol (metal)    61 pipes
    4    Violina (metal)    61 pipes
    3-1/5    Tierce (metal)    61 pipes
        Corroborating Mixture V (metal, 15,17,19,22,26)
            305 pipes
        Viol Cornet IV (metal, 12,15,17,22)    244 pipes

SOLO ORGAN (15") 51 ranks, 3713 pipes
    16    Double Open Diapason (metal)    73 pipes
    16    Grand Viol (metal)    73 pipes
    8    First Diapason (wood/metal)    73 pipes
    8    Second Diapason (wood/metal)    73 pipes
    8    Third Diapason (wood/metal)    73 pipes
    8    Violin Diapason (metal)    73 pipes
    8    Viol (metal)    73 pipes
    8    Viol (metal, tuned slightly sharp)    63 pipes
    8    Harmonic Flute (metal)    73 pipes
    8    Tierce Flute II (metal)    146 pipes
    8    Chimney Flute (metal)    73 pipes
    4    Harmonic Flute (metal)    73 pipes
    8    Clarabella (wood)    73 pipes
    8    Gemshorn (metal)    73 pipes
    8    Nasard Gamba II (metal)    146 pipes
    8    Grand Gamba (metal)    73 pipes
    8    Grand Gamba (metal; sharp)    73 pipes
    8    Quintaphone (metal)    73 pipes
    5-1/3    Quint Diapason (metal)    73 pipes
    4    Octave (metal)    73 pipes
    3-1/5    Harmonic Tierce (metal)    73 pipes
    2-2/3    Twelfth Harmonic (metal)    73 pipes
    2    Piccolo (metal)    73 pipes
        Grand Mixture VI (metal; 5,8,12,15,19,22)    438 pipes
        Mixture VI (metal, 12,15,19,22,24,26)    438 pipes
        Mixture V (metal, 8,12,15,17,19)    365 pipes
    16    Double Trumpet (metal)    73 pipes
    16    Tuba (metal)    73 pipes
    8    Trumpet (metal)    73 pipes
    8    Soft Tuba (metal)    73 pipes
    8    Cornopean (metal)    73 pipes
    8    Ophicleide (metal)    73 pipes
    8    Musette (metal)    73 pipes
    4    Ophicleide (metal)    73 pipes
    4    Tuba (metal)    73 pipes

ETHEREAL ORGAN (25") Fifth Man. 23 ranks, 1670 pipes
    16    Bourdon (wood)    23 pipes
    8    First Open Diapason (metal)    73 pipes
    8    Second Open Diapason (metal)    73 pipes
    8    Clear Flute (wood)    73 pipes
    8    Harmonic Flute (metal)    73 pipes
    8    Double Flute (wood)    73 pipes
    8    Grand Gamba (metal)    73 pipes
    8    Gamba (metal; tuned slightly sharp)    64 pipes
    5    Quint Flute (wood)    73 pipes
    4    Octave (metal)    73 pipes
    4    Harmonic Flute (metal)    73 pipes
    2-2/3    Twelfth Harmonic (metal)    73 pipes
    2    Harmonic Piccolo (metal)    73 pipes
        Mixture IV (metal, 5,8,12,15)    292 pipes
    16    Tuba Profunda (metal)    73 pipes
    8    Tuba Mirabilis (metal)    73 pipes
    8    French Trumpet (metal)    73 pipes
    8    Grand Clarinet (metal)    73 pipes
    8    Post Horn (metal, 15” was 20")    73 pipes
    4    Tuba Clarion (metal)    73 pipes

ECHO ORGAN (5") 23 ranks, 2013 pipes
        The Echo is an ancillary organ and
        may be played on any manual.
    16    Bourdon (wood)    61 pipes
    8    Open Diapason (metal)    61 pipes
    8    Violin Diapason (metal)    61 pipes
    8    Stopped Diapason (wood)    61 pipes
    8    Night Horn (metal)    61 pipes
    8    Clarabella (wood)    61 pipes
    8    Melodia (wood)    61 pipes
    8    Orchestral Viol (metal)    61 pipes
    8    Soft Viol (metal)    61 pipes
    8    Soft Viol (metal; tuned slightly sharp)    61 pipes
    8    Unda Maris II (wood/metal)    210 pipes
    5-1/3    Open Quint (metal)    61 pipes
    4    Octave (metal)    61 pipes
    4    Harmonic Flute (metal)    61 pipes
    4    Mellow Flute (wood)    61 pipes
        Mixture VI (metal, 5,8,12,15,17,19)    366 pipes
        Cornet Mixture V (metal, 12,15,17,19,22)    305 pipes
    16    Double Trumpet (metal)    61 pipes
    8    Trumpet (metal)    61 pipes
    8    Capped Oboe (metal)    61 pipes
    8    Euphone (metal)    73 pipes
    8    Vox Humana II (metal)    122 pipes

ORCHESTRAL ORGAN (15") 22 ranks, 2312 pipes
        The Orchestral division is an ancillary organ
        and may be  played on any manual.
    16    Contra Quintadena (wood/metal)    73 pipes
    8    Duophone (wood)    73 pipes
    8    Tibia (wood)    73 pipes
    8    Covered Tibia (wood)    73 pipes
    8    Concert Flute (wood)    73 pipes
    8    Harmonic Flute (metal)    73 pipes
    8    Mellow Flute (wood)    73 pipes
    8    String Flute (wood)    73 pipes
    8    Double Flute (wood)    73 pipes
    8    Hollow Flute (wood)    73 pipes
    4    Octave (metal)    73 pipes
    4    Harmonic Flute (metal)    73 pipes
    4    Orchestral Flute (metal)    61 pipes
    4    Covered Flute (wood/metal)    73 pipes
    2    Harmonic Piccolo (metal)    61 pipes
    16    Bassoon (metal)    73 pipes
    16    English Horn (metal)    73 pipes
    16    Bass Clarinet (metal)    73 pipes
    16    Bass Saxophone (metal)    73 pipes
    8    Oboe (metal)    73 pipes
    8    Bassett Horn (metal)    73 pipes
    8    Bassoon (metal)    73 pipes
    8    Orchestral Clarinet (metal)    73 pipes
    8    Saxophone (metal)    73 pipes
    8    Orchestral Trumpet (metal)    73 pipes
    8    Orchestral Oboe (metal)    73 pipes
    8    First French Horn (metal)    73 pipes
    8    Second French Horn (metal)    73 pipes
    8    Third French Horn (metal)    73 pipes
    8    Kinura (metal)    73 pipes
    8    Muted Cornet (metal)    73 pipes
    8    English Horn (metal)    73 pipes

VOX HUMANA CHORUS (15”) 8 ranks, 572 pipes
    16    Vox Humana (metal)    73 pipes
    8    First Vox Humana (metal)    73 pipes
    8    Second Vox Humana (metal)    73 pipes
    8    Third Vox Humana (metal)    73 pipes
    8    Fourth Vox Humana (metal)    73 pipes
    8    Fifth Vox Humana (metal)    73 pipes
    8    Sixth Vox Humana (metal)    73 pipes
    8    Seventh Vox Humana (metal)    61 pipes

STRING ORGAN (15") 88 ranks, 6340 metal pipes
        The String division is an ancillary organ and
        may be played on any manual.
    16    Violone    73 pipes
    16    First Contra Gamba    73 pipes
    16    Second Contra Gamba    73 pipes
    16    First Contra Viol    73 pipes
    16    Second Contra Viol    73 pipes
    16    First Viol    73 pipes
    16    Second Viol    73 pipes
    8    Violin Diapason    73 pipes
    8    Gamba    73 pipes
    8    Nasard Gamba II    146 pipes
    8    Nazard Gamba II (sharp)    146 pipes
    8    First Cello (natural)    73 pipes
    8    First Cello (sharp)    73 pipes
    8    First Cello (flat)    73 pipes
    8    Second Cello (natural)    73 pipes
    8    Second Cello (sharp)    73 pipes
    8    Second Cello (flat)    73 pipes
    8    First Orchestral Violin (natural)    73 pipes
    8    First Orchestral Violin (sharp)    73 pipes
    8    First Orchestral Violin (flat)    73 pipes
    8    Second Orchestral Violin (natural)    73 pipes
    8    Second Orchestral Violin (sharp)    73 pipes
    8    Second Orchestral Violin (flat)    73 pipes
    8    Third Orchestral Violin (natural)    73 pipes
    8    Third Orchestral Violin (sharp)    73 pipes
    8    Third Orchestral Violin (flat)    73 pipes
    8    Fourth Orchestral Violin (natural)    73 pipes
    8    Fourth Orchestral Violin (sharp)    73 pipes
    8    Fourth Orchestral Violin (flat)    73 pipes
    8    Fifth Orchestral Violin (natural)    73 pipes
    8    Fifth Orchestral Violin (sharp)    73 pipes
    8    Fifth Orchestral Violin (flat)    73 pipes
    8    Sixth Orchestral Violin (natural)    73 pipes
    8    Sixth Orchestral Violin (sharp)    73 pipes
    8    Sixth Orchestral Violin (flat)    73 pipes
    8    First Muted Violin (natural)    73 pipes
    8    First Muted Violin (sharp)    73 pipes
    8    First Muted Violin (flat)    73 pipes
    8    Second Muted Violin (natural)    73 pipes
    8    Second Muted Violin (sharp)    73 pipes
    8    Second Muted Violin (flat)    73 pipes
    8    Third Muted Violin (natural)    73 pipes
    8    Third Muted Violin (sharp)    73 pipes
    8    Third Muted Violin (flat)    73 pipes
    8    Fourth Muted Violin (natural)    73 pipes
    8    Fourth Muted Violin (sharp)    73 pipes
    8    Fourth Muted Violin (flat)    73 pipes
    8    Fifth Muted Violin (natural)    73 pipes
    8    Fifth Muted Violin (sharp)    73 pipes
    8    Fifth Muted Violin (flat)    73 pipes
    8    Sixth Muted Violin (natural)    73 pipes
    8    Sixth Muted Violin (sharp)    73 pipes
    8    Sixth Muted Violin (flat)    73 pipes
    4    First Orchestral Violina (natural)    73 pipes
    4    First Orchestral Violina (sharp)    73 pipes
    4    Second Orchestral Violina (natural)    73 pipes
    4    Second Orchestral Violina  (sharp)    73 pipes
    5-1/3    Quint Violina (natural)    73 pipes
    5-1/3    Quint Violina (sharp)    73 pipes
    3-1/5    Tierce Violina (natural)    73 pipes
    3-1/5    Tierce Violina (sharp)    73 pipes
    2-2/3    Nasard Violina (natural)    73 pipes
    2-2/3    Nasard Violina (sharp)    73 pipes
    2    Super Violina (natural)    61 pipes
    2    Super Violina (sharp)    61 pipes
    8    First Dulciana (natural)    73 pipes
    8    First Dulciana (sharp)    73 pipes
    8    Second Dulciana (natural)    73 pipes
    8    Second Dulciana (sharp)    73 pipes
    8    Third Dulciana (natural)    73 pipes
    8    Third Dulciana (sharp)    73 pipes
    8    Fourth Dulciana (natural)    73 pipes
    8    Fourth Dulciana (sharp)    73 pipes
    8    Fifth Dulciana (natural)    73 pipes
    8    Fifth Dulciana (sharp)    73 pipes
    8    Sixth Dulciana (natural)    73 pipes
    8    Sixth Dulciana (sharp)    73 pipes
    4    First Octave Dulciana (natural)    73 pipes
    4    First Octave Dulciana (sharp)    73 pipes
    4    Second Octave Dulciana (nat’l.)    23 pipes
    4    Second Octave Dulciana (sharp)    73 pipes
        Dulciana Mutation V (selective: 12,15,19,22,26)    
            305 pipes

PERCUSSION ORGAN
Each stop may be coupled to any manual without affecting other stops in the division.
Major Chimes: 37 tubular chimes, tenor C to c1
Minor Chimes: 25 tubular chimes, tenor G to g
(In