PipeChat Digest #4803 - Monday, October 4, 2004
 
Re: St. Martin's in Houston
  by <DERREINETOR@aol.com>
RE: Need some info from Chicago OHS convention book
  by "Glenda" <gksjd85@direcway.com>
Re: Fountain of Much Knowledge & Wisdom
  by "Noel Stoutenburg" <mjolnir@ticnet.com>
Felix Hell in Sydney
  by "Mark Quarmby" <mark_quarmby@yahoo.com>
November 7 organ recital
  by "Judy A. Ollikkala" <71431.2534@compuserve.com>
Re: how about reedless reeds?
  by "Andy Lawrence" <andy@ablorgans.com>
Re: how about reedless reeds?
  by "Mike Gettelman" <mike3247@earthlink.net>
St. Martin's in Houston Renewal music
  by "T.Desiree' Hines" <nicemusica@yahoo.com>
Re: Haskell Reedless Oboe
  by "Karl Moyer" <kmoyer@marauder.millersville.edu>
RE: Service music my style today
  by "Michael David" <michaelandmaggy@earthlink.net>
RE: Haskell Reedless Oboe
  by "Daniel Hancock" <dhancock@brpae.com>
Re: St. Martin's in Houston Renewal music
  by <DERREINETOR@aol.com>
Rick Erickson, Holy Trnity Lutheran, NYC
  by "Karl Moyer" <kmoyer@marauder.millersville.edu>
Re: St. Martin's in Houston Renewal music
  by "Liquescent" <quilisma@cox.net>
renewal muzak
  by "Liquescent" <quilisma@cox.net>
Re: renewal muzak
  by <DERREINETOR@aol.com>
seclusio SCANDALUM!
  by "Liquescent" <quilisma@cox.net>
Re: seclusio SCANDALUM!
  by <DERREINETOR@aol.com>
Re: renewal music...to me
  by "T.Desiree' Hines" <nicemusica@yahoo.com>
Re: renewal music...to me
  by "noel jones" <gedeckt@usit.net>
Symphony Hall Spec
  by "mack02445" <mack02445@comcast.net>
 

(back) Subject: Re: St. Martin's in Houston From: <DERREINETOR@aol.com> Date: Mon, 4 Oct 2004 06:08:54 EDT   Bud, et al.,   Would it surprise any of us to know that St. Martin's is George H. W. = Bush's (the elder) parish? I bet it wouldn't.   Bill H. Boston  
(back) Subject: RE: Need some info from Chicago OHS convention book From: "Glenda" <gksjd85@direcway.com> Date: Mon, 04 Oct 2004 06:47:33 -0500   Yes, that's it. Thanks, Sand and Michael.   I just found the Chicago book this morning and the cats confessed. They were sitting around one afternoon perusing the catalogs, ordering kitty toys over the internet. Gidget was reading the OHS convention book. Suddenly they heard my car in the driveway, and in their haste they threw all the books in the catalog box.   I wondered about the purchases on my credit card, and the unfamiliar toys lying around. The mystery is solved, and corrective action has been taken. You found my requested information. Thanks again.   Glenda Sutton gksjd85@direcway.com            
(back) Subject: Re: Fountain of Much Knowledge & Wisdom From: "Noel Stoutenburg" <mjolnir@ticnet.com> Date: Mon, 04 Oct 2004 08:15:13 -0500   Dale wrote:   > Sometime ago I wrote an organ piece based on the tune "Ora Labora" by > T. Tertius Noble. If I can obtain (necessary) permission > from "somewhere or someone," it will be published in the near future.   OK, you lost me. Noble's _Ora Labora_ was written and published in 1918, and appears in H.W. Gray's edition of "The New Hymnal.". This places the tune firmly in the public domain.   So, why do you need permission from "somewhere or someone"?   ns  
(back) Subject: Felix Hell in Sydney From: "Mark Quarmby" <mark_quarmby@yahoo.com> Date: Tue, 05 Oct 2004 00:09:02 +1000   I have just returned home from one of the most exciting and musical organ recitals I have ever attended. It is almost midnight here and I have been on the go since 6am this morning when I met Felix at Sydney airport. Last night Felix played a recital on the relatively new Rieger organ in Christchurch (New Zealand) Town Hall. He returned to his hotel for 3 = hours sleep whereupon he woke at 1am (Sydney time) to pack and go to the airport to fly to Sydney, Australia. Arriving at 7am I helped him to his hotel, = took him to the cathedral to show him the organ, had a quick breakfast outside = in the beautiful Spring weather and then left him to prepare for this = evening's recital. Being a public holiday the cathedral was closed during the day = and I was able to get things ready for the concert (setting up a CD stall = etc). While I wasn't taking a lot of notice of Felix preparing and registering = his program, I couldn't help noticing how Felix actually listens to what he is playing and to the organ. I organise the weekly recital series at the cathedral and am constantly amazed by how many organists register the instrument as if from some text book and never actually listen to what = they are doing. Felix would commence each section with a typical registration and after only a few notes quickly alter the stops to produce the most musical sound. For someone so young, I was quite amazed at his results = and how quickly he found his way around a new console.   For details of Felix's recital go to http://members.ozemail.com.au/~mquarmby/FelixProg.html   For details of the cathedral organ go to http://members.ozemail.com.au/~mquarmby/SACorganspec.html   At lunch time I left Felix to practise so that I could attend the Organ Music Society open day and recital on the new Mander organ in Sydney = Grammar School. Here we heard several new organ students play - all attracted to = the instrument since it was installed only a few months ago.   I returned to the cathedral for the recital which commenced at 7.30pm. By this stage Felix had been on the go for 18 1/2 hours with only 3 hours sleep. He opened with the Bach St Anne and I turned pages for this work - he turned his own pages for everything else. He did all his registration changes himself too. Right from the first work we were shown the most rhythmic playing one could ever hope to hear. His registrations = throughout were superb, his technique unbelievable and his musicianship second to = none. I heard Felix two years ago and was very impressed then. His playing and virtuosity has matured and it was difficult to look up at the organ loft = and comprehend how such a young person could create such sublime music. Not only did his fast, virtuosic playing have people sitting on the edges of their seats, but his slow, meditative playing locked the audience's attention for the duration of each slow movement. Felix played for 2 = hours and included the Vierne Final (Symphony 1) from memory as an encore. Australian audiences are much more reserved than their American cousins = when it comes to standing ovations but Felix received one tonight - I can't = ever remember another organist getting one after a recital at the cathedral. = If Felix can play like that with next to no sleep, how does he play when wide awake? :-)   On top of all that, what a wonderful young man Felix is! I was always impressed by his friendliness when I have met him before, but having spent so much time with him today, I found he was the most genuine young man, = down to earth, very intelligent and with a great sense of humour. How often = does one find all these attributes in performers today?   Tomorrow we are having a lunch time recital at the Sydney Town Hall on the famous Hill organ (Gordon Stewart from the UK is the organist) and I am meeting Felix there before he dashes to the airport to fly to Singapore where he will play on Thursday in the Presbyterian Church in Orchard Rd (Walker organ), then on to Germany for two concerts this weekend and early next week. My Singaporean organ friends are going to be in for a real = treat on Thursday.   Cheers,   Mark  
(back) Subject: November 7 organ recital From: "Judy A. Ollikkala" <71431.2534@compuserve.com> Date: Mon, 4 Oct 2004 10:06:33 -0400   Organ Recital by Lois Toeppner with trumpeter Richard Givens Sunday November 7 at 3pm Saint Joseph Church, 35 Hamilton St. Worcester MA USA just off Rt. 122 South (Grafton St. rotary) from I-290 Handicapped accessible Casavant-Freres Opus 1239, 1928 3 manual EP Works by Mendelssohn, Bach, Rheinberger, Pinkham, Alain, Locklair Freewill Offering Reception to follow Info. Helen Demers 508-755-1347   Submitted by Judy Ollikkala  
(back) Subject: Re: how about reedless reeds? From: "Andy Lawrence" <andy@ablorgans.com> Date: Mon, 4 Oct 2004 10:46:32 -0500   Here in Vermont, because we have so many old Estey's, (Haskell was an = Estey employee for a long time) reedless reeds are all over the place. I find them very useful. Its not really a substitute for a reed in the strict sense, but they can be used as a solo stop and they do add a bit of growl = to the ensemble, and if full compass can add bite to the pedal too. I say bring 'em back. They're tricky to build and voice, though, I suspect, so maybe these days it would end up costing nearly as much as a real reed?   Andy     A.B.Lawrence Pipe Organ Service PO Box 111 Burlington, VT 05402 (802)578-3936 Visit our website at www.ablorgans.com  
(back) Subject: Re: how about reedless reeds? From: "Mike Gettelman" <mike3247@earthlink.net> Date: Mon, 04 Oct 2004 12:07:02 -0400   Hi Andy, Some things have been said about the construction of these reedless reed pipes, particularly concerning the design of the languid. Could someone be a bit more forthcoming about how these pipes create the reedy sound without becoming overly technical such that we lay people might understand. You mention they are tricky to build and voice. Could you expand a bit on that? Most of us are familiar with the construction of a basic flue pipe. Could you tell us how a labial reed differs? Thanking you in advance for the education Mike Gettelman   Andy Lawrence wrote:   >Here in Vermont, because we have so many old Estey's, (Haskell was an = Estey >employee for a long time) reedless reeds are all over the place. I find >them very useful. Its not really a substitute for a reed in the strict >sense, but they can be used as a solo stop and they do add a bit of growl = to >the ensemble, and if full compass can add bite to the pedal too. I say >bring 'em back. They're tricky to build and voice, though, I suspect, so =   >maybe these days it would end up costing nearly as much as a real reed? > >Andy > > >A.B.Lawrence Pipe Organ Service >PO Box 111 >Burlington, VT 05402 >(802)578-3936 >Visit our website at www.ablorgans.com > > > > >    
(back) Subject: St. Martin's in Houston Renewal music From: "T.Desiree' Hines" <nicemusica@yahoo.com> Date: Mon, 4 Oct 2004 09:07:53 -0700 (PDT)   I was talking to a friend last night about the current Organist = Choirmaster at St Martins. He was at some churches that went to doing = renewal music, and he was responsible for adding renewal music. I was also = told that some of the churches he was at split from ECUSA because of = things like the bishop...and music and worship styles. In a way, as I grow = with musicianship, I can see where this is coming from. A lot of worhip = music is indeed becoming stale, and stuff from when Jesus was a boy. I = think there is a way to tastefully renew worship music for church to make = it appeal more to todays worship. Spicing up hymn accompaniments is one. = Adding a little bit of jazz and gospel is nice. I do those things in my = job. There are tasteful music alternatives to Maranatha praise choruses = with 7 words 11 times. It did say on their website that traditional music is important to them, = but they also do renewal music. Im sure its tastefully done. No "I Lift = your name on high" or stuff like that. You don't have to become rollers to = be evangelical. Just add different tasteful hymnals, LEVAS, Wonder Love = and Praise, With One Voice etc. However, the conservative nature of them, to me, is not of interest to me, = and they might not even be a part of ECUSA. Then theres the other side of = the splits that are saying that ECUSA is losing its tradition with music, = such as AMIA. It is very traditional with its worship, though a bit dated. =       From Desiree' T. Desiree' Hines Chicago, IL 60610 ---------------------------- For Compositions by Desiree' Frog Music Press www.frogmusic.com ------------------------------- FOR CONCERTS BY DESIREE' http://concertartist.info/bios/hines.html __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com
(back) Subject: Re: Haskell Reedless Oboe From: "Karl Moyer" <kmoyer@marauder.millersville.edu> Date: Mon, 04 Oct 2004 12:19:23 -0400   The "Oboe Gamba" stop was common on M=F6ller trackers installed out in the country. I grew up with one.   Karl E. Moyer Lancaster PA   On 10/3/04 10:45 PM, "TubaMagna@aol.com" <TubaMagna@aol.com> wrote:   > Haskell's Labial Oboes, of Spillflote construction, yet scaled as orchest= ral > strings, were very successfull down to 4' C, and in a generous acoustic, = all > the way to the bass. As mentioned by Mr. Speller, their reedlessness made= for > stable tuning in remote locations. Look at the patent drawings for a glim= pse > of=20 > the cupped languids, if you can't find an organbuilder to show you a real > sample under his care. >=20 > Sebastian M. Gluck > New York City >=20 > . >=20 > ****************************************************************** > "Pipe Up and Be Heard!" > PipeChat: A discussion List for pipe/digital organs & related topics > HOMEPAGE : http://www.pipechat.org > List: mailto:pipechat@pipechat.org > Administration: mailto:admin@pipechat.org > List-Subscribe: <mailto:pipechat-on@pipechat.org> > List-Digest: <mailto:pipechat-digest@pipechat.org> > List-Unsubscribe: <mailto:pipechat-off@pipechat.org> >=20    
(back) Subject: RE: Service music my style today From: "Michael David" <michaelandmaggy@earthlink.net> Date: Mon, 4 Oct 2004 12:30:32 -0500   This is at St Turibius? It seems rather odd for a Roman Catholic church.   Michael   -----Original Message----- From: pipechat@pipechat.org [mailto:pipechat@pipechat.org]On Behalf Of T.Desiree' Hines Sent: Sunday, October 03, 2004 9:19 PM To: PipeChat Subject: Service music my style today         Communion Service   Carrillon Chiming of hour   Prelude-Larghetto Cantabile Van Denman Thom(p)son   Processional Hymn- Holy Holy Holy (Nicea), Intro by me, Interlude from Becky Owens book   Offertory-Adoration -FB Price   Choral Response - SevenFold Amen John Stainer (acapella)   Anthem-Invitation to Communion Deborah Govenor   Communion service(Recited in German) Improvisations as filler music   Closing Hymn- We Are a New Creation (Lancashire) Intro by me   Choral Benedition -The Blessing of Aaron ES Lorenz   Postlude Tuba March in D TDHines                   From Desiree' T. Desiree' Hines Chicago, IL 60610 ---------------------------- For Compositions by Desiree' Frog Music Press www.frogmusic.com ------------------------------- FOR CONCERTS BY DESIREE' http://concertartist.info/bios/hines.html     ---------------------------------------------------------------------------= - -- Do you Yahoo!? New and Improved Yahoo! Mail - 100MB free storage!  
(back) Subject: RE: Haskell Reedless Oboe From: "Daniel Hancock" <dhancock@brpae.com> Date: Mon, 4 Oct 2004 12:56:19 -0500   The "Oboe Gamba" stop was common on M=F6ller trackers installed out in th= e   country. I grew up with one.   =20   Karl E. Moyer   Lancaster PA   =20   =20   Hello Karl and List;   =20   Is there any difference between an "Oboe Gamba" and an "Oboe Labial?" Co= uldn't you say that an oboe gamba is also a labial oboe, too?   =20   I was of the impression that oboe gambas were rather common, until I ran = across the following entry on the Encyclopedia of Organ Stops Online (htt= p://www.organstops.org/o/OboeGamba.html):   =20   "A very rare string stop of 8' pitch. The name is an enigma, as no known = example resembles an Oboe. Both examples cited below are of spotted metal= , scale 62.   =20   Examples   Oboe Gamba 8', Swell; (location unknown); Mudler Hunter c1910. (A very ke= en string.)   =20   Oboe Gamba 8', Swell; Mann's Mortuary Chapel, Knoxville, Tennessee, USA; = Hook & Hastings opus 2575, c1929. (Sounds similar to a Geigen Principal; = now in the residence organ of Dave McClellan.)"   =20   My suspicions are that an oboe gamba (although it may not be shown as suc= h on the stop-knob/tab) really isn't all that rare. Is that the consensu= s elsewhere?   =20   Daniel Hancock   Springfield, Missouri  
(back) Subject: Re: St. Martin's in Houston Renewal music From: <DERREINETOR@aol.com> Date: Mon, 4 Oct 2004 14:57:41 EDT   I have no idea what "Renewal" music is. Would someone please enlighten me?   Holding my plainchant and polyphony close to my breast,   Bill H. SJE Boston  
(back) Subject: Rick Erickson, Holy Trnity Lutheran, NYC From: "Karl Moyer" <kmoyer@marauder.millersville.edu> Date: Mon, 04 Oct 2004 17:11:59 -0400   A post card came today announcing Rick's "hospitalization and long recovery period." Can anyone shed light on Rick's situation? He's a = great service player!   Thanx.   Karl E. Moyer Lancaster PA    
(back) Subject: Re: St. Martin's in Houston Renewal music From: "Liquescent" <quilisma@cox.net> Date: Mon, 04 Oct 2004 15:29:25 -0700   Haugen-Doze.   Cheers,   Bud   DERREINETOR@aol.com wrote:   > I have no idea what "Renewal" music is. Would someone please enlighten = me? > > Holding my plainchant and polyphony close to my breast, > > Bill H. > SJE Boston      
(back) Subject: renewal muzak From: "Liquescent" <quilisma@cox.net> Date: Mon, 04 Oct 2004 15:31:01 -0700   "The pipe organ is a phallic symbol of male patriarchal domination."   Actual quote from a sermon I once heard in a church that was pushing "renewal" muzak.   Cheers,   Bud      
(back) Subject: Re: renewal muzak From: <DERREINETOR@aol.com> Date: Mon, 4 Oct 2004 19:02:37 EDT   Bud,   Such a thing as "renewal music" is very unlikely to ever cross the "Latin Gate" of St. John's, Bowdoin Street. Praise God. I can put the plainchant = and polyphony back in the Schola's folders.;) We're still recovering from the retirement of the American Missal. You'd be surprised what we can do with = Catholicism once removed.   Bill H. SJE Boston  
(back) Subject: seclusio SCANDALUM! From: "Liquescent" <quilisma@cox.net> Date: Mon, 04 Oct 2004 16:28:32 -0700   The American Missal retired at the Cowley Fathers' church?   Heaven forfend!   (reaches for black-bordered handkerchief, smelling salts, and authentic Holy Land olive-seed Rosary) <g>   Bud, who still reads a chapter of Ritual Notes every night before he goes to bed (chuckle)       DERREINETOR@aol.com wrote:   > Bud, > > Such a thing as "renewal music" is very unlikely to ever cross the > "Latin Gate" of St. John's, Bowdoin Street. Praise God. I can put the > plainchant and polyphony back in the Schola's folders.;) We're still > recovering from the retirement of the American Missal. You'd be > surprised what we can do with Catholicism once removed. > > Bill H. > SJE Boston      
(back) Subject: Re: seclusio SCANDALUM! From: <DERREINETOR@aol.com> Date: Mon, 4 Oct 2004 20:53:34 EDT   Bud, The retirement of the use of that document at ST. JOHN'S, not everywhere. = It is still alive and kicking at the Advent and other places. Put away your smelling salts.   Bill H. SJE, Boston  
(back) Subject: Re: renewal music...to me From: "T.Desiree' Hines" <nicemusica@yahoo.com> Date: Mon, 4 Oct 2004 19:51:08 -0700 (PDT)     To me, when I think of renewal music, I thik of a situation where the = organ is a key part of worship, yet the musician is open minded to = tastefully implementing new music. For example, going to the piano = occasionally to offer a Psalm Prelude of John Coultraine or a liveley = rendition of Come Sunday by Ellington. This an also mean using the more = tasteful, not-so-Velveeta souning tunes like Be Not Afraid (yuck) or "dumb = down" tunes. Using hymn-based organ music (and not just the Orgelbuchlein = or Schubler chorales) is also nice, and something that aids in = preservation of the instrument.   Resoures by Michael Burkhardt and David Cherwein are great for tastefully = renewing music. I learned alot by listening to Burkhardt in a hymn fest = and in a master class. It was very renewing what he did with the hymn = accompaniments for Leoni, Merles Tune, and By The Babalonian (spelling?) = Waters. He used all the colors of the organ and came out of the box that = keeps so many people down and the organst going out the door.   As long as we stay in these boxes, people will continue to say that the = organ is "phallic...masculinity". Thats what the problem is now. We cant = expect people to make churches grow if we dont offer some tasteful = newness. We will continue to see doors close and get 50 members to come if = we dont stop playing Titolouze and Scheideman eeery Sunday. Offer some = familiar and sing-along tunes. Even Diane Bish wrote here hymn = arrangements after many in her congreagation said that they would love to = hear some familiar tunes from time to time. And yes, Im not afraid to say = I use some in my job. Im not above it. I also offer them ligitamate, = tuneful pieces by Bach, but I mix things. Never do i do anything as dated = as a verse of a Pange Lingua. They don't know that chant, or that style. = Some Sunday I may pull out a couple of Bach Choral preludes from the OB, = and play a postlude from a Genevox/Church Street or a Mayhew Collection.     So Renewal can mean that you want to reach out and not dumb down.         From Desiree' T. Desiree' Hines Chicago, IL 60610 ---------------------------- For Compositions by Desiree' Frog Music Press www.frogmusic.com ------------------------------- FOR CONCERTS BY DESIREE' http://concertartist.info/bios/hines.html __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com
(back) Subject: Re: renewal music...to me From: "noel jones" <gedeckt@usit.net> Date: Mon, 04 Oct 2004 23:07:52 -0400   Renewal Music suffers in congregational situations because it comes out of a very intense session of testimony in which the one testifying chooses a favorite piece of music to be played. These are most often solo songs by such as the St. Louis Jesuits and others...lovely songs for a soloist, but not written with an eye to poetic structure....words added, notes added, things stretched, each verse different.   But since these solos become very special to the Renewal people, and the renewal people eventually take over the church, all people in the church are submitted to the experience of trying to be converted the spiritual experience of those who use the music that has accompanied them in their journey into a closer part of being part of the church.   If Renewal came out of the Baptist Church, for example, this would not have been a problem, because they have a tradition of songs that fits. But coming out of the Roman Church, which does not have a tradition of congregational song (unless you count SONS OF GOD and the oft-repeated PRAISE TO THE LORD "Look we can sing hymns! Let's sing it over and over again!")   This movement and the resulting poor music that evolved form it would have not evolved if someone, anyone, had said: NO GUITARS IN THE CONVENT OR THE MONASTERY.   Hey, there's not a lot to do so they got a little carried away.   So suddenly music never intended to be sung by a community takes over the music program of the church. Musicians who do not go through the Renewal Experience often get frustrated and leave...those who do stand back in confusion...understanding but finding it difficult to reconcile using music that does not work in the congregational setting.     -- noel jones, aago noeljones@frogmusic.com ----------------------------------- 1 877 249-5251 Athens, TN USA   www.frogmusic.com Rodgers Organ Users Group Frog Music Press - Organ and MIDI Music FMP Organ Music Search Service Rodgers Organ Design & Voicing Services      
(back) Subject: Symphony Hall Spec From: "mack02445" <mack02445@comcast.net> Date: Tue, 05 Oct 2004 00:03:01 -0400   From: International Organ Foundation, Madrid, Spain Internet: iofpr@ibm.net CompuServe: 100023,2476 IOF Cat #: 00102500027 Osiris file: aeolian-skinner.symphony-hall.boston.ma.us.1950 ____________________________________________________________________   Location: Massachussets, USA Boston Symphony Hall Builder: Aeolian-Skinner Year: 1950 Opus: 1134   Case Builder: Date: Materials: Console type: Stop controls: Pedals type:   Action Key: Electro-pneumatic Stop: Electro-pneumatic   Temperament: Tuning (a'): 444 Hz No. stops: No. ranks: No. pipes:   Wind supply Power: Pressures (mm):   History:   Bibliography: The American Classic Organ: A History in Letters, Charles Callahan, p 459   Discography:   Comments: The organ replaced an older Hutchings instrument. According to a letter from Emerson Richards to Henry Willis III (23 May 1949), about 20 sets of pipes were retained from the old organ; all the chests were new (Callahan, op cit, p 302).     Specification:   Great   Violone 16 61 pipes Principal 8 61 pipes Geigen 8 61 pipes Grossflo"te 8 61 pipes Spitzflo"te 8 61 pipes Quint 5 1/3 61 pipes Principal 4 61 pipes Gemshorn 4 61 pipes Quint 2 2/3 61 pipes Superoctave 2 61 pipes Fourniture IV 244 pipes Cymbel III 183 pipes   Swell   Contra Gamba 16 68 pipes Diapason 8 68 pipes Gedeckt 8 68 pipes Viole de Gambe 8 68 pipes Viole Celeste 8 68 pipes Aeoline 8 68 pipes Octave 4 68 pipes Flauto Traverso 4 68 pipes Fifteenth 2 61 pipes Grave Mixture III 183 pipes Scharff III 183 pipes Bombarde 16 68 pipes Trompette 8 68 pipes Hautbois 8 68 pipes Clarion 4 68 pipes Tremulant   Choir   Concert Flute 8 68 pipes Viola Pomposa 8 68 pipes Viola Celeste 8 68 pipes Dulciana 8 68 pipes Prestant 4 68 pipes Koppelflo"te 4 68 pipes Plein Jeu III 183 pipes Serpent 16 68 pipes Trompette 8 68 pipes Cromorne 4 68 pipes Tremulant   Positiv   Spitzflo"te 8 61 pipes Singendgedeckt 8 61 pipes Nachthorn 4 61 pipes Nasat 2 2/3 61 pipes Blockflo"te 2 61 pipes Terz 1 3/5 61 pipes Sifflo"te 1 61 pipes Zimbel III 183 pipes   Bombarde   Plein Jeu VI 366 pipes Bombarde 16 61 pipes Trompette Harmonique 8 61 pipes Clarion Harmonique 4 61 pipes   Pedal   Contre Violone 32 Ext Great Violone 16'; 12 pipes Contrebasse 16 32 pipes Montre 16 32 pipes Bourdon 16 32 pipes Violone 16 Great Violone 16' Contra Gamba 16 Swell Contra Gamba 16' Principal 8 32 pipes Spitzflo"te 8 32 pipes Cello 8 32 pipes Quint 5 1/3 32 pipes Choralbass 4 32 pipes Nachthorn 4 32 pipes Blockflo"te 2 32 pipes Fourniture IV 128 pipes Contrebombarde 32 68 pipes Bombarde 16 Ext Contrebombarde 32' Trompette 8 Ext Contrebombarde 32' Clairon 4 Ext Contrebombarde 32'