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| GREAT🛈 | ||
| 16' | Double Open Diapason | |
| 16' | Bourdon †🛈 | |
| 8' | Open Diapason No 1 | |
| 8' | Open Diapason No 2 | |
| 8' | Open Diapason No 3 †🛈 | |
| 8' | Flûte Harmonique †🛈 | |
| 5 1⁄3' | Quint †🛈 | |
| 4' | Octave | |
| 4' | Principal †🛈 | |
| 4' | Flûte Couverte †🛈 | |
| 3 1⁄5' | Tenth †🛈 | |
| 2 2⁄3' | Octave Quint | |
| 2 2⁄3' | Twelfth †🛈 | |
| 2' | Super Octave | |
| 2' | Fifteenth †🛈 | |
| V | Grand Chorus🛈 | |
| 16' | Double Trumpet | |
| 8' | Trumpet | |
| 4' | Clarion | |
| 8' | CHOIR to GREAT | |
| 8' | SWELL to GREAT | |
| 8' | SOLO to GREAT |
| SWELL🛈 | ||
| 16' | Violon | |
| 8' | Geigen Diapason | |
| 8' | Rohrflöte | |
| 8' | Echo Viole | |
| 8' | Violes Célestes | |
| 4' | Octave Geigen | |
| 4' | Suabe Flute | |
| 2 2⁄3' | Twelfth | |
| 2' | Fifteenth | |
| III | Harmonics🛈 | |
| 8' | Oboe | |
| 8' | Vox Humana | |
| Tremulant | ||
| 16' | Waldhorn | |
| 8' | Trompette | |
| 4' | Clarion | |
| 16' | SWELL to SWELL | |
| SWELL Unison Off | ||
| 4' | SWELL to SWELL | |
| 8' | SOLO to SWELL |
| CHOIR (Expressive)🛈 | ||
| 16' | Contra Dulciana | |
| 8' | Open Diapason | |
| 8' | Viola | |
| 8' | Sylvestrina | |
| 8' | Cor de Nuit | |
| 8' | Cor de Nuit Célestes | |
| 4' | Gemshorn | |
| 4' | Nason Flute | |
| 2 2⁄3' | Nazard | |
| 2' | Octavin | |
| 1 3⁄5' | Tierce | |
| 8' | Trumpet | |
| Tremulant | ||
| 16' | CHOIR to CHOIR | |
| CHOIR Unison Off | ||
| 4' | CHOIR to CHOIR | |
| 8' | SWELL to CHOIR | |
| 8' | SOLO to CHOIR | |
| Great Second Division on Choir |
| SOLO (Expressive)🛈 | ||
| 16' | Quintaten | |
| 8' | Violoncello | |
| 8' | Violoncello Célestes | |
| 8' | Salicional | |
| 8' | Unda Maris | |
| 8' | Tibia | |
| 4' | Concert Flute | |
| 2' | Piccolo Harmonique | |
| 16' | Cor Anglais | |
| 8' | Orchestral Oboe | |
| 8' | Corno di Bassetto | |
| Tremulant | ||
| 8' | French Horn | |
| 8' | Orchestral Trumpet | |
| 8' | Tuba Magna🛈 | |
| 16' | SOLO to SOLO | |
| SOLO Unison Off | ||
| 4' | SOLO to SOLO | |
| Great Reeds on Solo |
| PEDAL🛈 | ||
| 32' | Double Open Bass | Open Bass |
| 16' | Open Bass | |
| 16' | Open Diapason | |
| 16' | Contra Bass | |
| 16' | Sub Bass | |
| 16' | Dulciana | CH |
| 16' | Violon | SW |
| 8' | Octave | Open Bass |
| 8' | Principal | Open Diapason |
| 8' | Flute | Sub Bass |
| 4' | Super Octave | Open Diapason |
| 3 1⁄5' | Seventeenth | |
| 2 2⁄3' | Nineteenth | |
| 2' | Twenty-second | |
| 32' | Contre Bombarde | Bombarde |
| 16' | Bombarde | |
| 16' | Trombone | |
| 8' | Octave Trombone | Trombone |
| 8' | CHOIR to PEDAL | |
| 8' | GREAT to PEDAL | |
| 8' | SWELL to PEDAL | |
| 8' | SOLO to PEDAL | |
| Great and Pedal Combinations |
Generals on Swell foot pistons. † Second Division (1984)
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The earliest scheme for a new organ was proposed by T C Lewis in 1910 to a specification drawn up by Richard Runciman Terry, the first Master of Music. This proposal was for a large organ in several parts divided between the Apse and Tribunes. Largely for financial reasons, only the Choir Organ in the Apse was ever built. It was another ten years before Cardinal Bourne approached John Courage asking him to be the adviser on a new scheme for the Grand Organ.
The first stage of the Grand Organ (only 33 stops) was inaugurated by Dupré in 1922. Over the next ten years, Dupré and others, including Reginald Goss-Custard, Edwin Lemare, Joseph Bonnet and Guy Weitz to name but a few, gave recitals which provided funds towards the gradual augmentation of the specification.
By 1932, work was completed, the specification now 11 stops larger than had originally been intended. Recitals were well attended, particularly those of Dupré, and continued until the outbreak of war in 1939.
After a complete restoration, the organ was reopened in 1985 by David Hill, who was then Master of Music. The pipework was cleaned having lain for years under a thick blanket of dust and soot from candles and incense, and extensive revoicing was carried out where necessary. An eight-level solid-state capture system was installed, and the action was overhauled. More recently, these improvements were continued with another overhaul of the action and with the installation of a 256-level capture system with a cross-channel advancer making registration changes much easier. The 1996 work also enables much fuller and more comprehensive use of the Grand Organ from the Apse console.
--from cathedral website
Webpage Links: The Grand Organ
Related Instrument Entries: Harrison & Harrison (1984)
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