 |
click on images to enlarge |
St. Bartholomew's Church
(Episcopal)
Park Avenue at 51st Street
New York, N.Y. 10022
http://www.stbarts.org
 |
|
| Lafayette Place |
|
St. Bartholomew's Protestant Episcopal Church was founded in 1835, with the Rev. Charles Vernon Kelly serving as its first rector. In 1835-36 a church in neo-classical style with a Gothic or Regency spire was erected at a cost of $33,000 on Lafayette Place at Great Jones Street. It was a time of "unprecedented prosperity, when the price of land and the cost of building was at the peak." The Panic of 1837 brought an abrupt end to widespread speculation and inflated values. Due to the financial exingency throughout the country, St. Bartholomew's suffered financially, and Rev. Kelly resigned in 1838. For the next fifty years, the church struggled with inadequate finances despite having a communicant list that was larger than any other New York Episcopal church, including some of the wealthiest and most aristocratic families.
| |
 |
| |
Madison Ave./44th St. |
Under the guidance of its third rector, the Rev. Dr. Samuel Cooke, the church removed uptown to the southwest corner of Madison Avenue and Forty-fourth Street. The land was purchased at a good price from the New York and Harlem Railroad, as arranged through the offices of William H. Vanderbilt, a parishioner. The second St. Bartholomew's Church was designed by James Renwick, Jr., of Renwick and Sands, whose previous commissions included the Smithsonian Institution Building, Grace Church, St. Patrick's Cathedral, and many mansions for wealthy New Yorkers. Renwick's plan for St. Bartholomew's was in a quasi-Lombardic style, built of solid granite and including a tall campanile at the corner. There was a frontage of 70 feet on Madison Avenue, and the church extended for 100 feet along Forty-fourth Street. The interior was divided into nave and two aisles, separated by twelve columns—six on each side—of Aberdeen granite of alternating red and gray colors. Above both aisles was a triforium arcade, from which slendor convoluted arches rose to become rib vaulting for the ceiling that was fifty feet above the floor. Large ornamental standards of bronze and wall brackets contained gas jets for illumination, and the church had the latest heating and ventilation system. The church complex, which included a rectory and school, was built from 1872 to 1876 at a cost of $228,584.
In 1888, the Rev. David H. Greer became rector of St. Bartholomew's. Rev. Greer led his new congregation to fight elitism and become an "institutional parish" that provides social services in addition to worship and instruction. Under Greer's leadership, the church opened six Sunday schools in five languages, established a Rescue Mission at 116 East 42nd Street, and had built a large Parish House and Medical Clinic, at 205-208 East 42nd Street, to serve the lower middle class. The Vanderbilt family was especially generous in their support of these community projects.
From 1902 to 1903, an elaborate portal designed by Stanford White was added, given by Alice Gwynne Vanderbilt and children as a memorial to Cornelius Vanderbilt, who had died in 1899. The Lombardic-Romanesque portal was inspired by the abbey of Saint-Gilles-du-Gard in Provence.
In 1904, the Rev. Dr. Leighton Parks became rector of St. Bartholomew's, coming from Emmanuel Church in Boston. Parks espoused the ministry of beauty which included architecture and great music. In 1905, he convinced Leopold Stokowski to move from London to become choirmaster and organist at St. Bartholomew's. Stokowski left in 1908, and was succeeded by Arthur S. Hyde, a student of Charles-Marie Widor. As Grand Central Terminal was built atop Park Avenue between 1908 and 1913, Dr. Parks saw the opportunity to build a great urban church in a commanding location; he then preached to his congregation that they should give "a great gift of beauty to the city." Although it is not believed that Parks had previous experience with building churches, he had definite ideas about appropriate church architectural styles. To Parks, the Gothic cathedral style was best suited for non-participatory worship where the people were separated from and could not see the priest, while the Romanesque style gathered the people under a unifying dome "to see and hear and participate in the service."
In May 1914, the vestry was authorized to purchase (for $1.4 million) an irregularly-shaped lot on the east side of Park Avenue, between 50th and 51st Streets, that was formerly occupied by the Schaefer Brewing Company. The Arts Committee, headed by Alvin Krech, one of the most prominent members of the vestry, recommended that Bertram Grosvenor Goodhue receive the commission to design the new church. Alice Vanderbilt offered to pay for moving her husband's memorial to the new location, and Goodhue used the Stanford White portal as the basis of his design. The rector wanted a large non-Gothic building that could seat 1,500 people (400 more than the old church), and the vestry wished to finance the land and building with proceeds from the sale of the Madison Avenue property and a portion of the Park Avenue lot. After reviewing several schemes, the committee selected Goodhue's plans for a grand domed edifice in a Byzantine-Romanesque style that was inspired by San Marco in Venice. Goodhue assured the vestry that the steel-framed design could be built for $500,000, although his recently-completed all-stone St. Thomas Church had cost $1.1 million. Starting in 1915, the Park Avenue lot was cleared, contracts were signed, and on May 1, 1917 the cornerstone of the third St. Bartholomew's Church was laid by Bishop David Hummel Greer. By September of that year, the church has spent $280,000 on the building and it was estimated that another $1 million would be needed due to increased costs for material and labor. Goodhue's scheme was truncated, much of the decoration was deleted, and it was decided to temporarily abandon construction of the dome and cloister. Goodhue was asked if he could reuse the pews from the old church, saving the cost of new ones. Many other materials and furnishings from the old building were modified and reused, including some stained glass, the marble paving, chancel rail, choir stalls, the painting over the altar, and the reredos. By the Fall of 1918, the unfinished church could be used, although the exterior on the north side was incomplete, the large Skinner pipe organ was still being installed in the gallery, and burlap and felt covered the walls that would eventually be tiled or otherwise decorated. Finally, on October 20, 1918, the first service in the new church took place before a large congregation.
The next year would see the opening of the adjacent Parish House on December 21, 1918, and the landscaping of the garden. By March 1922, Goodhue, concerned that the church was "in some ways a good deal of a barn and, with the exception of the Chapel, doesn't redound at all to my credit," was urging the Building Committee to take action regarding the completion of the interior. The vestry, however, continued its policy that the indebtedness of the church be removed before further work would be undertaken. In April 1923 the $155,000 needed to eliminate the debt was raised, and on May 1, 1923, the church was consecrated. A year later, on April 23, 1924, Bertram Goodhue died, and seven months later, Dr. Parks resigned from his post as rector.
Under the leadership of Rev. Dr. Robert Norwood, successor to Dr. Parks, the church found a renewed enthusiasm to complete and decorate the church. Bertram Grosvenor Goodhue Associates, successor firm to Bertram Goodhue, renegotiated the unfinished contracts and prepared sketches for a Community House. Goodhue's unrealized designs for the interior were reexamined and Alvin Krech, chair of the Art Committee, prepared a report that recommended the use of Byzantine elements, including the mosaics in the apse. At the wish of parishioners—but in contrast to Goodhue's scheme—stained glass replaced the clear or tinted windows and greatly darkened the interior. The new Community House, dedicated on November 29, 1927, was financed and furnished from the $1.6 million sale of the old Parish House on 42nd Street. The five-story building included an auditorium, gymnasium, swimming pool, club rooms, parlours, and a small grill. Finally, the dome and celestial organ were completed at a cost of $750,000 and dedicated on December 9, 1930. The New York City Landmarks Preservation Commission designated the church in 1967.
In 1981, a real estate developer offered a plan to build an office tower on the site of the adjacent community house, ensuring a financial endowment of the church's mission and maintenance. Conflict developed within the parish and between the church and the city over the designated landmark status of the building. In the ensuing years of battle, St. Bart’s became synonymous with the very real issues between the religious community and the historic preservation movement, and with the attendant constitutional questions. The case tortuously worked its way, over eleven years, to the Supreme Court, which in 1991 declined to hear St. Bartholomew’s appeal of the Second Circuit decision. The congregation paid a heavy price for the battle: half the membership left,
and charity and relationships were strained. The existing financial problems
deepened, and maintenance on the building was deferred. Over time, and under the leadership of the Rev. William Tully, rector, the church has rebounded and is once again a strong and vibrant sacred institution in the city. |
| |
|
|
|
|
|
|
|
|
| |
 |
| |
2006 Harris Console |
| |
 |
| |
Aeolian-Skinner Console in 2003 |
| |
 |
| |
1953 Aeolian-Skinner Console |
Aeolian-Skinner Company, Inc.
Boston, Mass. – Opus 275-E/F (1970-71)
Electro-pneumatic action
5 manuals, 163 stops, 225 ranks, 12,422 pipes
In 1927, the enlargement of the 1917 Ernest M. Skinner organ began. First, the Solo was revised and transferred to the chancel, and other tonal changes were made. A fifth manual was fitted into the console in preparation for the addition of the Celestial divisions, which were completed in 1930 and installed in the dome 110 feet above the crossing. The gallery divisions were replaced by Aeolian-Skinner of Boston in 1937 (Opus 275-A), and included a six-stop Positiv (later removed in 1953) with specifications and finishing by G. Donald Harrison.
 |
|
Chancel Positiv at Upper Right |
|
The chancel divisions were revised in 1953 and a small new Positiv was added in the chancel. The five-manual console was installed in the south chancel bay, and the Trompette en Chamade was installed in the west gallery in 1967 (Opus 275-D).
The last major rebuilding took place in 1970-71, when the gallery and celestial organs were cleaned and releathered (Opus 275-E), and new chests, structures, and many new pipes were made for the chancel divisions (Opus 275-F), and the entire instrument was refinished by Donald M. Gillett of Aeolian-Skinner. This was the final project completed by the Aeolian-Skinner Company, which ceased operations in 1972. The organ comprises 168 stops, 225 ranks, and 12,422 pipes, and is unchanged since 1971. It is the largest organ in New York City.
During the Spring of 2006, a new, movable five-manual and pedal console was installed. Custom built by Harris Organs, Inc. of Whittier, California and designed to harmonize visually with St. Bartholomew’s chancel furnishings, the new console incorporates many stylistic and dimensional elements common to consoles built by Aeolian-Skinner, while taking advantage of developments in electronic technology to offer organists vastly greater flexibility in controlling the tonal resources of this massive musical instrument. With its cabinetry of fumed solid quarter-sawn white oak and polished mahogany, the new console is a fitting addition to the architecture of the church. |
| |
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
CHANCEL ORGAN |
| |
|
|
|
|
|
|
|
Great Organ (Manual II) – 61 notes
|
16 |
|
Violone |
61 |
2 2/3 |
|
Quinte |
61 |
16 |
|
Quintade |
61 |
2 |
|
Super Octave |
61 |
8 |
|
Principal |
61 |
|
|
Mixture IV-VI ranks |
305 |
8 |
|
Diapason |
61 |
|
|
Scharf IV ranks |
244 |
8 |
|
Viola da Gamba |
61 |
|
|
Kornett III-V ranks |
274 |
8 |
|
Flute harmonique |
61 |
16 |
|
Kontra Trompete |
61 |
4 |
|
Principal |
61 |
8 |
|
Trompete |
61 |
4 |
|
Spitzflöte |
61 |
4 |
|
Klarine |
61 |
|
|
|
|
|
|
|
|
Swell Organ (Manual III) – 61 notes, enclosed
|
16 |
|
Flûte conique |
61 |
1 1/3 |
|
Larigot |
61 |
8 |
|
Diapason |
61 |
|
|
Sept-Neuf II ranks |
122 |
8 |
|
Gambe Conique |
61 |
|
|
Sesquialtera II ranks |
122 |
8 |
|
Gambe Conique Celeste |
61 |
|
|
Plein Jeu IV ranks |
244 |
8 |
|
Flûte à Cheminée |
61 |
|
|
Cymbale IV ranks |
244 |
8 |
|
Flûte Celeste II ranks |
61 |
16 |
|
Contre Trompette |
61 |
8 |
|
Choeur des Violes IV ranks |
232 |
8 |
|
Trompette |
61 |
4 |
|
Montre |
61 |
8 |
|
Hautbois |
61 |
4 |
|
Principal Conique |
61 |
4 |
|
Clairon |
61 |
4 |
|
Flûte Harmonique |
61 |
|
|
Tremulant |
2 |
|
Octavin |
61 |
|
|
|
2 |
|
Flûte Magique |
61 |
|
|
|
|
|
|
|
|
|
|
|
Positiv Organ (Manual I) – 61 notes
|
16 |
|
Quintflöte |
61 |
1 1/3 |
|
Oktavquinte |
61 |
8 |
|
Prinzipal |
61 |
1 |
|
Sifflöte |
61 |
8 |
|
Spitzgedeckt |
61 |
|
|
Scharf IV-V ranks |
281 |
4 |
|
Octav |
61 |
|
|
Terzian II ranks |
122 |
4 |
|
Koppelflöte |
61 |
|
|
Zimbel II ranks |
122 |
2 2/3 |
|
Nasat |
61 |
16 |
|
Rankett |
61 |
2 |
|
Oktavlein |
61 |
8 |
|
Krummhorn |
61 |
2 |
|
Flachflöte |
61 |
|
|
Tremulant |
|
1 3/5 |
|
Terz |
61 |
|
|
|
|
|
|
|
|
|
|
|
|
Choir Organ (Manual I) – 61 notes, enclosed
|
16 |
|
Dulciana |
61 |
2 2/3 |
|
Nazard |
61 |
8 |
|
Viola Pomposa |
61 |
2 |
|
Nachthorn |
61 |
8 |
|
Viola Celeste |
61 |
1 3/5 |
|
Tierce |
61 |
8 |
|
Dolcan |
61 |
|
|
Mixture V ranks |
305 |
8 |
|
Dolcan Celeste |
61 |
16 |
|
Dulzian |
61 |
8 |
|
Quintadena |
61 |
8 |
|
Petite Trompette |
61 |
8 |
|
Holzgedeckt |
61 |
8 |
|
Clarinet |
61 |
4 |
|
Prestant |
61 |
4 |
|
Oboe-Schalmey |
61 |
4 |
|
Rohrflöte |
61 |
|
|
Tremulant |
|
|
|
|
|
|
|
|
|
Solo Organ (Manual IV) – 61 notes, enclosed
|
8 |
|
Flauto Mirabilis |
61 |
8 |
|
Orchestral Oboe |
61 |
8 |
|
Geigen |
61 |
8 |
|
Trompette Harmonique |
61 |
8 |
|
Geigen Celeste |
61 |
4 |
|
Clairon harmonique |
61 |
4 |
|
Doppelflöte |
61 |
|
|
Tremulant |
|
8 |
|
French Horn |
61 |
|
|
|
8 |
|
English Horn |
61 |
8 |
|
| Trompette en Chamade |
GAL GT |
|
8 |
|
Flugel Horn |
61 |
|
|
|
|
|
|
|
|
|
|
|
|
Pedal Organ – 32 notes
|
32 |
|
Untersatz [ext.] |
12 |
4 |
|
Nachthorn |
32 |
16 |
|
Prinzipal |
32 |
2 |
|
Blockflöte |
32 |
16 |
|
Holzflötenbass |
32 |
64 |
|
Grosskornet VII ranks |
224 |
16 |
|
Subbass |
32 |
16 |
|
Sesquialtera II ranks |
64 |
16 |
|
Gedeckt |
32 |
|
|
Mixtur IV ranks |
128 |
16 |
|
Violone |
GT |
|
|
Scharf V ranks |
160 |
16 |
|
Dulciana |
CH |
32 |
|
Bombarde [ext.] |
12 |
16 |
|
Quintade |
GT |
32 |
|
Kontra Posaune [ext.] |
12 |
16 |
|
Flûte Conique |
SW |
32 |
|
Kontra Fagott [ext.] |
12 |
10 2/3 |
|
Grossquinte |
32 |
16 |
|
Posaune |
32 |
8 |
|
Prinzipal |
32 |
16 |
|
Fagott |
32 |
8 |
|
Pommer Gedeckt |
32 |
8 |
|
Trompete |
32 |
8 |
|
Gemshorn |
32 |
4 |
|
Klarine |
32 |
4 |
|
Oktav |
32 |
2 |
|
Schalmei |
32 |
|
|
|
|
|
|
|
|
CELESTIAL ORGAN (located in Dome) |
|
|
|
|
|
|
|
|
Celestial Organ (Manual V) – 61 notes, enclosed
|
8 |
|
Harmonic Flute |
73 |
16 |
|
Bombarde |
73 |
8 |
|
Flûte d'amour |
73 |
16 |
|
Corno di Bassetto |
73 |
8 |
|
Erzähler |
73 |
8 |
|
Cor de Gabriel |
73 |
8 |
|
Klein Erzähler [TC] |
61 |
8 |
|
Trompette harmonique |
73 |
8 |
|
Echo Dulcet II ranks |
146 |
8 |
|
Vox Humana |
73 |
4 |
|
Octave |
73 |
4 |
|
Clairon |
73 |
4 |
|
Flute |
73 |
|
|
Tremulant |
|
|
|
Grande Fourniture VII ranks |
427 |
|
|
|
|
|
|
|
|
|
|
|
Celestial Pedal Organ – 32 notes
|
16 |
|
Diapason |
32 |
8 |
|
Octave [ext.] |
12 |
16 |
|
Dulciana |
32 |
16 |
|
Ophicleide |
32 |
|
|
|
|
|
|
|
|
GALLERY ORGAN |
|
|
|
|
|
|
|
|
Great Organ (Manual I) – 61 notes
|
16 |
|
Quintaton |
61 |
2 2/3 |
|
Quinte |
61 |
8 |
|
Principal |
61 |
2 |
|
Super Octave |
61 |
8 |
|
Gedeckt |
61 |
2 |
|
Blockflöte |
61 |
8 |
|
Spitzflöte |
61 |
|
|
Fourniture IV ranks |
244 |
4 |
|
Octave |
61 |
|
|
Cymbel III ranks |
183 |
4 |
|
Rohrflöte |
61 |
8 |
|
Trompette en Chamade |
61 |
|
|
|
|
|
|
|
|
Swell Organ (Manual III) – 61 notes, enclosed
|
16 |
|
Gemshorn |
73 |
|
|
Sesquialtera II ranks |
122 |
8 |
|
Geigen |
73 |
|
|
Plein Jeu III ranks |
183 |
8 |
|
Gedeckt |
73 |
|
|
Cymbel III ranks |
183 |
8 |
|
Viole de Gambe |
73 |
16 |
|
Bombarde |
73 |
8 |
|
Viole Celeste |
73 |
8 |
|
Trumpet |
73 |
4 |
|
Octave |
73 |
8 |
|
Trompette |
73 |
4 |
|
Flute |
73 |
4 |
|
Clairon |
73 |
2 |
|
Super Octave |
61 |
|
|
Tremulant |
|
|
|
|
|
|
|
|
|
Pedal Organ – 32 notes
|
32 |
|
Open Bass |
32 |
4 |
|
Nachthorn |
32 |
16 |
|
Principal |
32 |
2 |
|
Blockflöte |
32 |
16 |
|
Bourdon |
32 |
|
|
Mixture III ranks |
96 |
16 |
|
Gemshorn |
SW |
|
|
Cymbel II ranks |
64 |
8 |
|
Principal |
32 |
16 |
|
Posaune |
32 |
8 |
|
Gedeckt Pommer |
32 |
8 |
|
Trumpet [ext.] |
12 |
8 |
|
Gemshorn |
SW |
4 |
|
Clarion [ext.] |
12 |
4 |
|
Choralbass |
32 |
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
|
Chancel Organ | Gallery Organ & Trompette en Chamade |
|
|
2006 Console in Concert Position |
Celestial Organ in Dome |
|
|
|
| |
|
|
|
|
|
|
|
Ernest M. Skinner Company
Boston, Mass. – Opus 275 (1917)
Electro-pneumatic action
4 manuals, 117 stops, 115 ranks, 7,587 pipes
The original four-manual organ of the present church was installed in the chancel and west gallery in 1918 by Ernest M. Skinner of Boston (Opus 275) and incorporated many ranks from instruments in the previous church by George S. Hutchings of Boston (1893, Opus 402) and by J.H. and C.S. Odell of New York City (1872, Opus 112). Skinner had been closely associated in the building of the earlier Hutchings organ; this organ used a new type of mechanism with electro-pneumatic Pitman chests, which had been perfected by Skinner. This new mechanism allowed divisions to be installed in both the chancel and gallery, all controlled by electric action from a movable four-manual console in the chancel. Skinner's 1918 organ for the new church had nine divisions, all playable from a four-manual console in the chancel. The photo of the Skinner console (above) was included in one of the "Organ Notebooks" kept by Lynnwood Farnam, noted concert organist of the early 20th century. |
| |
|
|
|
|
|
|
|
CHANCEL ORGAN |
| |
|
|
|
|
|
|
|
Great Organ (Manual II) – 61 notes
|
16 |
|
Diapason |
61 |
4 |
|
Octave |
61 |
8 |
|
First Diapason |
61 |
4 |
|
Flute Traverso |
61 |
8 |
|
Second Diapason |
61 |
2 2/3 |
|
Quint |
61 |
8 |
|
Doppelflote |
61 |
2 |
|
Fifteenth |
61 |
8 |
|
Concert Flute |
61 |
|
|
Mixture IV ranks |
244 |
8 |
|
Gamba |
61 |
8 |
|
Trumpet |
61 |
|
|
|
|
|
|
|
|
Swell Organ (Manual III) – 61 notes, enclosed
|
16 |
|
Bourdon |
73 |
4 |
|
Flute Harmonique |
73 |
8 |
|
Diapason |
73 |
2 |
|
Piccolo |
61 |
8 |
|
Stopped Diapason |
73 |
|
|
Mixture V ranks |
305 |
8 |
|
Gemshorn |
73 |
16 |
|
Contra Fagotto |
73 |
8 |
|
Quintadena |
73 |
8 |
|
Cornopean |
73 |
8 |
|
Salicional |
73 |
8 |
|
Oboe |
73 |
8 |
|
Voix Celestes |
73 |
8 |
|
Vox Humana |
73 |
8 |
|
Aeoline |
73 |
4 |
|
Clarion |
73 |
4 |
|
Octave |
73 |
|
|
Tremolo |
|
4 |
|
Salicet |
73 |
|
|
|
|
|
|
|
|
|
|
|
Choir Organ (Manual I) – 61 notes, enclosed
|
16 |
|
Dulciana |
73 |
4 |
|
Gemshorn |
73 |
8 |
|
Geigen Principal |
73 |
2 |
|
Piccolo |
61 |
8 |
|
Diapason |
73 |
8 |
|
Clarinet |
73 |
8 |
|
Gedeckt |
73 |
8 |
|
Orchestral Oboe |
73 |
8 |
|
Clarabella |
73 |
|
|
Tremolo |
|
8 |
|
Dulciana |
73 |
|
|
|
4 |
|
Wald Flute |
73 |
|
|
Celesta Sub |
|
|
|
|
|
|
|
|
|
Pedal Organ – 32 notes
|
16 |
|
Diapason |
32 |
8 |
|
Flute [ext.] |
12 |
16 |
|
Bourdon |
32 |
8 |
|
Cello [ext.] |
12 |
16 |
|
Violone |
32 |
16 |
|
Trombone |
32 |
10 2/3 |
|
Quint |
— |
8 |
|
Tromba [ext.] |
12 |
8 |
|
Octave [ext.] |
12 |
|
|
|
|
|
|
|
|
|
|
|
|
GALLERY ORGAN |
|
|
|
|
|
|
|
|
Great Organ (Manual II) – 61 notes
|
16 |
|
Diapason |
61 |
4 |
|
Flute Harmonique |
61 |
8 |
|
Diapason |
61 |
2 2/3 |
|
Twelfth |
61 |
8 |
|
Violin Diapason |
61 |
2 |
|
Fifteenth |
61 |
8 |
|
Horn Diapason |
61 |
|
|
Mixture IV ranks |
244 |
8 |
|
Melodia |
61 |
|
|
Mixture V ranks |
305 |
8 |
|
Rohr Flute |
61 |
16 |
|
Ophicleide |
61 |
8 |
|
Gamba |
61 |
8 |
|
Trumpet [ext.] |
12 |
4 |
|
Octave |
61 |
4 |
|
Clarion [ext.] |
12 |
4 |
|
Fugara |
61 |
|
|
|
|
|
|
|
|
|
|
|
|
Swell Organ (Manual III) – 61 notes, enclosed
|
16 |
|
Bourdon |
73 |
4 |
|
Octave |
73 |
8 |
|
Diapason [large] |
73 |
4 |
|
Flute d'Amour |
73 |
8 |
|
Diapason |
73 |
2 |
|
Flautino |
61 |
8 |
|
Stopped Diapason |
73 |
|
|
Dolce Cornet V ranks |
305 |
8 |
|
Gross Flute |
73 |
16 |
|
Posaune |
73 |
8 |
|
Spitz Flute |
73 |
8 |
|
Trumpet Harmonique |
73 |
8 |
|
Salicional |
73 |
8 |
|
Cor Anglais |
73 |
8 |
|
Voix Celestes |
73 |
8 |
|
Vox Humana |
73 |
8 |
|
Dolce |
73 |
4 |
|
Clarion |
73 |
8 |
|
Unda Maris [TC] |
61 |
|
|
Tremolo |
|
| |
|
|
|
|
|
|
|
Choir Organ (Manual I) – 61 notes, enclosed
|
8 |
|
Diapason |
73 |
4 |
|
Octave |
73 |
8 |
|
Clarabella |
73 |
4 |
|
Flute [wood] |
73 |
8 |
|
Keraulophon |
73 |
2 |
|
Piccolo |
61 |
8 |
| | |
