rebuilding and enlargement of the 1929 Hill, Norman & Beard organ
by the Schantz Organ Company, Orrville, Ohio, 1999-2000.
(from OHTA News July 1999)
Full details of the work on the Melbourne Town Hall organ, currently being carried out in the United States, have been released by the City of Melbourne and are published for the interest of readers. The City of Melbourne has been advised by its organ committee, the membership of which comprises:
______________________________________________________________________________________
FURTHER NOTE – FEBRUARY 2000
This instrument was of international significance as the largest entirely new organ built within the British Empire during the inter-war period and was widely recognised for its symphonic qualities and extraordinary solidity of construction.
The work in the United States has now been completed and installation of the instrument in the Melbourne Town Hall is proceeding throughout 2000 with the opening scheduled for early in 2001.
An important change to the proposal below is that far-reaching changes have since been made to the 1929 Hill, Norman & Beard console to accommodate the additional material provided by the Schantz Organ Company. While it has been indicated that a heritage permit for this work has been issued, it does not appear to conform with the principles outlined in the Pipe Organ Conservation and Maintenance Guide issued in 1998 by the NSW Heritage Office in association with the Organ Historical Trust of Australia, available on the OHTA website.
It is stated that all of the original pipework survives in the scheme below (although the Echo Organ regrettably remains disconnected); however, a large quantity of additional material has been added. This aspect of the project has been controversial for many years and is in contradiction with heritage principles.
Publication of the material below on the OHTA website is for public information and does not indicate that the scheme is necessarily supported by OHTA. It should be noted that the organization has not had any active involvement in the current process of rebuilding and enhancement.
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Further note May 2001 An announcement by Craft Victoria on its web site (http://www.craftvic.asn.au/secondwind/) advises that components removed from the organ during the Schantz rebuild bearing "the marks of the original organ makers" have been used to make "tables, CD racks, screens, letter boxes and many other useful objects" for sale to the public. Regardless of what subjective value-judgements were made about the components which were removed during the rebuild (in itself a problematic concept), the recycling of material in this manner is contrary to any recognised principles of conservation. The items concerned should have been appropriately stored. It is regrettable that the Melbourne City Council has demonstrated its willingness to reduce cultural heritage material to consumer merchandise. |
Description of technical specification and tonal design
· General Intention
All the original pipe-work and percussions of the main organ are restored:
– pipes that were removed will be re-instated;
– pipes that were altered from their 1929 specification will be restored; and
– pipes missing will be re-constructed.
The organ is enhanced, at various dynamic levels, with new chorus-work, and with orchestral colours.
The additions focus on the original nature of the organ – that of a Grand Romantic/Orchestral Concert Organ.
· Consoles
The original console (in the organ-case) will remain with little obvious change to the draw-stops. New pistons will replace the 1970s pistons. Fitting of the new stops would have required enlargement of the stop-jambs, involving a major re-build – which was seen as inappropriate. Heritage requirements intend that the original console should primarily represent the “original voice” of the organ.
When the organist first sits at the original console he will see mainly only the old stops; and the pistons will activate only those stops. However, the case console may be required to access the entire organ ‘at short notice’. Also, the case console may be preferable for works with choir or orchestra; and it may be preferred anyway by some organists. Because all the new stops could not be added to the case console, there will be a switchable option for the pistons to access the entire organ. In order to set the pistons (or check the settings) to the entire organ, the new (additional) stops will be available behind the music desk. It is thus a limitation resulting from Heritage requirements that the new stops will not be able to be seen when the organist is using the music desk.
A new four-manual mobile console will control the entire organ. This was planned to be the primary concert console. Plans have been considered to house the mobile console on its own ‘goods lift’ sinking into the floor at the side of the Hall for easy, immediate access – and where it could be used for rehearsal if necessary, or wheeled to the centre of the Hall for best use. Costs currently prevent provision of the lift.
The console will thus be stored back-stage. The mobile console can be easily sited near the stage, at the front or the side, and will be able to be lifted onto the stage with a readily available electric lifter.
The full List was determined and agreed by the Organ Curator and Schantz Organ Company following their more detailed examination of the organ and auditorium in their second visit – March 1998. Expenditure limitations led to revision resulting in some agreed additions being ‘prepared’ only.
Specification Summary
· Restoration
All divisional enclosures will be re-instated (including the originally enclosed part of the Great).
All ranks will remain with their original divisions. The Great Contra Trombone 32' and Choir Dulciana Cornet III ranks are re-instated. Mixtures are restored to their original pitches and breaks. The pipes of the Great Fourniture VI-VII ranks were re-arranged and shortened in the 1970s to gain a higher-pitched quint mixture. They are now lengthened to their original (including ‘over-length’ for slots for those of string tone). Included are the original 11/7', 31/5' & 51/3' pitches.
· Tonal Description of additions
Some choruses are enhanced, and there is a new chorus division in the Solo chamber.
A number of mf flutes and strings are added to bridge the ‘gap’ between tonal extremes; for example, between the strident Orchestral Celestes and the gentle Swell strings. As well as increasing the colour options, the new stops enhance the ability to make a gradual stop-crescendo, and also help with options for the requisite ‘pitch-clarity’ in choral accompaniment.
This gains mf colours at 8' & 16' pitch – the original 16' (unenclosed) stops are both extremely heavy.
A new Mixture provides a clear tone following restoration of the Grand Fourniture to its ‘harmonics’ specification. This original ‘gross Sesquialtera’ effect is expected to better fit with the tromba-tone reed chorus.
The Great Octave Coupler will not be available in the full Specification. That coupler was a ‘necessity’ in trying to achieve a ‘tonal balance’, but was a detriment to clarity in performance. Independent ranks have been added in place of the Octave Coupler (except for the Tibia 4' which is gained by extension). In keeping with the general idea of this ‘stentorian’ division, the new chorus Mixture has a modest number of ranks in relation to the foundation upon which it sits. A Harmonic Flute is added as a ‘normal’ solo colour. The original Tibia provides the extreme.
In this style of organ, a Choir division is usually a minor, or accompaniment, division. It also normally includes a few mf solo colours. A new secondary chorus division was not attempted here (the Swell on an English organ usually provides the main secondary division). A mf 4' chorus stop is added together with further quiet colours and mf solo reeds. To allow the easy gathering of a more substantial Choir division in the organ’s ‘original voice’, there is a Solo transfer to Choir (that Solo coupling excluding the big reeds and the new Bombarde). There is also the Orchestral coupling.
A ‘normal’ English Swell provides the main secondary flue/reed chorus. But, without its Octave coupler, this Swell was considered to be too far below the Great in tonal impact. Thus, most organists found the Octave coupler to be mandatory – this ‘extension’ effect detracting much from clarity of performance.
A Principal 4', a chorus Mixture and smaller Sharp Mixture are added – and are primarily intended to be used rather than the Octave coupler. Two mf reeds are added for smaller choruses, and for solo use.
The new Clarino Trumpet 4'–8' crowns the reed chorus – and is planned to be used before the Octave coupler (this new trumpet rank breaks to 8' in the treble, in order to maintain blend). Clear colours of soft or mf tone are added at various pitches. Two examples are: there was no manual 16' Bourdon anywhere on the organ; the more telling tone of Gambas is needed in addition to the original exquisitely delicate Aeoline and Celeste.
A Flute Celeste is added, after the original which arrived from England in 1927, but was removed – to make way for the Piccolo 2' – before the organ was opened in 1929. Basic independent mutations are added here rather than on other manuals. A Nasard or Cornet can be used in repertoire of various periods; but it was felt that to go further, to add a Larigot for example, was outside the present scope. The new Fanfare Trumpet (Trumpet Victoria) provides a grand solo, or brief tutti, effect. A Tuba Mirabilis is ‘prepared for’. It was planned as the more ‘normal’ big solo reed tone for this style of organ. The original Tuba Sonora, with its extremely thick tone, has special uses, but is considered too sonorous for a ‘normal’ Tuba solo.
Flues—
The new flue chorus is intended to fit between the enclosed Great chorus and the ‘stentorian’ Unenclosed Great chorus. The name Bombarde is not meant to indicate mere loudness. Its location in the Solo puts it under expression, as is appropriate to this style of organ. The 8' & 4' flues will be of keen tone to enhance the tendency to thick tone of the other Diapason foundations. It is expected that this chorus with mixtures would be included in bigger combinations to add a clarity or sheen. These mixtures with their keen-toned foundations are not designed to stand ‘on their own’ in place of the original choruses. The Fourniture will be the basic mixture to add to an 8' ensemble; the Grand Chorus will add more body, including a Seventeenth (Terz) – as normal to this style. The Grave will add the sub pitches, that are also common to this type of chorus.
The Pedal already contains the extremes of tone. New mf colours or chorus stops (or borrows) will be added at each pitch, including 32'. The Swell 16' Violone is extended down. A 64' borrow makes available the 32' Tibia tone in the tenor (thus, a pedal line can maintain the mild 32' effect without needing to remain in the bass); the 64' acoustic bass octave may add a little extra gravity (no great effect is expected). Two extended reed ranks are added: 32'/16' & 8'/4'. These will be of ‘normal’ tone; allowing more sparing use of the exciting thunder of the Diaphone.
In order not to compromise the quality of work in the main organ, it was decided that the Echo could be left for a future project. The Echo is an interesting ‘toy’ division; it forms no part of the main ensemble. The Echo was a ‘special effect’ meant to sound at a distance from the organ, rather than as simply a ‘soft’ division. It may have been of limited use to install the Echo within the main organ. To install the organ elsewhere in the Auditorium would involve an expense far beyond the present possibilities.
Rod Junor, Organ Curator
NOTES ON THE FOLLOWING SPECIFICATION
[brackets beside Stop Name] = name engraved on Old Console Stop-face
(parentheses with Stop Name) = extra engraving on New Console Stop-face
Borrows are indicated by the Superscript letters after the stop number. Thus, the numbers indicate the independent voices, rather than the number of knobs on the console).
P = Percussions. The numbering is separate from the pipe voice numbers.
E = existing stops; numbers unmarked are new
p. = pipes
r. = ranks
n. = notes
Italic Typeface = Prepared (Allowance in chamber and draw-stops provided, but pipes not installed at this time)
GREAT
(UNENCLOSED)
E 1a 16' Tibia Profunda 12p.
E 2a 16' Double Open Diapason 61p. (Unit bass)
E 1b 8' Tibia Plena 61p. Unit 32 /212/3(64) /16 /102/3 /8 /4
H.P. from 4'C
E 3 8' Diapason Phonon 61p.
E 4 8' Open Diapason (I) 61p.
5 8' Harmonic Flute 61p.
1c 4' Tibia Octave 12p. (HP section enclosed)
6 4' Octave Phonon 61p.
E 7 4' Octave Diapason 61p.
E [Octave Coupler] (Omitted from Full Specification)
8 3' Octave Quint 61p.
9 2' Super Octave 61p.
10 IV Mixture 61n, 244p.
Enclosed (Enclosure Restored )
11a 16' Contra Geigen 61p. (Unit bass 16 & 8)
E 12 8' Open Diapason (II) 61p.
E 13 8' Gamba Major 61p. (Bass Reinstalled )
E 14 8' Hohl Flöte 61p.
15 8' Rohr Flöte 61p.
E 16 4' Principal 61p.
E 17 4' Wald Flöte 61p.
E 18 3' Stopped Quint 61p.
E 19 2' Fifteenth 61p.
E 20 13/5' Tierce 61p.
21 V Chorus Mixture 61n, 305p.
E 22a VI(-.VII) Grand Fourniture 61n, 395p. Restored, including 11/7, 31/5 &
51/3 ) (Unit bass)
Tremulant
E 23a 32' Contra Trombone 61p. Unit 32/16 (Bass Reinstalled )
E 24a 16' Trombone 61p. (Unit bass)
23b 16' Fagotto 12p.
E 25 8' Tromba 61p.
E 26 8' Harmonic Trumpet 61p.
E 27 4' Clarion 61n, 73p. double top notes
SWELL (ENCLOSED)
28a 32' Contra Violone 12p.
E 28b 16' Violone 73p. Unit 32/16
29a 16' Bourdon 73p. (Unit bass 16 & 8)
E 30 8' Diapason Phonon 73p.
E 31 8' Geigen Principal 73p.
32 8' Gamba 73p.
33 8' Gamba Celeste 73p.
34 8' Flauto Traverso 73p.
E 35 8' Cor de Nuit 73p.
E 36 8' Æoline 73p.
E 37 8' Vox Angelica 68p. from bass F
38 4' Principal 73p.
E 39 4' Octave Gamba 73p.
E 40 4' Harmonic Flute 73p.
41 4' Rohr Flute 73p.
E 42 3' Harmonic Quint 73p.
43 2' Piccolo 73p.
E 44 2' Salicetina 73p.
45 V Chorus Mixture 61n, 305p.
E 46 III (Grave) Mixture 73n, 219p. (Restored)
47 III Sharp Mixture 61n, 183p.
E 48 8' Vox Humana 73p. in new separate “box”
Vox Tremulant
Vox Pianissimo “box” to closed position
49a 16' Bassoon 73p. (Unit bass)
E 50 8' Oboe 73p.
51 8' Cornopean 73p.
E Tremulant
E 52 16' Double Trumpet 73p.
E 53 8' Horn 73p.
E 54 8' Orchestral trumpet 73p.
E 55 4' Clarion 73p.
56 4'-8' Clarino Trumpet 73p.
CHOIR (ENCLOSED: ENCLOSURE RESTORED)
E 57a 16' Contra Salicional 61p. (Unit bass)
E 58 8' Horn Diapason 61p.
E 59 8' Corno Flute 61p.
E 60 8' Lieblich Gedeckt 61p.
61 8' Salicional 61p.
62 8' Voix Celeste 61p.
63 8' Flute Celeste II 110p. II from tenor c
64 4' Gemshorn 61p.
E 65 4' Lieblich Flöte 61p.
E 66 4' Echo Viola 61p.
67 4' Celestina 61p.
E 68 2' Harmonic Piccolo 61p.
E 69 III Dulciana Cornet 61n, 183p. (Restored from conversion to Twelfth)
70a 16' Bass Cremona 12p.
E 71 8' Closed Horn 61p.
72 8' Cor Anglais 61p.
70b 8' Cremona 61p. (Unit)
E Tremulant
P1 (8') Harp 49bars (ex-Echo)
SOLO (ENCLOSED)
E 73 16' Quintaton 73p.
E 74 8' Harmonic Claribel 73p.
(E) 75 8' Flute celeste (TC) 61p. new (original removed 1929 to make way for Piccolo)
E 76 8' Violoncello 73p.
77 8' Cello Celeste 73p.
E 78 8' Salicional 73p.
E 79 4' Concert Flute Harmonique 73p.
80 3' Nasard Harmonique 73p.
E 81 2' Harmonic Piccolo 73p.
82 13/5' Tierce 61p.
E 83a 16' Schalmei 73p. (Unit bass)
84 8' French Horn 73p.
85 8' Corno di Bassetto 73p.
E 86 8' Orchestral Oboe 73p.
E 87 8' Clarinet 73p.
E Tremulant
E 88a 16' Tuba 12p.
E 88b 8' Tuba 73n, 85p. Unit double top notes
E 88c 4' Tuba –
E P2 (2') Glockenspiel 32 bars from tenor f
E P3 (8') Carillon 20 tubes from tenor a
E Carillon Mute
Bombarde sub-division (enclosed with Solo)
(no Octave doublings)
89 8' Violin Diapason 61p.
90 4' Prestant 61p.
91 I-II Grave Mixture 57p. also draws 92
92 IV-V Fourniture 285p.
93 II-III Grand Chorus 109p. also draws 92
94a 16' Contra Posaune 61p. (Unit bass)
95 8' Posaune 61p.
96 4' Clarion 61p.
Fanfare sub-division (unenclosed)
E 97 8' Tuba Sonora 73n, 85p. Unit, double top notes
98a 8' Tuba Mirabilis 73p. Unit
99a 8' Trumpet Victoria 73p. Unit
ORCHESTRAL (ENCLOSED: UNDER SEPARATE EXPRESSION)
E 100a 16' Contra Viola 73p. (Unit bass)
E 101 8' Tibia Clausa 73p.
102a 8' Orchestral Strings II 73n, 146p. Unit 8/4
E 103 8' Viol d’Orchestre (I-II) 73n, 122p. II from mid c
E 104 8' String Celeste[s] (II) 73n, 146p.
102b 4' Octave Strings II 12n, 24p.
E 105 4' Octave Viola 73p.
E 106 31/5' Tiercina 73p.
E 107 3' Quint Viola 73p.
E 108 2' Violette 73p.
E Tremulant
ECHO (ENCLOSED) #
Section I
E 118a 16' Lieblich Gedeckt 12p.
E 118b 8' Lieblich Gedeckt 73p. Unit 16/8/4
E 118c 4' Lieblich Flöte –
E 119 8' Geigen Principal 73p.
E 120 4' Viola 73p.
E 121 4' Tibia Mollis 73p.
E 122 8' Vox Mystica 73p.
E 123 8' Musette 73p.
E Octave / Unison Off / Sub Octave
Section II
E 124a 8' Viole Sourdine 73p. (Unit bass)
E 125 8' Voix Celestes 61p. from tenor c
E 126 8' Zauber Flöte 73p.
E 127 8' Unda maris 61p. from tenor c
E 128 IV Harmonia Ætheria 292p.
E 129 8' Post Horn 73p.
E P6 (8') Harp 49 bars (temporarily installed in Choir)
E Octave / Unison Off / Sub Octave
Tremulant
Echo Pedal
118d 32' Resultant – (bass octave = 16' + 102/3' borrow)
(E) 124b 16' Violone 12p. original = borrow 118(16') + 124(8')
E 118e 16' Bourdon
E 118f 8' Flute (listed as Flute bass in 1930)
# Unusable by 1970, then dismantled; pipework became badly damaged; not restored at this time (stored in organ chamber). Drawknobs on old console for preservation, and on mobile console for preparation.
PEDAL
1d 64' Gravissima (Tibia) – (bass octave = 32' + 212/3' borrow)
E 109a 32' Double Open Diapason 12p.
E 1e 32' Tibia Profunda 12p. extension of Great Tibia
110a 32' Contra Bourdon Acoustic – (bass octave = 16' + 102/3' borrow)
28c 32' Contra Violone (Sw)
E 111a 16' Great Bass (Major Bass) 32p. Unit 16/8
E 109b 16' Open Diapason 32p. Unit 32/16/8/4
E 1f 16' Tibia Profunda (Gt)
E 2b 16' Contra Bass (Gt) (Great Double Open)
11b 16' Geigen (Gt)
E 28d 16' Violone (Sw)
E 100b 16' String Bass (Orch)
E 110b 16' Bourdon 32p. Unit 16/102/3(32)/8
29b 16' Lieblich Bourdon (Sw)
E 57b 16' Contra Salicional (Ch)
E 1g 102/3' Quint (Tibia) – (Great)
E 111b 8' Flute Major 12p.
E 109c 8' Principal 12p.
112 8' Prestant 32p.
11c 8' Geigen Principal (Gt) Great 16' (Independent rank
prepared)
E 28e 8' Violone [Cello] (Sw) Violone
113 8' Bass Flute 32p.
E 110c 8' Stopped Flute 12p.
29c 8' Lieblich Bourdon (Sw) Swell 16'
E 109d 4' Super Octave 12p.
114 4' Fifteenth 32p.
E 22b VI Grand Fourniture 5 1/3' 12n. 72p. ext. of Great Fourniture
23c 32' Contra Fagotto (Gt) (Great Contra Trombone)
49b 16' Bassoon (Sw)
E 83b 16' Schalmei (Solo)
115a 32' Double Ophicleide 32p. Unit 32/16
E 88d 16' Tuba (Solo)
115b 16' Ophicleide 12p.
94b 16' Posaune (Solo)
E 24b 16' Trombone (Gt)
E 88e 8' Tuba (Solo)
116a 8' Trumpet 32p. Unit 8/4
116b 4' Clarion 12p.
E 117a 32' Diaphone 32p. Unit 32/16
E 117b 16' (Octave) Diaphone 12p.
98b 8' Tuba Mirabilis (Solo)
99b 8' Trumpet Victoria (Solo)
E P4 Bass Drum Tap
E Bass Drum Roll
E P5 Side Drum Tap
E Side Drum Roll
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Pressures (as originally): Great Enclosed Flues: 6" Reeds: 12" Unenclosed (& Tibia from 4'C): 10" Tibia 16' (&32') bass: 5" Swell Flues & light reeds: 6" Reeds & Diapason Phonon: 10" Choir: 5" (or 6") Solo Flues: 7" Posaunes: 15" Tubas (& Fanfare Trumpet): 20" Tuba Mirabilis: approximately 25" (requiring booster blower) Echo 6" Orchestral 6" Pedal Flues: 4"? to 6" Diaphone 20" new Reeds ?" |
Blowers: Two Blowers feeding Low Pressure reservoirs One new Blower feeding Low Pressure reservoirs Medium Pressure Blower feeds 10" & 12" reservoirs High Pressure Blower feeds 20" reservoirs |