Organ
HISTORY
With over 4,500 pipes the organ of St John’s Cathedral is one of the largest and finest in Australia. Its stop-list is eclectic, and can accommodate a large range of styles. It is arguably most comfortable in the Romantic repertoire, where the interplay of generous acoustic and mellifluous timbres comes into its own.
The original specification of 1909 was drawn up by George Sampson. The Cathedral’s architect, J. L. Pearson, who had designed Truro Cathedral in England (famous for its magnificent Willis instrument) created a similar design where the blend of high stone ceilings and gothic arches created a fine acoustic for organ sound. In common with many organs of this period, the renowned builders Norman and Beard from England were contracted and produced an instrument of rich and sonorous tone without abrasive upperwork, strings, mixtures or mutations. There were additions in 1912, 1914 and 1915 leaving an organ of 3 manuals, 30 speaking stops and pneumatic action.
With the enlargement of the Cathedral in 1968 the opportunity was taken to reflect the contemporary understanding of the organ (with regard to the Organ reform movement) and its place in the Cathedral’s life as both a liturgical and recital instrument. The firm of Hill, Norman and Beard completed this rebuild in 1971 giving an organ of 4 manuals 81 speaking stops. The Positive division was added to support the instrument’s projection, and a large range of colourful stops was added to increase the palette available to the player. As well as thrilling reeds, vibrant mixtures and piquant mutations there are some Solo Strings which may have come from Gloucester Cathedral in England. With the addition of the Main Bell tower, final two nave bays, West end towers and other features in 2009, further tonal work was done to enlarge the sound in response to the extra size of the completed building. The work, carried out by Pierce Pipe Organs, involved revoicing, the addition of a small number new stops, such as the Clarabella 8’, Sw. 16’ Bassoon and Open Diapason I on the Great, and the restoration of the tonal scheme with reference to the original 1909 scheme with regard to the Norman and Beard “sound-world” as well as George Sampson’s voicing notes. A series of International Celebrity Organ Recitals is being planned once the final refinement of this work is completed.
The transept organ case was given by Brisbane City Council in 1924 to commemorate the centenary of white settlement in Queensland. Situated on the East side of the North transept the organ speaks well into the building. The Swell division is housed nearer the choir, and there are even two possums on the organ case! The organ is under the care of W.J. Simon Pierce Organ Builders.
SPECIFICATIONS
GREAT
16 Double Diapason
8 Open Diapason I
8 Open Diapason II
8 Clarabella
4 Principal
4 Harmonic Flute
2 ⅔ Twelfth
2 Fifteenth
1 ⅗ Seventeenth
III Mixture (19.22.26.)
V Mounted Cornet (Middle C to Top D)
16 Double Trumpet
8 Trumpet
4 Clarion
Solo to Great, Swell to Great, Choir to Great
SWELL (enclosed)
16 Bourdon
8 Open Diapason
8 Stopped Diapason
8 Viola da Gamba
8 Voix Céleste (from Tenor C)
4 Principal
4 Stopped Flute
2 Fifteenth
III Full Mixture (15.19.22)
III Sharp Mixture (26.29.33)
8 Oboe
8 Vox Humana
16 Bassoon
8 Cornopean
4 Clarion
Tremulant
Swell Octave, Swell Sub-Octave, Swell Unison Off; Solo to Swell
CHOIR (enclosed)
16 Contra Salicional
8 Open Diapason
8 Bourdon
8 Dulciana
4 Prestant
4 Flûte Ouverte
2 ⅔ Nazard
2 Quarte
1 ⅗ Tierce
III Plein Jeu (22.26.29)
8 Clarinet
8 Trompette
8 Tuba (from Solo; unenclosed)
Tremulant
Choir Octave, Choir Sub-Octave, Choir Unison Off; Solo to Choir, Swell to Choir
SOLO (enclosed)
8 Flûte Harmonique
8 Quintade
8 Viole d'Orchestre
8 Viole Céleste (from Tenor C)
4 Concert Flute
4 Octave Viol
2 Piccolo
8 Rohr Schalmei
Tremulant
(unenclosed)
8 Spanish Trumpet (Tenor C to Top D)
8 Tuba
4 Octave Tuba
Solo Octave, Solo Sub-Octave, Solo Unison Off
POSITIVE (unenclosed)
playable from Great, Choir, Solo and Pedals
8 Chimney Flute
4 Principal
4 Koppelflöte
2 Octave
2 Blockflöte
1 ⅓ Larigot
1 Octavin
III Zimbel (29.33.36)
8 Krummhorn
Tremulant
Positive to Great, Positive to Choir, Positive to Pedal
PEDAL
32 Acoustic Bass
16 Open Wood
16 Principal
16 Violone (Gt. 16)
16 Bourdon
16 Echo Bourdon (Sw. 16)
16 Salicional (Ch. 16)
8 Octave (ext. of Ped. Principal)
8 Bass Flute (ext. of Ped. Bourdon)
4 Choral Bass
4 Spitz Flute
2 Nachthorn (ext. of Spitz Flute)
IV Mixture (12.15.19.22)
12 Contra Posaune
16 Trombone
16 Trumpet (Gt. 16)
8 Tromba (ext. of Trombone)
8 Trompette (Ch. 8)
8 Krummhorn (Pos. 8)
4 Rohr Schalmei (from Solo)
Solo to Pedal, Swell to Pedal, Swell Octave to Pedal, Great to Pedal, Choir to Pedal
ACCESSORIES
- 256 levels of memory, each with 24 pistons.
- 16 levels of divisional pistons:
Great, Swell, Choir, Solo and Pedal -
8 divisionals and 0 (cancel) each;
Positive - 4 divisionals and 0 (cancel).
- 1 Advancer and 1 Retarder, duplicated on each key-check, and available also as toe pistons.
- 1 General Cancel (thumb), 1 Full Organ (toe), Great to Pedal Combinations.
- The usual coupler thumb-pistons are under each manual.
- Adjustable stool. Console is also equipped with mirrors, cameras and headphones.
- Manual Compass 61 notes, Pedal Compass 32 notes
- USB port for Capture system
Organists
1898 – 1946 George Sampson
1946 – 1959 Louise Grimes
1960 – 2004 Dr Robert Boughen
2005 – 2010 Rev Rupert Jeffcoat
2011 - Michael Fulcher
August 2011
Contacts
Mr Michael Fulcher Ph 07 3835 2231
Email: mfulcher@anglicanbrisbane.org.au
For current music program:www.stjohnscathedral.com.au
