14. Finished Organ 1

Auckland, New Zealand – Holy Trinity Cathedral

The New Voice organ commissioned by Holy Trinity Cathedral, Auckland is Nicholson & Co.’s largest new work to date, and the firm’s first southern hemisphere contract.

Featuring two stunning cases by leading designer, Didier Grassin, the new organ sits handsomely on either side of the crossing, in chambers made available by the removal of the nave bridge. From this position, the organ speaks with clarity and eloquence into both the chancel and the nave, whilst drawing the eye through the dramatic new vista opened up along the length of the building.

With 92 speaking stops and 5,432 pipes, the organ is one of the most significant instruments in the southern hemisphere. It is the largest pipe organ

– built in Britain since 1954
– built in Britain for ecclesiastical use since 1942
– in New Zealand
– in ecclesiastical use in Australasia.

It is playable from two identical consoles, a fixed console in a loft above the cathedral’s Marsden Chapel, and a movable console in the nave, each with four manuals and 122 drawstops, and equipped with the latest technology.

The installation of a large new organ is something that happens rarely, and therefore the new cathedral organ has been designed to be suitable for the all purposes to which it may be put. The specification is for an instrument that is versatile and eclectic (whilst in the tradition of a British cathedral organ), so that the choir may be accompanied effectively, congregational singing supported and encouraged (aided by a small but powerful nave facing section of flues on a higher wind pressure), and the entire solo repertoire can be played convincingly.

Most of the pipework is generously scaled to allow unforced tone with carrying power, and many stops are of similar dynamic to allow them to be used together, giving a multitude of tonal colours. The (liturgical) south case accommodates the Swell above Solo, each in an expression box with shutters facing both east and west, and the north organ houses the Great and Choir divisions, with the large Pedal pipes occupying the site of the previous Harrison & Harrison organ (low frequencies can effectively diffuse around corners and obstructions). There are loud stops for excitement such as the Orchestral Trumpet and Tuba Mirabilis, and the Pedal has a new unenclosed Bombarde rank to add power and colour to the tutti, but there is also a very wide range of quieter stops to soothe the ears when required (including a family of strings on the Solo from 16’ to a three rank Cornet de Violes).

The organ includes both an Open Wood and a Contra Bourdon at 32 feet in order to deliver the sense of very low-pitched gravitas expected of a cathedral organ. The Great and Swell chorus reeds are on higher pressure than the fluework allowing their voicing to be firm but bright, with the Great reeds being reasonably sonorous and rich, and the Swell reeds having more ‘fire’.

Two sets of bells – a twelve-note Carillon and an Étoile Sonore (consisting of a rotating metal star on which several small bells are mounted, producing a continuous tinkling sound when the stop is engaged), complete the generously comprehensive specification.

See review of the instrument.



Specification

Manuals CC to C (61 notes) : Pedals CCC to G (32 notes)
Pitch 440Hz @ 21.1oC

Great
Double Open Diapason
Open Diapason I
Open Diapason II
Flûte Harmonique
Stopped Diapason
Gamba
Principal
Wald Flute
Twelfth22/3
Fifteenth
Seventeenth13/5
Fourniture (15.19.22.26)
Sharp Mixture (26.29.33)
Tremulant
Contra Posaune
Posaune
Clarion

West Great
Open Diapason
Octave
Superoctave
Mixture (15.19.22.26.29)
Solo to Great
Swell to Great
Choir to Great

Swell (enclosed)
Contra Salicional
Open Diapason
Gedeckt
Salicional
Voix Céleste T.C.
Principal
Nason Flute
Fifteenth
Mixture (17.19.22)
Voix Humaine
Hautboy
Tremulant
Plein Jeu (19.22.26.29)
Double Trumpet
Cornopean
Clarion
Swell Octave
Swell Suboctave
Swell Unison Off
Solo to Swell

Choir
Bourdon
Open Diapason
Bourdon
Principal
Chimney Flute
Nazard22/3
Fifteenth
Recorder
Tierce13/5
Larigot11/3
Septième11/7
Flageolet
Mixture (19.22.26)
Crumhorn
Tremulant
Orchestral Trumpet
(from Solo)
Tuba Mirabilis
(from Solo)
Étoile Sonore
Choir Octave
Choir Suboctave
Choir Unison Off
Solo to Choir
Swell to Choir
Great to Choir
Great Reeds on Choir

16
8
8
8
8
8
4
4
22/3
2
13/5
IV
III

16
8
4


8
4
2
V





16
8
8
8
8
4
4
2
III
8
8

IV
16
8
4






16
8
8
4
4
22/3
2
2
13/5
11/3
11/7
1
III
8

8

8
Solo (enclosed)
Contra Viole
Viole d’Orchestre
Viole Céleste T.C.
Concert Flute
Unda Maris T.C.
Octave Viole
Flûte Harmonique
Piccolo Harmonique
Cornet de Violes (10.12.15)
Cor Anglais
Corno di Bassetto
Tremulant
French Horn
Orchestral Trumpet

Solo (unenclosed)
Tuba Mirabilis
Carillon
Solo Octave
Solo Suboctave
Solo Unison Off
West Great on Solo

Pedal
Double Open Wood
Contra Bourdon
Open Wood
Open Metal
Open Diapason
(from Gt)
Bourdon
Echo Bourdon
Salicional
(from Ch)
Quint102/3
Octave Wood
Principal
Bass Flute
Salicet
Tierce62/5
Nazard51/3
Septième44/7
Fifteenth
Open Flute
Mixture (19.22.26.29)
Contra Bombarde
Bombarde
French Horn
(from Solo)
Bombarde Clarion

Pedal (enclosed)
Contra Trombone
Trombone
Tromba
Solo to Pedal
Swell to Pedal
Great to Pedal
Choir to Pedal
Great Reeds on Pedal
Pedal Stops Off (rocker switch)

16
8
8
8
8
4
4
2
III
8
8

16
8


8
12 notes






32
32
16
16
16

16
16
16

102/3
8
8
8
8
62/5
51/3
44/7
4
4
IV
32
16
16

8


32
16
8
Generals on Swell toe pistons
Great & Pedal pistons coupled
Pedal Divide
Stepper
Sequencer
Card reader

 

Recordings

Early English repertoire

Leighton – Fanfare

Handel – transcription

Joubert – Prelude on ‘Picardy’

Widor – Toccata from Symphony No. 5, Op. 42

Tomkins



Gallery
Completed Instrument
Tonal Finishing
Installation
Construction
Planning