1 Toccata di Concerto, Op. 59 [9’17”] Edwin H. Lemare (1865-1934) 2 Sonata in D, KV 144 [3’13”] Wolfgang Amadeus Mozart (1756-1791) (trans. L. Fullard) 3 Romance in G [3’42”] William N. McKie (1901-1984) 4 Fantasia and Fugue in G minor, BWV 542 [12’46”] Johann Sebastian Bach (1685-1750) 5 Colonial Song [8’19”] (1882-1961) (trans. O. Ross) 6 Fantasia on a Welsh March [11’57”] William Thomas Best (1826-1897) 7 Tuba Tune [4’15”] Norman Cocker (1889-1953) (ed. H.G. Ley) 8 A Song of Sunshine [2’49”] Roland Diggle (1885-1954) 9 Elegy [6’54”] George Thalben-Ball (1896-1987) Sounds 10 Coronation March: “Orb and Sceptre” [9’37”] Grand William Walton (1902-1983) (trans. W.N. McKie) Thomas Heywood 11 Home, Sweet Home [3’54”] Grand Concert Organ (trans. & paraphrased Edwin H. Lemare) Thomas Heywood gave the Melbourne premiere The Music of Alexandre Guilmant’s Organ Thomas Heywood is Melbourne’s Symphony No. 1 – some 100 years This program is in the Grand Concert youngest concert , whose after its publication. Organ tradition. It has music for all performances have been praised by For five years from 1987, tastes, played with virtuosity and the critics. Born in 1974, he studied Thomas was School and Chapel musical style on a grand symphonic the piano with his mother at the Organist at Carey Grammar School. organ. Until recently the symphonic age of five and gave his first public He was appointed Assistant Organist organ, as it developed in the performance at six. During the next at Melbourne’s historic Scots’ Church nineteenth and twentieth centuries, decade, Thomas rapidly became a in 1992, whilst commencing a was neglected when influential, regular concert performer in recitals Bachelor of Music degree at The mostly academic, taste favoured and concertos. The Melbourne University of Melbourne. the historical authenticity of a much Age recognised his “impeccable He is making the first earlier and more austere style. A command” and “fine technique”. comprehensive study of the wealth of glorious and exciting After wide experience as both pianist complete organ works and orchestral sound can be achieved and organist, he realised that the transcriptions of William Thomas on the Melbourne Town Hall organ was to be his career. Best, the great English concert Organ, despite its age and present Thomas believes that, if the organist. This is in preparation for condition. Many of the string, organ is to gain in popularity as Thomas’s “All the Best” performances woodwind and brass colours of a solo instrument, a distinction in 1997 to mark the centenary of the symphony are vividly must be made between church Best’s death and to return these represented in the music on this and concert hall. His original and works to their rightful place in the recording. versatile programming – including repertoire. Edwin H. Lemare was regarded music of the neglected concert organ Thomas’s discovery of the as the leading concert organist of the repertoire – has delighted audiences concert organ tradition with early twentieth century. His brilliant of all tastes. After a recital at the Melbourne organist Bruce Steele Toccata di Concerto, composed in Sydney Opera House, The Sydney was the turning point in his career, 1909, opens the programme and this Morning Herald acclaimed him as and led to him realising a long held is believed to be its first Australian “an excellent organist” and noted ambition to record the Melbourne performance. It shows to great his “daring and temperamental” Town Hall Organ. Although several advantage both Lemare’s facility as playing. He “made the most of of his recitals have been broadcast, a composer for the organ and the Bach’s sometimes insufficiently “Melbourne Sounds Grand” is his first dazzling technique of the performer. acknowledged gift for beautiful commercial recording. It is the first Among Lemare’s most famous works melody.” In August 1992 at the major recording of the Organ. are his organ transcriptions from the Melbourne Concert Hall, Thomas operas of Richard Wagner. He mostly arranged the “good half-minutes” Melbourne City Organist William died in White Plains, New York, on and not the “bad half-hours” of McKie dates from 1931 and is his 2 March 1961. Although he lived Wagner’s music, as someone once only surviving original organ work. abroad in Europe and America rudely described it. While Wagner’s It was probably composed with this for most of his adult life, he had influence can be heard in the bold organ in mind, as the registration a lasting affection for home. His themes and harmonic structure he requires is exactly available body was brought back to Australia of the Toccata, it is irrepressibly here: “Clarinet” for the solo with for burial, and in Melbourne he Lemare. English organist and music accompanying “flute” and “string” is remembered by the Grainger critic Harvey Grace described the tones of the “Swell Organ”. McKie Museum at The University of piece as “a terribly difficult affair… said that this organ had “ a wealth Melbourne. virtuoso music” which has “more of exquisite soft stops, which are He first composed Colonial good stuff in it than such works perhaps its special glory”. This piece Song in 1905 but arranged it in are wont to have”. It is an exciting clearly shows what he meant. different forms over more than introduction to the power and At both his inaugural and a decade. Of the work, Grainger variety of the Melbourne Grand farewell recitals as Melbourne wrote: “No traditional tunes of any Organ. City Organist, McKie played Bach’s kind are made use of in this piece, In sharp contrast, Mozart’s Fantasia and Fugue in G minor. in which I have wished to express “Church” Sonatas are intimate Like his predecessor Dr. William my personal feelings about my works. They were mostly written George Price (City Organist 1906- own country (Australia) and people, for small string orchestra with an 1930) he had a special love of the and also voice a certain kind of organ taking a supportive role. The organ works of Bach and included emotion…that patiently yearning, delightful little Sonata in D was them in most recital programmes. inactive sentimental wistfulness”. transcribed for organ solo by the The Fantasia shows the Organ at its Grainger had hopes of this tune well-known Melbourne musician grandest, while the Fugue gives the becoming Australia’s National Leonard Fullard in 1938. It shows lie to the old saying (too often true!) Anthem but it seems much more to some of the Organ’s delicate tones that “a fugue is a piece in which the express his own nostalgia for home and features the silvery “string” and voices enter one by one and the than the celebration of a nation. “diapason” stops. Thomas Heywood audience leave one by one”. This The organ transcription (1948) by was fortunate to inherit Fullard’s fugue is tuneful and enormously Orvis Ross captures the colours of library of organ music and in this rhythmic. The symphonic the orchestral version: the mournful performance he plays the Sonata registration in this performance is “horn”, vibrant “strings” and rich from Fullard’s own copy. exuberantly original and reflects the “diapasons” on this organ bring it to The next three works have playful spirit of the piece. truly symphonic life. particular associations with the City Percy Grainger was born in The Welsh patriotic song “Men of Melbourne. Melbourne on 8 July 1882. He later of Harlech” tells of war and slaughter The Romance in G by became an American citizen and and the Britons’ defeat of the hated Saxons. William Thomas Best’s earlier Golden Age of the Concert been appointed to Westminster Concert Fantasia on a Welsh Organ. This is its first Australian Abbey in 1945 and was responsible March is one of his most striking performance. It uses a range of for all of the coronation music. He original compositions. It begins with delicate tone colours, including (in also celebrated the occasion by a swagger on the pedals and there is this performance) a brief appearance transcribing Walton’s march for organ quite a long introduction before the of the “Glockenspiel”. The main tune solo. It is a sparkling transcription main tune enters in all its strutting returns at the end using softer solo and shows the full symphonic splendour. Running flute swirls reeds in counterpoint. range of the Melbourne Town Hall accompany the next verse which George Thalben-Ball’s Elegy Organ. For this performance, McKie’s ends abruptly with violent chords for makes a total and serious contrast. version has been slightly revised full organ and reflective passages for Its noble and moving melody began from Walton’s orchestral score to the “Vox Humana”. The tune at last as an improvised postlude to a include some additional details. It emerges in its fullest glory with a broadcast church service in . is a fitting conclusion to this Grand bravura conclusion. In published form since 1944, the Organ Concert … The invention of the high- Elegy has become widely known … And like the best , pressure “Tuba” on English organs and very popular. Thalben-Ball there is an encore. We end where inspired a number of “Tunes” for the specified a stop of cello quality for we began, with Edwin Lemare. The stop. Norman Cocker’s extravagant the first statement of the melody, first arrangement in his collection Tuba Tune was published in 1922. an effect not always available to of favourite encore pieces is of Sir It shows off this organ’s powerful . This performance uses the Henry Bishop’s beautiful “Home, battery of tuba stops. Cocker had rich-toned “Violoncello” on the Solo Sweet Home”. This perennial a keen sense of humour and, while Organ. favourite was made forever popular it is possible to take this piece The English composer William in Australia by another Melburnian, solemnly, it surely has some self- Turner Walton (1902-1983) was Dame Nellie Melba, who took her parody in it too. After all, there is largely self-taught. He had written stage name from the city. She was something elephantine about the big the march Crown Imperial for the hardly ever allowed to leave the “Tuba Sonora” playing what is really coronation for King George VI in concert platform without singing it. a quite dainty tune. 1937. In 1953, at the instigation Lemare’s version includes the sound In 1920, Roland Diggle of William McKie, by then Organist of distant chimes from the Organ’s wrote A Song of Sunshine and of , Walton was “Carillon”. dedicated it “in friendship” (and commissioned by the British Council © 1992 Bruce Steele perhaps with tongue in cheek) to to write a new march in honour of his fellow organist Harvey Bartlett the coronation of Queen Elizabeth Gaul. Described as a graceful II. The result was the Coronation gavotte, it is a delightful if long March: “Orb and Sceptre”. McKie, forgotten recital piece typical of the who left Melbourne in 1938, had The Organist Composers organist, holding positions at three over 180 original organ works, and major cinemas in the Manchester over 270 organ transcriptions of the BEST, William Thomas (b. Carlisle, area. finest orchestral works. 13 Aug. 1826 – d. Liverpool, 10 May 1897) The greatest English DIGGLE, Roland (b. London, 1 McKIE, Sir William Neil (b. concert organist. He held several Jan. 1887 – d. Los Angeles, 13 Jan. Collingwood, 22 May 1901 – d. church positions until, at the age 1954) English (naturalised American) Ottowa, 1 Dec. 1984) McKie studied of 29, he was appointed Organist organist and composer. He studied organ in Melbourne, London and of the prestigious St. George’s Hall at the in . Held various church and in Liverpool. His repertoire was London and in Oxford before moving school positions. In 1930 he became enormous, and he gave weekly to America in 1904. Diggle held Melbourne City Organist for 8 years. recitals for almost fifty years of his several church positions, from 1914 After war service he was Organist at life. In addition to his civic duties he being Organist at St. John’s Church Westminster Abbey from 1945 until toured widely, and opened the Grand in Los Angeles until his death. As a 1963. He constantly travelled, and Concert Organ at the Sydney Town concert performer, he gave frequent was much in demand for recitals Hall in 1890. He skillfully transcribed tours throughout America. His especially in North America. thousands of orchestral, choral, compositions include numerous piano and other works for the organ works for organ, orchestra and THALBEN-BALL, Sir George and also edited a great deal of organ chamber music. Thomas (b. Sydney, 18 June 1896 and choral music. As a composer – London, 18 Jan. 1987) Famous he wrote organ music, works for LEMARE, Edwin Henry (b. Isle of English concert organist. His orchestra and choir, piano music and Wight, 9 Sept. 1865 – d. Los Angeles, prestigious career included positions church music. 24 Sept. 1934) World famous as Organist at the Royal Albert Hall concert organist and composer. He in London, both City and University COCKER, Norman (b. Sowerby was well established as a brilliant Organist at Birmingham in England, Bridge, 30 Nov. 1889 – d. performer in England, before moving and an unparalleled 62 years as Manchester, 15 Nov. 1953) Between to America in 1902 to further his Organist of the Temple Church 1909 and 1915 Cocker served concert career. He gave thousands of in London. He gave numerous as Organist at many colleges in recitals, sometimes more than 100 in international recital tours, playing England. In 1919, after fighting in one year. He was constantly on tour, the Grand Concert Organ in the World War I, he returned to England especially in Australia, America and Melbourne Town Hall in 1951. and went to Manchester as the England. During his lifetime, Lemare © 1992 Thomas Heywood Assistant Organist at the Cathedral; was known to be the world’s greatest he was later appointed the Organist. concert organist – his popularity Cocker was also a notable cinema and income were second to none. As a composer Lemare published

The Halls – The Organs Hall (also by Hill) was inaugurated in seriously worn down, the action was 1890, Melbourne’s civic organ was very heavy and the Organ was in The imposing bluestone Melbourne the largest in Australia and the first need of a comprehensive overhaul. Town Hall stands on the corner and only one with four manuals. Its The City Council appointed Lemare of the City’s two best known sixty-six stops included six mixtures as consultant for a rebuild to be streets – Collins and Swanston. (18 ranks) and its choruses were carried out by the British firm of Its Foundation Stone was laid by classically conceived. In addition Ingram & Co. Their proposal was the H.R.H. Prince Alfred, Duke of to the usual chorus reeds on Great influenced by the tonal ideas of Edinburgh, in November 1867. When and Swell divisions, there were Robert Hope-Jones and Lemare’s the Hall was opened in 1870, the two Clarionets (on Choir and Solo conception of a symphonic organ occasion was marked musically by divisions), a Bassoon, an Orchestral for the playing of orchestral the commissioning and performance Oboe, a Vox Humana and the Tuba transcriptions. of a secular cantata “Euterpe” (the Mirabilis at 8’ and 4’ pitches. The The result was that in 1906, ancient Greek Muse of Lyric Poetry case facade of highly decorated when Lemare returned the give the and Music) with words by the poet pipes included the massive 32’ metal re-opening recital series, the Organ Henry Kendall and music by Charles pipes of the Pedal Double Open had been drastically transformed: Edward Horsley. At this time, the Diapason. 21 ranks of mixtures and upperwork pipe organ ordered from London was In common with civic organs had been removed and replaced not ready, so that organ music was everywhere, this one was used for by heavier foundational stops and provided from a locally built organ solo concerts, for accompanying delicate soft tones. The emphasis by George Fincham. singers and instrumentalists, had shifted towards orchestral The Town Hall immediately and, in the absence of a regular imitation. An Echo division, to became the main concert venue orchestra, for the accompaniment of be sited in the rear gallery, was of the City. Its solid Victorian large choirs like Melbourne’s Royal provided for but never built. The proportions, curved ceiling, slender Philharmonic. The opening concert, action was electrified and the new galleries and wall panels lined with typical of its period, included console, with five manuals and stop- great portraits of Lord Mayors were items by three vocalists as well keys in place of knobs, was placed all dominated after 1872 by the as organ solos – all but one were in a central position on the stage. imposing facade of the new Grand transcriptions – played by the first Lemare was complimentary about Organ built by William Hill & Son City Organist, David Lee. It ended the rebuilding, yet Hill’s original of London. This organ was opened with Lee playing National Anthems concept had been changed beyond on 10 August 1872 by the Lord of the Nations as requested by the recognition. Evidently the new City Mayor Cr. Fenwick who personally audience. Organist, Dr. W.G. Price (appointed sponsored a grand Charity Concert. By 1902, when the virtuoso 1906) thought sufficiently well of its For nearly twenty years, until Edwin Lemare came to play recitals, new features to specify similar stops the Grand Organ in the Sydney Town the pedalboard was found to be on the next Town Hall Organ.

After only 53 years, the and the U.K. The tender of William large “swell” chambers the fronts of Organ and the Concert Hall were Hill & Son and Norman & Beard which are closed by thick wooden completely destroyed in a disastrous Ltd. was successful. The price was shutters controlled at the console fire early in the morning of 1 £31,483/19/7 (approx. $62 968)! by the organist. The Swell Organ is February 1925. Almost at once, This enormous project attracted in a chamber 32 feet high and 16 the decision was taken to rebuild other work for the firm, so that Hill, feet square, the Solo and Orchestral the Hall. The present complex, Norman and Beard opened a factory divisions are placed in a similar with its large main hall and smaller in Melbourne at Clifton Hill, where chamber at the opposite side of the lower hall, was opened in 1927. some of the largest pipes in the Organ, allowing exciting “stereo” Soon after the fire, the Council had Town Hall Organ were manufactured. effects in both the hall and on this purchased an adjoining property in The Organ covers an area of recording – in William Thomas Best’s Collins Street, so that the new Hall 19 000 square feet and the height Concert Fantasia on a Welsh March, is considerably larger than the one it over all is 32 feet. The electrical for example. replaced. It appears almost square, equipment includes more than 300 The original design of the rather than rectangular like the old miles of wire, over 3000 magnets, facade featured the pipes of the Hall, and actually measures 46 x 34 and 32 000 electric contacts. There Tuba Sonora in fan formation. When metres, and is 21 metres high. With were over 6400 pipes when the the design was altered, the 73 its much greater seating capacity Organ was installed – now barely Tuba pipes were placed at the top of 2500, it is the largest Town Hall 5300 are playable. The largest pipe of the Organ immediately behind in the country. The neo-classical is a Pedal flute 32 feet long, with a the central facade pipes. This lines, while giving an impression girth of almost 10 feet, and is made stop, powerful and smooth, easily of lightness, seem almost severe of 300 square feet of Californian dominates the full organ – as can in comparison with the Victorian red pine 2 inches thick. The largest be heard in Norman Cocker’s Tuba elegance of the original Hall. The pipe of the Pedal Diaphone is also Tune. A special feature of the Organ striking wall panels containing 32 feet long and is constructed of is its Orchestral division, a “floating” delicate murals on classical themes hard-rolled zinc. In 1929, this was organ, playable from any of the four were designed by the Melbourne the world’s most powerful organ manuals. Unfortunately another artist Mervyn Napier Waller. They stop and its deep, full-throated notes interesting feature, a 32 foot Contra were cleaned and restored in can be heard through the full organ. Trombone stop in the Enclosed 1991, and a section of one panel is In this recording, they are especially Section of the Great Organ has been reproduced on the compact disc. noticeable in the opening chords removed to storage. As well as rebuilding the Hall, of Bach’s Fantasia and Fugue in G The tonal scheme of the the Council decided to commission a minor. Organ, which received careful new and up-to-date Concert Organ. The entire Organ, with consideration, is remarkable for both Early in 1926, tenders were called the exception of the Pedal and its powerful dignity and extensive throughout Australia, New Zealand Unenclosed Great, is placed in variety of solo stops. The Organ is the focal point of from the South Gallery, placed for Specification of the Organ the Hall. Its huge facade, designed a while inside the main case, and by Stephenson & Meldrum, towers finally dismantled altogether. Much William Hill & Son and Norman & Beard Ltd. over the stage area. It is richly of the Echo pipework is fortunately London and Melbourne carved and panelled in Queensland still intact, but some of the reed 1929 maple, the work of E. Newman & resonators have been squashed • = controlled by rocking tablet * = removed Son, of Kew. Its two curved wings and the blower is missing. In the + = reconstituted W = Wood M = Metal contain massive grills of coin 1970s the manual combination keys bronze, each weighing one and a were replaced by orthodox thumb GREAT ORGAN – CC to C – 61 notes - Manual II half tons. They were manufactured pistons, a few tonal changes were 20 Stops, 26 Ranks, 1517 Pipes Wind Pressures - Flue Work 6-10”, Reeds 12” in South Melbourne by the Alloy made, some ranks were removed Unenclosed Division Pipes 16’ Casting Company. from the Great Organ, and its Grand Tibia Profunda (a) 61 W The City Organist, Dr. W.G. Fourniture was reconstituted. At 16’ Double Open Diapason 61 M Price gave the opening recital on 3 this time, the stage area of the hall 8’ Diapason Phonon 61 W/M 8’ Open Diapason I 61 M July 1929. After nearly a quarter- was enlarged and the panelled choir 8’ Tibia Plena (a) 12 W century in the position, however, stalls, an integral part of the organ 4’ Octave Diapason 61 M he retired in 1930 and the Council facade, were removed and replaced Enclosed Division (shades removed) appointed a young Melbourne by matching wall panels. 8’ Open Diapason II 61 M 8’ Gamba Major 61 M musician William McKie, at the Like any other piece of 8’ Hohl Flöte 61 W time teaching in England, as his complex machinery after more 4’ Principal 61 M successor. McKie praised the quality than 60 years of faithful service, 4’ Wald Flöte 61 W of the Organ highly, being especially the Organ is greatly in need of 3’ Stopped Quint 61 M 2’ Fifteenth 61 M taken with the wealth of beautiful cleaning and overhauling. Some 1 3/5’ Tierce 61 M soft stops. He resigned in 1938 and of its mechanism is outmoded VI-VII Grand Fourniture 395 M + returned to England. Since then there and unreliable. This recording was 32’ Contra Trombone 61 M * has been no City Organist. possible only with considerable 16’ Trombone 61 M 8’ Tromba 61 M In 1939, the great French organist manual assistance and technical 8’ Harmonic Trumpet 61 M Marcel Dupré visited Melbourne first aid. In 1990, the City Council 4’ Clarion 73 M and gave a number of recitals in established the Grand Organ Great Off • the Town Hall. He was critical of the Artistic and Technical Advisory SWELL ORGAN (enclosed) – Organ and suggested changes to Committee under the patronage CC to C – 73 notes - Manual III the console and the tonal structure. of concert organist Carlo Curley. 17 Stops, 19 Ranks, 1382 Pipes However, in the wake of some A comprehensive renovation Wind Pressures - Flue Work and light Reeds 6”, controversy, little was altered: the programme has now been Reeds 10” Echo Organ, one of the distinctive recommended. 16’ Violone 73 M 8’ Diapason Phonon (W.P. 10”) 73 W/M © 1992 Bruce Steele and Thomas Heywood features of the Organ, was removed 8’ Geigen Principal 73 M 8’ Cor de Nuit 73 W/M 4’ Concert Flute Harmonic 73 M 4’ Lieblich Flöte (c) 12 M 8’ Aeoline 73 M 2’ Harmonic Piccolo 73 M 4’ Tibia Mollis 73 W 8’ Vox Angelica (FF) 68 M 16’ Schalmei 73 M 8’ Vox Mystica 73 M 4’ Octave Gamba 73 M 8’ Clarinet 73 M 8’ Musette 73 M 4’ Harmonic Flute 73 M 8’ Orchestral Oboe 73 M Tremulant (acting on both sections) 3’ Harmonic Quint 73 M 16’ Tuba (b) 12 M Octave, Sub Octave, Unison Off 2’ Salicetina 73 M 8’ Tuba (b) 73 M Section II III Mixture 219 M 4’ Tuba (b) 24 M 8’ Viole Sourdine 73 M 8’ Vox Humana 73 M 8’ Tuba Sonora 73 M 8’ Viole Célèstes 61 M 8’ Oboe 73 M 2’ Glockenspiel (TF) 32 Steel Bars 8’ Zauber Flöte 73 W/M 16’ Double Trumpet 73 M 8’ Carillon (TA) 20 Tubular Bells 8’ Unda Maris 61 M 8’ Horn 73 M Carillon Damper IV Harmonia Aetheria 292 M 8’ Orchestral Trumpet 73 M Tremulant • 8’ Post Horn 73 M 4’ Clarion 73 M Octave, Sub Octave, Unison Off 8’ Harp (TC) 49 Bars M Tremulant • Solo Off • Octave, Sub Octave, Unison Off Octave, Sub Octave, Unison Off Echo Pedal Organ Swell Off • ORCHESTRAL STRING ORGAN 16’ Violone 32 M (enclosed with Solo) – CC to C – 73 notes 16’ Bourdon (20 from Echo - Sect. I) 12 W CHOIR ORGAN (enclosed with Great ) – 8 Stops, 10 Ranks, 706 Pipes 8’ Flute Bass (Echo - Section I) W CC to C – 61 notes - Manual I Wind Pressure - 6” Echo on Choir • * 9 Stops, 11 Ranks, 671 Pipes 16’ Contra Viola 73 M Wind Pressure - 5” 8’ Tibia Clausa 73 W PEDAL ORGAN – CCC to G – 32 notes 16’ Contra Salicional 61 M 8’ Viol d’Orchéstre 122 M 23 Stops, 17 Ranks, 284 Pipes 8’ Horn Diapason 61 M 8’ String Célèste 146 M Wind Pressures - Flue Work 4-6”, Reeds 20” 8’ Lieblich Gedeckt 61 W/M 4’ Octave Viola 73 M 32’ Tibia Profunda (20 from Great) 12 W 8’ Corno Flute 61 M 3 1/5’ Tiercina 73 M 32’ Double Open Diapason (f) 12 W/M 4’ Lieblich Flöte 61 M 3’ Quint Viola 73 M 16’ Great Bass (g) 32 W 4’ Echo Viola 61 M 2’ Violette 73 M 16’ Tibia Profunda (Great) W 2’ Harmonic Piccolo 61 M Tremulant • 16’ Open Diapason (f) 32 M III Dulciana Cornet 183 M + Octave, Sub Octave, Unison Off 16’ Contra Bass (Great) M 8’ Closed Horn 61 M Orchestral String on Great • 16’ Violone (Swell) M Tremulant • Orchestral String on Swell • 16’ String Bass (Orchestral String) M Octave, Sub Octave, Unison Off Orchestral String on Choir • 16’ Bourdon (h) 32 W Choir Off • Orchestral String on Solo • 16’ Contra Salicional (Choir) M 10 2/3’ Quint (h) W SOLO ORGAN (enclosed) – ECHO ORGAN * (enclosed) – 8’ Flute Major (g) 12 W CC to C – 73 notes - Manual IV CC to C – 73 notes – Manual I 8’ Principal (f) 12 M 13 Stops, 12 Ranks, 851 Pipes 18 Stops, 16 Ranks, 1083 Pipes 8’ Violoncello (Swell) M Wind Pressures - Flue Work and light Reeds 7”, Wind Pressure - 6” 8’ Stopped Flute (h) 12 W Tubas 20” Section I 4’ Super Octave (f) 12 M 16’ Quintaton 73 W/M 16’ Lieblich Gedeckt (c) 12 W VI Grand Fourniture (20 from Great) 72 M 8’ Violoncello 73 M 8’ Geigen Principal 73 M 32’ Diaphone (i) 32 M 8’ Salicional 73 M 8’ Lieblich Gedeckt (c) 61 M 16’ Diaphone (i) 12 M 8’ Harmonic Claribel 73 W 4’ Viola 73 M 16’ Tuba (Solo) M 16’ Trombone (Great) M Solo and Orchestral String expression enthusiasm throughout this project. 16’ Schalmei (Solo) M Echo expression They remain a firm support. 8’ Tuba (Solo) M Crescendo (with indicator light) Bass Drum Tap • The producers wish to especially Bass Drum Roll • ACTION thank Arch Miles and Rod Junor Side Drum Tap • Electric-Pneumatic Side Drum Roll • whose help and innumerable Pedal Stops Off BLOWERS running repairs contributed to the No. 1 (High): 17.5 h.p. (Motor 1) success of the recording sessions. COUPLERS No. 2 (Medium): 17.5 h.p. (Motor 1) To Great at 16’, 8’, 4’ No. 3 (Low): 10.0 h.p. (Motor 2) Thomas Heywood would particularly Swell, Choir, Solo No. 4 (Low): 10.0 h.p. (Motor 2) like to thank John Mallinson who Octave Coupler to Unenclosed Great No. 5 (Echo): 6.0 h.p.* Solo to Swell at 16’, 8’, 4’ spent many tiring hours behind the To Choir at 16’, 8’, 4’ PITCH console adjusting pistons, and Philip Swell, Solo A = 435 at 20˚C Nunn who stepped in at the last Great Reeds to Choir minute as a musical assistant. To Pedal at 8’, 4’ • Great, Swell, Choir, Solo, (Orch. String) Acknowledgements Thomas Heywood and the producers would like to thank the staff of the COMBINATION ACTION General 1 Recording and editing: Martin Wright Melbourne Town Hall for their willing Great 1-8 2 adj. Thumb Production supervisor: Bruce Steele and cheerful co-operation in the Swell 1-8 2 adj. Thumb and 6 Toe Concept: Thomas Heywood practice sessions. Choir 1-5 2 adj. Thumb Musical adviser: Bruce Steele Solo 1-6 3 adj. Thumb Musical assistants: Sally Dimsey, Publishers: Novello and Co., Ltd. – 1, Orch. String 1-6 2 adj. Thumb 4; H.A. Evans and Son – 2; Joseph Echo 1-5 2 adj. Thumb* Bruce Fethers, John Mallinson, Pedal 1-6 2 adj. Toe Philip Nunn Williams Ltd. – 3; Galaxy Music Organ maintenance and tuning: Corporation – 5; Stainer and Bell REVERSIBLES Rod Junor, Arch Miles Ltd. – 6, 7; Oliver Ditson Company Great to Pedal Thumb and Toe – 8; W. Paxton and Co., Ltd. – 9; Choir to Pedal Thumb Program selection: Oxford University Press – 10; H.W. Solo to Pedal Thumb Thomas Heywood, Bruce Steele Gray Co. – 11. Swell to Great Thumb Front and back page photograph: Solo to Great Thumb Solo to Great & 8’ Tuba Thumb* Howard Birnstihl Digital recording: 21, 22, 23 & 24 Swell to Choir Thumb Booklet design: Martin Wright June 1992. Digital editing using Great Reeds to Choir Thumb* Hall co-ordination: Arch Miles, Sound Tools. 16’ Diaphone Thumb* Leanne Reid, John Samulis Sound recording: 1992 MOVE RECORDS BALANCED PEDALS Thomas Heywood would like to P Great and Choir expression thank his parents for their endless Swell expression move.com.au advice, encouragement and Mural in Melbourne Town Hall (detail)