COVER FEATURE CONCERT HALL , CALIFORNIA GLATTER-GÖTZ ORGELBAU/ROSALES ORGAN BUILDERS

Founded in 1919, the Los Angeles Phil- the needs of the symphony- and opera-going acoustical settings and new organs that harmonic established its home in downtown public. looked beyond the neo-Baroque and Ameri- Philharmonic Auditorium in 1920. This hall In the 25 years following the Chandler’s can Classic. A turning point came in 1991 housed Austin Organ Company’s Opus 156 completion, American taste in musical lis- with the opening of the Meyerson Symphony (IV/66) of 1906. In 1964, the orchestra moved tening experienced a profound transforma- Center in Dallas. Its adjustable acoustics to the Dorothy Chandler Pavilion in the Los tion. Revolutions in recording and architec- met—and still meet—with a warm reception, Angeles County Music Center. The Pavilion, tural acoustics led to deeper dissatisfaction and C.B. Fisk Opus 100 redefined the sound a proscenium-type multipurpose theater, with the often arid acoustics of the previous of an organ in an orchestral setting. forms one of a trio of performance venues generation’s symphony spaces. During the Since then, virtually every significant new grouped around a central plaza, not unlike same period, the organ’s role as orchestral American concert room has included a pipe Lincoln Center in New York City (which partner underwent similar re-evaluation. Or- organ. Just as telling is the fate of the previ- opened two years later). For many years af- gans of the 1950s and ’60s (such as in De- ous generation’s halls and organs. The De- ter, the idea of an additional symphony hall troit’s Ford Auditorium, New York’s Phil- troit Symphony has returned to its original for Los Angeles seemed unthinkable. While harmonic Hall, and Philadelphia’s Academy 1927 hall; New York’s twice-revised Phil- the Chandler’s acoustics did not generally of Music) stressed mobility, versatility, and a harmonic Hall of 1962 (now Avery Fisher meet with wide acclaim, the Pavilion’s lean sound in the style of the times. By 1990, Hall) is still considered acoustically poor, 3,000+ seating capacity certainly addressed shifting values had produced more favorable with the organ removed; and the Philadel-

62 THE AMERICAN ORGANIST phia Orchestra has moved one city block to had come before. As pictures began circulat- quality that speak a modern architectural the new Verizon Hall, which will eventually ing through fax machines and across the In- language. An organ for Gehry’s hall would house a large pipe organ. ternet, the design—dubbed the “French Fry” not only be the young firm’s largest to date, Los Angeles did not remain aloof from scheme—gained the status of renegade and but a milestone opportunity, with Gehry’s these national trends. Dissatisfaction with spectacle. Having overcome his reluctance, curved facade pipes the pinnacle of irre- the Chandler’s acoustics for symphonic mu- Rosales saw opportunity in the innovative sistible challenge. sic coincided with increasing scheduling de- design. To what other pipe organ would ap- Arrangements with Glatter-Götz and Ros- mands. With symphony, opera, ballet, and ply so readily the public relations dictum, ales were formalized in mid-1998, and con- even the Academy Awards presentation all “There is no such thing as bad publicity”? If tracts were signed establishing Glatter-Götz sharing the hall, daily re-configurations were people were fascinated by the instrument’s as builder and Rosales as tonal director. In costly and cumbersome. Finally, the Pavil- appearance, they might be equally curious addition to building and installing the entire ion had neither an organ nor a suitable loca- about its sound. instrument, Glatter-Götz and his chief engi- tion for one. By the early 1980s, a new sym- When Manuel Rosales and his longtime as- neer, Heinz Kremnitzer, would work with phony hall no longer seemed so implausible. sociate, Kevin Gilchrist, began preliminary Gehry to engineer the spectacular facade. When Walt Disney’s widow, Lillian, gave engineering drawings in 1991, an earth- Manuel Rosales and Kevin Gilchrist would $50 million in honor of her husband’s love of quake-resistant structure was assumed. The supply critical input on stop layout, pipe the arts, the vision for a new hall gained mo- 1994 Northridge earthquake dramatically scales, all details of pipe construction, and mentum. Largely the brainchild of the Phil- confirmed the necessity of such design pa- carry out voicing and tonal finishing. In due harmonic’s then-executive director Ernest rameters. By 1995, the certainties were in course, Michael Barone was engaged as pro- Fleischmann, Walt Disney Concert Hall and place: the skeletal steel structure housing the ject consultant, acting as sounding board and its story are as colorful as the building’s de- organ and anchoring the facade, the position mediator, and bringing both an insider’s per- sign. The selection of Nagata Associates of of the console, and the facade array. Apart spective and a worldview from the wider Tokyo as acousticians was followed by an in- from two downward-facing trumpet pipes, realm of classical music. vestigation of new concert halls in Japan; al- every facade pipe would speak. The unfold- From the outset, the organ was envisioned most every one had a significant, centrally ing design process involved some 20 models. with two consoles, one attached, the other located organ. Architect , cho- The final version was constructed at 1:10 mobile. In the context of a labor-union-run sen by competition in 1988, accepted the or- scale, measuring about five feet tall, inserted performance space, both are equally neces- gan’s visual centrality as part of the brief to into a master model of the building itself. sary. If only the attached console existed, create a musical environment unlike any (One of the project’s more fascinating aspects judging balances would be difficult. But if other. is how Nagata Associates employed the only a mobile unit were provided, a stage call Stimulated by a $1 million gift from the building model for acoustical testing. Being would be required for any and every use. The Motor Car Corporation of America, accurate to the point of including 2,265 felt- attached console’s first purpose, then, is to selection of an organbuilder began in 1989. covered lead figures simulating an audience, secure access to the organ at all times. The A committee of Cherry Rhodes, Robert An- the structure was sealed, charged with liquid mobile console affords easy communication derson, and Michael Barone reviewed ap- nitrogen, and used as a sound laboratory to between musician and conductor, and al- proximately two dozen proposals from forecast acoustical response.) lows the instrument to be heard in good bal- American and European builders. Rosales Through this conceptual stage, the organ’s ance. The combination action is common to Organ Builders was selected in the summer tonal design remained subservient to ele- both consoles, allowing easy migration be- of 1990 and engaged on design retainer that ments of architectural consequence. What tween the two. fall. had been established were the facade pipes, An attached console offered the possibility As deliberation commenced, Frank Gehry the basic locations of three manual depart- of mechanical action. It would be inaccurate, made clear his starting point: just as the ments, and the hanging of a 32' Haskellized however, to regard this instrument as a Concert Hall itself bore little relation to tra- open wood outside the steel skeleton (at the tracker organ. In reality it is an electric-ac- ditional architecture, neither should the rear and sides of the case, mounted upside tion instrument with tracker action intro- instrument assume the appearance of a con- down, in ironic accord with an early Gehry duced to the Great, Swell, and Positive. The ventional organ case. Thus began a four-year wish). Beyond that, tonal design and budget Pedal, Llamarada, and many bass registers process of gradual philosophical alignment remained undefined. on the other three manuals are entirely elec- between architect and organbuilder. Rosales Between 1994 and 1998, the Walt Disney tric, as are all couplers. This arrangement proposed various dramatic designs, only to Concert Hall project came close to being affords a sense of connectedness from the at- be rebuffed by Gehry with such questions as shelved, largely because the cost estimates tached console, and a different overall expe- “Can all the front pipes be mounted upside far exceeded initial projections. Several rience from the second console. Moreover, down?” “Could the organ and organist hang forces combined to put the venture back on the attached console serves a visual role; its from the ceiling?” and “How about pipe track. Under the baton of Esa-Pekka Salonen, perfectly symmetrical stopjambs are of a shades of chain-link fence?” Rosales insisted the Philharmonic was enjoying unprece- scale in keeping with the case and the in- all along that the facade pipes be functional; dented popularity, appealing to a broader strument’s resources. Conversely, the mobile any “Organ of the Future” still had to be a age-range through innovative programming console is as compact and low in profile as musical instrument. As Gehry became more and a commitment to modern music. Frank practicable; its radiating terraced jambs grow aware of the possibilities, he saw that the fa- Gehry’s Guggenheim Museum in Bilbao, into fins echoing shapes found in the hall. cade held a unique opportunity: one of his Spain (designed later than the Concert Hall Both consoles have a crisp, clean appear- signature shapes—a curvilinear object of but finished in 1997), garnered such stagger- ance, in keeping with Glatter-Götz’s own de- straight-grained Douglas fir—could be ing worldwide acclaim as to lend new cre- sign ethic and the feel of the hall. whimsically fashioned into the functioning dence to his Disney design; moreover, his At its official opening in October 2003, entity of an organ pipe. 1989 Pritzker Prize became a key fund-rais- Walt Disney Concert Hall was hailed as a tri- The design evolved as an array of curved ing tool. Then-mayor Richard Riordan was umph, the skeptics overwhelmed by the se- wooden pipes shooting out like an explosion determined not to let the Concert Hall die ductive spaces, fantastical vistas, and en- of Roman candle fireworks, some from the and be seen as yet one more Los Angeles dis- veloping gardens. Quite apart from visual case, others from the floor of the hall itself. A aster. Riordan, Fortune 500 businessman Eli design, it was clear that the acoustical re- burst of brass trumpets directly above , and Music Center Chair Andrea van search had paid off in a space of exceptional console punctuates the appearance, and a de Kamp revived enthusiasm and engaged in clarity and warmth, reflecting the talents and group of vertical tin pipes anchors the de- heroic fund-raising. perseverance of acoustician Yasuhisa Toyota sign. For variety of shape, two wooden ranks In the same period, Rosales was involved of Nagata Associates. From the organ’s per- would dominate the facade: a 32' Violon- with a succession of large organs, one in con- spective, the room may not be overly rever- basse (midway between violone and open junction with Glatter-Götz Orgelbau of berant, but has excellent resonance. Trans- wood in nature) and a 32' Contrebasson (a Owingen, Germany: Claremont Congrega- mission of tone is direct and clear, with a chorus reed of generous but uncommanding tional UCC, Claremont, California. Thus, certain degree of enhancement from multi- output). The tin pipes would form the bass of when the Disney project came alive again in ple early reflections. Bass response is honest the Great Prestant, and the brass and tin 1998 with a new, tight timetable, Rosales in- and well reinforced. During informal trumpets would be known as the “Trompeta vited Glatter-Götz to build the organ as a col- demonstrations of the instrument, it has de Los Angeles.” laborative venture. Caspar von Glatter-Götz been found that an organist can speak from All in all, it looked unlike anything that prides himself on creating organs of high the attached console in normal tones and be

APRIL 2004 63 heard with perfect ease almost anywhere in Spanish words Llamada (as in “call,” as in Every great organ is the result of extraordi- the hall. the French word “appel”) and Llamarada nary collaboration, even when the product of The playful chaos of the facade is en- play upon a homonym in a Hispanic cultural a single firm. This organ represents unusu- hanced by the fact that visitors can walk framework. While the Great, Swell, and Pos- ally integrated teamwork among the among the forest of pipes. The external ap- itive are viewed as a complete ensemble, the builders, working together with architect, pearance stands in contrast to the discipline Llamarada augments the tutti for dramatic management, consultant, and voicer. Most of the organ’s showcase interior: an organ orchestral climaxes. Placed on eight-inch particularly, it demonstrates Glatter-Götz’s built to last, fully conscious of its place in a pressure, the principals of this department commitment to a vision of 21st-century or- world-class venue. The aesthetic of modern are made from flared tin pipes, lending a ganbuilding capable of looking beyond the appearance extends inward, with elegant color distinct from that of the Great. For ad- horizon. It bodes well for exciting times to oak floors and stairways; large manual chests ditional clang and harmonic richness, a sec- come. are divided into four sections, with wide ond mixture called Compuestas introduces JONATHAN AMBROSINO walkboards for ease of tuning access. Other thirds, flat sevenths, and ninths, further dif- aspects bear in mind the world-class perfor- ferentiating the Llamarada chorus from the The organ installation occurred in stages mance venue. Dual blower turbines engage Great’s, and allowing the two to blend with from October 2002 through October 2003. alternately, one always in reserve in case of scintillating effect. The enclosed chorus Voicing commenced in October 2003. The malfunction. The soundproofed blower reeds are the instrument’s most powerful. organ will be first heard on July 8 during the room provides wind through silencing baf- Moments of terrifying grandeur are supplied AGO National Convention. The Los Angeles 1 Philharmonic’s inaugural concert series will fles. All swell shades are 2 ⁄2" thick, with dis- by a tuba, the Llamada, placed horizontally tinctive triple-stairstepped edges to promote atop the Swell box. On 17-inch wind pres- take place in the 2004–2005 season, featur- effective pianissimos and gradual openings. sure and only a few feet from the ceiling, the ing both solo and concerted works. To learn The shades’ physical arrangement was de- Llamada readily “calls” attention to itself. more about the building and the organ, visit: termined with Frank Gehry’s input, re- The Swell organ is Rosales’s largest to sponding equally to visual and tonal criteria. date, combining all the features of its prede- www.laphil.org/press/imagelibrary.cfm Dedicated pitch pipes allow the orchestra to cessors: a wealth of foundation tone, har- http://wdch.laphil.org/misc/kcrw_radio_docs. tune to the organ without an organist pre- monic flute choir, versatile mutations, major cfm sent. Finally, the pipes themselves speak of and minor celestes, and a commanding reed www.gg-organs.com strength and elegance; every principal is tin chorus with strong mixture. The division’s www.rosales.com throughout, and the interior wood pipes are elevated placement lends prominence, with www.nagata.co.jp built to the same high standard as those in a commanding trumpet chorus that matches the facade. in reed tone the Great’s dominating plenum. Glatter-Götz Orgelbau, Owingen, Germany; Ultimately, budget and space permitted an The Positive flanks the console, its location Opus 9 organ of 72 speaking stops and 109 ranks. The determining much of its tonal character. The Builders and Installers of the Organ, Facade, tonal design culminates 20 years of develop- principal chorus and flute upperwork re- and Steel Structure ment that began with the concept for Rosales spond to the Great, the plenum being the Opus 11 (1987) for Trinity Cathedral in Port- scale of many other instrument’s Great divi- Caspar v. Glatter-Götz land, Oregon. For Opus 24 in Los Angeles, sions. The other foundations relate in ro- Heinz Kremnitzer pressures, scales, and tonal structure are mantic character to those of the Great and Stefan Stürzer geared not only toward complexity of result Swell; the Unda Maris is scaled and located Joachim Seifried but also the specific requirements of use with to undulate with either Principal or Gambe Ralf Reichle orchestra. With the inclusion of two 32' in the French tradition. Bearing in mind this Ekki Doll and four 16' stops, here could be a Great of department’s proximity to the choral terrace Gerhard Möhrle uncompromising complexity and magnitude. and its usefulness for accompaniment, the Christoph Meissner Twenty-four ranks in the chorus alone— chorus reeds are the organ’s mildest. Johannes Hüfken almost a quarter of the organ’s pipes—under- The Pedal is both customary and climac- Eberhard Hilse scores the value placed upon the principal tic. Its chorus underpins the Great’s, with a Johanna Kessler 1 chorus as the instrument’s true core. Avail- big mixture based on a 5 ⁄3'. In addition to its Karin Schmelzle able depth permitted a broad array of Great customary role, the Pedal supplies the ex- Dominik Mätzler foundations, sufficiently spaced to augment traordinary qualities expected in the sym- Markus Burtscher each other tonally, and three chorus mix- phonic context. While the facade and vari- Roland Opitz tures, again with enough room to combine ous borrows supply milder effects, the Flûte meaningfully and to allow stable tuning. and Grande Bombarde offer a thunderous cli- Rosales Organ Builders, Los Angeles; Opus 24 The quartet of unison registers—Principal, max. With four full-length manual 16' chorus Concept, Visual Design, Tonal Direction, Violoncelle, Flûte harmonique, Chimney reeds, it was felt that the Pedal still needed and Voicing Flute—continues the Rosales tradition, aug- one unimpeachable stop. The 32' Contre mented by the belled Diapason à Pavillon. Bombarde, of copper and spotted metal, Manuel Rosales While a second open in volume, the Diapa- stands at either side of the Positive and Kevin Gilchrist son possesses an unusual pervading power. reaches, unmitered, to the ceiling. If some Richard Houghten The 16' mutations lie midway between prin- have likened the organ’s appearance to the Vladimir Vaculik cipal and flute tone, giving gravity to the cho- aftermath of an earthquake, the Pedal might Lawrence Strohm rus while also permitting a grand jeu de as well have the potential to create some- Jonathan Ambrosino tierce. The Mixture VIII is a stand-alone reg- thing similar. Robert Coulter ister emphasizing the 8' series. The Grand Then there are the astonishing facade Jonathan Wilson Fourniture and Cymbale together form a sec- pipes. Made entirely in the Glatter-Götz Russell Schertle ond complete mixture, standing on the same shops, the final design was worked out be- Michael Wong toeboard with a near absence of duplicated tween the Gehry and Glatter-Götz design Albert Nass pitches, separately available for variety in staff collaborating on attachment and pipe Duane Prill defining the chorus. While the three mix- location. The curving 32' flues and reed res- David Chamberlin tures are interrelated, and together crown the onators are spectacular examples of exacting Rodney Ford plenum, it is possible to achieve a slightly craftsmanship, built from imported straight- WIND PRESSURES more Germanic effect with Mixture alone, grained Douglas fir (the primary wood finish Great 5" and perhaps something more along French throughout the hall). Each pipe is anchored 1 Swell 4 ⁄2" classical lines using the other two. “Basson” with a steel-plated foot. Twin stainless-steel Positive 4" here denotes a chorus reed of milder tone support rods project from the organ’s skele- Llamarada 8" with moderately closed shallots, allowing tal frame and connect near the top of each Llamada 17" for breadth over brilliance. pipe to an interior steel plate. In turn, each 1 Pedal Flues, Facade 5 ⁄2" Directly behind the Great is the Llamarada, top connection is hinged, allowing the pipes Pedal 32' Flute and 32' Bombarde 8" or “blazing”—as in a fire, outburst or bril- a limited degree of motion during an earth- liant flash. Just as the word “Bombarde” is quake. Nothing quite so daring and unusual Cover photo by Jim Lewis used to name either stop or division, the has previously existed in organbuilding. Article photo by Laurence Bartone

64 THE AMERICAN ORGANIST WALT DISNEY CONCERT HALL LOS ANGELES, CALIFORNIA GLATTER-GÖTZ ORGELBAU/ROSALES ORGAN BUILDERS GREAT (Manual II) (unenclosed) SWELL (Manual III) (enclosed) PEDAL 32 Violonbasse (Gehry facade) 16 Bourdon 32 Flûte 32 Grand Bourdon (from 16, 1–12 resultant) 8 Diapason 32 Violonbasse (Gehry facade) 16 Prestant (polished tin facade) 8 Flûte traversière 16 Flûte (ext.) 16 Violonbasse (ext.) 8 Bourdon 16 Prestant (Gt.) 16 Bourdon (Pedal Subbass) 8 Viole de gambe 16 Violonbasse (Gt.) 8 Principal 8 Voix céleste (CC) 16 Subbass 8 Diapason à Pavilion 8 Dulciane doux 16 Bourdon (Sw.) 2 8 Violoncelle (ext. Violonbasse) 8 Voix angèlique (TC) 10 ⁄3 Grosse Quinte 8 Flûte harmonique 4 Principal 8 Octave 8 Chimney Flute 4 Flûte octaviante 8 Flûte (ext.) 1 2 5 ⁄3 Grand Nasard 2 ⁄3 Nasard 8 Violoncelle (Gt.) 4 Octave 2 Octavin 8 Bourdon (ext. Subbass) 3 4 Spire Flute 1 ⁄5 Tierce 4 Super Octave 1 3 ⁄5 Grande Tierce 1 Piccolo 4 Flûte (ext.) 2 2 1 2 ⁄3 Octave Quinte III–V Plein jeu harmonique (2 ⁄3) V Mixture (5 ⁄3) 2 Super Octave 16 Bombarde 32 Contre Bombarde (ext.) II–III Grande Fourniture (16) 8 Trompette 32 Contre Basson (Gehry facade) VIII Mixture (8 series) 8 Hautbois 16 Grande Bombarde IV Cymbale (4 series) 8 Voix humaine 16 Bombardon (Llamarada) VII Corneta Magna 4 Clairon 16 Basson (Gt. 16) 32 Contre Basson (ext.16) (Gehry facade) Fast Tremulant 8 Trompeta (Llamarada) 16 Basson Slow Tremulant 8 Basson (Gt. 8) 8 Basson 4 Clarín (Llamarada) 4 Basson 8 Llamada (Llamarada) 4 Basson (Gt. 4) 8 Trompeta de Los Angeles (Llamarada) 8 Trompeta de Los Angeles (Llamarada) COUPLERS 16 Swell to Swell 8 Great to Pedal 16 Great to Great (does not affect 32' stops) 4 Swell to Swell 8 Positive to Pedal 8 Swell to Pedal POSITIVE (Manual I) (enclosed) LLAMARADA (Manual IV) (enclosed) 8 Llamarada to Pedal 16 Quintaton 8 Flautado grandiso 8 Principal 4 Octava real 16 Positive to Great 8 Unda Maris (CC) V Compuestas 8 Positive to Great 8 Gambe V Lleno fuerte 16 Swell to Great 8 Flûte harmonique 16 Bombardon 8 Swell to Great 8 Gedackt 8 Trompeta armonica 4 Swell to Great 4 Octave 4 Clarín armonico 16 Llamarada to Great 4 Hohlflöte Tremblante 8 Llamarada to Great 2 2 ⁄3 Nasard 4 Llamarada to Great 2 Super Octave Unenclosed 2 Waldflöte 16 Llamada (ext.) 8 Swell to Positive 3 1 ⁄5 Tierce 8 Llamada (horizontal Tuba) 8 Llamarada to Positive 1 1 ⁄3 Larigot 4 Llamada (ext.) 1 IV Mixture (1 ⁄3) 8 Trompeta de Los Angeles (Gehry facade) COMBINATIONS 16 Cor anglais Great 1–8 Thumb reversibles for: 8 Trompette Campanitas (two bell arrays, available Positive 1–8 Great to Pedal 8 Cromorne independently or together) Swell 1–8 Positive to Pedal 4 Clairon Pajaritos (two pairs of birdolas) Llamarada 1–6 Swell to Pedal Tremolo Pitch Pipes (3 pipes) D F A (A=442) Pedal 1–6 (toe) Llamada to Pedal General 1–24 Swell to Great 16 Llamada (Llamarada) (1–12 toe) Positive to Great 8 Llamada (Llamarada) Llamada to Great 4 Llamada (Llamarada) Restore Tutti 8 Trompeta de Los Angeles (Llamarada) General Cancel Combination Set Toe reversibles for: 16 Positive to Positive Great to Pedal All Pistons Next Swell to Pedal Next Tutti Previous Pajaritos

MIXTURE COMPOSITIONS Great Grande Fourniture II–III 171 pipes Positive Mixture IV 244 pipes Notes 1 13 25 31 37 43 51 61 Notes 1 19 31 43 51 61 2 1 1 1 1 2 ⁄3'5⁄3'5⁄3'5⁄3' 8' 8' 16' 16' 1 ⁄3'2'4'4'8'8' 2 1 1 1 2 2' 2 ⁄3'4'4'5⁄3'5⁄3'8'8' 1' 1 ⁄3'2'2⁄3'4'4' 2 2 1 1 2 1 2 2 2' 2 ⁄3'2⁄3'4'4'5⁄3'5⁄3' ⁄3'1'1⁄3'2'2⁄3'2⁄3' 1 2 1 ⁄2' ⁄3'1'1⁄3'2'2' Llamarada Lleno fuerte V ranks 294 pipes Great Cymbale IV 233 pipes Notes 1 15 27 39 47 51 61 Notes 1 13 25 31 37 43 51 61 2 1 2 2 Swell Plein jeu harmonique III–V 269 pipes 2 ⁄3'4'4'4'4'8'8' 1' 1 ⁄3'2'2'2⁄3'2⁄3'4'4' 2 2 2 2 2 1 1 1 2 2 Notes 1 13 25 43 51 61 3 3 3 3 3 3 3 3 3 3 2 2' 2 ⁄ '2⁄ '2⁄ '2⁄ '4'4' ⁄ '1'1⁄ '1⁄ '1⁄ '2'2⁄ '2⁄ ' 3 1 2 2 1 2 1 2' 2 ⁄ '4'8'8'8' 3 3 3 2 3 3 1 2 1 1 1 ⁄ '2'2'2'2'2⁄ '2⁄ ' ⁄ ' ⁄ '1'1'1'1⁄ '2'2' 3 3 3 3 1 1 1 1 1 1 2 1 1 ⁄ '2'2⁄ '4'5⁄ '5⁄ ' 3 3 3 3 3 2 3 3 1 2 1' 1 ⁄ '1⁄ '1⁄ '1⁄ '2'2' ⁄ ' ⁄ ' ⁄ ' 1'r 1'r 1 ⁄ 'r 3 3 2 1 1 1' 1 ⁄ '2'2⁄ '4'4' ⁄3'1'1'1⁄3'r 1 ⁄3'r 1 2 2 1' 1 ⁄3'2'2⁄3'2⁄3' Great Mixture VIII 362 pipes 1 1' 1 ⁄3'2'2' Llamarada Compuestas V ranks 290 pipes Notes 1 13 25 31 37 43 51 61 2 Notes 1 15 27 43 47 51 61 2' 2 ⁄3'4'4'8' 8'8'8' 3 2 1 2 2 1 1 1 ⁄5'2'2⁄3'4'4'8'8' 1 ⁄3'2' 2⁄3'2⁄3'4'4'5⁄3'5⁄3' Pedal Mixture V 160 pipes 1 3 2 2 1 2 2 1 ⁄3'1⁄5'2'2⁄3'2⁄3'4'4' 1' 1 ⁄3'2'2'2⁄3'2⁄3'4'4' Notes 1 to 32 1 1 3 2 2 2 1 1 2 2 2 2 1 1 ⁄7'1⁄3'1⁄5'2'2'2⁄3'2⁄3' ⁄3'1'1⁄3'1⁄3'2⁄3'r 2 ⁄3'r 2 ⁄3'2⁄3' 5 ⁄3' 1 1 3 3 1 2 1 2 1' 1 ⁄7'1⁄7'1⁄5'1⁄5'2'2' ⁄2' ⁄3'1'1⁄3'r 2' 2' 2' 2' 2 ⁄3' 8 8 8 1 2 ⁄9' ⁄9' ⁄9'1⁄7' ⁄3'r 1'r 1' 2'r 2' 2' 1 1 1'r 1 ⁄3' 1 ⁄3' 1 1 ⁄3'r 1'

APRIL 2004 65