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| Trinity Cathedral is home to the Rosales Organ, Opus 11, one of the finest pipe organs in America. This 54-stop tracker organ was dedicated in 1987 and has gained a national reputation through recitals and recordings by a number of the world's most prominent organists including David Craighead, David Hill, Catharine Crozier, Kimberly Marshall, George Baker, Simon Preston, Olivier Latry, James O‘Donnell and John Scott. |
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Technical Description
Builder: Rosales Organbuilders, Inc., Los Angeles, CA
The Rosales Organ, Opus 11, consists of 54 stops and 87 ranks, on three manuals and pedal, with a compass of 61/32. Speaking pipes total 4,194. Key action is mechanical of the suspended type. The stop action is electrical and is controlled by a solid-state combination system with 32 levels of memory. Façade pipes are of 75% tin with gold leaf applied to the mouths. The wind pressure, supplied by a 10 hp Kinetic blower, is 93 mm. on the manuals and 94 mm. on the pedal.
The Great, Positive and Pedal choruses are traditional in concept and provide the basis for congregational singing. The large Swell division provides ample resources for accompaniment of choral and solo music. Significant tonal elements from the French romantic tradition include the rich and varied foundation stops, the four harmonic flutes, and the reed chorus of each division. |
STOP LIST |
Great – Manual II |
Positive – Manual I |
Swell – III |
Pedal |
16’ |
Prestant (façade) |
16’ |
Bourdon |
16’ |
Bourdon |
32’ |
Bourdon |
8’ |
Principal (façade) |
8’ |
Principal |
8’ |
Principal |
16’ |
Open Wood |
8’ |
Flûte Harmonique |
8’ |
Bourdon |
8’ |
Bourdon |
16’ |
Prestant |
8’ |
Gamba |
4’ |
Octave |
8’ |
Flûte Harmonique |
16’ |
Bourdon |
8’ |
Bourdon |
4’ |
Rohr Pipe |
8’ |
Viole de Gamba |
8’ |
Octave |
4’ |
Octave |
3-1/5’ |
Grosse Tierce |
8’ |
Voix Celeste |
8’ |
Flûte |
4’ |
Spire Flute |
2-2/3’ |
Nazard |
4’ |
Principal |
8’ |
Bourdon |
2-2/3’ |
Octave Quint |
2’ |
Doublet |
4’ |
Flûte Octaviante |
4’ |
Super Octave |
2’ |
Super Octave |
1-3/5’ |
Tierce |
2’ |
Octavin |
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Mixture VII |
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Cornet V |
1-1/3’ |
Larigot |
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Cornet IV |
32’ |
Contra Trombone |
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Mixture VII-XI |
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Mixture V-VII |
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Mixture IV |
16’ |
Bombarde |
16’ |
Bombarde |
8’ |
Trumpet |
16’ |
Bassoon |
16’ |
Trombone |
8’ |
Trumpet |
8’ |
Cromorne |
8’ |
Trumpet |
8’ |
Trumpet |
4’ |
Clarion |
4’ |
Clarion |
8’ |
Hautbois |
4’ |
Clarion |
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8’ |
Vox Humana |
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4’ |
Clarion |
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COUPLERS |
Great to Pedal |
Positive to Pedal |
Swell to Pedal |
Positive to Great |
Swell to Great |
Swell to Positive |
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ACCESSORIES |
Combination action: |
Manual tremolo |
Ventil to Great Windchest |
15 general combinations |
Pedal tremolo |
Étoile (Cymbelstern) |
5 division combinations |
Sforzando reverser |
Rossignol (2 submerged pipes) |
3 ensemble combinations |
Wind stabilizer cut-out |
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Casework
The casework, of white oak, is of classic design and is appropriate to both the size and concept of the instrument. The oak panels on either side of the music rack conceal video monitors, a telephone, and music storage. Woods used in the music rack are black walnut burl, bocote, and rift-sawn white oak. The design of the console was influenced by 19th century French and American designs. Stop knobs are of ebony, rosewood and boxwood. Manual keys are of basswood covered with cowbone and ebony.
The impost inscription – Cherubim and Seraphim Sing in Endless Praise: Holy - Holy - Holy – was created by Robert Paladino, well-known Northwest iconographer. The pipeshades, of basswood, depict the leaves of Herakles lanata, a plant indigenous to the coastal forests of Oregon and were carved by Judy Fritts from designs drawn by John Eric Noran. At the upper level of the façade casework, the pipeshade designs incorporate symbols of the Episcopal liturgy.
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Historical Background
During the late 1970s a fortuitous decision was made to undertake the redesign of the interior of the sanctuary and nave of then Trinity Church. During the early architectural consultations it became apparent that with such a comprehensive renovation, particularly in the chancel and sanctuary areas, the existing organ located in a closed chamber along the south wall of the chancel would either need to be moved or replaced. Here then was an opportunity to emphasize the increasingly prominent role of the organ in the musical heritage of Trinity, with a fine new instrument as the centerpiece.
A generous gift from philanthropist Beatrice Gerlinger made it possible for the dream to come true. Can John Strege, Organist-Choirmaster of Trinity Cathedral, assisted by the late Douglas Butler as consultant, envisioned a large instrument along classical lines. Manuel Rosales, a young, innovative Los Angeles organ builder who was developing a national reputation as one of the foremost organ builders in the United States, was approached. Rosales had for some time wanted to attempt such a concept and the meeting of the minds that followed led to a contract with the firm of Rosales Organ Builders, Inc.
Tonal characteristics were defined by John Strege, Douglas Butler and Manuel Rosales to fit the needs of standard liturgical music as well as the demanding musical literature of a recital organist. The tonal concept of the organ, thus, is eclectic, with the intention of making possible the idiomatic performance of a great variety of music while providing in particular for the demands of the Classic and 19th century French repertoires.
Construction of the organ was begun in 1981, and six years later, in September, 1987, it was dedicated by John Strege, with Douglas Butler and David Craighead also performing in the inaugural series. |
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