Layout and Tonal Design

Layout Of Departments

Diagram showing layout of Departments - not to scale

The accompanying illustration shows how the three departments are laid out in the instrument. The layout is fairly traditional, the Great Organ being at the front of the instrument and the Swell being set behind and above the Great. The pedal department is placed where there is room behind the Great windchest. The Pedal reeds are sunk in a special chest which extends below the Great chest. There is room behind the manual keys for the Pedal coupling mechanism to be housed comfortably.

The Swell reeds are enclosed in a heavily constructed compartment or 'Swell Box' which is most effective. There is a single shutter along the front of the box and one along the back, both of which open downwards letting the full sound reach the outside of the instrument. The four ranks are paired, the Bourdon and Oboe ranks face the front of the instrument, whilst the Gamba and Flute ranks face the back. There is a section of fret-work to emit the sound above the swell manual. Above the Swell chest is a seperate reservoir which receives its wind from a trunk running up the side of the action. The trackers which carry the motion from the ends of the swell keys to the pallets are faily long, there being ample room for the swell octave coupler. The Tremulant device is contained in the swell chest and is serviceable only by removal of the reservoir.

The Great reeds are positioned undernieth the Great manual as is usual with all reed organs. RCO standards require there to be a certain amount of room beneath the lowest manual for free movement of the legs. The Great windchest is therefore set back significantly from the front of the instrument ensuring that it does not interfer with pedaling.The Open Diapason and Principal ranks are positioned at the front of the pallets, so as to be heard clearly, and the Clarabella and Violone ranks are enclosed in a chamber at the back end of the pallets. The Dulciana is derived from the Clarabella rank, the chamber remaining closed when the Dulciana alone is drawn, and opening when either the Clarabella or Violone are drawn. Fret-work below the Great manual ensures the sound is not obstructed.

The Pedal department shares the Great windchest, which emparts great power and drive to its tone. The reeds are housed in deep cells which extend below the Great chest. The second Pedal rank sits on top of the Great chest and is clearly shown in the diagram. The two pedal ranks each have seperate pallets, the Open rank being of large scale, the pallets and reeds span the width of the action. The Sub bass reeds are of normal scale and are operated off the manual to pedal coupling mechanism which is housed above the bass Pedal Open reeds.

Click to hear an excerpt from Widor's Tocata from his Symphony No. 5, played on the Apollo Organ.

(sorry, this is currently not available)

Tonal Design

The Great and Swell are as complete as could be wished from an organ with just 4 ranks on each. To look first at the former; The Diapason is good, it has string quality but provides an admirable foundation stop, it is also remarkably "pipe organ-like" when heard on a recording. In strength it is very loud, as is its octave, both have had an extra resonating box fitted over the reeds so as to dampen the sound slightly, this box also serves to make the tone smoother. The Principal is slightly more reedy, especially in its lower register, but the two blend well and make a nice Diapason chorus of 8' and 4'. The Clarabella possesses a beautiful tone, it is not as flute-like as a rank of pipes, but the effect is good. The tone is modified greatly be the resonating box which is mounted over the reeds. Derived from this rank is the Dulciana which is a very useful stop. It is the softest stop on the organ, its tone is not thick like the clarabella, but more of Diapason quality. The Violone adds the 16' voice to the Great, the tone is rather raspy, but not unpleasant. An interesting effect is obtained by drawing the 16, 8, and 4 foot stops on the Great and playing an octave higher, the Violone balances the Diapasons very well and the resulting 8,4,2, chorus is very valuable.

The Swell is an excellent department. The Gamba is a truly worthy stop, its tone is delicate and extremely immitative of the pipe version. Used alone with the octave coupler, this combination provides a combination of which you will never tire. It contrasts beautifully with all of the Great work, and provides an excellent voice on which to build the rest of the swell chorus. The Bourdon deserves mention next. This stop is not incredibly bourdon-like, but this is not a disadvantage, in its higher regiters there is definate string tone, it adds fullness to the swell which would not carry half so much power without it. The Flute again is on the harsh side, but balances well with the rest of the department. It is not lost in full organ, and when used with the octave coupler, provides a true 'Fifteenth', save its last octave. This 16, 8, 4, 2, chorus (with the octave coupler) displays more of the 'English Swell' than many small village church organs even attempt. The Oboe stop crowns this department, and when drawn with all the other stops as well as the octave coupler, a true 'Full Swell' effect is achieved. Rushworths certainly knew what they were doing when they designed this Swell.

The Pedal department of this organ easily carries the full organ, although only of two stops, what small church organ can boast more than a solitary Bourdon? Here we have a fine example of large-scale reed voicing to provide a strong and full 16' Open Diapson. The Sub bass is lost in full organ, its use being mainly in softer combinations. It balances well with the softer stops of the mauals and provides an essential pedal accompaniment to these voices.

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