St George's Hall, Liverpool

Great Organ

Choir Organ (Enclosed)

Henry 'Father' Willis 1855

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35
36
37
38
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40
41
42
43
44
45
46
47
48
49
50
51
52

79 Contra Viola
16
80 Open Diapason
8
81 Viola da Gamba
8
82 Hohl Flute
8
83 Stopped Diapason
8
84 Dulciana
8
85 Vox Angelica (tenor C) 8
86 Principal
4
87 Octave Viola
4
88 Harmonic Flute
4
2/3
89 Nazard
2
90 Fifteenth
2
91 Flageolet
(harmonic) 2
3/5
92 Tierce
1
1/3
93 Larigot
1
1/7
94 Septieme
1
95 Piccolo
(harmonic) 1
96 Sesquialtera
(17.19.22)
97 Bass Clarinet
16
98 Orchestral Oboe
8
99 Trumpet
8
100 Clarion
4
Tremolo
101 Harmonic Gongs
8

The Grand Hall

Pevsner described St George's Hall as
one of the finest neoclassical buildings
in Europe. The building is conceived
on a grand scale with the lavish
decoration of the interior speaking of
civic pride and the ability of the
midlands area to provide the means of
creating a building that could compete
with any in London.
Pedal Organ
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8
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14
15
16
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18
19
20
21
22
23
24
25
26

Resultant Bass
64
Double Open Bass
32
Double Open Diapason 32
Open Bass
16
Contra Bass
16
Open Diapason
16
Violon
16
Bourdon
16
Salicional
16
Quintaten
(from 102)16
Octave
8
Principal
8
Violoncello
8
Flute
8
1/3
Octave Quint
5
Fifteenth
4
Viole
(from 7)
4
Octave Flute
(from 14) 4
Fourniture
(12.15.17.19.22)
Mixture
(10.12.15)
Clarinet
(from 97) 16
Bombarde
32
Posaune
16
Ophicleide
16
Clarion
8
Octave Clarion
4
Pedal Sostenuto
Solo to Pedal
Tenor Solo to Pedal
Swell to Pedal
Great to Pedal
Choir to Pedal

Double Open Diapason 16

Bourdon
16
Open Diapason no 1
8
Open Diapason no 2
8
Open Diapason no 3
8
Tibia
8
Viola
8
Stopped Diapason
8
Quint
51/3
Octave
4
Principal
4
Octave Viola
4
Flute
4
Tenth
3
2/3
Twelfth
2
Fifteenth
2
3/5
Seventeenth
1
Doublette
(15.22)
Sesquialtera
(12.15.17.19.22)
Mixture
(15.17.19.22)
Contra Trombone
16
Trombone
8
Ophicleide
8
Trumpet
8
Clarion no 1
4
Clarion no 2
4

Swell to Choir
Solo to Choir
Choir Octave
Choir Sub-Octave
Choir Unison Off

Swell to Great
Solo to Great
Swell Organ (Enclosed)
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57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78

Double Diapason
16
Open Diapason
8
Geigen Diapason
8
Rohr Flute
8
Aeoline
8
Salicional
8
Voix Celeste
(tenor C) 8
Principal
4
Octave Geigen
4
Wald Flute
4
2/3
Twelfth
2
Fifteenth
2
Piccolo
2
3/5
Seventeenth
1
Doublette
(15.22)
Fourniture
(15.17.19.22)
Contra Oboe
16
Clarinet
8
Oboe
8
Clarion
4
Trombone
16
Ophicleide
8
Trumpet
8
Horn
8
Clarion 1
4
Clarion 2
4
Tremolo
Solo to Swell
Swell Octave
Swell Sub-Octave
Swell Unison Off

Solo Organ (Enclosed)

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103
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105
106
107
108
109
110
111
112
113
114
115
116
117

Quintaten
16
Tibia
8
Violoncello
8
Cello Celestes (61 notes) 8
Tibia Clausa
8
Violin
(2 ranks) 4
Orch. Flute
(harmonic) 4
Piccolo
2
Cor Anglais
16
Bassoon
8
Corno-di-Bassetto
8
Vox Humana
8
French Horn
8
Double Tuba
16
Tuba
8
Tuba Clarion
4
Tremolo
Cathedral Chimes
(25 notes G to G)

Bombarde (On Solo)

118 Solo Diapason
119 Grand Chorus (8.12.15.19.22.26.29)
120 Tuba Mirabilis (harm. 30") 8

Solo Octave
Solo Sub-Octave
Solo Unison Off

St George's Hall
When the organ in St George's Hall was completed in 1855 it was the largest organ in the country with 100
speaking stops, 7,737 pipes and Barker lever action. The consultant was SS Wesley, who had the organ tuned to
mean-tone temperament, reflecting his somewhat old-fashioned ideas, though WT Best, who was appointed as the
first City Organist, had that changed to equal-temperament in 1867. The organ was at the forefront of console
design with angled, inclined stop jambs and the couplers placed under the music desk in a manner that was to
become familiar to us in many later Willis organs. Wind was supplied by a steam engine in the basement though
four of the high pressure reeds had to be pumped by hand!
The pedal board, according to the Rev. GA Audlsey, was radiating and concave and of a design that even
managed to please him*. Audsley was scathing in his comments about the views of the then Royal College of
Organists who recommended that straight, concave pedal boards should become the standard with 'radial top
facings'. It is possible that the design of the original pedal board, which was used by Willis in all of his instruments
after that, was similar to that of the modern RCO pedal board but set in a different position relative to the manuals.
Willis placed D under d: not at all the same as placing C under c. After 76 years the pedal board must have
become somewhat worn and was replaced in the 1931 rebuild carried out by Henry Willis III.
During the mid 1890s, after the resignation of WT Best, there was a complete overhaul of the organ under the
direction of the new City Organist, Dr AL Peace. The most significant change was the adoption of the modern 61
3
note keyboard the original keyboards had been GGGa . The Solo was enclosed at this time, with the exception
of the stops which now form the Bombarde division.
The 1931 rebuild saw radical changes to the action of the organ with the installation of electro pneumatic
keyboard and stop action. The pitch of the organ was not altered at this stage, neither did HW III change the basic
tonal structure of the organ, respecting his grandfather's tonal design; there was, however, an increase in the
number of stops to 120. It is not clear if the Choir was enclosed at this time or during the 1957 rebuild.
During the early stages of WWII the building and organ were damaged by bombs and the organ was placed in
safe storage. Henry Willis III & IV were commissioned to restore the organ to its 1931 specification and by 1957
the work was complete. The pitch of the organ was raised at that time to allow its use with instruments at standard
pitch.
Further work was done in 1985 when the blowing plant was replaced and the console electrified. David Wells
Organ Builders now care for the organ and have waged a war of attrition against the steady decay of leather,
wiring, building work, and, most significantly, the effects of the 1985-1989 period when the Hall was closed. The
work done by Nicholson Organs mentioned in the April supplement has complemented work by David Wells on the
wind supply and trunking. Since 1989, under the care of David Wells Organ Builders, a number of stops, silent for
some time, have been brought back to life; Couplers were moved from their position under the music desk to the
stop jambs.
Despite the changes made to the instrument, all of those who have worked on it have honoured the integrity of
Father Willis's original tonal concept the Great and Swell division are unchanged after 154 years.
There is still much work to be done to the instrument and the Hall. Andrew Moyes estimated that to complete the
restoration of the organ would require approximately 1.5m, so if anyone has their cheque book with them and
feels generous . . .
*The Art of Organ Building GA Audsley ii 134
Anglican Cathedral
Work on the cathedral organ was begun in 1923 by Willis and completed in 1926. The instrument is conceived
on a truly impressive scale to fill the vast space of the cathedral. There are two main cases: the Swell, Choir,
Positif and console are in the north case; Great, Solo and Bombarde are in the south case. The Pedal organ is
divided between the two cases.
The most recent additions to the organ are the Corona Organ, situated high in the vaulting of the tower and
consisting of one stop, a Trompette Militaire on 50" wind pressure, and the Central Organ which consists of a large
scale Diapason chorus and Pedal Bourdon.
There is an excellent booklet available in the cathedral shop, written by Professor Tracey, giving information
about the two organs in the cathedral. The Lady Chapel organ, of two manuals and pedal, extends to a 32' Pedal
reed.

Pedal Organ
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31
32
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34
35

Resultant Bass
64
Double Open Bass
32
Double Open Diapason
32
Contra Violone
32
Open Bass
16
Tibia
16
Open Diapason
16
Contra Basso
16
Geigen (encl.)
16
Violon (encl.)
16
Dolce
16
Bourdon
16
Sub Bass
16
Principal
8
Violoncello (encl.)
8
Violone
8
Stopped Flute
8
Open Flute (encl.)
8
Bass Flute
8
Fifteenth
4
Gedact
4
Flte Triangulaire (encl.)
4
Octave Flute
4
Mixture
(15.19.22)
Fourniture
(15.19.22.26.29)
Fagotto (encl.)
16
Octave Bassoon (encl.)
8
Contra Trombone (encl.)
32
Trombone (encl.)
16
Ophicleid
16
Clarion
8
Contra Bombarde
32
Bombarde
16
Bombarde
8
Bombarde
4
Choir to Pedal
Great to Pedal
Swell to Pedal
Solo to Pedal
Tenor Solo to Pedal
Bombarde to Pedal

Swell Organ
65 Contra Geigen
16
66 Contra Salicional
16
67 Lieblich Bourdon
16
68 Open Diapason
8
69 Geigen
8
70 Tibia *
8
71 Wald Flte
8
72 Lieblich Gedact
8
73 Echo Viola
8
74 Salicional
8
75 Vox Angelica
(to FF)
8
76 Octave
4
77 Octave Geigen
4
78 Salicet
4
79 Lieblich Flte
4
2/3
80 Nazard
2
81 Fifteenth
2
82 Lieblich Piccolo
2
3/5
83 Seventeenth
1
84 Sesquialtera
(10.12.17.19.22)
85 Mixture
(15.19.22.26.29)
86 Contra Hautboy *
16
87 Hautboy *
8
88 Krummhorn *
8
89 Waldhorn
(harm.)
16
90 Cornopean
(harm.)
8
91 Clarion
(harm.)
4
92 Double Trumpet (harm.)
16
93 Trompette Harmonique
8
94 Trumpet
(harm. treb) 8
95 Octave Trumpet (harm. treb) 4
Tremulant 5" wind
Tremulant 7" wind *
Swell Octave
Swell Sub-Octave
Swell Unison Off
Solo to Swell

Great Organ

Choir Organ

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46
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48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64

Positif (unenclosed)
96 Gedact
97 Spitz principal
98 Nast
99 Coppel
100 Terz
101 Spitzflte
102 Cimbel
(29.33.36)

Contra Violone
32
Double Open Diapason
16
Contra Tibia
16
Bourdon
16
2/3
Double Quint
10
Open Diapason no 1
8
Open Diapason no 2
8
Open Diapason no 3
8
Open Diapason no 4
8
Open Diapason no 5
8
Tibia
8
Doppel Flte
8
Stopped Diapason
8
1/3
Quint
5
Octave no 1
4
Octave no 2
4
Principal
4
Gemshorn
4
Flte Couverte
4
Tenth
3
2/3
Twelfth
2
Super Octave
2
Fifteenth
2
Mixture
(12.15.19.21.22)
Fourniture
(19.22.24.26.29)
Double Trumpet (harm. Treb.) 16
Trompette Harmonique
8
Trumpet (harm. Treb.)
8
Clarion (harm. Treb.)
4
Grand Chorus on Great

Choir Octave
Choir Sub-Octave
Choir Unison Off
Bombarde to Choir
Great to Choir
Swell to Choir
Solo to choir

Anglican Cathedral

Solo Organ
119 Contra Hohl Flte
120 Hohl Flte
121 Octave Hohl Flte

16
8
4

(Enclosed)
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140

Contra Viole
16
Viole d'Orchestre
8
Viole de Gambe
8
Violes Clstes (to FF)
8
Flte Harmonique
8
Octave Viole
4
Concert Flute
(harm.)
4
Violette
2
Piccolo Harmonique
2
Cornet des Violes (10.12.15)
Cor Anglais
16
Orchestral Clarinet
8
Orchestral Oboe
8
Orchestral Bassoon
8
French Horn
8
Contra Tromba
16
Tromba Real
(harm.)
8
Tromba
(harm.)
8
Tromba Clarion (harm.)
4
Solo Trombas on Great
Tremulant
Solo Octave
Solo Sub-Octave
Solo Unison Off

Bombarde

8
4
2/3
2
2
3/5
1
1

141 Grand Chorus

(-8.1.5.8.12.15.19.22.26.29)
142 Contra Tuba
(harm.)
16
143 Tuba
(harm.)
8
144 Tuba Clarion
(harm.)
4
145 Tuba Magna
(harm. 50") 8
Great to Bombarde
Corona
146 Trompette Militaire
Corona on Bombarde
Corona on Choir

(Enclosed)

Central Space

103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118

Manual

Contra Viola16
Violin Diapason 8
Viola 8
Claribel Flute8
Unda Maris (to FF)8
Octave Viola4
Suabe Flte 4
Octavin 2
Dulciana Mixture (10.12.17.19.22)
Bass Clarinet16
Baryton16
Corno di Bassetto8
Cor Anglais8
Vox Humana8
Trumpette (harm.)8
Clarion (harm.)4
Tremulant

147
148
149
150
151

Bourdon
Open Diapason
Principal
Super Octave
Mixture
(6 ranks)

(50")

16
8
4
2

Pedal
152 Bourdon

16

The Metropolitan Cathedral

Pedal Organ

The emergence of a Catholic cathedral

in the west took some time to materialise
with a number of archbishops hoping to
realise plans after the restoration of the
Catholic hierarchy in 1850.

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20
21

It was the Irish potato famine of 1847,

not one of the greatest times in English
political history, which finally proved to be
the long-term catalyst in creating the
impetus which led to plans that were
realised, leading to the well-known
structure we have today.
The first plans for a cathedral were
drawn by Edward Welby Pugin, son of
Augustus Welby Pugin, in 1853. At that
time Liverpool had an enormous Irish
Catholic population and it was to cater to
religious needs of the dispossessed poor
that the cathedral was designed. Only
the Lady Chapel was built; none of it was
used in the construction of the present
building.
Edward Lutyens was chosen to design a
new cathedral, the foundation stone of
which was laid in 1933. Had Lutyens'
plan come to fruition it would have
eclipsed the Anglican cathedral and quite
probably Wrens' St Paul's; the scale was
colossal. However, WWII intervened and
other priorities demanded the attention of
the diocese; only the Crypt was built and
work ceased in 1941.
Adrian Gilbert Scott, brother of Sir Giles
Gilbert Scott was commissioned to
complete Lutyens building albeit on a
reduced scale. Changes of archbishops
brought further halts to the realisation of a
Catholic cathedral, until 1960 when, after
an international competition, Sir Frederick
Giffered was selected to build a cathedral
that would reflect the change of worship
required by the Second Vatican Council.
Known to the irrepressible Liverpudlians
as 'Paddy's Wigwam' the building was
dedicated in 1967. The huge open space
of the nave required an organ of some
power, able to support Catholic liturgical
requirements
and
also
to
lead
congregations of 2,300.
Walkers were commissioned to build the
instrument which was completed in time
for the consecration of the cathedral.
The
stops are controlled at a console
20m from the case which is formed by a
striking faade of pipes designed to mask
the body of the organ which stands in a
purpose-built chamber; the faade was
designed by the architect to complement
the structure of the building. The similarity
to the design of the organs in the Royal
Festival Hall and Coventry Cathedral can
be clearly seen a bold statement to
match the ethos and aspirations of the
second Elizabethan age.

Contra Spitzflte
32
Principal
16
Violone
(from 22)
16
Spitzflte (from 1)
16
Bourdon
16
Quintaton (from 66)
16
Octave
8
Octave Spitzflte (from 1) 8
Bass Flute (from 5)
8
1/3
Twelfth
5
Fifteenth
(from 7)
4
Nachthorn
4
Octave Flute
4
Sifflote
(from 12)
2
Mixture
(19.22.26.29)
Contra Posaune (from 34)32
Bombarde
16
Posaune
(from 34)
16
Bassoon
(from 49)
16
Tromba
(from 17)
8
Rohr Schalmei
4
Positive to Pedal
Great to Pedal
Swell to Pedal
Swell Octave to Pedal
Solo to Pedal
Solo Octave to Pedal

Great Organ
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36

Violone
16
Open Diapason
8
Principal
8
Gemshorn
8
Stopped Diapason
8
Octave
4
Chimney Flute
4
2/3
Twelfth
2
Fifteenth
2
Blockflte
2
Mixture
(15.19.22)
Plein Jeu
(19.22.26.29)
Contra Posaune
16
Trumpet
8
Clarion
4
Swell to Great
Solo to Great
Positive to Great

Swell Organ
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52

Open Diapason
16
Rohrflte
8
Salicional
8
Vox Angelica (TC)
8
Principal
4
Gedeckt Flute
4
2/3
Twelfth
2
Super Octave
2
Flageolet
2
Sesquialtera
(12.17)
Scharff
(22.26.29.33)
Double Trumpet
16
Bassoon
16
Trumpet
8
Oboe da Caccia (from 49) 8
Shawm
8

Solo to Swell
Swell Octave
Swell Unison Off
Swell Sub-Octave
Positive Organ
53
54
55
56
57
58
59
60
61
62
63
64
65
66

Gedeckt
8
Spitzflte
4
Koppelflte
4
2/3
Nazard
2
Principal
2
Blockflte
2
3/5
Tierce
1
1/3
Larigot
1
Sifflote
1
Cymbale
(29.33.36)
Krummhorn
8
Tremulant
Contra Posaune(from 34)16
Trumpet
(from 35) 8
Clarion
(from 36) 4
Solo to Positive
Swell to Positive

Accompanimental (from Solo)

67
68
69
70
71
72
73

Quintaton
Lieblich Gedackt
Dulciana
Dulcet
Quintadena
Nazard
Quartaine
(12.15)

16
8
8
4
4
2/3
2

Solo (enclosed)
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88

Quintaton
16
Orchestral Flute
8
Viola da Gamba
8
Voix Celeste (Alto A)
8
Lieblich Gedackt
8
Dulciana
8
Suabe Flute
4
Quintadena
4
2/3
Nazard
2
Piccolo
2
Quartaine
(12.15)
Clarinet
8
Tuba
8
Orchestral Trumpet
8
(unenclosed, en chamade)
Octave Tuba (from 78) 4
Tremulant

Action: electro pneumatic