|
The STENTOR is the 6th manual and has no stops. It's used for playing all floatting divisions. Some solo stops have been wired to be played on it :
| 8 |
Diapason Magna |
Chorus |
| 8 |
Cello 1 |
String |
| 8 |
Cello 1 (♯) |
String |
| 8 |
Cello 1 (♭) |
String |
| 8 |
Cello 2 |
String |
| 8 |
Cello 2 (♯) |
String |
| 8 |
Cello 2 (♭) |
String |
| 8 |
Nazard Gamba II |
String |
| 8 |
Nazard Gamba II (♯) |
String |
| 8 |
Clear Flute |
Ethereal |
| 4 |
Clear Flute |
Ethereal |
|
|
|
| 8 |
French Horn 2 |
Orchestral |
| 8 |
French Horn 3 |
Orchestral |
| 16 |
Centennial Tuba (TC) |
|
| 8 |
Centennial Tuba |
61 pipes |
| | |
| Tremolo I | |
| Tremolo II | |
| Celli to Celli 16 | |
| Stentor to Stentor 16 | |
| Stentor to Unisson off | |
| Stentor to Stentor 4 | |
| Stentor to Ethereal 8 | |
| Stentor to Great sFz on Master 45 | |
| Stentor to Great 8 | |
| Stentor to Choir 8 | |
| Stentor to Pedal 8 | |
| Stentor to Pedal 4 | |
| Stentor to Solo Expression | |
| Stentor to Swell Expression | |
| Stentor to Great Expression | |
| Stentor to Choir Expression | |
| 10 combinaisons ajustables | |
Il était prévu d'y installer diapasons et anches à très forte pression, au 5ème étage, mais les réalisations n'eurent jamais lieu, pour diverses raisons, entre autres à cause de la mort de Rodman Wanamaker.
Voir le projet de Henry Willis III, le projet de Charles Courboin, le projet G. Donald Harrison.
En août 1925, Henry Willis III propose une section de Bombarde, inspirée de sa réalisation à la cathédrale de Liverpool, que Ch. Courboin avait beaucoup appréciée. Il propose de placer ce plan sonore, comme l'Echo, de l'autre côté de l'orgue.
|
ENCLOSED MANUAL
| |
" wind |
| 32 | Contra Fagotto |
metal |
12 |
| 16 | Bombarde |
metal |
50 |
| 8 |
Ophicleide |
metal |
50 |
| 8 | Trompette Harmonique |
metal |
50 |
| 4 |
Clarion |
metal |
50 |
| VI | Sesquialtera (15,17,19,22,26,29) |
metal |
12 |
| 8 | Silver Trumpet |
metal |
50 |
| V | Grand Cornet |
metal |
12 |
| VI | Cymbale (22,28,29,31,33,36) |
metal |
12 |
|
UNENCLOSED MANUAL
| | |
| 16 | Contra Tuba |
metal |
50 |
| 8 | Tuba |
metal |
50 |
| 4 |
Clarion |
metal |
50 |
| XII | Grand Chorus (16',1,5,8,12,15,19,22,26,29,33,36) |
metal |
12 |
| 8 | Tuba Mirabilis |
metal |
75 |
| 4 | Clairon |
metal |
75 |
| | | |
|
ENCLOSED PEDAL
| | |
| 32 | Contra Trombone |
metal |
50 |
| 16 | Trombone |
metal |
50 |
| 8 |
Clarion |
metal |
50 |
| VI | Sesquialtera (8,12,15,17,19,22) |
metal |
12 |
|
UNENCLOSED PEDALE
| | |
| 64 | Bombarde |
metal |
50 |
| 32 | Bombarde |
metal |
50 |
| 16 | Bombarde |
metal |
50 |
| 8 | Bombarde |
metal |
50 |
| 4 | Bombarde |
metal |
50 |
| IX | Fourniture (1, 5, 8, 12, 15, 19, 22, 26, 29) |
metal |
12 |
Willis propose en même temps 4 sections de synthèse à ajouter à l'orgue. Ces 4 boîtes peuvent être contrôlées par les barres sous les claviers (au moins 8 positions) et couplables sur une même pédale d'expression :
|
BOX n°1
|
| 32 | Sub Bourdon |
| 16 | Bourdon |
| 8 | Open Flute |
| 8 | Rohr Flute |
| 8 | Cor de Nuit |
| 4 | Flauto Traverso |
| 4 | Lieblich Flute |
| 2 | Flautina |
| 2 | Lieblich Piccolo |
| 1 | Octave Piccolo |
| V | Repeating Mixture (8, 15, 22, 29, 36) |
| 16 | Double Horn |
| 8 | Horn |
| 4 | Octave Horn |
|
BOX n°2
|
| 21 1/3 | Sub Quint |
| 10 2/3 | Quint |
| 5 1/3 | Quint |
| 2 2/3 | Douzième |
| 2 2/3 | Nasard |
| 1 1/3 | Larigot |
| V | Repeating Quint Mixture (5, 12, 19, 26, 33) |
| 10 2/3 | Quint Horn |
| 5 1/3 | Quint Horn |
| 2 2/3 | Quint Horn |
|
BOX n°3
|
| 12 4/5 | Sub Tierce |
| 6 2/5 | Tierce |
| 3 1/5 | Dixième |
| 1 3/5 | Dix-Septième |
| V | Tierce Repeating Mixture (10, 17, 24, 33, 41) |
| 12 4/5 | Tierce Horn |
| 6 2/5 | Tierce Horn |
| 3 1/5 | Tierce Horn |
|
BOX n°4
|
| 9 1/7 | Sub Septième |
| 4 4/7 | Septième |
| 2 2/7 | Septième |
| 1 1/7 | Petite Septième |
| V | Repeating Mixture (b7, b14, b21, b28, b35) |
Le 26 octobre 1926, Charles Courboin et Georges W. Till signent un premier projet d'extension pour le Stentor (à droite : pressions et nbre de tuyaux) :
| | |
" wind |
pipes |
| 8 |
Diapason Magna 1 (double languid) |
25 |
61 |
| 8 |
Diapason Magna 2 (double languid) |
" |
61 |
| 8 |
Diapason Magna 3 (double languid) |
" |
61 |
| 8 |
Diapason Magna 4 (double languid) |
" |
61 |
| 4 | Octave |
15 |
61 |
| IX | Sesquialtera 16' |
" |
549 |
| XI | Mixture 16' |
" |
671 |
| VII | Cymbale 4' |
" |
427 |
| 32 | Bombarde |
25 |
61 |
| 16 | Tuba Magna |
50 |
61 |
| 16 | Trombone |
" |
61 |
| 16 |
Double Trumpet |
" |
61 |
| 16 |
Contra Post Horn |
" |
61 |
| 8 | Tuba Sonora |
100 |
61 |
| 8 | Tuba Mirabilis |
" |
61 |
| 8 | Trombone 1 |
75 |
61 |
| 8 | Trombone 2 |
" |
61 |
| 8 |
Brass Trumpet |
100 |
61 |
| 8 |
Muted Trumpet |
50 |
61 |
| 8 |
French Horn 1 fff (open tone) |
75 |
61 |
| 8 |
French Horn 2 fff (open tone) |
" |
61 |
| 8 |
French Horn 3 fff (closed tone) |
50 |
61 |
| 8 |
French Horn 4 ff (closed tone) |
" |
61 |
| 4 |
Tuba Clarion |
100 |
61 |
| 4 |
Clarion Trumpet |
75 |
61 |
| | |
|
|
| |
PEDAL
|
| | |
|
|
| 16 | Diaphone |
650 |
44 |
| 8 | Diaphone (ext) |
" |
| 16 |
Open Diapason |
25 |
56 |
| 8 |
Open Diapason (ext) |
" |
| 4 |
Open Diapason (ext) |
" |
| XI |
Grand Mixture 16' |
15 |
352 |
| 64 | Diaphonic Bombarde |
50 |
80 |
| 32 | Diaphonic Bombarde (ext.) |
" |
| 16 | Diaphonic Bombarde (ext.) |
" |
| 8 | Diaphonic Bombarde (ext.) |
" |
| 4 | Diaphonic Bombarde (ext.) |
" |
| 32 |
Bombarde (manual) |
25 |
| 16 | Wood Trombone |
50 |
56 |
| 8 | Wood Trombone (ext.) |
" |
| 4 | Wood Trombone (ext.) |
" |
| 16 |
Tuba Sonora |
50 |
56 |
| 8 | Tuba Sonora (ext) |
" |
| 4 | Tuba Sonora (ext) |
" |
| 10 2/3 |
Quint |
25 |
32 |
Un autre projet vit le jour, lui aussi sans suite, daté du 12 décembre 1927. On le commande à G. Donald Harrison, coût de l'ensemble : 48 500 $. Si le 1er projet était basé sur l'emphase de jeux à l'unisson (comme pour le clavier de String ou les Voix Humaines de l'Orchestral), celui-ci est plutôt basé sur les choeurs (ensembles de même couleur mais toutes tessitures) :
|
|
pression |
tuyaux |
| 16 | Double Diapason (biseau double) | 650 | 61 |
| 16 | Double Clarabella (bois) | " | 61 |
| 8 | Diapason 1 II (biseau double) | " | 122 |
| 8 | Diapason 2 II | 650 | 122 |
| 8 | Flûte Majeure (bois) | " | 61 |
| 5 1/3 | Quinte (métal) | " | 61 |
| 4 | Octave | " | 61 |
| 4 | Principal | " | 61 |
| 3 1/5 | Grosse tierce | " | 61 |
| 2 2/3 | Octave Quinte | " | 61 |
| 2 | Super Octave | " | 61 |
| V | Mixture Grave (8.12.15.19.22) | " | 305 |
| VII | Cymbale (19.22.26.29.31.33.36) | " | 427 |
| IX | Grand Chorus (1.5.8.12.15.19.22.26.29) | " | 549 |
| 32 | Contrebasson | 500 | |
| 16 | Contre Tuba | 1300 | 61 |
| 16 | Bombarde | " | |
| 16 | Double French Horn (closed tone) | " | 61 |
| 8 | Tuba Mirabilis | 2500 | 61 |
| 8 | Tuba Sonora | 1300 | |
| 8 | Trombone | " | 61 |
| 8 | French Horn (open tone, harmonique) | " | |
| 4 | Tuba Clairon | 2500 | |
| 4 | Clairon | 1300 | |
| | | |
| | PÉDALE | |
| | |
| 16 | Great Bass III (biseau double, bois/métal) | 650 |
| 16 | Minor Bass II (bois/métal) | " |
| 16 | Open Bass (16"x18", bois) | " |
| 10 2/3 | Quinte (bois) | " |
| 8 | Octave II (biseau double, bois/métal) | " |
| 8 | Principal | " |
| 4 | Super Octave | " |
| VII | Harmonics (10.12.15.17.19.21.22) | " |
| V | Fourniture | " |
| 64 | Contre Bombarde | " |
| 32 | Bombarde (ext.) | " |
| 16 | Bombarde (française)(ext.) | 1300 |
| 32 | Contre Trombone (bois) | " |
| 16 | Trombone (ext.) | " |
| 8 | Octave Trombone (ext.) | " |
| 16 | Ophicleide (métal) | " |
| 8 | Trompette (ext.) | " |
| 4 | Clairon (ext.) | " |
haut de page
|
