Built in London by William Hill and Son, the Grand Organ was shipped to Australia and installed in 1890. It was then the largest organ in the world and is still the largest ever built with tubular-pneumatic action. Its 126 speaking stops and 14 couplers are spread over five manuals (Choir, Great, Swell, Solo, Echo) and pedals. There are approximately 8,700 pipes.
The first recital was held on Saturday 9 August, 1890 at which the City Organist from Liverpool, England W.T. Best performed for 4,000 guests.
The organ was restored between 1972 and 1982 by Sydney organbuilder Roger H. Pogson and is used regularly for performances, including many played by the City Organist, Robert Ampt.
Read the full history here
Built between 1886 and 1889 by Hill & Son, of London, the instrument was instantly famous for then being the world’s largest organ and for the novelty of its full-length 64-foot Contra Trombone stop. It remains the world’s largest organ without any electric action components and is of international significance as representing the pinnacle of British achievement in the Victorian era, even though its conservative design was the subject of debate at the time. It is easily the best-known of all Australian organs and is the source of admiration around the world, not only for the immensity and opulence of its tone and for its magnificent case, but also for its high level of originality and the quality of the restoration work.
Although the organ is considered substantially original in condition, several changes have been made over the years. The most significant of these was the lowering of the pitch to concert standard by S.T. Noad in 1939, this change being most noticeable in the reed stops, which are coarser in tone colour as a result. A comprehensive restoration was undertaken over ten years from 1972 by Roger H. Pogson Pty Ltd and many of the minor changes (such as the swapping of ranks between Swell and Choir) were reversed. Other changes retained to the present are the balanced swell pedals (the provision of which necessitated the removal of four composition pedals for the Great), the concave/radiating pedalboard, the transposition of Swell Piccolo from 2’ to 1’, the addition of the high-pitched Carillon bells to the Solo, the enclosure of the Solo orchestral reeds and the enclosure of the entire Choir division (originally only the reeds were enclosed). During the work carried out by Roger Pogson some alterations were made to the pneumatic action operating the Choir division and the console timbers (originally in fumed oak) were lightened during repolishing.
Hill & Son 1886-89 (5/127 tubular-pneumatic/Barker lever)
| GREAT Contra Bourdon Double Open Diapason Bourdon Open Diapason I Open Diapason II Open Diapason III Open Diapason IV Harmonic Flute Viola Spitz Flöte Gamba Hohl Flöte Rohr Flöte Quint Principal Octave Gemshorn Harmonic Flute Twelfth Fifteenth Mixture Cymbel Sharp Mixture Furniture Contra Posaune Posaune Trumpet Clarion SWELL Double Open Diapason Bourdon Open Diapason Hohl Flöte Viola da Gamba Salicional Dulciana Vox Angelica Octave Rohr Flöte Harmonic Flute Gemshorn Twelfth Fifteenth Piccolo Mixture Furniture Trombone Bassoon Trumpet Cornopean Horn Oboe Clarion CHOIR (enclosed) Contra Dulciana Open Diapason Hohl Flöte Lieblich Gedackt Flauto Traverso Gamba Dulciana Octave Violino Celestina Lieblich Flöte Twelfth Fifteenth Dulcet Dulciana Mixture Bassoon Oboe Clarinet Vox Humana Octave Oboe SOLO (small reeds enclosed) Bourdon Open Diapason Violin Diapason Doppel Flöte Flauto Traverso Stopped Diapason Viola Octave Harmonic Flute Flauto Traverso Harmonic Piccolo Contra Fagotto Harmonic Trumpet Corno di Bassetto Orchestral Oboe Cor Anglais Octave Oboe Contra Tuba Tuba Tuba Clarion Carillon Bells ECHO (enclosed and non-expressive) Lieblich Gedackt Viol d'Amour Unda Maris II Viol d'Amour Flageolet Glockenspiel Echo Dul. Cornet Basset Horn PEDAL Double Open Diapason Metal Double Open Diapason Wood Contra Bourdon Open Diapason Metal Open Diapason Wood Bourdon Violone Gamba Dulciana Quint Octave Prestant Bass Flute Violoncello Twelfth Fifteenth Mixture Mixture Mixture Contra Trombone Contra Posaune Posaune Trombone Bassoon Trumpet Clarion | 32 16 16 8 8 8 8 8 8 8 8 8 8 6 4 4 4 4 3 2 3 Rks 4 Rks 4 Rks 5 Rks 16 8 8 4 16 16 8 8 8 8 8 8 4 4 4 4 3 2 1 4 Rks 5 Rks 16 16 8 8 8 8 4 16 8 8 8 8 8 8 4 4 4 4 3 2 2 3 Rks 16 8 8 8 4 16 8 8 8 8 8 8 4 4 4 2 16 8 8 8 8 4 16 8 4 2 8 8 8 4 2 4 Rks 4 Rks 8 32 32 32 16 16 16 16 16 16 12 8 8 8 8 6 4 4 Rks 3 Rks 2 Rks 64 32 16 16 16 8 4 | TC + + ^ ^ + + + ^ ^ * ¶ ^ ~ |
COUPLERS
Great to Pedal
Swell to Pedal
Choir to Pedal
Solo to Pedal
Swell to Great #
Swell Super Octave [to Great] #
Swell Sub Octave [to Great] #
Solo to Great #
Solo Octave
Choir to Great #
Swell to Choir
Solo to Choir
Echo to Swell
Pedal to Great Pistons
Tremulant to Swell (toe lever)
Tremulant to Choir and Solo (toe lever)
Tubular pneumatic key, stop and
combination action (vacuum for stops).
Mechanical action with pneumatic-lever
assistance for Great and couplers
marked #
Compass 61/30
Pistons (internally adjustable):
3 to Echo
7 to Solo
8 to Swell
8 to Great
7 to Choir
6 to Pedal (toe levers)
Balanced swell pedals for Choir, Solo
orchestral reeds and Swell
No. of pipes = 8,756
Pitch a1 = 440Hz