The organ was originally built in 1871 by Bryceson of London with a detached electric console which was considered very advanced at that time. Various restorations and modifications were made by the local firm of Griffen & Stroud in 1894 and by Hope-Jones in 1902. Griffen & Stroud became a part of Duck, Son and Pinker in 1918 and undertook a major rebuild of the organ in 1923. DSP sold Griffen and Stroud to the Taunton firm Osmond in 1945. They carried out a restoration in 1955 but by the late 1980s the instrument was in a very poor condition and it was rebuilt in 1990 by Michael Farley of Budleigh Salterton.<\/p>\n\n\n\n
The 1923 instrument had tubular pneumatic action and an attached, rocking-tablet console. The 1990 rebuild replaced this with electro-pneumatic action and a detached, draw-stop console. Visually the most impressive feature of the organ is the spectacular display of painted 16\u2019 Violone pipes.<\/p>\n\n\n
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Because this instrument has not been much altered tonally over the years it remains an example of a type of tone which is now again of considerable interest. The rebuild in 1990 did introduce a few desirable mutations on the choir organ and developed the pedal organ but has left the fine great diapason chorus unchanged. The very loud and fiery Orchestral Trumpet created from the previous Tromba is an excellent solo stop yet blends well and adds great brilliance to the full organ.<\/p>\n\n\n\n
There are some unusual features: the wealth and variety of 8\u2019 stops on the great is unchallenged by any other instrument in the area but the absence of a 16\u2019 reed on the pedal of such a large instrument is surprising. The present pedal provides an adequately weighty foundation but tonally a 16\u2019 reed is desirable. The absence of an 8\u2019 Gedact on the swell, which dates right back to 1871, is unfortunate but was often characteristic of Bryceson\u2019s organs of that period \u2013 it would be useful both in its own right and also because it could support the rather thin-toned Open Diapason as the foundation of the swell flue work. On the other hand, there are excellent strings, flutes and reeds and the overall effect of the instrument is indisputably grand.<\/p>\n\n\n\n
The present specification is as follows.<\/p>\n\n\n\n <\/p>\n","protected":false},"excerpt":{"rendered":" The Organ in St John the Baptist, Bathwick The organ was originally built in 1871 by Bryceson of London with a detached electric console which was considered very advanced at that time. Various restorations and modifications were made by the … Continue reading Pedal<\/strong><\/td> <\/td> <\/td> <\/td> Swell<\/strong><\/td> (balanced pedal)<\/td> <\/td><\/tr> 1<\/td> Acoustic Bass<\/td> 32<\/td> <\/td> 22<\/td> Echo Bourdon<\/td> 16<\/td><\/tr> 2<\/td> Open Wood<\/td> 16<\/td> <\/td> 23<\/td> Open Diapason<\/td> 8<\/td><\/tr> 3<\/td> Violone<\/td> 16<\/td> <\/td> 24<\/td> Salicional<\/td> 8<\/td><\/tr> 4<\/td> Bourdon<\/td> 16<\/td> <\/td> 25<\/td> Vox Angelica<\/td> 8<\/td><\/tr> 5<\/td> Lieblich Bourdon<\/td> 16<\/td> <\/td> 26<\/td> Gemshorn<\/td> 4<\/td><\/tr> 6<\/td> Principal<\/td> 8<\/td> <\/td> 27<\/td> Fifteenth<\/td> 2<\/td><\/tr> 7<\/td> Bass Flute<\/td> 8<\/td> <\/td> 28<\/td> Mixture [19.22]<\/td> 11<\/td><\/tr> 8<\/td> Quint<\/td> 5 1\/3<\/td> <\/td> 29<\/td> Horn<\/td> 8<\/td><\/tr> 9<\/td> Fifteenth<\/td> 4<\/td> <\/td> 30<\/td> Oboe<\/td> 8<\/td><\/tr> <\/td> – Swell to Pedal<\/td> <\/td> <\/td> 31<\/td> Clarion<\/td> 4<\/td><\/tr> <\/td> – Choir to Pedal<\/td> <\/td> <\/td> 32<\/td> Tremulant<\/td> <\/td><\/tr> <\/td> – Great to Pedal<\/td> <\/td> <\/td> <\/td> – Swell octave<\/td> <\/td><\/tr> <\/td> – Swell to Pedal 4<\/td> <\/td> <\/td> <\/td> – Swell suboctave<\/td> <\/td><\/tr> <\/td> <\/td> <\/td> <\/td> <\/td> <\/td> <\/td><\/tr> Great<\/strong><\/td> <\/td> <\/td> <\/td> Choir<\/strong><\/td> (unenclosed)<\/td> <\/td><\/tr> 10<\/td> Double Diapason<\/td> 16<\/td> <\/td> 33<\/td> Gedact<\/td> 8<\/td><\/tr> 11<\/td> Large Open Diapason<\/td> 8<\/td> <\/td> 34<\/td> Gamba<\/td> 8<\/td><\/tr> 12<\/td> Small Open Diapason<\/td> 8<\/td> <\/td> 35<\/td> Voix Celeste<\/td> 8<\/td><\/tr> 13<\/td> Horn Diapason<\/td> 8<\/td> <\/td> 36<\/td> Gemshorn<\/td> 4<\/td><\/tr> 14<\/td> Rohr Gedact<\/td> 8<\/td> <\/td> 37<\/td> Nazard<\/td> 2 2\/3<\/td><\/tr> 15<\/td> Claribel<\/td> 8<\/td> <\/td> 38<\/td> Piccolo<\/td> 2<\/td><\/tr> 16<\/td> Salicional<\/td> 8<\/td> <\/td> 39<\/td> Tierce<\/td> 1 3\/5<\/td><\/tr> 17<\/td> Principal<\/td> 4<\/td> <\/td> 40<\/td> Clarinet<\/td> 8<\/td><\/tr> 18<\/td> Harmonic Flute<\/td> 4<\/td> <\/td> 41<\/td> Orchestral Trumpet<\/td> 8<\/td><\/tr> 19<\/td> Flageolet<\/td> 2<\/td> <\/td> 42<\/td> Clarion (Orchestral)<\/td> 4<\/td><\/tr> 20<\/td> Mixture [12.15]<\/td> 11<\/td> <\/td> <\/td> – Choir octave<\/td> <\/td><\/tr> 21<\/td> Orchestral Trumpet<\/td> 8<\/td> <\/td> <\/td> – Choir suboctave<\/td> <\/td><\/tr> <\/td> – Swell to Great<\/td> <\/td> <\/td> <\/td> – Swell to Choir<\/td> <\/td><\/tr> <\/td> – Choir to Great
<\/td><\/td> <\/td> 43<\/td> Great and Pedal
Combinations Coupled<\/td><\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n <\/a><\/figure>\n\n\n\n