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Pipe Organs of Oregon
...a unique web-offering visualizing notable pipe organs of Portland.

Manuel Rosales, Opus 11, 1987
Trinity Episcopal Cathederal, Portland Oregon, USA

John Strege, Canon Organist and Choirmaster
Catharine Crozier, Artist-in-Residence

   16' Prestant
    8' Principal
    8' Flute harmonique
    8' Bourdon
    8' Gamba
    4' Octave
    4' Spire Flute
2 2/3' Octave Quint
    2' Super Octave
       Cornet V 
       Mixture VII-XI	
   16' Bombarde
    8' Trumpet
    4' Clarion

   16' Bourdon
    8' Principal
    8' Bourdon
    4' Octave
    4' Rohrpipe
3 1/5' Grosse Tierce
2 2/3' Nasard
    2' Doublet
1 3/5' Tierce
1 1/3' Larigot
       Mixture V-VII
    8' Trumpet
    8' Cromorne
    4' Clarion

   16' Bourdon
    8' Principal
    8' Bourdon
    8' Fl˝te harmonique
    8' Viole de Gamba
    8' Voix Celeste
    4' Principal
    4' Flute octaviante
    2' Octavin
       Cornet IV
       Mixture IV
   16' Bassoon
    8' Trumpet                     Compass:   61/32
    8' Hautbois                    Key Action:   Mechanical
    8' Vox Humana                  Stop Action:  Electric
    4' Clarion                     Combination Memory: 32 levels 

   32' Bourdon                     Accessories
   16' Open Wood                   Rossignol (Nightengale)
   16' Prestant                    Etoile (Cymbelstern)
   16' Bourdon                     
    8' Octave                             
    8' Flute                       Couplers: 
    8' Bourdon                     Great to Pedal
    4' Super Octave                Positive to Pedal
       Mixture VII                 Swell to Pedal
   32' Contra Trombone             Positive to Great
   16' Bombarde                    Swell to Great
   16' Trombone                    Swell to Positive
    8' Trumpet
    4' Clarion

Thumb Pistons for 32' Open Wood Resultant and 32' Bombarde Resultant.

Stoplist graciously supplied by the builder, Manuel Rosales, whom you may reach at: OrgBldr@aol.com

The vision: A generous gift to the church from philanthropist Bea Gerlinger made it possible for organist John Strege and consultant Douglas Butler to dream of a large eclectic instrument of classical construction. Manuel Rosales had for some time wanted to attempt such a concept and the meeting of the minds led to a contract with the firm of Rosales Organ Builders, Inc. The tonal concept of the organ is eclectic and was intended to make possible the idiomatic performance of a great variety of music while providing in particular for the demands of the Classic and 19th century French repertoires. The Great, Positive, and Pedal choruses are traditional in concept and provide the backbone for leadership of congregational singing. The large Swell division provides ample resources for accompaniment of choral and solo music. Significant tonal elements from the French romantic tradition include the rich and varied foundation stops, the four harmonic flutes, and the reed chorus on each division.

Visual impact: The case work is of eclectic design and reflects the bigness both of size and concept of the instrument. The organ contains 52 stops on three manuals and pedal. Key action is mechanical of the suspended type; the stop action is electrical and is controlled by a solid state combination system with eight levels of memory. Compass is 61/32. The front pipes are of 75% tin with 23 carat gold leaf applied to the mouths. The casework is of white oak with walnut burl, bocote, and rift sawn white oak. Stop knobs are of ebony, rosewood, and boxwood. Manual keys are of basswood covered with cow bone and ebony. Pedal keys are of beech covered with maple and rosewood. The oak panels on either side of the music rack conceal video monitors, telephone, combination systems controls and music storage. The console design was influenced by 19th century French and American deisgns.

[Note: The above description courtesy of the Osiris archives.]

Note: About the Rosales organ, reviewer Joseph Adam remarked, "undeniably beautiful but solid. " (TAO, Oct. 95, p69)

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