The earliest recollections of an Organ in Moseley Parish Church date back prior to the reign of Her Most Gracious Majesty (Queen Victoria), probably to the alteration of the Church in 1823. This instrument was a small barrel-organ, some five feet wide and six feet high, and played, by means of a handle, eight or nine hymn tunes. It was placed in a loft supported by cross-beams, in the position now occupied by the gallery; the approach being through the belfry. The choir stood in front of the Organ. One of the Bass Choristers was Tom Maydew, the blacksmith, who had a habit of working on Sundays, and during the intervals between the singing was wont to repair to his forge in the yard below, from which he would be summoned by a boy putting his head through the belfry window and saying "Mr Maydew, the Psalm's coming on", whereupon he would roll his apron round his waist, hurry up to the loft, and join lustily in the singing.
Rural Moseley requiring church extension, the loft was replaced by the present gallery, thus increasing the seating accommodation.
The supply of tunes in the Organ now (after 15 years? ed.) being considered inadequate to the Service, one of the wardens, Mr James Guest, who lived at Elmhurst (formerly the Vicarage) (now the Ford garage. ed.) engaged a Band, formed chiefly of the Cole family. Mr Cole and his four sons, with another whose name we have not, were the instrumentalists; while his daughters sang in the Choir. The Band consisted of Violin, Oboe, Clarionet, Bassoon and Double Bass, and was engaged for three months, the expense, however, was found to be too great and the Band was "abandoned".
Miss Sarah Taylor, of Moor Green Hall (now Holder's Gardens? ed.), then presented the Church with a new Barrel-Organ of the most improved mechanism. These instruments were at that time being manufactured by three important London firms - Messrs. Walker, Gray and Bryceson. Our instrument was built by Messrs. Walker, and was a handsome and imposing structure of some ten feet high, seven feet wide and six feet deep; and was erected in the gallery. It had three barrels, each of which could be adjusted to a number of tunes, and had a repertoire of thirty tunes; a list of which was placed on the side of the Organ. It was encased in a panelled case of solid oak, and showed a row of gilt organ-pipes in the front. The wind was supplied by a foot treadle, and the tunes played by a handle: both being manipulated by the same individual; and it is interesting to note that this organ was played for a long period by Mr Halward, whose son and grandson have been for many years, and still are, respected members of our Choir. This Organ eventually found its way to Yardley Wood Parish Church.
The first manual Organ possessed by our Church was built about the year 1853, by Messrs. E Bosward & Sons of Birmingham. It had two manuals and a pedal board. The Swell went down only to Tenor C, the Great was extended to the lower G. The composition of the Organ was as follows:-
| Swell Organ | Great Organ |
|---|---|
| Double Diapason | Open Diapason |
| Open Diapason | Stopped Diapason |
| Stopped Diapason | Dulciana |
| Flute | Clarabella |
| Principal | Principal |
| Oboe | Fifteenth |
| Sesquialtera | |
| Cremona | |
| Couplers - Swell to Great and Great to Pedals. | |
This Organ was erected in the gallery, the Choir being at the other end of the Nave, in the position now occupied by the long seats in front of the Chancel. Under these circumstances, the Organ being too small to make its weight felt, the Psalms were not always chanted with that smoothness which is desirable in "Quires and places where they sing", and in a good hearty Hymn the Organist had his choice as to whether he would accompany the Choir or the congregation. But the lapse of time leads us to look upon these imperfections with an indulgent eye, and one has still a kindly recollection of many sweet services in the rural Church, whose exterior picturesqueness caused it to be generally admired by visitors from the neighbouring town.
In the days of 1860 - 70 Moseley was still a country village, where the roses and honeysuckle grew unplucked outside the cottages by the wayside. The nearest approach from town was by the Moseley Road, through the great white toll-gate, near the corner of what is now Park Hill, or by footpaths through Jakeman's Walk and, crossing the Edgbaston Lane, alongside the Park Wall, coming out on the Moseley side of the toll-gate. The way to the new Vicarage was by a pathway through the fields by the side of Elmhurst, where lived the genial Mr. Frank Badams. The Rev. John R. Davison was at this time our much-loved Vicar, Mr. James Bullock, popularly known as the "Bishop of Moseley" our very beau-ideal of a Parish Clerk. That fine old English gentleman, Mr Dawes, lived at the Hall, Mr. Mitchell, a worthy companion, at Bank House (possibly now Dowells Retreat, ed). Messrs. Arnold and Willmot were perpetual Churchwardens, Mr. John Avins and Mr. Lyndon active Church advisers.
The Misses Anderton were dispensing their bounteous gifts to the Church and Mr. T C S Kynnersley, the then Stipendiary of Birmingham, was setting the worthy example to Churchmen which he maintained through out his life.
About this time (1868) Mr. E M Sneyd Kynnersley commenced to take that interest in our Services which he has retained ever since, the fine collection of music which the Church possesses is a tribute to his zeal and generosity, and to him entirely belongs the development of the Service into that happy blending of the Cathedral and the Parochial, which, it is gratifying to know, has received expressions of approval and thankfulness from many devout members of our congregation.
The writer, then but a youth, was appointed Organist in March, 1871, having previously acted as deputy for his tutor, Mr. Walter Brooks at St. Martin's Church. Two years later the new Chancel was built. The Organ was enlarged by Messrs. Halmshaw & Sons, removed from the gallery, and placed in a small Organ-Chamber at the East end. Dr. Belcher performed the opening services on August 3rd. 1873, the preacher being the Rev. G W Murray, Vicar of Bromsgrove. (St Mary's was in the Parish of Bromsgrove at one time. ed). In August, 1879 an orifice was made in the wall behind the pulpit to enable the Organ to be better heard in the church, and the old Dulciana stop carried down to CC to supply the front with speaking pipes.
In the meantime the Rev. J R Davison died, regretted most by those who knew him best, and, honourable tribute, greatly lamented by the poor of the Parish.
In March, 1877, our present Vicar came among us. The Rev. W H Colmore's kindly courtesy and consideration to those engaged in the Services of the Church has assisted that work forward with smoothness and harmony, the aim of all being the ennobling and beautifying of our Service for the help and comfort of our fellow-worshippers.
Moseley then began to grow apace, the needs of the Church became pressing, and the magnificent North aisle was built and opened in 1887. This opportunity was taken to build a fine Organ-Chamber. Strange to relate, the Organist was appointed a member of the Committee, and, consequently had a voice in securing that due regard was paid to the acoustic properties of the roof in its construction.
The way was thus prepared for our present Organ, which was built for an Exhibition at Folkestone by Messrs. H Jones & Son; it was bought for some hundreds of pounds less than its original price, transplanted to our Church, and the fine 16-ft Open Diapason Pedal Pipes facing the North Aisle were added. It bears the following inscription:- "To the glory of God and in grateful commemoration of the reign of His minister, our Sovereign Lady Queen Victoria; this Chamber and the Organ therein were erected by the Parishioners of Moseley, 1887." The names of the clergy and wardens were not included in this inscription, but it was suggested by a certain witty gentleman that the latter might have been immortalised by the addition of the verse of Scripture - "And so are the Cattle on a thousand Hills." *
The Organ was open on December 2nd, 1887, the preacher being the Rev. Canon Claughton, and the Organist on this occasion the Rev. C Hylton Stewart (Mr. Kynnersley's friend), whose tune to the hymn "Hark the sound of holy voices" (cannot find this tune in any hymn-book, ed) is a great favourite with us. The instrument was prounced to be of fine quality, and particularly adapted to the accompanying of Church Service; probably it is never more effective than at our Early Choral Celebrations on the Great Festivals.
The Organ has 39 stops - 9 in the swell including a fine Salcional and Voix Celeste; 10 in the Great; 7 in the Choir, including a fine Clarionet, a good Clarabella and Dulciana; 6 Pedal Stops including a Cross Quint and 7 Couplers. It has an excellent Tremulant and an ingenious and unique piece of mechanism which connects the whole of the Stops except the Cross Quint, with two centre pedals, and acting independently of the Couplers, enables the performer to prepare and use special combinations with ease and effect. The Organ is enclosed in a handsome case of solid oak, well designed with elaberate carving on the front and a graceful arrangement of pipes of spotted metal, and would present an imposing appearance from the back of the church were the wall and arches at the back of the pulpit removed. If it has not that role which is so great a charm in our Cathedrals, it is due to the defective acoustics of the church, and our congregation will never know what their organ and choir really are until the contemplated enlargement of the chancel and elevation of the roof of the nave are achieved - two events earnestly to be desired in the interests of the beauty of our church, and the dignity of its worship.
This account formed an article written by* The wardens were the late Mr: John Cattell and Mr. W G Hills.
By 1886 it had become obvious that the old *Bossward/Halmshaw organ was no longer adequate for for the needs of the rapidly expanding musical repertoire of St. Mary's Church. A committee was set up to investigate the possibility of buying a new organ to replace it. A quotation was sought from William Hill for a 3-manual organ. At this time, however, Henry Jones was at work at St. James' Church, Edgbaston, moving the instrument he had previously built for that church down from the west gallery into the chancel. An approach was made to him for a suitable instrument and he offered St. Mary's the chance to purchase his Exhibition Organ from the National Art Treasures Exhibition at Folkestone for a very reasonable price, in fact some £400 less than Hill's quotation.
* Edward J. Bossward. An apprentice to J.C. Bishop, he eventually came to work for Hill on the Birmingham Town Hall Organ. After its completion Bossward remained in Birmingham to care for the organ and to act as Hill's agent. In 1847 he eventually set up in business on his own here at 38 Oliver Road, and later at 80 Alston Street Ladywood. Walter J. Bird was one of his apprentices and later took over his business. An organ for a church of similar size to the Moseley instrument is documented in the archives of Pear Tree Parish Church in Southampton, costing £175. ('Pipes & Actions': Some organ builders in the Midlands and beyond Laurence Elvin 1995)
Henry Jones was born in Folkestone, Kent on 19th May 1822, one of five children born to Pilcher Jones, a cabinet maker, and his wife Mary Hall.
Little is known of Henry's early life but at the age of sixteen we find he has moved to London and has apprenticed himself to the organ builder Joseph Walker at his Francis Street works in Tottenham Court Road. In 1845 he set up in business on his own account at 10 Pond Place in Brompton.
Much of his early work consisted of rebuilding older instruments but by 1849 he had married Susannah Spain, begun a family and taken on an apprentice, one William Davis. The indenture for this apprenticeship is still in the Kensington Library archive.
During the 1850's we have records of a few small organs being built but the breakthrough came in 1861 with the contract for the large instrument at St. Matthew's Church, Bethnal Green (destroyed in the Blitz) and the instrument built for the International Exhibition of 1862. This latter instrument has been altered much over the years but still exists, although in an unplayable state, at Christchurch, Reading. It won special commendation at the exhibition for "Power and Tone".
Other contracts followed and Jones moved his expanding business and expanding family to 136 Fulham Road, Brompton, with a new works established a few yards further east in an old 'floor cloth manufactory'.
From these new works came a steady stream of one- and two-manual organs with the occasional larger showpiece. Amongst these were the instruments for St. Matthias, Earls Court (1872, destroyed in the Blitz), for the International Exhibition of 1872 (broken up in 1912), the Grand Organ for the Royal Aquarium (1876 - broken up in 1909) and the large organ for the Servile Priory in Fulham Road which survived until 1967.
In 1881 the firm produced a catalogue which listed 306 organs of which 106 were in London, 184 in the provinces and 17 had been shipped abroad. During the 1880's much of the business was taken over by the eldest son, Henry Spain Jones, whilst the older Henry, now in his sixties, began to concentrate on individual instruments. In 1885 he built a tracker instrument for the Inventions Exhibition in Kensington. This organ was noted for its exceptionally light touch and thereafter went to one of the London Music Colleges.
In 1886 came the invitation to build an organ for the National Art Treasures Exhibition in Folkestone. The work of a Master Organ Builder at the pinnacle of his career, this organ was for the exhibition in his own home town, and was destined to be one of his finest.
Jones continued to work until well into his seventies. The last organ to receive his personal attention was at the Bencher's Chapel, Grays Inn in 1894 (destroyed in the Blitz). He died on May 18th 1900 and is buried in the family grave in the Brompton Cemetery, London.
His obituary was published in the "Organ and Chorimaster" of June 1900. A more personal letter appeared in one of the Folkestone broadsheets from the Rev. Edward Husband, a lifelong friend:
A kinder, more straightforward man we have yet to find. His genial presence was always so bright and cheerful. It was not so long ago that he said to me, "Thank God I have so enjoyed life - I have had such a happy life." He was a kind and worthy gentleman and a trusty friend.
Of his instruments, the Moseley Organ is the last of his large instruments in anything like original form. Many of the smaller organs can be found in varying states of decay but nothing approaching this size or quality.
That the organ was of the highest quality is undoubted: carved oak case, mahogany flutes and top quality spotted metal for all of the pipework from greatest to least.
The organ included an ingenious device for pre-setting stop combinations by twisting the oval stop knobs through a 90° turn to "set them". These were then brought into play by a combination pedal.
When the organ was brought to Moseley in 1887 an additional rank of pipes was added to the Pedal which formed a screen in the Nave arch. From this was taken the Open Bass 16'. A Quint rank was formed from the Bourdon. Alterations were made to fit the case into the restricted height of the newly built organ chamber: the central tower of the case was lowered and the filigree latticework above the towers was removed. The organ was hand blown until 1927 when an electric blower was installed.
| Great | Swell | ||
|---|---|---|---|
| Double Diapason | 16'(Wood/Metal) | Open Diapason | 8'(Metal) |
| Open Diapason | 8'(Metal) | Stopped Diapason | 8'(Wood/Metal) |
| Gamba | 8'(Metal) | Salicional | 8'(Metal) |
| Hohl Flute | 8'(Wood) | Voix Celeste (TC) | 8'(Metal) |
| Principal | 4'(Metal) | Gemshorn | 4'(Metal) |
| Harmonic Flute (TC) | 4'(Metal) | Harmonic Piccolo | 2'(Metal) |
| Fifteenth | 2'(Metal) | Cornopean | 8'(Metal) |
| Mixture 15 19 22 | III (Metal) | Hautboy | 8'(Metal) |
| Trumpet | 8'(Metal) | Clarion | 4'(Metal) |
| Clarion | 4'(Metal) | ||
| Tremulant | |||
| Choir | Pedal | ||
| Double Open Diapason TC | 16'(Wood) | Open Diapason | 16'(Metal) |
| Open Diapason TC | 8'(Metal) | Bourdon | 16'(Wood) |
| Lieblich Gedact | 8'(Wood) | Violoncello | 8'(Metal) |
| Dulciana | 8'(Metal) | Bass Flute | 8'(Wood) |
| Flute | 4'(Wood) | ||
| Flageolet | 2'(Wood/Metal) | ||
| Corno di Basetto | 8'(Metal) | ||
| Wind Pressures | 3¼" | ||
| Couplers | |||
| Swell to Great | |||
| Choir to Great | |||
| Swell Sub-Octave | |||
| Swell to Choir | |||
| Swell to Pedals | |||
| Great to Pedals | |||
| Choir to Pedals | |||
In 1966 it was decided that the organ needed attention. Messrs. Nicholson of Malvern were engaged to do the work and a plan was drawn up for a fairly radical overhaul. The organ was dismantled and turned around to speak down the nave. The old console was disconnected and a new console and electro-pneumatic action installed. The Great Trumpet and Clarion were placed on a new chest above the main soundboard and the Choir department was brought out . into the Chancel. New ranks of pipes were added (and some lost). At a late stage in the proceedings it was decided to lower the pitch of the instrument to standard pitch.
The Pedal department was enlarged and enhanced by the addition of 16' and 8' Reeds, a Dulciana unit (utilising some of the original Choir Dulciana pipework) and the extension of the flue chorus to 4' pitch. The Quint was taken from the Violone (original Diapason revoiced). Henry Jones' Swell Reeds were discarded and a new Chorus of 16', 8' and 4' reeds added. A new Swell Mixture was supplied and Flute at 4' pitch. The Great Gamba was revoiced as an Open Diapason No.2 and a Twelfth was added. The Choir acquired Solo Mutations at 2 2/3' and 1 3/5' pitches. The Corno di Basetto was remodelled as a Krummhorn, the Dulciana discarded, a Gemshorn 4' added and the Great Reeds made available on this department.
Whatever one's view of the rebuild and the subsequent problems encountered it must be remembered that many organs were discarded or altered beyond recognition in the '60's in favour of neo-baroque imports or similar remodelling. St. Mary's got off lightly and, indeed, some of the new ranks of pipes added then are a great asset in the present scheme. With hindsight some of the alterations could have been done differently but some of the drawbacks were not apparent until after completion.
| Great | Swell | ||
|---|---|---|---|
| Double Diapason | 16' | Open Diapason | 8' |
| Open Diapason I | 8' | Stopped Diapason | 8' |
| Open Diapason II | 8' (former Gamba) | Salicional | 8' |
| Hohl Flute | 8' | Voix Celeste TC | 8' |
| Principal | 4' | Gemshorn | 4' |
| Harmonic Flute | 4' | Flute | 4' |
| Twelfth | 2 2/3' | Harmonic Piccolo | 2' |
| Fifteenth | 2' | Mixture19 22 26 | III |
| Mixture 15 19 22 | III | Contra Fagotto | 16' |
| Trumpet | 8' | Trumpet | 8' |
| Clarion | 4' | Clarion | 4' |
| Choir | Pedal | ||
| Double Diapason TC | 16' | Open Wood | 16' |
| Open Diapason TC | 8'(Dulciana Bass) | Bourdon | 16' |
| Lieblich Gedact | 8' | Violone | 16' |
| Gemshorn | 4' | Dulciana | 16' |
| Flute | 4' | Quint | 10 2/3' |
| Nasard | 2 2/3' | Violoncello | 8' |
| Flageolet | 2' | Bass Flute | 8' |
| Tierce | 1 3/5' | Dulcet | 8' |
| Krummhorn | 8' | Fifteenth | 4' |
| Trumpet (Gt.) | 8' | Flute | 4' |
| Clarion (Gt) | 4' | Trombone | 16' |
| Fagotto (Sw.) | 16' | ||
| Clarion | 8' | ||
| Usual Couplers | |||
During the intervening years several schemes were drawn up to try to improve on the work done in 1966. The main problems came from the imbalance between the different sections of the organ and the virtual impossibility of accompanying a full choir in the chancel on an organ which faced down the nave. With the arrival of a talented amateur organ builder on the music staff in 1994 it became possible to address a long-term plan to restore as much of .the original instrument as possible whilst making the best use of the changes made in 1966.
It was decided from the start that there should be no 'quick fix' and that the success of any new scheme would come from experimentation with the existing layout but with careful evaluation at each stage over a period of years.
Henry Jones was justly renowned for the quality of his Diapason sounds. In 1966 the original Gamba rank was altered by removing its slots and changing the voicing. This produced a rather thin, stringy . No.2 Open Diapason which was far from satisfactory. However, the organ possessed a very beautiful Diapason at 16' pitch which was very rarely used. The metal section of this rank (from the 8' pipe) was transferred into the No.2 Diapason slots and charmed all by the beauty and versatility of the resulting effect. No changes were made to the pipes themselves.
Thus began a careful exploration into the full resources the organ contained and the best use that could be made of them.
The other tonal change was to move the strong Tierce rank, over-prominent on the front of the Choir chest, to the Great alongside its twin Twelfth rank. This makes for some excellent English sounds with the secondary Great Chorus.
The Great Reeds on their new chest above the main soundboard were far from good and the position of the new chest itself blocked off a lot of the sound from the fluework. It was decided to restore the reeds to a position behind the main chest, in fact to within a few inches of their original location. Some very skilled restoration work from Trevor Tipple has now returned this chorus to its former glory.
The repositioning and enlargement of the Swell box in 1966 made for some very difficult tonal problems. Not only was it virtually impossible to guage the volume of the Swell from the console but the new battery of 16' 8' 4' reeds at the front of the box totally obliterated the sound of the fluework. It was decided to make a second set of swell shutters above the flue work, opening directly into the chancel and under separate control. This has solved the problem very well and has restored some of the balance.
Other small tonal changes were made to improve the chorus and the Krummhorn, which had been made from the original Choir Como di Bassetto, was moved into the swell box where its tone and volume could be controlled.
The new position of this section allowed it to be remodelled as a secondary Great for use in the chancel with the Swell, using the new shutters. A new 2-rk. Mixture was added and a Larigot replaced the Tierce. A Dulciana was returned to this department, using the bass of the rank removed to the Pedal in 1966.
Having moved the Great reeds back to their original voicing, it was felt necessary to make provision for for a solo high pressure reed. This was done using a rank of good quality, matching the swell reeds from a redundant instrument. The bass is drawn from the Pedal Trombone and it is sited within the left tower of the main case.
The 1966 Haskell Dulciana was removed to be replaced, eventually, by the original Henry Jones pipework from the Great and Choir doubles.
The Fagotto from the Swell has been derived at 8' and 4' pitch and the Trumpet (formerly Clarion) taken from the Great Reeds rather than from the Trombone.
The rather edgy Violone, which had been created from the original Open Diapason, has been returned as far as possible to its original voicing and character and the former name restored.
The Quint, which, in 1966, had been derived from the Violone, has been restored to its original derivation from the Bourdon, making it eminently more versatile and subtle.
All of the skilled work has been undertaken by Trevor Tipple of Worcester, whose firm now has care of the instrument.
At this point we would like to express our indebtedness to the enthusiasm, imagination, expertise and loving care expended on the instrument by former Assistant Organist at St. Mary's, Chris Kearl. Without his vision and dedication while in post and thereafter the current project would not have reached such a satisfying conclusion.
| Great | |||
| * | 1. Double Diapason | 16' | Prepared for (Wood) |
| * | 2. Open Diapason No. 1 | 8' | (Metal) |
| * | 3. Open Diapason No. 2 | 8' | (Metal: Former Double TC) |
| * | 4. Hohl Flute | 8' | (Wood) |
| * | 5. Principal | 4' | (Metal) |
| * | 6. Harmonic Flute | 4' | (Metal) |
| 7. Twelfth | 2 2/3' | (Metal: Dutch 1966) | |
| * | 8. Fifteenth | 2' | (Metal) |
| 9. Tierce | 1 3/5' | (Metal: Dutch 1966) | |
| * | 10. Mixture 15 19 22 | III | (Metal) |
| 11. Mixture 22 26 29 | III | Prepared for | |
| * | 12. Trumpet | 8' | (Metal) |
| * | 13. Clarion | 4' | Metal |
| Swell | |||
| * | 14. Open Diapason | 8' | (Metal) |
| * | 15. Stopped Diapason | 8' | (Wood & Metal) |
| * | 16. Salicional | 8' | (Metal) |
| * | 17. Voix Celeste TC | 8' | (Metal) |
| * | 18. Gemshorn | 4' | (Metal: Former Gt. Gamba pipes revoiced 1966) |
| * | 19. Harmonic Flute | 4' | Prepared for: Former Harmonic Piccolo 2' |
| * | 20. Gemshorn Fifteenth | 2' | (Metal: Former Gemshorn 4') |
| 21. Mixture 19 22 26 | III | (Metal: 1966) | |
| * | 22. Krummhorn | 8' | (Metal: Former Corno di Bassetto. Revoiced 1966) |
| Tremulant | |||
| 23. Contra Fagotto | 16' | (Metal: 1966) | |
| 24. Cornopean | 8' | (Metal: 1966) | |
| 25. Clarion | 4' | (Metal: 1966) | |
| Octave | Sub-Octave | ||
| Unison Off | |||
| Choir | |||
| * | 26. Double Diapason | 16' | (Wood: Prepared for) |
| * | 27. Open Diapason | 8' | (Metal: Bass octave from No. 43) |
| * | 28. Lieblich Gedact | 8' | (Wood) |
| 29. Dulciana | 8' | (Metal: added 1996. Bass octave original) | |
| 30. Gemshorn | 4' | (Metal: added 1996) | |
| * | 31. Flute | 4' | (Wood) |
| 32. Nasard | 2 2/3' | (Metal: Dutch 1966) | |
| * | 33. Flageolet | 2' | (Wood & Metal) |
| 34. Larigot | 1 1/3' | (Metal: Dutch 1996) | |
| 35. Mixture 19 22 | II | (Metal: added 1996) | |
| Tremulant | |||
| * | 36. Trumpet (Gt) | 8' | (Metal) |
| 37. Posaune | 8' | (Metal: added 1997) | |
| Octave | |||
| Sub-Octave | |||
| Swell to Choir | |||
| Great to Choir (Prepared for) | |||
| Pedal | |||
| * | 38. Open Wood | 16' | (Wood) |
| * | 39. Open Diapason | 16' | (Metal) |
| * | 40. Bourdon | 16' | (Wood) |
| * | 41. Stopped Diapason | 16' | Prepared for: from Great 16' |
| * | 42. Quint | 10 2/3' | (from No. 40) |
| * | 43. Violoncello | 8' | (Metal) |
| * | 44. Bass Flute | 8' | (Wood: from No. 40) |
| 45. Fifteenth | 4' | (Metal: from No. 43) | |
| 46. Flute | 4' | (Wood: from No. 44) | |
| 47. Contra Trombone | 32' | Planned | |
| 48. Trombone | 16' | (Metal: 1966) | |
| 49. Fagotto (Sw) | 16' | (Metal: 1966) | |
| * | 50. Trumpet (Gt.) | 8' | (Metal) |
| 51. Fagotto (Sw) | 8' | (Metal: added 1996) | |
| 52. Fagotto (Sw) | 4' | (Metal: added 1996) | |
| Couplers | |||
| Swell to Pedal | |||
| Swell Octave to Pedal | |||
| Great to Pedal | |||
| Choir to Pedal | |||
| Great & Pedal Combinations Coupled | |||
| Wind Pressures | |||
| Main Chests | 3¼" | ||
| Swell Reeds | 4½" | ||
| Great Reeds | 4½" | ||
| Nos.37 & 48 | 10" | ||
| 6 thumb pistons to Swell, Great and Choir | |||
| 6 toe pistons to Swell and Pedal | |||
| Balanced swell pedal to Nave Shutters | |||
| Balanced swell pedal to Chancel Shutters | |||
| Reversible thumb pistons for: Swell to Great, Swell to Pedal and Great to Pedal | |||
| Reversible pedal pistons for: Pedal Trombone, Swell to Great and Great to Pedal | |||
| Electro-pneumatic action | |||
| Original pipework lost | |||
| Swell | Cornopean | 8' 1966 | |
| Hautboy | 8' 1966 | ||
| Clarion | 4' 1966 | ||
| Choir | Dulciana | 8' 1966 | |
| Original Pipework Altered or Removed | |||
| Swell | Gemshorn raised to 2' pitch. Pipes unaltered: 1994 | ||
| Harmonic Piccolo stored beneath instrument for future inclusion as 4' Harmonic Flute. | |||
| Great | Gamba 8': Slots removed 1966. Moved to Swell at 4': 1994 | ||
| Double Diapason: Metal section from TC now Open No.2. Pipework unaltered: 1995 | |||
| Choir | Double Diapason TC: removed and combined with wooden bass from Gt. to form a composite rank on separate chest. Pipes unaltered. | ||
| Corno di Bassetto: Resonators shortened in 1966 to make Krummhom. Moved onto Swell in 1996. | |||
Restoration work on the Great Reeds of this Henry Jones Organ was carried out in 1996 through generous contributions by, on behalf of, or in memory of the following:
The Harrison family
The West family
Pru Allington-Smith
Jim and Joan Burdon
Richard Scott
Helen Johnson
Richard Hanes
Gwen and Wilf Samuel
Alan and Ann Bold
Mollie Oliver
Peter Magson
Peter and Jill Bowler
Jacob Austin
The Dowell Family
Sheila Yates
Cecil Willam Right Slack
Bill and Kay Perrier
A. J. Clark
Rosemary Berridge
Barbara Hanes
Paul Berridge
Margaret Browm
David Berridge
Kath and Ed White
Hilda, William and Mark Checkley
Jennifer Holloway
Peter Southall
Paul Miller
Edna Fowler
Kate Miller
Jean Bruce
Ralf and Joan Vines
Henry George Gould