C. B. Fisk, Inc. (Opus 112, 1998)

St. James Episcopal Church (Sanctuary)

Richmond, VA, US

  • Position: In a Gallery-Level Case at the Rear of the Room
  • Chest Action: Slider With Mechanical Pull-Downs
  • Stop Action: Pneumatic (Electro Pneumatic)
  • Notes: The Great Violoncelle 8’ was inspired by Cavaille-Coll and has brass freins harmonique style beards.
  • Notes: The Great and Pedal Spillpfeife 8’ was modeled on the same stop as in Friedrich Stellwagen’s 1636 organ at the Jakobikirche in Lübeck, Germany.
  • Notes: The Great Harmonique flute 8’ shares its bass with the Spillpfeife and has tapered pipes at the transition to the harmonic range at f1 (note no. 30).
  • Notes: The Great Flute 4’ is based on an Antegnati instrument from about 1588 in Brescia.
  • Notes: The Great mutations (Sesquiatera) are German-scaled (narrow) and the same as the Principal chorus for blend in the Chorus.
  • Notes: The Great mutations (Sesquiatera) are German-scaled (narrow) and the same as the Principal chorus for blend in the Chorus.
  • Notes: The Great VI rank Mixture includes a 5-1/3’ principal rank that comes on if both the Prestant 16’ and the Mixture are pulled on together to complete the harmonic series in the 16’ Plenum. It is all 98% hammered lead in the pre-Schnitger style with certain ranks doubled for tuning stability.
  • Notes: The Great mounted Cornet V is comprised of all wide-scale open flutes (except the 8’ Gedackt) in the French Classical tradition and runs from Go (note 20) to g3. The metal is HaLead.
  • Notes: The Great and Swell Bombardes, Trompettes, and Clairons are built with high Tin content and have 6/7 cut Bertouneche shallots in the style of Cavaille-Coll.
  • Notes: The Great and Swell Bombardes, Trompettes, and Clairons are built with high Tin content and have 6/7 cut Bertouneche shallots in the style of Cavaille-Coll.
  • Notes: The Great and Pedal Trommeten 8’ construction was inspired by Brunner’s organ in Tellingstedt from 1642 and was first used in the Fisk organ at Wellesley College in 1972.
  • Notes: The Great and Swell Bombardes, Trompettes, and Clairons are built with high Tin content and have 6/7 cut Bertouneche shallots in the style of Cavaille-Coll. The Great Clairon 4’ reprises at f#2 (note no. 43).
  • 16' Great to Great
16'61
8'61
8'61
8'61
8'32 ext. SF
4'61
4'61
2 2⁄3'61
2'61
1 3⁄5'61
IV-VI294
V175
16'61
8'61
8'61
4'61
8'
8'
  • Position: In a Gallery-Level Case at the Rear of the Room
  • Chest Action: Slider With Mechanical Pull-Downs
  • Stop Action: Electric
  • Notes: At Impost level
  • Notes: The Positive Unda maris (t.c.) is scaled between the Positive Principal 8’ and the Salicional 8’ and is intended to be used with either stop and is tuned flat.
  • Notes: The Positive mutations are French-scaled (wide/flute) and make-up the Cornet de compose.
  • Notes: The Positive mutations are French-scaled (wide/flute) and make-up the Cornet de compose.
  • Notes: The Positive mutations are French-scaled (wide/flute) and make-up the Cornet de compose.
  • Notes: The Positive mutations are French-scaled (wide/flute) and make-up the Cornet de compose.
  • Notes: HaSpot
  • Notes: The Positive Cor anglais 16’ is similar to the one on Fisk Opus 109 at Rice University first developed for the Rice organ.
  • Notes: The Positive Basson 8’ has C-C Taille II French teardrop shallots.
  • Notes: The Positive Cromorne 8’ has Dom Bedos #2 resonators but with C-C Taille II French teardrop (à larme) shallots.
16'61
8'61
8'61
8'49
8'61
4'61
4'61
2 2⁄3'61
2'61
2'PF
1 3⁄5'61
IV237
16'61
8'61
8'61
4 bells
8'
  • Position: In a Gallery-Level Case at the Rear of the Room
  • Chest Action: Slider With Mechanical Pull-Downs
  • Stop Action: Electric
  • Notes: At Impost level
  • Notes: The Swell Viole de gambe 8ʹ and Voix céleste 8’ are of much smaller scale than the Positive céleste with the céleste tuned sharp.
  • Notes: The Swell Viole de gambe 8ʹ and Voix céleste 8’ are of much smaller scale than the Positive céleste with the céleste tuned sharp.
  • Notes: The Swell IV rank Plein jeu is a normal breaking-mixture made up of hammered tin pipes and has a 2’ rank throughout the compass from low CC. (HaTin)
  • Notes: The Great and Swell Bombardes, Trompettes, and Clairons are built with high Tin content and have 6/7 cut Bertouneche shallots in the style of Cavaille-Coll.
  • Notes: The Great and Swell Bombardes, Trompettes, and Clairons are built with high Tin content and have 6/7 cut Bertouneche shallots in the style of Cavaille-Coll.
  • Notes: The Hautbois 8’ is scaled like a Cavaille-Coll Taille 2 with 7/8ths “teardrop” and Bertouneche shallots.
  • Notes: The Great and Swell Bombardes, Trompettes, and Clairons are built with high Tin content and have 6/7 cut Bertouneche shallots in the style of Cavaille-Coll.
16'61
8'61
8'49
8'61
8'PF
4'61
4'61
2'61
IV244
16'61
8'61
8'61
8'61
4'61
  • Position: In a Gallery-Level Case at the Rear of the Room
  • Chest Action: Slider With Mechanical Pull-Downs
  • Stop Action: Electric
  • Notes: The Pedal Quint 10-2/3’ by default plays the Bourdon 16’ at the unison and 5 th but will also play any other 16’ flue in the Pedal at the 5 th that is drawn via the SSOS control system.
  • Notes: The Great and Pedal Spillpfeife 8’ was modeled on the same stop as in Friedrich Stellwagen’s 1636 organ at the Jakobikirche in Lübeck, Germany.
  • Notes: The Pedal Contre Bombarde 32’ is an extension of the Great and Pedal 16’ Bombarde and has full-length mitered Poplar wooden resonators in the bottom octave and is located at the back wall of the organ chamber at floor level.
  • Notes: The lowest octave of the Posaune 16’ is of Schnitger style with wooden resonators and lead- faced brass shallots. The remainder are 98% hammered lead metal resonators.
32'12 ext.
16'32
16' GT
16' POS
16' SW
10 2⁄3'
8'32
8' GT
8' GT
4'32
IVPF
32'12 ext.
16' GT
16'32
8' GT
8' GT
4' GT
8'
8'
4'
8'
  • Position: In a Gallery-Level Case at the Rear of the Room
  • Chest Action: Other
  • Stop Action: Other