Opus
Walt Disney Concert Hall
Los Angeles, CA
2004
Stops & Specifications
Positive
- Manual I
- (enclosed)
- 16′ Quintaton
- 8′ Principal
- 8′ Unda Maris
- 8′ Gambe
- 8′ Flûte harmonique
- 8′ Gedackt
- 4′ Octave
- 4′ Hohlflöte
- 2-2/3‘ Nasard
- 2′ Super Octave
- 2′ Waldflöte
- 1-3/5‘ Tierce
- 1-1/3‘ Larigot
- IV Mixture (1-1/3′)
- 16′ Cor anglais
- 8′ Trompette
- 8′ Cromorne
- 4′ Clairon
- Tremolo
- 16′ Llamada
- (LLAMARADA)
- 8′ Llamada
- (LLAMARADA)
- 4′ Llamada
- (LLAMARADA)
- 8′ Trompeta de Los Angeles
- (LLAMARADA)
- 16′ Positive to Positive
Pedal
- 32′ Flûte
- 32′ Violonbasse
- (Gehry façade)
- 16′ Flûte (ext.)
- 16′ Prestant (GREAT)
- 16′ Violonbasse (GREAT)
- 16′ Subbass
- 16′ Bourdon (SWELL)
- 10-2/3‘ Grosse Quinte
- 8′ Octave
- 8′ Flûte (ext.)
- 8′ Violoncelle (GREAT)
- 8′ Bourdon
- (ext. Subbass)
- 4′ Super Octave
- 4′ Flûte (ext.)
- V Mixture (5-1/3′)
- 32′ Contre Bombarde (ext.)
- 32′ Contre Basson
- (Gehry façade)
- 16′ Grande Bombarde
- 16′ Bombardon
- (LLAMARADA)
- 16′ Basson (GREAT 16′)
- 8′ Trompeta
- (LLAMARADA)
- 8′ Basson (GREAT 8′)
- 4′ Clarín
- (LLAMARADA)
- 4′ Basson (GREAT 4′)
Great
- Manual II
- (unenclosed)
- 32′ Violonbasse
- (Gehry façade)
- 32′ ‘Grand Bourdon
- (from 16′, 1-12 resultant)’
- 16′ Prestant
- (polished tin façade)
- 16′ Violonbasse (ext.)
- 16′ Bourdon
- (PEDAL SUBBASS)
- 8′ Principal
- 8′ Diapason à Pavillon
- 8′ Violoncelle
- (ext. Violonbasse)
- 8′ Flûte harmonique
- 8′ Chimney Flute
- 5-1/3‘ Grand Nasard
- 4′ Octave
- 4′ Spire Flute
- 3-1/5‘ Grande Tierce
- 2-2/3‘ Octave Quinte
- 2′ Super Octave
- III Grande Fourniture (16′ series)
- VIII Mixture (8′ series)
- IV Cymbale (4′ series)
- VII Corneta Magna
- 32′ Contre Basson
- (ext.16′) (Gehry façade)
- 16′ Basson
- 8′ Basson
- 4′ Basson
- 8′ Trompeta de Los Angeles
- (LLAMARADA)
- 16′ Great to Great
- (Does not affect 32′ stops)
Couplers
- 8′ Great to Pedal
- 8′ Positive to Pedal
- 8′ Swell to Pedal
- 8′ Llamarada to Pedal
- 16′ Positive to Great
- 8′ Positive to Great
- 16′ Swell to Great
- 8′ Swell to Great
- 4′ Swell to Great
- 16′ Llamarada to Great
- 8′ Llamarada to Great
- 4′ Llamarada to Great
- 8′ Swell to Positive
- 8′ Llamarada to Positive
Swell
- Manual III
- (enclosed)
- 16′ Bourdon
- 8′ Diapason
- 8′ Flûte traversière
- 8′ Bourdon
- 8′ Viole de Gambe
- 8′ Voix céleste (CC)
- 8′ Dulciane doux
- 8′ Voix angelique (TC)
- 4′ Principal
- 4′ Flûte octaviante
- 2-2/3‘ Nasard
- 2′ Octavin
- 1-3/5‘ Tierce
- 1′ Piccolo
- III-V Plein jeu harmonique (2-2/3‘)
- 16′ Bombarde
- 8′ Trompette
- 8′ Hautbois
- 8′ Voix humaine
- 4′ Clairon
- Fast Tremulant
- Slow Tremulant
- 8′ Llamada
- (LLAMARADA)
- 8′ Trompeta de Los Angeles
- (LLAMARADA)
- 16′ Swell to Swell
- 4′ Swell to Swell
Combinations
- Great: 1-8
- Positive: 1-8
- Swell: 1-8
- Llamarada: 1-6
- Pedal: 1-6 (toe)
- General: 1-24 (1-12 toe)
- Restore
- General Cancel
- Combination Set
- All Pistons Next
- Next
- Previous
LLAMARADA
- Manual IV
- (enclosed)
- 8′ Flautado grandiso
- 4′ Octava real
- V Compuestas
- V Lleno fuerte
- 16′ Bombardon
- 8′ Trompeta armonica
- 4′ Clarín armonico
- Tremblante
- Unenclosed
- 16′ Llamada (ext.)
- 8′ Llamada
- (horizontal Tuba)
- 4′ Llamada (ext.)
- 8′ Trompeta de Los Angeles
- (Gehry façade)
- Campanitas
- (Choice of one or both bell arrays)
- Pajaritos
- (Two pairs of birdolas)
- Pitch Pipes (3 pipes)
- D’ F’ A’ (A=442)
Toe Reversibles For
- Great to Pedal
- Swell to Pedal
- Tutti
- Pajaritos
Thumb Reversibles For
- Great to Pedal
- Positive to Pedal
- Swell to Pedal
- Llamarada to Pedal
- Swell to Great
- Positive to Great
- Llamarada to Great
- Tutti
Gallery
Media & Publications
Rosales Organ Builders’ Opus 24
This instrument was a collaborative project, with tonal-design by Manuel Rosales and mechanical design by Caspar von Glatter-Götz and the German firm of Orgelbau Glatter-Götz. The organ’s façade, and the hall in which it stands, was designed by Frank Gehry, a dramatic array of pipes both memorable and fully functional.
Points of Interest
The organ is a gift to the County of Los Angeles from the Toyota Motor Corporation
The visual design of this new organ is the collaboration between architect Frank 0. Gehry and organ builder Manuel J. Rosales.
The mechanical design, construction, tuning and voicing is the result of collaboration by two internationally known pipe organ builders: Glatter-Götz Orgelbau in Germany and Rosales Organ Builders in Los Angeles.
The voicing and tuning by Rosales Organ Builders will be completed in 2004.
The project consultant is J. Michael Barone of Minnesota Public Radio’s “Pipedreams.”
The organ was shipped from Germany by sea in six containers; total weight is over 40 metric tons.
Installation by the Glatter-Götz staff in WDCH began in April 2003 and was completed in June 2003.
Total number of ranks is 109.
The length of the longest pipes is over 32 feet and the largest pipe weighs over 800 lbs.
The smallest pipe is the size of a small pencil with a speaking length less than 1/4″ long.
The lowest note has a frequency of 16 cycles per second, which is C below the lowest note on the piano.
The highest note has a frequency of 10,548 cycles per second, which is an octave plus a third higher than the top note of a piano.
The specially-curved wood facade pipes were made by Glatter-Götz Orgelbau of solid, vertical grain Douglas fir.
The wood facade pipes are actual speaking pipes consisting of the Violone and Basson basses.
Behind the facade are metal pipes, which are made of alloys of tin and lead.
Wood pipes were made in the workshops of Glatter-Götz Orgelbau of solid oak and solid pine.
Metal pipes were made in various specialty workshops in Portugal, Germany and England.
The main console is permanently installed at the base of the organ’s facade in the ‘forest’ of pipes.
The stage console is moveable and can be plugged in at four locations.
61-note manual keyboards are covered with simulated ivory and solid ebony.
32-note pedal boards are made of maple and ebony.
128 draw stop controls are hand-lettered on porcelain with solid ebony stems.
80 manual thumb piston controls and 28 pedal toe pistons are available for preset combinations.
300 memory levels are available for the organists’ preset combinations.
The bench is raised and lowered with an electric motor.
Closed circuit television will allow the organist a view of the conductor at the main console.
Wind for the organ is supplied by three blowers. The blower motors total 13.3 horsepower.
Wind pressures range from 4″ (102mm) for the Positive to 15″ (380mm) for the Llamada “Tuba.”
The keys on the main console are connected to the pipe valves via a mechanical linkage known as ‘tracker action’.
Both consoles are equipped with electric action, which may be digitally recorded for playback and archival purposes.
The organ is equipped with MIDI interface for connection to digital systems.
The sound of this organ is designed specifically to support the orchestra and not to imitate it.
The organ will be voiced with a wide dynamic range from super pianissimo to a breathtaking fortissimo.
Materials Used
Cherry for the console
Porcelain for the stop knobs
Simulated ivory and ebony for the manual keyboards
Metal pipes of high-tin alloys, 75% to 90%
Flute pipes of hammered lead
Opus
24
Walt Disney Concert Hall
Los Angeles, CA
2004
Stops & Specifications
Great
- Manual II
- (unenclosed)
- 32′ Violonbasse
- (Gehry façade)
- 32′ ‘Grand Bourdon
- (from 16′, 1-12 resultant)’
- 16′ Prestant
- (polished tin façade)
- 16′ Violonbasse (ext.)
- 16′ Bourdon
- (PEDAL SUBBASS)
- 8′ Principal
- 8′ Diapason à Pavillon
- 8′ Violoncelle
- (ext. Violonbasse)
- 8′ Flûte harmonique
- 8′ Chimney Flute
- 5-1/3‘ Grand Nasard
- 4′ Octave
- 4′ Spire Flute
- 3-1/5‘ Grande Tierce
- 2-2/3‘ Octave Quinte
- 2′ Super Octave
- III Grande Fourniture (16′ series)
- VIII Mixture (8′ series)
- IV Cymbale (4′ series)
- VII Corneta Magna
- 32′ Contre Basson
- (ext.16′) (Gehry façade)
- 16′ Basson
- 8′ Basson
- 4′ Basson
- 8′ Trompeta de Los Angeles
- (LLAMARADA)
- 16′ Great to Great
- (Does not affect 32′ stops)
Swell
- Manual III
- (enclosed)
- 16′ Bourdon
- 8′ Diapason
- 8′ Flûte traversière
- 8′ Bourdon
- 8′ Viole de Gambe
- 8′ Voix céleste (CC)
- 8′ Dulciane doux
- 8′ Voix angelique (TC)
- 4′ Principal
- 4′ Flûte octaviante
- 2-2/3‘ Nasard
- 2′ Octavin
- 1-3/5‘ Tierce
- 1′ Piccolo
- III-V Plein jeu harmonique (2-2/3‘)
- 16′ Bombarde
- 8′ Trompette
- 8′ Hautbois
- 8′ Voix humaine
- 4′ Clairon
- Fast Tremulant
- Slow Tremulant
- 8′ Llamada
- (LLAMARADA)
- 8′ Trompeta de Los Angeles
- (LLAMARADA)
- 16′ Swell to Swell
- 4′ Swell to Swell
Positive
- Manual I
- (enclosed)
- 16′ Quintaton
- 8′ Principal
- 8′ Unda Maris
- 8′ Gambe
- 8′ Flûte harmonique
- 8′ Gedackt
- 4′ Octave
- 4′ Hohlflöte
- 2-2/3‘ Nasard
- 2′ Super Octave
- 2′ Waldflöte
- 1-3/5‘ Tierce
- 1-1/3‘ Larigot
- IV Mixture (1-1/3′)
- 16′ Cor anglais
- 8′ Trompette
- 8′ Cromorne
- 4′ Clairon
- Tremolo
- 16′ Llamada
- (LLAMARADA)
- 8′ Llamada
- (LLAMARADA)
- 4′ Llamada
- (LLAMARADA)
- 8′ Trompeta de Los Angeles
- (LLAMARADA)
- 16′ Positive to Positive
LLAMARADA
- Manual IV
- (enclosed)
- 8′ Flautado grandiso
- 4′ Octava real
- V Compuestas
- V Lleno fuerte
- 16′ Bombardon
- 8′ Trompeta armonica
- 4′ Clarín armonico
- Tremblante
- Unenclosed
- 16′ Llamada (ext.)
- 8′ Llamada
- (horizontal Tuba)
- 4′ Llamada (ext.)
- 8′ Trompeta de Los Angeles
- (Gehry façade)
- Campanitas
- (Choice of one or both bell arrays)
- Pajaritos
- (Two pairs of birdolas)
- Pitch Pipes (3 pipes)
- D’ F’ A’ (A=442)
Pedal
- 32′ Flûte
- 32′ Violonbasse
- (Gehry façade)
- 16′ Flûte (ext.)
- 16′ Prestant (GREAT)
- 16′ Violonbasse (GREAT)
- 16′ Subbass
- 16′ Bourdon (SWELL)
- 10-2/3‘ Grosse Quinte
- 8′ Octave
- 8′ Flûte (ext.)
- 8′ Violoncelle (GREAT)
- 8′ Bourdon
- (ext. Subbass)
- 4′ Super Octave
- 4′ Flûte (ext.)
- V Mixture (5-1/3′)
- 32′ Contre Bombarde (ext.)
- 32′ Contre Basson
- (Gehry façade)
- 16′ Grande Bombarde
- 16′ Bombardon
- (LLAMARADA)
- 16′ Basson (GREAT 16′)
- 8′ Trompeta
- (LLAMARADA)
- 8′ Basson (GREAT 8′)
- 4′ Clarín
- (LLAMARADA)
- 4′ Basson (GREAT 4′)
Couplers
- 8′ Great to Pedal
- 8′ Positive to Pedal
- 8′ Swell to Pedal
- 8′ Llamarada to Pedal
- 16′ Positive to Great
- 8′ Positive to Great
- 16′ Swell to Great
- 8′ Swell to Great
- 4′ Swell to Great
- 16′ Llamarada to Great
- 8′ Llamarada to Great
- 4′ Llamarada to Great
- 8′ Swell to Positive
- 8′ Llamarada to Positive
Combinations
- Great: 1-8
- Positive: 1-8
- Swell: 1-8
- Llamarada: 1-6
- Pedal: 1-6 (toe)
- General: 1-24 (1-12 toe)
- Restore
- General Cancel
- Combination Set
- All Pistons Next
- Next
- Previous
Thumb Reversibles For
- Great to Pedal
- Positive to Pedal
- Swell to Pedal
- Llamarada to Pedal
- Swell to Great
- Positive to Great
- Llamarada to Great
- Tutti
Toe Reversibles For
- Great to Pedal
- Swell to Pedal
- Tutti
- Pajaritos
Gallery
Media & Publications
Rosales Organ Builders’ Opus 24
This instrument was a collaborative project, with tonal-design by Manuel Rosales and mechanical design by Caspar von Glatter-Götz and the German firm of Orgelbau Glatter-Götz. The organ’s façade, and the hall in which it stands, was designed by Frank Gehry, a dramatic array of pipes both memorable and fully functional.
Points of Interest
The organ is a gift to the County of Los Angeles from the Toyota Motor Corporation
The visual design of this new organ is the collaboration between architect Frank 0. Gehry and organ builder Manuel J. Rosales.
The mechanical design, construction, tuning and voicing is the result of collaboration by two internationally known pipe organ builders: Glatter-Götz Orgelbau in Germany and Rosales Organ Builders in Los Angeles.
The voicing and tuning by Rosales Organ Builders will be completed in 2004.
The project consultant is J. Michael Barone of Minnesota Public Radio’s “Pipedreams.”
The organ was shipped from Germany by sea in six containers; total weight is over 40 metric tons.
Installation by the Glatter-Götz staff in WDCH began in April 2003 and was completed in June 2003.
Total number of ranks is 109.
The length of the longest pipes is over 32 feet and the largest pipe weighs over 800 lbs.
The smallest pipe is the size of a small pencil with a speaking length less than 1/4″ long.
The lowest note has a frequency of 16 cycles per second, which is C below the lowest note on the piano.
The highest note has a frequency of 10,548 cycles per second, which is an octave plus a third higher than the top note of a piano.
The specially-curved wood facade pipes were made by Glatter-Götz Orgelbau of solid, vertical grain Douglas fir.
The wood facade pipes are actual speaking pipes consisting of the Violone and Basson basses.
Behind the facade are metal pipes, which are made of alloys of tin and lead.
Wood pipes were made in the workshops of Glatter-Götz Orgelbau of solid oak and solid pine.
Metal pipes were made in various specialty workshops in Portugal, Germany and England.
The main console is permanently installed at the base of the organ’s facade in the ‘forest’ of pipes.
The stage console is moveable and can be plugged in at four locations.
61-note manual keyboards are covered with simulated ivory and solid ebony.
32-note pedal boards are made of maple and ebony.
128 draw stop controls are hand-lettered on porcelain with solid ebony stems.
80 manual thumb piston controls and 28 pedal toe pistons are available for preset combinations.
300 memory levels are available for the organists’ preset combinations.
The bench is raised and lowered with an electric motor.
Closed circuit television will allow the organist a view of the conductor at the main console.
Wind for the organ is supplied by three blowers. The blower motors total 13.3 horsepower.
Wind pressures range from 4″ (102mm) for the Positive to 15″ (380mm) for the Llamada “Tuba.”
The keys on the main console are connected to the pipe valves via a mechanical linkage known as ‘tracker action’.
Both consoles are equipped with electric action, which may be digitally recorded for playback and archival purposes.
The organ is equipped with MIDI interface for connection to digital systems.
The sound of this organ is designed specifically to support the orchestra and not to imitate it.
The organ will be voiced with a wide dynamic range from super pianissimo to a breathtaking fortissimo.
Materials Used
Cherry for the console
Porcelain for the stop knobs
Simulated ivory and ebony for the manual keyboards
Metal pipes of high-tin alloys, 75% to 90%
Flute pipes of hammered lead