Naples, Florida — Naples-Marco Philharmonic Hall

Naples, Florida — Naples-Marco Philharmonic Hall
Four manuals and pedals, 41 stops, 64 ranks
Movable drawknob console, compass 61/32
Electro-pneumatic action
Opus 3690, 1990
Photographs: Ed Chappell
After initially considering the construction of a concert hall for the Naples
Philharmonic that included an organ, the leaders decided that a hall with such a
narrow focus might not be as viable as one hat included other types of
performance. At that point in time the design of the hall changed to one that
could be used for opera and musicals in addition to orchestral concerts. Since
organs in multi-purpose halls are often difficult to place, the organ was dropped
from the program. After the hall was under construction the subject of the organ
was revisited when some key individuals decided it would be a mistake to build a
new hall that did not contain a pipe organ. We were called again at that point and
intense discussions began on ways to include an instrument. The commitment of
the leadership was extremely positive and they were willing to make any change
that was necessary to install an organ in the new hall with the exception of
renovations that would delay the opening of the hall the following year because
major events had been previously scheduled. The solution was to place the
instrument at the back of the stage just behind the orchestra shell in the area that
had been designated as the backstage crossover space. The crossover was routed
behind the organ space. We designed a façade that replaces the back wall of the
orchestra shell when the organ is used in performance. The façade then becomes
the backdrop for the orchestra and the ceiling and walls of the acoustic shell serve
as reflecting panels for the organ as well as the orchestra. The hall was opened on
schedule in 1989 and the organ was installed and finished the following summer
with its inauguration held at the opening of the 1990-1991 season. The
instrument is complete in its design with fully developed divisions for its use with
a large orchestra and for solo performances.
True, the organ is an amalgam of many personalities, brought
together, however, in a work of art that will never be precisely
duplicated; that never can be. No two human beings are the same:
no two human experiences, even experienced by the same person,
can be exactly the same. And inspiration, the underlying force of a
work of art, is fluid, changing, impulsive. So Casavant opus 3690, in
the Philharmonic Center for the Arts, in Naples, is unique, in the
loftiest meaning of the term. And splendid.
— Norman Nadel, critic, 1990
Grand Orgue
Violonbasse (Ext.)
Montre
Violon
Flûte ouverte (common bass)
Flûte à cheminée
Prestant
Flûte
Doublette
Cornet III
Grande Fourniture II-III
Fourniture IV-VI
Bombarde (Ext.)
Trompette
Tremblant
Grand Orgue Unison Off
Positif Expressif
Salicional
Bourdon
Principal
Flûte à fuseau
Nazard
Quarte de nazard
Tierce
Larigot
Cymbale IV
16
8
8
8
8
4
4
2
2-2/3
2-2/3
1-1/3
16
8
8
8
4
4
2-2/3
2
1-3/5
1-1/3
2/3
Récit
Bourdon doux (Ext.)
Flûte majeure
Viole de gambe
Voix céleste (GG)
Principal
Flûte octaviante
Octavin
Plein Jeu V
Basson (Ext.)
Trompette harmonique
Hautbois
Voix humaine
Clairon harmonique
Tremblant
Récit Unison Off
Pédale
Contre Bourdon 1
Montre
Violonbasse (Grand Orgue)
Soubasse
Bourdon doux (Récit)
Octavebasse
Violon (Grand Orgue)
Flûte à cheminée (Grand Orgue)
Octave
16
8
8
8
4
4
2
2
16
8
8
8
4
32
16
16
16
16
8
8
8
4
Positif Expressif (continued)
Cromorne
8
Tremblant
Positif Unison Off
Solo
Flûte harmonique
Grand Cornet V (
MC,f
r
om 8’
)
Cornet V (TC)
Bombarde (Ext.)
Trompette royale
Clairon royal (Ext.)
Tremblant
© Casavant Frères
8
16
8
16
8
4
Pédale (continued)
Flûte (Grand Orgue)
Mixture IV
Contre Bombarde (Ext.)
Bombarde
Petite Bombarde (Grand Orgue)
Basson (Récit)
Trompette (Ext.)
Clairon (Ext.)
Cromorne (Positif)
1
Digital
4
2-2/3
32
16
16
16
8
4
4