Great	1		Bourdon	16
	2		Open Diapason	8
	3		Stopped Diapason	8
	4		Dulciana	8
	5		Principal	4
	6		Spitzflute	4
	7		Fifteenth	2
	8		Sesquialter	II
	9		Mixture	IV
	10		Trumpet	8
	i		Swell to Great
	ii		Echo to Great
Swell	11		Chimney Flute	8
	12		Salicional	8
	13		Voix Celeste	8
	14		Principal	4
	15		Gemshorn	2
	16		Sharp Mixture	IV
	17		Trumpet	8
	18		Hautbois	8
	19		Clarion	4
	iii		Tremulant
Echo	20		Gedackt	8
	21		Chimney Flute	4
	22		Nazard	2	2/3
	23		Principal	2
	24		Tierce	1	3/5
	25		Larigot	1	1/3
	26		Vox Humana	8
	iv		Tremulant
Pedal	27		Subbass	16
	28		Flute	8
	29		Fagot	16
	v		Great to Pedal
	vi		Swell to Pedal
	vii		Echo to Pedal

Tracker key action : Electric stop and combination actions

Slider soundboards

  click here to view main image of Douai Abbey organ

 

The Benedictine monks of Douai have strong historical associations with France, and the instrument has been designed to have appropriate resources for the convincing performance of both classical and romantic French repertoire, as well as being able to do justice to other schools.

Douai Abbey Church was begun in 1928, built in an impressive Gothic style to the design of Arnold Crush. Lack of funds brought work to a halt in 1932, and a temporary brick wall was erected at the west end to close off the unfinished church. In 1987 a decision was taken to complete the building, to a new design by Michael Blee.

The organ stands in a slender arch on the North side of the original building, and is conveniently situated for liturgical use for services held either in the Nave or monastic Choir. The exceptional acoustics of the church allow sound to travel easily to all parts of the building, and the organ is voiced in a free and unforced manner.

The freestanding case, which stands some seven metres high, is made of solid French oak. The three manual divisions are housed in the main case, the Great at impost level with the Swell above, and the Echo organ sitting behind the carved screens just above the console. The Pedal pipes are housed in a separate case at the rear of the instrument. The pipeshades were designed by Alan Caiger Smith and carved by Derek Riley. The consultant for the project was the Abbey Organist, Dr. John Rowntree.