Term used in two related but different ways: (i) to denote a large organ as distinct from a smaller chamber organ, in church accounts (York, 1469; Sandwich, 1496; St Andrew’s, Holborn, 1553), inventories (1515) and general literature; and (ii) to denote the larger or main manual of a two-manual or double organ of the 17th century (King’s College, Cambridge, accounts, 1606), as distinct from the Chair organ. Earlier, it is not always clear which is meant. The contents and function of the Great organ correspond to those of the Grand orgue, organo primo, Hauptwerk (or Oberwerk), Hoofdwerk, etc., except that the English main manual does not have an unbroken tradition for massive Diapason choruses. Those of the 16th and 17th centuries were usually little more than large-scaled chamber organs, often in a place traditionally kept for small organs in the Netherlands, Italy, etc. (e.g. on the screen). German influence, particularly apparent in the organs of William Hill, and the desire to build instruments capable of playing the music of J.S. Bach led to the enlargement of the Great organ from c1840. The Great Exhibition of 1851 was a watershed in the assimilation of further German and French characterstics through the instruments of Schulze and Cavaillé-Coll respectively. These included Harmonic Flutes, Gambas and other orchestral and character stops. Divided chests and higher wind pressures for reeds were developed in the work of Willis during the 1870s, leading to the overt sonorities of Hope-Jones by the end of the century. The neo-classically inspired Organ Reform Movement of the 1920s re-established the Great organ as a Diapason chorus after the styles of the 17th and 18th centuries, but since 1980 there has also been a growing interest in the rehabilitation and replication of 19th century tonal styles.
PETER WILLIAMS/CHRISTOPHER KENT