The Exsúltet Organ The Exsúltet Organ was designed to offer praise and glory to God. It derives its name from the Latin exsúltet, meaning “rejoice,” which is both the first word and title of the oldest known Christian liturgical hymn of praise. Chanted just after sunset on Easter Eve, this song celebrates Christ’s Passover from death to life and begins with these words of exultation: “Rejoice now, heavenly hosts and choirs of angels, and let your trumpets shout Salvation, for the victory of our mighty King. Rejoice and sing now, all the round earth, bright with a glorious splendor, for darkness has been vanquished by our eternal King. Rejoice and be glad now, Mother Church, and let your holy courts in radiant light, resound with the praises of your people.” This Viscount International (of Mondaino, Italy) custom organ and state-of-the-art console, Whitesel Church Organ’s Opus 1275, takes the helm as Viscount’s largest console and hybrid organ in North America. Designed by Christopher J. Rusk, St. John’s Organist and Choirmaster, in consultation with Viscount and Whitesel, it incorporates all 16 ranks of pipes (fully restored to their original condition) from St. John’s 1951 Austin Pipe Organ (Opus 2171) as well as over 75 ranks of Viscount's physically modeled organ voices, powered by their internationally patented Physis® (physical modeling) Technology. Over 13,000 watts of amplification and more than fifty Walker Technical Speaker Cabinets allow these new virtual ranks to speak in one voice and to remain in tune with their Austin counterparts. Physis® models the sound by measuring an organ’s natural and physical attributes, as well as its interaction with its environment—then Physis® rebuilds that sound in real time through processing computer code at unprecedented speeds, not storing samples like in older obsolete technologies. Physis® rebuilds all the details through complex algorithms, down to the smallest imperfections—those elements that give the original instrument its character and warmth. Physis® creates its sound so that it is ever changing, like the original organ model, and it can be adjusted to accommodate the desires of the most demanding organist or acoustically deprived environment. Viscount has succeeded in reproducing sound waves just as they would emanate from a windblown pipe organ—each with its own autonomy, individuality and unique characteristics. Viscount’s Physis® produces a reproduction of each note’s sound wave just as it sounded in the original organ. Since there are no “breaks” or “split-points,” the progression of sound across the keyboard is accurate, smooth and natural. The shapes of Physis® sound waves are open, making it possible to edit, modify and extend their structure. They produce a tri-dimensional sound. Physis® speaks not with just “Left-to-Right” motion (as is currently done with older technologies) but with “Front-to-Back” and “Up and Down” motion like real windblown pipes. St. John's Exsúltet Organ has a library of over 1000 organ voices available, and, as the technology improves, it can accept new voices and software updates in as little a few minutes, without the need for the dealer to be present.
The Exsúltet Organ A = Austin Pipes
GRAND ORGUE (Manual I – unenclosed) 16' Montre V 8' Montre V 8' Principal A 8' Bourdon A 8' Dulciane A 4' Prestant A 4' Flûte conique V 2' Doublette V 2' Flûte V VI Fourniture V III Mixture A 16' Bombarde V 8' Trompete V 4' Clairon V
POSITIF (Manual II – expressive) 8' Principale Povia V 8' Flute a cheminee V 8' Dolce/Unda Maris II V 4' Prestant V 4' Flûte à fuseau V 2 2/3' Nazard V 2' Flûte à bec V 1 3/5' Tierce V 1 1/3' Larigot V 1' Flageolet V III Cymbale V 8' Cromorne V 8' Cor d’orchestre V 8' Cor Anglais V
RÉCIT (Manual III - expressive) 16' Bourdon V 8' Principal A 8' Melodie A 8' Salicional A 8' Voix Céleste A 4' Octave V 4' Flûte A 2' Doublette V 2' Quarte de nazard V II Dolce Cornet V V Fourniture V 16' Basson V 8' Trompette A 8' Hautbois A 8' Voix Humaine V 4' Clairon V
V = Viscount Physis® Stops
PÉDALE (unenclosed) 32' Bourdon V 16' Contrebasse A 16' Soubasse V 16' Flûte A 8' Principal A 8' Flûte A 4' Choralebasse V IV Fourniture V 32' Bombarde V 16' Bombarde V 16' Basson V 8' Trompette V 4' Clairon V 4' Chalmeau V
ANTIPHONAL (expressive) 8' Flûte d'Harbin V 8' Echo Flûte Celeste II V 4' Octave V 4' Flûte a cheminee V 2' Flûte V
ANTIPHONAL PÉDALE 16' Bourdon V 8' Flûte V
SOLO-BOMBARDE (unenclosed) 8' Flûte Harmonique V 8' Violincelle V 8' Tuba Mirabilis V Trompette-en-chamade/G.O. V Trompette-en-chamade/Positif V Trompette-en-chamade/Recit V Trompette-en-chamade/Pedale V
TIRASSES Grand Orgue/Pedale Positif/Pedale Recit/Pedale Recit/Grand Orgue 16, 8, 4 Recit/Positif Positif/Grand Orgue 16, 8, 4 Antiphonal/Grand Orgue Antiphonal/Pedale Solo-Bombarde/Grand Orgue Solo-Bombarde/Positif Grand Orgue 16, 4
ZIMBLESTERN
