THE PIPE ORGAN OF
CHRIST THE KING CATHEDRAL

A 19th‑century voice reborn for a modern Cathedral—awaiting restoration to sing again.

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4 Manuals

Positif • Great • Swell

• Solo + Pedal

≈59 stops

c. 2,527 pipes

1960

Cooper, Gill & Tomkins (with 1897 Hill & Son pipework)

West gallery

Façade beneath the rose window

A CENTURY-SPANNING STORY

From the Proto‑Cathedral on Kerk Street to the present Cathedral, the organ melds Victorian pipework and mid‑century craft. Built originally in 1897 for the Pro‑Cathedral, much of the Hill & Son pipework was lovingly preserved and later incorporated into the new Cathedral organ of 1960.

In this way, the instrument bridges two eras: the elegance of late‑Victorian craftsmanship and the innovation of mid‑20th‑century design.

Its voice has led generations in worship, concerts, and community events, standing as a living testament to the Cathedral’s history and the enduring role of sacred music in Johannesburg.

• 1897

Hill & Son organ installed (Proto‑Cathedral)

Two‑manual tracker; inaugurated 27 June; later motorised (1908) and electrified with detached console (1948).

• 1958–60

New Cathedral & present instrument

Cooper, Gill & Tomkins build the current organ, re‑using most Hill pipework.

• Today

Awaiting restoration

After decades of service in liturgy and concert, the instrument needs repair to lead worship again.

PLACED TO LEAD

The organ stands prominently on the west-end gallery, its Great division pipes forming the façade just below the rose window. The Positif division is set forward to project clearly into the nave, while the Swell is enclosed in a chamber that allows for dynamic shading and contrast.

SPECIFICATIONS (ESSENTIALS)

Builder

Cooper, Gill & Tomkins (Johannesburg), c. 1960

Heritage

Incorporates 1897 Hill & Son pipework

Divisions

Positif • Great • Swell • Solo • Pedal

Action

Electro-pneumatic (fully electric)

Console

Detached • 4 manuals • draw-stops • gallery front

Scale

≈59 stops • ≈2,527 pipes

Use

Liturgy, choral accompaniment, recitals

Notes

Great façade pipes form the visual case beneath the rose window.
Positif division cantilevered forward for clarity; Swell enclosed.
Combination action & electric coupling typical of the era.
Stoplist available at the end of the page

View Stoplist

LET THE ORGAN LEAD AGAIN

For generations this instrument carried hymnody and prayer. Restoring it preserves a living voice of faith and a rare cultural asset for Johannesburg.

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Volunteer Expertise

GALLERY

The gallery offers a closer look at the Cathedral organ’s craftsmanship—its gleaming façade pipes, intricate console, and fine details that blend artistry with engineering. These images highlight both the instrument’s visual presence and the delicate workmanship that supports its powerful voice.

STOPLIST

The Positif, Great, Swell, Solo, and Pedal divisions each contribute their own colour to the Cathedral organ. The stoplist below shows the full range of voices—from the gentle whispers of the Dulciana and Sylvestrina to the commanding blaze of the Tuba and Tromba—giving the instrument both delicacy and grandeur for liturgy and concert alike.

GREAT

Contra Geigen 16′: Deep, string-toned foundation.
Open Diapason I 8′: Noble principal tone.
Open Diapason II 8′: Second principal for colour/weight.
Geigen 8′: String-toned 8′; keener and more singing than a Diapason.
Principal 4′: Bright principal, one octave above.
Octave Geigen 4′: String at 4′, adds sheen to the chorus.
Twelfth 2 2/3′: Adds harmonic brightness.
Fifteenth 2′: Brilliant upperwork.
Mixture (3 ranks): Sparkle and definition.
Clarabella 8′: Warm, wide open flute.
Harmonic Flute 4′: Bright, singing flute.
Trompetta Real 8′: Bold trumpet-like reed.

SWELL

Bourdon T.C. 16′: Deep, soft stopped flute.
Open Diapason 8′: Strong principal tone inside the box.
Salicional 8′: Thin, string-like tone.
Voix Celeste T.C. 8′: Detuned string rank for shimmer.
Gamba 8′: Rich, warm string tone.
Gemshorn 4′: Hybrid of flute and string.
Hohl Flute 8′: Hollow, round flute sound.
Octave Gamba 4′: String at 4′ pitch, brightens the string chorus.
Oboe 8′: Reed stop imitating orchestral oboe.
Trumpet 8′: Bold reed, trumpet-like.
Double Trumpet 16′: Powerful reed an octave lower.
Clarion 4′: Reed, octave above the Trumpet.
Cymbel II: Very high-pitched mixture.
Mixture (4 ranks): Brightens and reinforces upper harmonics.
Super Octave 2′: Principal two octaves above unison.
Sub Octave: Coupler, adds depth an octave lower.
Unison Off: Disables unison pipes, leaving sub and super only.
Tremulant: Creates a wavering vibrato effect.

POSITIF

Principal 8′: The core “organ tone” of the Positif, providing a firm foundation for the division’s chorus.
Clarinet 8′: A reed stop imitating the orchestral clarinet; warm and reedy, useful for solos.
Tuba 8′: A commanding reed voice, bright and brassy; can dominate the Positif ensemble.
Larigot 1 1/3′: A very high-pitched flute, adds sparkle and colour to the sound.
Nazard 2 2/3′: A flute mutation stop, sounding a third above the unison; used for cornet-like effects.
Tierce 1 3/5′: Another mutation stop, sounding a third above; adds brightness and a distinctive “French” colour.
Fifteenth 2′: A bright principal tone, two octaves above the unison.
Principal 4′: A smaller principal tone, one octave above the 8′ Principal.
Wald Flute 4′: A soft, clear “forest flute” with gentle colour.
Stopped Diapason 8′: A closed flute stop with a mellow, rounded sound.
Dulciana 8′: A very soft string-like stop, delicate and sweet.
Sylvestrina 8′: An even softer string, whispering in character, perfect for background or accompaniment.
Oboe 8′: A reed stop imitating the orchestral oboe, plaintive and expressive.
Flute Couverte 8′: A covered flute stop, producing a warm, veiled sound.
Viol d’Orchestra 8′: A string stop with a rich orchestral character, brighter than Dulciana or Sylvestrina.
Clarion 4′: A bright reed, reinforcing the Oboe or Clarinet an octave higher.
Tremulant A device that makes the sound waver, adding a vibrato-like effect.

PEDAL

Contra Trombone 32′: Enormous reed, deepest pedal tone.
Trombone 16′: Powerful reed at 16′ pitch.
Ophicleide 16′: Reed, brassy and strong.
Tuba 8′: Solo reed, reinforcing pedal line.
Clarion 4′: Reed, very bright in pedal.
Geigen 8′: String-toned stop in pedal.
Contra Geigen 16′: Lower-pitched string stop.
Octave Flute 4′: Bright flute in pedal.
Bass Flute 8′: Deep, resonant flute.
Choral Bass 4′: Small principal-like pedal stop.
Gedackt Bass 8′: Stopped flute, mellow.
Lieblich Bourdon 16′: Soft stopped bass flute.
Bourdon 16′: Standard flute bass.
Sub Bourdon 32′: Huge, soft 32′ flute.
Open Diapason 16′: Principal tone in pedal.
Mixture III: Brightens pedal line with harmonics.

SOLO

Tuba 8′: Very powerful reed, soloistic.
Clarion 4′: Reed at octave pitch, adds brilliance.
Oboe 8′: Reed for plaintive solos.
Flute Couverte 8′: Rich covered flute, lyrical.
Viol d’Orchestra 8′: Bold string tone, orchestral in effect.

THE PIPE ORGAN OF CHRIST THE KING CATHEDRAL