Seminar since 1986

The Experience of a Lifetime!


July 13 - July 22, 2017


July 13- 22 ITALY Nine days with Gabriel  and  Elisabeth Marghieri.  Gabriel is Organist of Sacre-Coeur in Paris and Professor of Analysis and Improvisation at the Conservatoire National Supèrieur of Lyon.

July 14:  Bergamo and Brescia:  Serassi and Antegnati organs.  The Antegnati (1581) is one of the oldest and most famous organs in Italy.

 Padua:  As guests of the Ruffatti Organ Company we will visit the Ruffatti Factory and a very interesting Ruffatti built in the traditional Venetian style.

July 15-16: Venice:  Organs of the Basilica Santa Maria della Salute, San Trovaso, San Cassiano, and San Giorgio Maggiore

July 17-18: Bologna and Florence:  The two organs of San Petronio:  Lorenzo da Orato, built in 1475, and the Battista Facceti organ, completed in 1596; the Duomo Organ, and the two organs of San Lorenzo

July 19-21: Rome:  The organs of Basilica Santa Maria Maggiore, Santa Maria Maddalena, San Luigi dei Francesi, and  St. Peter's Basilica


Return to Top

Serassi organ 1781

GREAT ORGAN  (Upper Keyboard)
 1) Principale bassi 16’

 2) Principale soprani 16’

 3) Principale I bassi 8’

 4) Principale I soprani 8’

 5) Principale II bassi 8’

 6) Principale II soprani 8’

 7) Ottava bassi 4’

 8) Ottava soprani 4’

 9) Duodecima

10) Quintadecima

11) Decimanona

12) Vigesimaseconda





17) Sesquialtera

18) Contrabassi e ottave

19) Cornetto I soprani

20) Cornetto II soprani

21) Clarino bassi 8’

22) Fagotto bassi 8’

23) Trombe soprani 8’

24) Clarino soprani 8’

25) Viola bassi 4’

26) Flutta soprani 8’

27) Flauto in VIII soprani 4’

28) Flauto in XII bassi 2’2/3

29) Flauto in XII soprani 2’2/3

30) Voce umana

31) Bombarde al pedale 16’

32) Ripieno al pedale

33) Duodecima di Contrabasso



(Central Keyboard)

34) Principale 8’

35) Ottava 4’

36) Quintadecima

37) Decimanona

38) Vigesimaseconda

39) Vigesimasesta

40) Vigesimanona

41) Sesquialtera (XXIV)

42) Cornetto soprani (VIII-XII-XVII)

43) Flauto in VIII

44) Voce umana soprani

45) Violoncello 8’

General view of the two organs: the first in Cornu Epistolae, the second in Cornu Evangelii

The organs of the Basilica of St. Alexander in Column in Bergamo were built by Giuseppe Serassi  II in 1781.

They are the greatest  and the most important  instruments  made by this famous  dynasty of italian organ builders.

Serassi's factory, active in Bergamo from 1720 to 1895, built around a thousand organs throughout Italy, many of them still functioning and appreciated for the accuracy of the construction and for the beauty and nobility of sound.

The exceptionality of these organs lies not only in its grandeur and in its magnificent eighteenth-century sounds,  but also in the unique mechanical system of underground transmission with a lenght of 33 meters.  This system connects two opposing instruments, one placed on the right side or "in Cornu Epistolae", the other on the left or "in Cornu Evangelii".

It is based on the motion of the pendulum, already studied by Galileo Galilei and observed by Giuseppe Serassi in Santa Maria Maggiore in Bergamo, following the fluctuation of a lantern during a service.

The young Serassi, thirty-one at the time, realized immediately in those circumstances the possibility of linking  two opposite organs controlled by a single organist and he realized the work.

This mechanical system is described by Professor Giosuè Berbenni in the book "Historical Organs of the Province of Bergamo": "from the 54 keys of the first keyboard  placed in Cornu Epistolae,  from the 12 pedal keys and from the  14 registers  commands  leave 80 tie rods.  These tie rods descend under the floor of the presbytery; here, with a 7-shaped angled lever are linked to other rods through the underground walk and are arranged on three different levels: (from the top) the ties of keys, pedals and registers. These rods are suspended on many pendulums that lighten the weight, they win the resistances of traction and are connected by the same 7 to form angled lever with the other  organ in Cornu Evangelii ".

As  Giuseppe Serassi wrote in his letters, the realization of this invention at the time had a resonance that even the Austrian Emperor Ferdinand I sent the "highly intelligent characters which examinated the underground mechanics, speaking with the author that His Majesty would have been satisfied if he could be present. "Always Serassi, also jokingly, told that the venetian organ builder Gaetano Callido, his rival in the art of organ building, was willing to be cut off the head on the success of this work. The same Serassi later told:

 "do not fail to let him know to prepare his head because the system is perfectly working. "

Due to the exceptionality of this invention, in 1784 the Senate of the Venetian Republic granted to Serassi company of Bergamo the exemption from duties for fifteen years.

The underground mechanics  was the subject over the centuries of different maintenance and modification by the same Serassi in 1807 and in 1844, by Giovanni Giudici, a student of Serassi in 1855 and by  Adeodato Bossi Urbani in 1887.

The underground mechanics, restored by Tamburini of Crema in 1970 has unfortunately remained unused for about thirty years, following the application in the eighties of the twentieth century of a robot, or a box with "fingers wooden" placed on the keyboards mechanical and activated by a modern electric console placed in chorus.

In August 2010, the electrical transmission system  has been removed and  the mechanical  console in Cornu Epistolae has been restored.

From the feast of the Assumption of 2010 the instrument is played back from the console in Cornu Epistolae and has regained its original mechanical appearance, with a significant improvement in sound performance and intonation.

Now the organs need a  restoration.  The restoration will start in autumn 2017.

The underground mechanics: down on the thrusts of keys, pedals and registers


Two opposing organs connected by a mechanical system of underground suspended pendulums under the presbytery. In Cornu Epistolae they are placed the Great Organ, the Organ Eco and the respective pedal section, in Cornu Evangelii the Third Organ or Contr'organo and the respective pedal section.

Mechanical console in Cornu Epistolae with three keyboards of 62 keys with short contr'ottava (DO-1-FA5). The lower keyboard controls the third organ, the central the echo organ and the upper one the great organ. Bass / treble division between SI2 and C3.

Pedalboard of 27 notes (C1-RE3) flat, parallel, with chromatic first octave. The first twelve notes are repeated on the higher octave, except for the Bombarde register of the pedal that is real until SI2. The last three notes of the pedal keys (C3-RE3) only work with the union of the manual.

Commands of the stops:

-on two ranks in the right of the console for the great organ;

-on two ranks in the left of the console: one for the echo organ, the other for the third organ in Cornu Evangelii.

In the left there are two great pedals: one for the Ripieno, the other for the free combination of the third organ.

Above the pedalboard there are nine little pedals (from left to right): Trumpet third organ; half Ripieno third organ; Ripieno echo; Violoncello echo organ; Union great organ at the pedal; Union organ echo at the great organ; Union great organ at the third organ; Half Ripieno great organ; Reeds great organ;

In the right there are two great pedals:  one for the free combination and the other for the Ripieno of the great organ.

Equal temperament led to a chorister with declining slightly (LA 3: about 438 HZ).


(Lowest Keyboard)

46) Principale 16’+8’ bassi

47) Principale  16’ soprani

48) Principale  I 8’ dal Do2

49) Principale II 8’

50) Ottava 4’

51) XV-XIX



54) Flauto in VIII

55) Cornetto soprani 4 file

56) Voce umana soprani

57) Tromba 8’   

58) Contrabassi e ottave

59) Duodecima di contrabasso

The mechanical console: partial view of the keyboards and registers commands

Fabio Nava,

titular organist


Prima tastiera - Grand'Organo  

Principale 8'

Ottava 4'

Quintadecima 2'

Decimanona 1.1/3'

Vigesimaseconda 1'

Ripieno 4 file

Flauto a cuspide 8'

Flauto in XII a cuspide 2.2/3'

Voce umana 8'

Tromba 8'

Tromba orizzontale 4'  

Seconda tastiera - Espressivo  

Bordone 8'

Flauto in ottava a cuspide 4'

Principale 2'

XIX-XXII 1.1/3'-1'

Sesquialtera 2.2/3'- 1.3/5'

Cromorno 8'

Violetta 8'



Contrabbasso 16'

Ottava 8'

Quintadecima 4'

Ripieno 4 file

Bombarda 16'

Tromba 8'

Clarone 4'

Subbasso 16'

Bordone 8'


1970 Ruffatti two-manual mechanical organ

L'Organo alla Basilica della Salute

Primo Organo

Principale Bassi (8'),

Principale Soprani (8')


Quintadecima (ritornella a Do#5)

Decimanona (ritornella a Fa#4)

Vigesimaseconda (ritornella a Do#4,5)

Vigesimasesta (ritornella a Fa#3,4)

Vigesimanona (ritornella a Do#3,4,5)

Trigesimaterza (ritornella a Fa#2; cessa a Fa3)

Trigesimasesta (ritornella a Do#2; cessa a Do3).

Contrabbassi (16')

Ottava (al pedale)

Duodecima (al pedale)

Quintadecima (al pedale)

Voce Umana

Flauto in VIII Bassi (reale da Sol1)

Flauto in VIII Soprani,

Trombe Bassi (8')

Trombe Soprani (8')

Flauto in XII

Flauto in XV Soprani

Cornetta Soprani

Trombone (al pedale)

Terza mano

Secondo Organo

Voce Umana

Principale (8')

Corno Inglese (16')

Flauto in VIII (reale da Re3)


Tiratutti del Ripieno a manovella e a doppio pedaletto

Tamburo (= tasto posto di seguito alla pedaliera)


Tiratutti del Ripieno a manovella e a doppio pedaletto
Tamburo (= tasto posto di seguito alla pedaliera)



Gaetan Callido organ 1765



Nacchini organ 1750

San Nicolò dei Mendicoli organ (1743)

Return to Top Return to Top 


Organist, Sacré-Cœur de Montmartre, Paris.


Studied with Henri Carol, René Saorgin, Marie-Claire Alain, Michel Chapuis, Loïc Mallié. After studying at the Conservatoires of Nice and Rueil-Malmaison, he received the Premiers Prix (first prizes) for organ, analysis, and harmony from the Conservatoire National Supérieur de Paris, and the Premier Prix for improvisation from the equivalent institution in Lyon.

He also won the International Grand Prizes of Bordeaux (F) and Saint Albans (GB) for organ interpretation, of Chartres (F) for improvisation, and of Finhaut (CH) for composition.

He obtained the Certificate of Aptitude in Teaching for organ, and currently teaches analyses and improvisation at the Conservatoire National Supérieur de Lyon, after having taught-among other places- at the Conservatoire National Supérieur de Paris.

Gabriel Marghieri has given concerts, conferences and master classes throughout Europe, in Russia, Canada and Japan, recording for radio and television stations.

His discography comprises works by Henri Carol (Solstice), Franz Liszt (Harmonia Mundi-Radio France), as well as  recordings of compositions of his own (Par-dessus l'abîme, oratorio, Gallo...) and improvisations (Amis de l'orgue de Saint-Bonaventure de Lyon).

He has been a member of many national and international judging panels.

Having held posts at, among others, Saint-Paul-Saint-Louis-du-Marais in Paris, he competed for and was appointed incumbent organist  of the Sacré-Cœur de Montmartre in Paris, Saint-Bonaventure Sanctuary and Saint-Jean Cathedral in Lyon.

Composer of works for organ, piano, choir and different instrumental ensembles (Sept Croquis alpestres for organ, Editions Rubin, Par-dessus l'abîme, oratorio, Mainte nuit sans repos...), he also writes pieces of a liturgical and pedagogical nature (Arbres for piano, Editions Billaudot...)

Elisabeth Marghieri was born to a French father and an Irish mother. She studied music in different conservatories, and English in university (and translated two music books from English into French, one for her master's degree in English and one for her organ prize). Recently, she qualified as an English teacher at secondary level and she currently teaches in primary school. She is married to Gabriel Marghieri and mother of their three children.


Primo Organista della Cattedrale di Firenze  

Daniele Dori was born in Siena in 1987.

He studied and graduated at the Istituto Musicale Parregiato in Pavia (piano), Pontificio Istituto di Musica Sacra in Roma (organ and composition), Conservatory in Firenze (composition).

He perfected with O. Latry, L. Lohman and others.

In 2012, he was appointed First Organist of Firenze cathedral and Organist of the Capella Musicale. He is also an accompanist and a coach for singers on the piano.

He carries out a bright career as a concertist, with more than 100 recitals in the most important festivals in Italy, France, Bulgaria, Denmark, Switzerland, Germany, Cyprus.

In 2015, he was the organist for a national church convention which the Holy Pope visited, and during which Mass was broadcasted worldwide.

He has been conducting the San Niccolo di Radda choir (Chianti) since 2012.

He is the artistic director of the International Organ Festival "Harmonia Saeculi" of Radda.

As a composer he has written vocal and instrumental works, such as "Il fiore di Maria", cantata for the Firenze cathedral and a Concerto for organ and orchestra.

He teaches theory, piano, organ, harmony and choir singing in the Accademia Musicale Valdarnese and the Istituto Diocesano di Musica Sacra di Fiesole.

Nicolò Antonio Sari was born in Venice in 1987. He granted his first-class honours diploma on Organ playing and Organ Composition, at the "B. Marcello" Conservatory of Venice, in 2007, where he has studied under Elsa Bolzonello Zoya and Roberto Padoin. Since then he has won many international competitions, such as Amsterdam (J. P. Sweelinck competition, second prize with the first unassigned), St. Julien du Sault (France) Salerno, Fano Adriano, Muzzana del Turgnano and the national competition at Varzi, in addition to numerous other prizes in international competitions (Borca di Cadore, Graz, Carunchio etc.).

He has been a visiting performer at  important festivals in Italy and abroad and has performed as soloist with the orchestra of the Fenice at the Malibran Theatre of Venice, with the Ravenna Chamber music Orchestra and with Orchestra of Padua and the Veneto region. In 2012 he completed a two-year master course in organ, with distinctions, at the "A. Pedrollo" Conservatory in Vicenza under Roberto Antonello and, in 2014, the two-year master course in harpsichord, with distinctions, under Patrizia Marisaldi. He is artistic director of the "Gaetano Callido" International Organ Festival and is organist at the churches of Carmini and San Trovaso in Venice.

Daniel Matrone

Daniel Matrone was born in Annaba (Bône, Algeria).

A grand-son of composer Giacinto Lavitrano (Ischia, 1875 - Bône, 1937), he showed a precocious vocation to continue family tradition by getting in touch with he world of music and arts at a very early age.

His studies at Toulouse Conservatory were continued in Paris with Marie-Claire Alain (organ) and Yvonne Lefébure (piano), including composition and improvisation with great masters among whom Maurice Duruflé.

In 1986 he was among the founders of Ekymose, a gallery in Bordeaux where he gave public performances of many of his piano works; his partnership with musicians such as Meredith Monk and Roberto Benzi also belongs to this interplay with the world of art.

His recordings have won prestigious awards (Choc du Monde de la Musique, Diapason d'or). Organist at the church of Saint-Louis-des-Français in Rome since 1999, Daniel Matrone has been honoured as Chevalier des Arts et des Lettres.

Fabio Nava was born in 1984. He graduated with distinction in Organ, Counterpoint and Fugue under Giovanni Walter Zaramella and Matteo Messori in 2006 at the "Istituto Superiore di Studi Musicali Gaetano Donizetti" in Bergamo, where he also obtained the second level grade in Organ with the highest mark and honours in 2009 and he was awarded the Rotary prize as graduate of the year.

He took part into advanced courses held by E.Bellotti, G.Bovet, F.Finotti, M.Henking, L.Lohmann, G.Parodi, P. Peretti, D.Roth, L.F. Tagliavini, L.Tamminga and J.Verdin. As soloist, he participates in a lot of organ festivals; as accompanist he collaborates with various choirs and chamber groups, including the Immaculate Choir in Bergamo, of which he is the permanent organist.

He plays with Mario Mariotti, an italian trumpet player. He has recorded five cds: one for organ and  trumpet and four as organ soloist.

He is currently the organist of the "Basilica di Sant'Alessandro in Colonna" in Bergamo, where he regularly plays Serassi organ dated 1781 with underground mechanics.

He has taught organ at the Bergamo's Episcopal Seminary for many years and he actually teaches at the secondary school.

Instructors Instruments


Mascioni organ, 1961 135 stops.  Organist Daniele Dori.


The church of San Lorenzo has also examples of great organs for Church, the second one and most grandiose, was built in 1864-1865 by the famous factory of organs of the Brothers Serassi of Bergamo at the behest of the Italian government. It is located in the apse, at the top.

The lavish and impressive musical instrument consists of three keyboards and pedals with seventy keys each and 64 registers, the console is a masterpiece of wood making, with fine carvings and very well ornate. The transmission system is entirely mechanical and very original.

The famous Francesco Landino (XIV century) was organist and composer at San Lorenzo.

Serassi organ 1864



Vantaggini organ 1502

I: Eco (Espressivo)
Principale 8' Bassi
Principale 8' Soprani
Ottava 4' Bassi
Ottava 4' Soprani
Quintadecima 2'
Due di Ripieno
Due di Ripieno
Due di Ripieno
Viola 8' Bassi
Flauto a Camino 8' Soprani
Flauto in Ottava 4' Soprani
Arpone  8' Bassi
Clarino 16' Soprani
Violoncello 8' Bassi
Violoncello 8' Soprani
Corna Musa 8' Soprani
Voce Umana 8' Soprani

San Lorenzo Serassi organ specifications

II: Organo
Principale I 16' Bassi
Principale I 16' Soprani
Principale II 8' Bassi
Principale II 8' Soprani
Principale III 8' Bassi
Principale III 8' Soprani
Ottava I   4' Bassi
Ottava I   4' Soprani
Ottava II 4'
Duodecima 2.2/3'
Quintadecima 2'
Quintadecima 2'
Due di Ripieno
Due di Ripieno
Quattro di Ripieno
Quattro di Ripieno
Terza Mano

Corno 16’ Soprani
Cornetto I [VIII-XII] Soprani
Cornetto II [XV-XVII] Soprani
Fagotto 8’ Bassi
Tromba 8’ Soprani
Clarone 4’ Bassi
Bombarda 16’ Soprani
Violoncello 4’ Bassi
Corno Inglese 16’ Soprani
Viola 4’ Bassi
Clarinetto 16’ Soprani (comb)
Violone 8’ Bassi
Flauto Reale 8’ Soprani
Flauto in Ottava 4’ Soprani
Ottavino 2’ Soprani

Voce Umana 8’ Soprani

III: Armonio (Espressivo

Ottava 4' Bassi
Zampogna 4' Soprani
Viola 4' Bassi
Violetta  8' Soprani
Voce Flebile 8' Soprani
Cromorno 8' Bassi
Oboe 16' Soprani
Tremolo (solo pomello)

Contrabbasso 16'
Basso  8'
Violone  8'
Bombarda 16'
Trombone 8'

San Lorenzo Vantaggini organ 1502

Principale 8
 Flauto in XII
 Voce Umana


dell'organo Mascioni 1955

Prima tastiera – Positivo

in Cornu Epistulae, aperto

  • Principale 8'
  • Flauto Aperto 8'
  • Corno di Camoscio 4'
  • XV 2'
  • Ripieno 4 file
  • Tromba Dolce 8'
  • Unda Maris 8'

in Cornu Evangeli, espressivo

  • Principale 8'
  • Corno di Notte 8'
  • Viola 8'
  • Flauto a Camino 4'
  • Nazardo 2'2/3'
  • Flagioletto 2'
  • Terza 1'3/5'
  • Cornetto Combinato
  • Cromorno 8'
  • Tremolo

Seconda tastiera – Grand'Organo

in Cornu Epistulae, aperto

  • Principale 16'
  • Principale I 8'
  • Principale II 8'
  • Flauto Cuneiforme 8'
  • Dulciana 8'
  • Ottava 4'
  • Flauto a Cuspide 4'
  • XII 2'2/3'
  • XV 2'
  • Ripieno 4 file
  • Ripieno 5 file
  • Controfagotto 16'
  • Tromba 8'
  • Voce Umana 8'

Terza tastiera – Espressivo

in Cornu Evangeli, espressivo

  • Bordone 16'
  • Principale Stentor 8'
  • Principale 8'
  • Bordone 8'
  • Viola Gamba 8'
  • Salicionale 8'
  • Ottava 4'
  • Flauto Armonico 4'
  • Flauto in XII 2'2/3'
  • Silvestre 2'
  • XV 2'
  • Decimino 1'3/5'
  • Ripieno 4 file
  • Sesquialtera Combinata
  • Tuba Forte a Squillo 8'
  • Tromba Armonica 8'
  • Oboe 8'
  • Clarinetto 8'
  • Voce Celeste 8'
  • Coro Viole 3 file 8'
  • Voce Corale 8'
  • Tremolo


  • Ance I Man.
  • Ance II Man.
  • Ance III Man.
  • Ance Ped
  • Ance Generali
  • Ripieni
  • Mutazioni
  • Fondi 16' ai Manuali
  • Accoppiamenti
  • Unioni dei Manuali al Pedale
  • Unioni dei Manuali


in Cornu Epistulae

  • Acustico 32'
  • Contrabbasso 16'
  • Subbasso 16'
  • Quinta 10'2/3'
  • Basso 8'
  • Corno Camoscio 8'
  • Quinta 5'1/3'
  • Ottava 4'
  • Ripieno 6 file
  • Bombarda 16'
  • Trombone 8'
  • Clarone 4'

in Cornu Evangeli

  • Violone 16'
  • Bordone 16'
  • Principale 8'
  • Bordoncino 8'
  • Violoncello 8'
  • Flauto 4'
  • Ottavino 2

Unioni ed accoppiamenti

  • I 8' Ped
  • II 8' Ped
  • III 8' Ped
  • I 4' Ped
  • II 4' Ped
  • III 4' Ped
  • I 16' I
  • III 16' I
  • III 8' I
  • I 4' I
  • III 4' I
  • I 16' II
  • III 16' II
  • I 8' II
  • III 8' II
  • I 4' II
  • II 4' II
  • III 4' II
  • III 16' III
  • III 4' III


S. Maria Maddalena has perhaps the most imposing and rich combination of organ and cantoria. The design is very complex and for sure it was developed by one of the several architects who worked at this church. We know that it took more than 50 years (1706-58) to complete it. Johannes Conradus Werle (German) organ, 1736-40, a very impressive theatrical case.


THE GRAND ORGAN St. Peter's Basilica, Rome Ditta Giovanni Tamburini, 1954 e 1962

 The instrument is housed in two identical cases between the front-most large columns holding up the great dome and the Altar of the Chair of Peter.  The 4-manual console is located in front of the north case, with the organist's back to the case, facing south.  The choir stalls where the Sistine Chapel Choir and Schola (and guest choirs) sing is located between the organist's back and the front pipe facade in that north case.  There is also a mobile three manual console connected to the pipes via a coaxial cable that can be moved all over the main floor of the basilica with contact plugs in numerous locations.


 16'  Principale

 8'  Principale Forte

 8'  Principale Dolce

 4'  Ottava

 2-2/3' Duodecima

 2' Decimaquinta

 1-3/5' Decimasettima

 6 file Ripieno

 5 file Ripieno


 16' Sub Diapason

 8' Principale Stentor

 8' Diapason

 8' Principale

 8' Flauto Aperto

 4' Ottava Diapason

 4' Prestante

 2-2/3' Duodecima

 2' Decimaquinta

 7 file Gran Ripieno

 5 file Ripieno Acuto

 3 file Cimbalo

 16' Tromba Bassa

 8' Tromba Forte

 8' Tromba a Squillo

 8' Tromba Orrizontale     (en chamade)

 4' Tromba Squillo


 16' Tibia Profunda

 8'  Principale di Legno

 8' Tibia

 8' Bordone

 8' Viole Forte

 8' Voce Celeste

 4' Fugara

 4' Flauto Silvestre

 2-2/3' Nazardo

 2' Flauto

 5 file Ripieno

 8' Tromba Armonica

 8' Tuba

 4' Tuba Clarone



QUARTA TASTIERA (Solo or Resonance)

 8' Diapason

 8' Bordone

 8' Viola

 8' Voce Celeste

 4' Ottava Diapason

 4' Flauto Orchestrale

 2' Ottavino

 8' Tromba Armonica

 4' Trombina



 32' Acustico

 16' Diapason

 16' Violone Contrabasso

 16' Tibia Profunda

 16' Subbasso

 10-2/3' Gran Quinta

 8' Ottava

 8' Violone

 8' Flauto Basso

 4' Ottava

 16' Tromba Bassa

 16' Trombone

 8' Tromba Forte

 8' Trombone

 4' Clarone



 32' Basso Acustico

 16' Contrabasso

 16' Principale

 16' Subbasso

 8' Basso

 8' Bordone

 4' Ottava

 16' Bombarda

 8' Tromba


 Full Couplers


Joseph Merklin organ 1881 (in the heart of baroque Rome, with 3 marvellous Carvaggio paintings) Daniel Matrone is organist.


The Organ Seminars