It has a single keyboard of 45 notes and its composition was designed by Francisco Ortega, and is very characteristic of this master. However, the horizontal reeds were modified by Antonio Ruiz.
As for its composition, there are some aspects that are worth mentioning. First of all, the bulky Lleno with the seventeenth on the left hand, and four-ranks Lleno and Címbala. Secondly, the Corneta real with 7 ranks doubling the fundamental tone by 13 spans, an open row and a chimney one.
The Violón is particularly interesting, which is on the left and exclusively for the first octave. This characteristic is original from the time the organ the organ was built. It’s not part of any later reform, like we thought before the restoration. It is not present in any other works by Francisco Ortenga or any other authors from that time. It is understood as a pure reinforcement for the basses.
Originally, the horizontal reed had pipes of 13 spans in tessitura: both hands Clarín, right hand Clarín and Dulzaina. Antonio Ruiz removes the Dulzaina, as it was his custom, and adds a Trompeta magna, thus modifying the original position of the stops.
The pipes are of very good quality, even though the facade presents some irregularities, specially regarding the thickness and sturdiness of the metal.
The wind chests and the action are very well constructed and they are made of good materials. They were complete but poorly arranged.
Even though it was complete, the organ before restoration was in very bad condition, mainly due to inadequate interventions. The pipes were in dire condition.
As for the case, which was very large and had abundant ornamentation, the top section was in good condition but the lower section had been repainted and was missing part of the case’s woodcarving. Overall, it was filthy and part of the gilding and the polychromy was peeling.