Despite the thorough reforms that the organ had undergone over the years, it was possible to identify its original structure and recover it completely. Its plastic richness and shiny composition give us a beautiful example of a Baroque organ.
The case consists of two different sections and a base with wide caderas (plinth-like case lower section) on top of which rests the main section.
It has seven vertical sections, five on the front and two on the sides. Except for the two small ones on the front, the rest have rectangular pipes. Only the small tower on the left has dummy pipes; the rest are Flautado and Octava pipes.
The quality of the design and the beautiful ornamentation with a golden sculpture stand out to this day thanks to the Egyptian blue on the background (lapis lazuli imitation).
Despite being partially broken and having some defects, we can state that the case was complete, although it had been painted with synthetic paint.
The action is wonderfully built and has a peculiar approach.
The wind chest consists of one large piece. The table and the sliders are made of walnut. It has great capacity and is well preserved.
The multiple channel boards do not go to the facade by means of pipes but instead are connected directly to it, wood to wood, and the last channels of the horizontal reeds are part of the case itself.
It has tracker key action and only the notes at both ends of the keyboard have roller boards. It has a very robust wooden tree-shaped registry action.
The pipe work was preserved on the most part despite the brutal interventions that the organ had undergone, as we discover during the restoration process.
The pipes selected as the instrument original ones are similar to those of other organs made by Urarte and make more than 80% of the organ’s pipe work.
The workmanship is robust and very characteristic of this master.
The tuning pitch and harmonization find clear reference in the pipes as well. Only the Timpani are made of wood.
Three new wedge bellows with levers for manual operation.
Harmonization and tuning
Harmonization has followed the patterns given by the pipes, although achieving this has been a complicated task.
Harmonization has been made at 60 mm wc and the temperament is mean-tone.