Since the discovery of the American continent in 1492, it is noticed that the Spanish priests brought many 'portative' organs to the new land, instruments used for the accompaniment of the sacred melodies sung during the first catholic messes released at that time.

By the end of the 15th century, some melodies of the Plain Chant in use at Toledo Cathedral were sung in the new parishes. In Santo Domingo, first Spanish administrative colony in the New World, many works by Josquin des Prés were listened together with several Gregorian melodies, since he was considered the most popular composer in Europe and his influence in the Spanish music schools have been considerable.

In the second half of the 16th century, two phenomena of capital importance must be observed: from one side, the ordinance of all liturgy according to the Sevilian rite and, on the other side, the development of the first local schools of composition of a richness still not very well known. This way there was born in the colonised countries the great Latin American Baroque Art, which developed the extraordinary musical vocation of the Latin American people.

During the 17th and 18th centuries many organs have been brought from Europe. The arrival of these instruments motivated the beginning of several native organbuilding schools in the new land. The Iberian Organ (since about 1670 provided with horizontal Trumpets en chamade) was the main example for the construction of the first Latin American instruments. One can see them in the Mexican Cathedral (Mexico) and at the Monastery of São Bento in Rio de Janeiro (Brazil).

Organs from German origin arrived in Brazil during the 18th century. The most impressive examples are to be found in the state of Minas Gerais. One, inspired by the organ type of the famous German organ builder Arp Schnitger at the Cathedral of Mariana. Schnitger's scholar João Enrique Ulencampo (Johann Heinrich Hulenkampf) probably built it. The other one is the little organ placed at the Church of Santo Antonio in Tiradentes. One can find important historic instruments in Mexico, for instance, at Tepozotlán Jesuit Monastery (built by Gregorio Casela in 1749), at Tlaxcala's Santa Anita Huiloac Church (built by Bernardo Rodriguez in 1714). Also in Chile, for instance the Choir Organ at the Cathedral of Santiago (built by the Jesuit brother Georges Kranzer in 1754). The most impressive 18th century instruments of the New World, however, are both organs in Mexico Cathedral, finished in 1735. In Peru, mainly in the region of Cuzco, local builders copied a long time the primitive Spanish instruments that were imported first. A nice example is the Epistle-organ at Andahuaylillas in the neighbourhood of Cuzco, in Peru, unfortunately today in an unplayable condition, as many other instruments of the same kind.

The sacred music production during that period in Latin America was of a high quality, in which the organ was used playing the continuo part. Works written by the most relevant composers at that time as such as Lobo de Mesquita, Marcos Coelho Neto, Ignacio Parreiras Neves and Francisco Gomes da Rocha in Minas Gerais (Brazil), witnesses the high level of the music produced at that period.

The Dutch, whose primary rather great colonial influence in Latin America was, after a few centuries, restricted during the 19th century to the Caribbean and Dutch Guyana (Suriname), imported instruments from their most famous builders. As real colonialists they kept up the same division between religions, mainly Protestants and Roman Catholics, as in their homeland. So could Jonathan Bätz build an organ for the Lutheran church in Paramaribo in 1835 and C.F.A. Naber deliver an organ for Dutch Reformed church in the same town in 1846. Flaes & Brünjes constructed an organ for the Portuguese Israelite Synagogue (Snoa) in Willemstad on the isle of Curaçao in 1866, whereas at the end of the century RC builders as the brothers Adema and Michael Maarschalkerweerd shipped organs to Paramaribo.

During the 19th century - after the commercial independence of many Central and South American countries as well as with the development of the production of organs in series - many instruments have been purchased in Europe, mainly from France, England and Germany. A great number of instruments made by Aristide Cavaillé-Coll arrived in some countries of Latin America in between 1860 and 1900: one in Bolivia, twelve in Brazil, ten in Chile, one in Colombia, two in Costa Rica, one in Haiti, one in Cuba, three in Mexico, two in Peru, seven in Venezuela, one in Argentina and one in Puerto Rico. Other interesting instruments dated from the turning of the 19th to the 20th centuries can also be found in Argentina. The organs at the Basílica de San Carlo Borromeo and at the Santissimo Sacramento church, both in Buenos Aires, are excellent examples of the European organ manufacture.

Religious congregations generally invited organ builders from their country of providence for the construction of an instrument. In this way, big cities as Buenos Aires, Rio de Janeiro and São Paulo obtained also a cosmopolitan organ landscape. In Buenos Aires, for instance, we meet the whole West European organ scene within a few square kilometres. Italian priests invited Serassi and Vegezzi-Bossi from Italy to build organs in their churches and these are in the direct vicinity of organs by Merklin and Cavaillé-Coll, who were invited by French congregations, or by Walcker from Ludwigsburg in Germany and Foster and Andrews in England (the later for the Anglican church). This is a unique situation one will never encounter in Europe!

So the 20th century proved to be the most relevant moment for the history of the organ in Latin America. Also in Brazil, a great number of Tamburini, Vegezzi-Bossi and Walcker organs were installed in the most important churches in the cities of São Paulo, Campinas, Belo Horizonte, Rio de Janeiro and Niterói. Whilst the installation of these instruments were taken place, some builder assistants followed the example of organ builders from former generations in Argentina like Santiago Poggi and Francisco Pic and remained in some of the South American countries, beginning their own job as organbuilders. Particularly in Brazil, amongst many others, that was the case of Wilhelm Berner, Carl Moehrle and Edmond Bohn.

From the 18th century onward some organists from Europe stayed a shorter or longer period in South America, or even their whole live. To them belongs the Italian Domenico Zipoli (1680 - 1726), who from 1718 till his death was organist of the Jesuit church in Córdoba (Argentina). The organist and composer Sigismund Neukomm (1778-1858) was from 1816 to 1821 master of music at the court of emperor Pedro I of Brazil. During the 20th century, the Belgian organist Jules (Julio) Perceval (1903-1963) introduced the modern Belgian-French way of playing, first in Argentina and from 1958 until his death in Chile by his concerts and as a pedagogue.

Although the art of organbuilding flourished in some countries of South America until the first half of the 20th century, the electronic instruments started their paralleled competition with the pipe organs. These electronic instruments were spread out all over the continent motivating a new stile of playing (in the field of popular music), imposing its fashionable presence and adaptation facilities in homes, small churches and so on. After the Second Vatican Council, the use of the organ was greatly restricted and changed by the use of folk and popular music instruments. A wrong interpretation by the clergy of some of the norms concerning the use of Gregorian chant and the organ in the liturgy - established by the Vatican II - has dictated the decline of the instrument.

In the last two decades of the 20th century - due to the increasing of interest in the study of the pipe organ - a new hope for the revival of the instrument was born in Latin America. In Brazil, regional associations of organists have been founded. Their main aim was the preservation of the local instruments and of the organ music. These efforts motivated the creation of the Association of Brazilian Organists, in 1992. It is known that presently some new associations have been created in other Latin American countries. An increasing number of new organ music have been written by leading composers, which has proved the present growing interest on the revival of the organ in Latin America. The advantage of understanding each other spoken and written languages, which is not the case in Europe, is an encouraging factor for the foundation of a pan-Latin-American association of organists and organ amateurs.

CHURCH OF SANTO ANTONIO - TIRADENTES - MINAS GERAIS (BRAZIL)

The organ at Tiradentes was bought in 1786 in the city of Porto, Portugal under the reign of D. Maria I and sent to Brazil in the year 1788. The origin of the instrument is probably from German manufacture. Its displayed registration is characteristic from the organs built in the southern part of Germany during the 18th century.

The instrument presents a single manual with four octaves (without pedalboard) and fifteen divided stops: seven for the left side and eight for the right side of the keyboard.

The case was designed by Salvador de Oliveira and carved by Antonio Rodrigues Penteado and Antonio da Costa Santeiro. In 1798, Manuel Victor de Jesus trimmed the majestic frame.

The half stops are divided into:

Left side:			Right side: 

Principal 8'			Principal 8'
Octave 4'			Octave 4'
Quinta 2 2/3'			Flöte 8'
Octave 2'			Octave 2'
Quinta 1 1/3'			Gedakt 4'
Mixtur 4f.			Waldflöte 4'
Cymbal 3f.			Mixtur 4f.	
				Cymbal 3f.
				

Literature:
BROWN, Julia. "The Organ in Brazil: A cultural and musical perspective" (Ph.D. Thesis in Music), Evanston: Northwestern University, 1993.

MONASTERY OF SÃO BENTO - SÃO PAULO (BRAZIL)

In 1954, during the commemoration of the 4th centenary of the City of São Paulo, the Monastery of São Bento inaugurated its magnificent organ, built in Germany by Walcker. Considered a great instrument, it has 78 stops, four manuals and pedal board with 32 keys and approximately 7.000 pipes. In 1997, the organ was provided with a new console built by Laukhuff.

The present disposition is as follows:

I MANUAL(61 notes, C-c'''')     III MANUAL(61 notes, C-c'''')           PEDAL(32 notes, C-g')

Praestant 16'                   Lieblich Gedackt 16                     Untersatz 32'
Gedackt 16'                     Hornprinzipal 8'                        Prinzipalbass 16'
Prinzipal 8'                    Rohrflöte 8'                            Flötenbass 16'
Weitprinzipal 8'                Quintatön 8'                            Violonbass 16'
Holzflöte 8'                    Aeoline 8'                              Subbass 16'
Gedackt 8'                      Vox celeste 8'                          Quintbass 10 2/3'
Salicional 8'                   Fugara 4'                               Gedackt 16'
Oktave 4'                       Gemshorn 4'                             Quintatön 16'
Rohrgedackt 4'                  Stillgedackt 4'                         Lieblich Gedackt 8'
Quinte 2 2/3'                   Flageolett 2'                           Oktavbass 8'
Superoktav 2'                   Spizquinte 1 1/3'                       Flötenbass 8'
Rohrflöte 2'                    Scharf 4 fach                           Gedecktbass 8'
Cornett 3-5 fach                Oboe 8'                                 Choralbass 4'
Grossmixtur 5-6 fach            Vox humana 8'                           Gedecktpommer 4'
Kleinmixtur 4 fach              Rohrschalmey 4'                         Nachthorn 2'
Trompete 8'                     Tremolo                                 Posaune 16'
Trichterregal 4'                                                        Trompetenbass 8'
                                                                        Tromba 8'
                                                                        Rauschbass 4 fach
                                                                        Clairon 4'

II MANUAL(61 notes, C-c'''')    IV MANUAL(61 notes, C-c'''')            ACCESORIES

Quintatön 16'                   Spitzflöte 8'			
Geigenprinzipal 8'              Lieblich Gedackt 8'
Gemshorn 8'                     Flûte douce 8'                          II/I
Holflöte 8'                     Unda Maris 8'                           III/I
Viola di Gamba 8'               Praestant 4'                            IV/I
Prinzipal 4'                    Querflöte 4'                            III/II
Viola d'amore 4'                Gedacktpommer 4'                        IV/II
Blockflöte 4'                   Gemsquinte 2 2/3'                       IV/III
Nasat 2 2/3'                    Sesquialtera 2 fach                     SUB II/I
Oktave 2'                       Waldflöte 2'                            SUB III/I
Terz 1 3/5'                     Glöckleinton 2'1'                       SUPER II/I
Echomixtur 4 fach               Sifflöte 1'                             SUPER III/I
Dulcian 16'                     Cymbel 2-3 fach 1/2'                    I/PED
Tuba Mirabilis 8'               Krummhorn 8'                            II/PED
Clairon 4'                      Tremolo                                 III/PED

Literature:
KERR, Dorotea M. "Possíveis causas do declínio do órgão no Brasil/Catálogo dos Órgãos no Brasil" (Master's Degree dissertation in Music), Rio de Janeiro, E.M./UFRJ, 1985, 2 volumes.

CHURCH OF NOSSA SENHORA DA CANDELÁRIA - ITU (BRAZIL)

The disposition of the stops is as follows:

GRAND ORGUE (Man. I, 56 notes, C-g''')          RÉCIT EXPRESSIF (Man. II, 56 notes, C-g''')

Bourdon 16'                                     Cor de Nuit 8'
Bourdon 8'                                      Viole de Gambe 8'
Montre 8'                                       Voix Celeste 8'
Flûte Harmonique 8'                             Flûte Octaviante 4'
Prestant 4'                                     Trompette 8'
                                                Basson-Hautbois 8'
                                                Clairon 4'


PÉDALE (30 notes, C-f')                         PÉDALES DE COMBINAISON
(En tirasse)                                    Tirasse G.O. 
                                                Tirasse Récit
                                                Appel d'anches
                                                Expression Récit
                                                Copula 
                                                Tremblant 
					

Literature: SOARES, Calimerio. "Notice sur les orgues Cavaillé-Coll existants au Brésil" in review La Flûte Harmonique, número 57/58, Paris, Association Aristide Cavaillé-Coll, 1991: 52-65.

IGLESIA DE LOS PADRES FRANCESES - VALPARAÍSO (CHILE)

As a born Catalan Cavaillé-Coll used, according Spanish tradition, for the indication of the length of the pipes 'palmos' instead of 'feet' (26 pm. = 16 f., 13 pm. = 8 f.).

The disposition is as follows:

GRAND ORGUE                   RÉCIT EXPRESSIF                 PÉDALES DE COMBINAISON
(Man. I, 54 notes, C-f''')    (Man. II, 54 notes., C-f''')	

Bourdon 26pm                  Viole de Gambe 13pm             Tirasse G.O.
Montre 13pm                   Flûte à cheminée 13pm           Tirasse Récit
Flûte Harmonique 13pm         Voix Céleste 13pm               Copula 
Salicional 13pm               Flûte Octaviante (4')           Appel/annulation de jeux d'anches G.O. 
Prestant (4')                 Octavin (2')                    Appel/annulation de jeux d'anches Récit
Octave (4')                   Trompette 13pm                  Pédale d'Orage
Doublette (2')                Basson et Hautbois 13pm
Plein Jeu III-VI rangs        Voix Humaine 13pm	
Basson 26pm
Trompette 13pm
Clairon (4')


PÉDALE (30 notes, C-f')

Contrebasse 26pm
Violone 26pm
Bourdon 13pm
Bombarde 26pm
Trompette 13pm

Literature: Document (XIII) Comment on montait un orgue Cavaillé-Coll em 1872, in review La Flûte Harmonique, número 79/80, Paris, Association Aristide Cavaillé-Coll, 2000: 39-47.
DIDIER, Miguel Castillo. "Los Órganos Cavaillé-Coll en Chile" in review Caixa Expressiva nº 6, Piracicaba, UNIMEP, Associação Brasileira de Organistas, December, 1999: 9-10.