ROME (Italy) – Istituto Portoghese di Sant’Antonio


Five keyboards 61 keys (C-c)
Pedalboard 32 pedals (C-g)
Drawknobs for stops-control
Sensitive key-action and proportional pallet-opening
12 combinations on 5000 levels for each organist
Proximity sensor for each organist: the console sets itself to the set
preferences of each individual organist (combinations, keyboards touch etc.)
simply “reading” the presence of the organist
Different working pressure for each manual in mm/h2o:

I  Manual – Positiv ………….….…….. mm. 75
II  Manual – Gr.Organ ………………. mm. 80
III  Manual – Recit ………………………. mm. 95
IV  Manual – Solo …….…………….…. mm. 95
Oboe – Solo ……………………………….. mm. 85
V Manual – Echo…………………………… mm. 85
Pedal ……………………..………………….. mm. 110

Manual  I – POSITIV
1. Flauto 8′
2. Principalino  4′
3. Flauto Armonico  2′
4. Larigot Armonico 1.1/3′
5. Cromorno 8′
6. Clarinetto 8′
Manuale  I – Coral
7. I / V     * keyboards swap
8. Flauto a camino 8′
9. Flauto 4′
10. Sesquialtera 2 file
11. Cembalo 3 file
12. Dulzian 8′
13. Tremolo


Manual  II – Gr. ORGAN
14. Flauto 16′
15. Principale 8′
16. Corno Camoscio 8′
17. Principale 4′
18. Tromba 8′
19. Violoncello 4′
20. Quinta 5.1/3′
21. Terza 3.1/5′
22. Settima 2.2/7′
23. Nachthorn 2′
24. Cornetto 5 file 8′
25. Plein Jeu 5/6 file


Manual  III – RECIT
26. Bourdon 8′
27. Gambe 8′
28. Voix Céleste 8′
29. Holzprincipal 4′
30. Carillon 3f.
31. Basson 16′
32. Hautbois 8′
33. Trompette 8′
34. Voix Humaine 8′
35. Tremolo


67. I 16 I  
68. I 16 II  
69. III 16 III  
70. III 16 II  
71. III 4 II  
72. III 4 III  
73. V 4 Ped  
74. III 4 Ped  
75. II 4 Ped
Manual IV – SOLO
36. Flûte Harmonique 8′
37. Flûte Octaviante 4′
38. Nasard Harmonique 2.2/3′
39. Tierce Harmonique 1.3/5′
40. Piccolo Harmonique 1′
41. Regale 16′
42. Fagotto 16′
43. Oboé 8′
44. Tremolo Oboé


Manual  V – Echo
45. Quintaton Pedale 16′
46. Quintadena 8′
47. Diapason 4′
48. Flageolet 2′
49. Terziana 5 file 8′
Manual  V – Bombarde
50. Trombone 16′
51. Tuba 8′


52. Acustico 32′
53. Flautone 16′
54. Subbasso 16′
55. Gran Quinta 10.2/3′
56. Flauto 8′
57. Quinta 5.1/3′
58. Flauto 4′
59. Flautino 2′ 
60. Grand Cornet 6 file  
61. Bombarda 16′
62. Basson 16′
63. Fagotto 16′
64. Tromba 8′
65. Clairon 4′
66. Chalumeau 4′


76. I 8 Ped
77. II 8 Ped
78. III 8 Ped 
79. IV 8 Ped
80. V 8 Ped
81. I 8 II
82. III 8 I  
83. III 8 II  
84. IV 8 I  
85. IV 8 II
86. IV 8 III
87. V 8 I  
88. V 8 II  
89. V 8 III
90. V 8 IV

The new five manual organ for the Church of S.Antonio dei Portoghesi in Rome is a unique and original project. The main organ is located on the main balcony over the entrance. The ‘Great’ manual is situated inside the antique organ case (the original instrument was lost). The Recit and Pedal are on side balconies located on either side of the main balcony, the pipes are not visible from the church at ground level.
The Positiv and the Echo organs are located in two balconies near the Altar.

The instrument features a « sensitive » key-action by the use of special electronics: this technology allows one to play the organ simulating a mechanical action organ.

Unlike the traditional electric transmission, this system allows the organist to control the attack of the sound of the pipe, something which is otherwise not possible by the “fast opening” of the pallet in traditional electric actions.

It is possible to reach this goal by inserting a special sensor in every key which is able to instantly read the position of the key during its movement and to transmit this information with great accuracy to the corresponding pallet in the instrument. In the organ a special device is installed to control the movement of the pallet: it receives the signals from the sensor of the key and transmits its position to the pallet (like a mechanical action) with no delay: that means the movement of the pallet exactly follows the movement of the key.

The result is evident in the acoustic behaviour of the pipes, that matches the one obtainable on a mechanical organ.

This system can be useful in those cases in which the architectural limitations of the church do not allow the installation of a mechanical organ but where there is the intention to build an instrument with such characteristics.


The Russian organist Liudmila Matsyura plays Tournemire during one of the numerous concerts on the organ organised by IPSAR


Pianist, Organist, Harpsichordist, Improviser, Composer, Researcher, Teacher, Artistic Director

Giampaolo Di Rosa is a remarkable musician with an exceptional talent in the art of improvisation.   An established performer-improviser of piano, organ and harpsichord, he is also a composer, a researcher, a teacher and an artistic director.  Drawing on a vast and versatile repertoire from every musical period, he gives concerts and master classes, enjoying an international career which has taken him to almost every corner of the Europe and a wide coverage of other parts of the world including Russia, the United States, Latin America, Australia, Hong Kong, Macao, Singapore, the Middle East and more.

Completing his musical studies under the tutorship of world renowned professors G. Kaunzinger, J. Guillou, G. Wilson and J. P. Oliveira, he holds seven academic diplomas, including a Master’s Degree in organ performance, a Ph.D. in music analysis, four Bachelors and a Post-graduate Diploma.

His enormous repertoire embraces music from every historical period up to the present day, including the complete works of J. P. Sweelinck, J. S. Bach, C. Franck, F. Liszt and O. Messiaen.  His composition works for solo organ, organ and instrument/voice, piano, string orchestra have been performed by eminent musicians in various European countries over the past ten years.  Di Rosa has also released dozens of CD recordings, mainly on piano and organ improvisations.

He has developed a personal approach to the art of improvisation, with which he delights audiences in recitals that also include a wide variety of his own virtuoso compositions.  The Iberian organ is a focus of his musical interests, with an accent on early music as well as modern music with improvisations.

Away from the concert stage, Di Rosa is founder and artistic director of a number of international organ festivals and is appointed to important musical positions in different European countries, including General Music Advisor for the House of Mercy at Guimarães, Portugal; Titular Organist and Master of Music of the Church Saint Anthony of Portuguese in Rome, Italy, where he gives concerts almost every Sunday throughout the year; and Organist in Residence of the León Cathedral, Spain.

In 2010, the President of the Portuguese Republic honoured him as the Officer of the Order of Prince Henry the Navigator, one of the highest honours of the country, for his significant contribution in the promotion of organ music and the art of musical improvisation.

Giampaolo Di Rosa
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