This instrument was built by Nicolás Salanova in 1724 at one of the most important organ workshops in 18th century Valencia. It is indeed, a showcase for all the unique features of Baroque organ building in Valencia.

The unique 47 note manual compass, pitched at (approx. 380 Hz), the specifications, in which the three families (principals, flutes and reeds) are wonderfully represented, the ever-present 16´ Open Contras, the bevelled cases, etc. These are just some of the unique features that differentiate the few extant Salanova organs and the Valencian School, for that matter, from the rest of the instruments that were built anywhere else on the Peninsula.

Unfortunately, the extensive looting and pillaging which occurred during the Spanish Clvil War (1936-39), along with an extended period of neglect, left the organ in an especially precarious state. The instrument has lost most of its pipework, although after a long and in-depth study, we were able to reconstruct much of it. And, everything was done with the greatest of care and craftsmanship. A complete restoration of an instrument of this high quality also meant we should be equally careful to restore the organs original pitch at around 380 Hz, using 1/6 comma meantone, which is ideal for playing the period repertory proper to this instrument.

Restoring the huge grooved windchests which supply air to the pipes was an especially delicate operation The restoration was sponsored by the Fundación Luz de las Imágenes. Our main goal was to identify and bring back to life the technical and musical intentions Salanova had in mind. Everything was respected to the utmost, and in as far as it was possible, we tried to keep any and all later additions to the instrument that did not conflict or contradict the original style. The idea of restoring a historical instrument means that it can, once again, be a living witness to its past; it is, now, a perfect and absolutely unique vehicle that will help us hear and better understand the musical expressions of a by-gone age. But it is also, undeniably, an instrument for the present.