PipeChat Digest #221 - Wednesday, January 28, 1998
Re: T&V
  by SCoonrod <SCoonrod@aol.com>
Re: T.O. Pipework facades?
  by Robert E. Wilhelm, Jr. <wilhelre@sterlingdi.com>
Upcoming Dallas events (cross posted)
  by Clyde Putman <cputman@mail.smu.edu>
Curiosity killed the Comet (Was: Sagging Languids)
  by Richard Schneider <arpncorn@dave-world.net>
Re: Curiosity killed the Comet (Was: Sagging Languids)
  by dmjd <jimdave@rnet.com>
Looking for contacts in SINGAPORE
  by Philippe Beullens <bulls.oil@tornado.be>
Another Moeller Question
  by Kevin.M.Simons-1 <Kevin.M.Simons-1@ou.edu>
Re: Another Moeller Question
  by Stanley E Yoder <syoder+@andrew.cmu.edu>
Re: Curiosity killed the Comet (Was: Sagging Languids)
  by bruce cornely <cremona84000@webtv.net>
Moller or Moeller?
  by Bob Conway <conwayb@post.queensu.ca>
Thoughts on Volume
  by <danbel@earthlink.net>
Re: T&V
  by Kevin Cartwright <kevin1@alaweb.com>
Re: T&V
  by Kevin Cartwright <kevin1@alaweb.com>
Re: T.O. Pipework facades?
  by Kevin Cartwright <kevin1@alaweb.com>
Famed Mollers [was Re: Curiosity killed the Comet (which was: Sagging Lan
  by Ken <mewzishn@spec.net>
Re: From Today's Sydney Morning Herald
  by Kevin Cartwright <kevin1@alaweb.com>
Re: T.O. Pipework facades (CROSS POSTED)
  by Brian Pearson <bpearson@adelaide.on.net>

(back) Subject: Re: T&V From: SCoonrod <SCoonrod@aol.com> Date: Wed, 28 Jan 1998 08:08:23 EST   In a message dated 98-01-27 23:52:25 EST, pnst@itw.com writes:   << And Kevin? If played well, the piano is a beautiful instrument. Ya just gotta know what to listen for. --Shirley >>   I agree. Unfortunately, I was never properly trained as a pianist before learning to play the organ. I find it and its music to be by their nature very expressive and beautiful. In fact (it probably has to do with the fact that I am not as familiar with the piano literature) I am less bored at a well played piano recital than at most organ recitals! NOW FOLKS: this does not mean that I am saying that the organ is unexpressive and unforgiving as a musical instrument, I love both instruments, they are different, and that is good.   RandyT  
(back) Subject: Re: T.O. Pipework facades? From: "Robert E. Wilhelm, Jr." <wilhelre@sterlingdi.com> Date: Wed, 28 Jan 1998 08:29:56 -0500   <html> <blockquote type=cite cite>George W. Jenista wrote: <br> &gt; <br> &gt; Have there ever been theater pipe-organ installations with exposed <br> &gt; {working} pipework in facade, as opposed to being totally enclosed/under <br> &gt; expression? Thanks! <br> &gt; <br> &gt; George Jenista </blockquote><br> I don't know that the practice of unenclosed pipes on a theatre organ was done much during original installations in their hey-day, however, the practice has been done with a number of the reinstalled or modified instruments in the recent past.&nbsp; A number of theatre pipe organs have their percussions exposed and even fewer yet have some of the pedal pipes exposed (i.e. not under expression).&nbsp; The 3/66 Dickinson Kimball has a 61-note Deagan Celesta, a 49-note Master Harp, and a 25-tube set of Master Chimes not under expression.&nbsp; Over one of the dressing rooms backstage is the 32-foot Austin Bombarde (from the Church of the Heavenly Rest in New York City), the 16-foot Kimball Wooden Open (from Kimball's demonstrator instrument at their headquarters in Kimball Hall, Chicago), and the 16-foot Metal Open (from the facade of the Great Auditorium in Ocean Grove, NJ) all standing in the open.&nbsp; <BR> <div>Robert E. Wilhelm, Jr.</div> <div>Maintenance Crew Leader</div> <div>3/66 Dickinson Kimball Theatre Pipe Organ</div> <div>1801 Milltown Road</div> <div>Wilmington, DE&nbsp; 19808-3433</div> <div>Voice: 302-366-8993 (H)</div> <div><x-tab>&nbsp;&nbsp;&nbsp;&nbsp;</x-tab><x-tab>&nbsp;&nbsp;&nbsp;</x-tab> 302-631-3940 (W)</div> <div>FAX: 302-631-3955</div> <div>E-mail: wilhelre@sterlingdi.com</div> </html>  
(back) Subject: Upcoming Dallas events (cross posted) From: cputman@mail.smu.edu (Clyde Putman) Date: Wed, 28 Jan 1998 09:44:27 -0500   Dr Larry Palmer at SMU ask me to send this out to the various lists.   IBERIAN KEYBOARD MUSIC (1550-1850 AND BEYOND!), the joint conclave of the Southeastern and Midwestern Historic Keyboard Societies will be held in the Fort Worth/Dallas metroplex May 28-30. Among the performers and presenters at this gathering are harpsichordists Jane Clark (London), Peter Marshall (Atlanta); fortepianist and clavichordist Virginia Pleasants (London); the Texas Baroque Ensemble (directed by Susan Ferre); Forth Worth Early Music (Lenora McCroskey); and metroplex personalities S. Wayne Foster, Hye-Jean Choi, Janet Hunt, Michael Lindner, and Larry Palmer (who will give a concert with Houston soprano Patti Spain of music by Texas composer Rudy Davenport).   Inexpensive housing is available at Texas Christian University, Fort Worth, which will host the event on Thursday afternoon through Saturday morning. At that time the conference moves to Dallas for an afternoon and evening on the campus of Southern Methodist University.   For registration information, contact H. Joseph Butler at TCU: hjbutler@GAMMA.IS.TCU.EDU. For further information on the program, contact Larry Palmer at SMU: lpalmer@mail.smu.edu   SOUTHERN METHODIST UNIVERSITY announces Harpsichord Workshop XI, 26-27 May on the Dallas campus (preceding the Historic Keyboard Society conclave). Jane Clark (London), an authority on the sonatas of Domenico Scarlatti, will lead intensive study of selected sonatas, particularly those with a Spanish folk-element. Larry Palmer (SMU) will offer a course on harpsichord teaching materials. An evening recital and social occasions are scheduled. Housing available directly across the street from the Meadows School of the Arts. Registration fee for the two-day workshop is $100. For information, contact Larry Palmer at SMU (lpalmer@mail.smu.edu)     Clyde R. Putman supervisor, AV Library, Hamon Arts Library (214) 768-1852 __o cputman@mail.smu.edu _`\<,_ (_)/ (_)                  
(back) Subject: Curiosity killed the Comet (Was: Sagging Languids) From: "Richard Schneider" <arpncorn@dave-world.net> Date: Wed, 28 Jan 98 10:07:33 PST   On Tue, 27 Jan 1998 15:24:47 -0500, Jason D. Comet <bombarde8@juno.com> wrote:   > Is that why Moller Organs aren't in big use today?????   Says who? Just because Moller went out of business (basically, the Union, coupled with the atronomical costs of operating that barn of a building in Hagerstown killed them) doesn't mean there's still not a LOT of Mollers out there giving fine service.   Mind you, I have no connection with Moller, other than currently owing a III/48 we're working on finding a new home for.   > I don't hear of many Moller organs that are famous today.   Have you forgotten about National City Christian Church, or the one in the National Shrine at the Catholic University of America? Both tremendous Moller instruments.   > They seem to have died away.   Some decidedly deserved to, but others are doing just fine, thank-you.   > But, however, if you look in the Classified section of The American Organst, there are usually at least ONE Moller organ for > sale. Usually they say they need work.   > Just opened my latest edition and looked in the Classified Adds. 4 > Moller organs and 1 Moller double Artiste.   Any organ with leathers is going to need attention. Usually, it's a case of some organist wanting to install a "boutique" tracker instrument than about a REAL need to replace an instrument. Mollers generally had exceptionally well-made pipework (excepting that period in the '70's and '80's with the bad zinc recently discussed on the "other" list)   > Sould you buy a Moller organ, or would it just be a wate of money.   Depends on the organ. Some are quite impressive as they are, such as our III/48, but the four you allude to in the Diapason right now are "interesting", although hardly "pilgrimage" instruments. In the right hands (mine, for instance! :o> ) and some judicious additions (preferably on new Slider Chests) any of them could be readily transformed into a real landmark showpiece. > I'm just curious. (Or: Curiosity killed the Cornet!!! :-) )   It's fine to be curious. Sometimes, it hard to see much potential from some of these instruments to think highly of them. But with the current costs of all-new instruments, a plan to utilize some of these as a "nucleus" to do something spectacular begins to make alot of sense.   FWIW!   Faithfully, / ^ ^ \ { (O) (O) } --------oOOOo--------U-------oOOOo------------   "Arp in the Corn Patch"   EMAIL: mailto:arpncorn@dave-world.net        
(back) Subject: Re: Curiosity killed the Comet (Was: Sagging Languids) From: dmjd <jimdave@rnet.com> Date: Fri, 04 Jan 1980 10:41:11 -0600   Hi All: Our church in the last year purchased a fine Moller 4/50, from a church about 100 miles from here that is purchasing a new, what Arp calls, "boutique" tracker. The organist, a fine professor of organ, has already warned his congregation that they will "get used to the sound" of the new organ. Our Moller dates from 1940, rebuilt and enlarged in 1953, and again in 1968. The quality is superb and excellent care has been taken of the instrument. The voicing is mainly American Classic. After installation in our new building, any voicing needs can be met then. As far as I can remember, there is no problem with sagging languids, but conversations on this list has given me something to look for, and I am very grateful for that! JimmyD   -- Rainbow Ridge Farm Plainville Illinois      
(back) Subject: Looking for contacts in SINGAPORE From: Philippe Beullens <bulls.oil@tornado.be> Date: Wed, 28 Jan 1998 17:45:37 +0100   hi list   On my next trip to Australia (july/august) I might make a stopover in SINGAPORE. It depends on if I'm taking the interesting offer of Singapore Airlines or not.   IF I'm doing this, are there any organists based in SINGAPORE on this list with whom I could meet up???   I hope to get any reactions :-)   Thanks   Philippe Beullens Organist of St.-Agatha Church of Wilsele-Putkapel (Leuven, Belgium) Assistant-Organist of St.-Rumbold Cathedral at Mechlin (Belgium) Student at the Lemmens-Institute of Belgium.   Audenhovenlaan 77 B-3190 BOORTMEERBEEK, BELGIUM Tel: +32-15-51.19.17 Fax: +32-15-51.80.52 email: bulls.oil@tornado.be -----------------------------------------------------------------    
(back) Subject: Another Moeller Question From: "Kevin.M.Simons-1" <Kevin.M.Simons-1@ou.edu> Date: Wed, 28 Jan 1998 12:03:16 -0600   Howdy List,   I have another Moeller question. I have started to practice at a local Catholic chapel here in Norman. They have a 1978 Moeller, but I'm not quite sure if its a mass produced "stock" instrument like the "Artiste" or not. I played on an Artiste back in Michigan, and there are definitely some big differences.   Nobody seems to know anything about this organ, and there are some definite problems. I think one pipe on the Gedeckt rank is being under/over blown. I'm not sure, but I'm definitely going to have a knowledgable person come in and look at it. The great and swell are both under expression, but in seperate boxes, with their own expression pedal. Is that typical? It provides a nice flexibility, but it struck me as a bit odd.   The only coupler is a swell to great coupler. There are no couplers to the pedal. There is a trumpet rank on the swell, which is borrowed for the pedal as well. There is also a crescendo pedal which works sometimes, and doesn't others.   Also, is there a way to set the presets/pistons. I don't see a setter button anywhere, and I haven't found another way to set it. There are four generals, but only one has anything on it. The other three are "blank". I would love it if I could actually set these things!   Thanks for your help, I really appreciate it,   Kevin M. Simons  
(back) Subject: Re: Another Moeller Question From: Stanley E Yoder <syoder+@andrew.cmu.edu> Date: Wed, 28 Jan 1998 13:14:39 -0500 (EST)   Excerpts from mail: 28-Jan-98 Another Moeller Question by "Kevin.M.Simons-1"@ou.ed > They have a 1978 Moeller, but I'm not > quite sure if its a mass produced "stock" instrument like the "Artiste" > or not.   Query: did the Artistes sell well enough that Moller could make them in batches ['mass-produced', relatively speaking] against future orders, or were they stock design(s) built only individually-to-order (with possibly some stops made ahead in batches)?   Just curious, Stan Yoder Pittsburgh  
(back) Subject: Re: Curiosity killed the Comet (Was: Sagging Languids) From: cremona84000@webtv.net (bruce cornely) Date: Wed, 28 Jan 1998 14:02:11 -0500   Jimmy, From my responses regarding sagging languids and my experiences with Mollers of that vintage, I would not expect any problems, except maybe old leather. If you are interested in my solution to that, please feel free to contact me.   bruce cornely o o o __________ o o o ago (dean) ohs o o __________ o o  
(back) Subject: Moller or Moeller? From: Bob Conway <conwayb@post.queensu.ca> Date: Wed, 28 Jan 1998 14:06:04 -0500   When I read all the posts about Moller, and then some about Moeller, I get confused! Is there a Moller Organ Company, as well as a Moeller Organ Company, or are they really one and the same?   I think that I have gleaned that the Company went out of business, but if it is two entirely different Companies, are they both out of business?   You have to remember that I am not an organist, neither am I from Canada or the United States, so it is all new to me!     Bob Conway <conwayb@post.queensu.ca> Classics Director and Organic DeeJay CFRC-FM 101.9 MHz Radio Queen's University Kingston, Ontario, K7L 3N6 CANADA    
(back) Subject: Thoughts on Volume From: danbel@earthlink.net Date: Wed, 28 Jan 1998 14:10:32 -0800 (PST)   Greetings everyone--   Thoughts for this posting go WAY back to discussions on the pros and cons of playing at what some might term "excessive" volume. I am now reading a rather interesting writing by Gunthur Schuller about orchestral conducting. There are some VERY valid points made by him that could be said to apply also to playing the organ or any other musical instrument--especially solo instruments--organ, piano, Theatre Organ, Classical Organ, etc.   I am going to quote a small section of an early chapter of this writing in the hopes that it might possibly provoke some thought by those of us who play the Theatre Organ AND those of us who play church music, or other types of classical organ literature.   Schuller says: "I am not sure what perverse desire in the human animal compels it to celebrate sheer loudness and almost unbearable noise levels. Is it some crude notion that louder (and bigger) is better? Is loudness a narcotic to which we have now become so addicted that we need ever increasing doses of it? Is it that we are no longer content to let our ears to be the sole recipients of musical communication, but that the rest of our body needs literally to FEEL, to experience physically, the acoustic vibrations? Or is it that we are simply reacting competitively and in self-defense against the ever rising noise levels in the material worlds around us?"   There has to be something in that little quote that we can or SHOULD think about---especially as organists--the most powerful solo instrument ever. We CAN is we so choose play a "ppp" as a "ppp." Some players play the "ppp" as a "mf" or worse yet an "f".   Seems to me that there is something for us to REALLY think about here.   Thoughts??   Dan    
(back) Subject: Re: T&V From: Kevin Cartwright <kevin1@alaweb.com> Date: Wed, 28 Jan 1998 17:00:00 -0600   Shirley wrote: > > At 21:36 01/27/98 -0600, you wrote: > > >Why did someone take all that time to do something like that? However, > >it is REALLY fun. I'll have to try some of this on the pipe organ. > >Maybe it would make a good funny prelude piece for the next big piano > >recital at church (I always play the organ there to add a little extra > >'something' to that hour-long boring thing.) > > > >Anyway, > > > >Kevin C. > >kevin1@alaweb.com > > The original point, Kevin, was to show how a simple song could be "dressed > up". The announcement of the page came to a mailing list discussing the > subject of "bad music", that some music composed for church use is really > not good. The author of the page posted the URL in the context of that > thread. > > And yes.... it shows one direction a person can take to improvise on a > verse of a hymn, perhaps, or to dress a hymn up enough to be an offertory, > perhaps. > > And Kevin? If played well, the piano is a beautiful instrument. Ya just > gotta know what to listen for. > > --Shirley > > "Pipe Up and Be Heard!" > PipeChat: A discussion List for pipe/digital organs & related topics > HOMEPAGE : http://www.pipechat.org > List: mailto:pipechat@pipechat.org > Administration: mailto:admin@pipechat.org > Subscribe/Unsubscribe: mailto:requests@pipechat.org     I do play the piano. I have been studying for several years now, but I like the organ better. It can be louder, softer, and have different tones than the piano. I am about to quit studying piano for formal organ lessons.   For now,   Kevin C. kevin1@alaweb.com  
(back) Subject: Re: T&V From: Kevin Cartwright <kevin1@alaweb.com> Date: Wed, 28 Jan 1998 17:11:41 -0600   Dr Edward Peterson wrote: > > On Tue, 27 Jan 1998 21:36:45 -0600, Kevin Cartwright <kevin1@alaweb.com> > wrote: > > >Maybe it would make a good funny prelude piece for the next big piano > >recital at church (I always play the organ there to add a little extra > >'something' to that hour-long boring thing.) > > Perhaps a few of those who *are* interested in the piano recital > consider your "little extra 'something'" in a similar light.... > > Or not. > > Dr.Ed ~_^ > > "Pipe Up and Be Heard!" > PipeChat: A discussion List for pipe/digital organs & related topics > HOMEPAGE : http://www.pipechat.org > List: mailto:pipechat@pipechat.org > Administration: mailto:admin@pipechat.org > Subscribe/Unsubscribe: mailto:requests@pipechat.org     Everybody thinks. I think what I think, and those "others," well, they can think what they think, and I don't care. I put up with complaints about how loud I play the organ during church every time I play, but I always have something to return. I was once thanked. The lady said the organ reminded her of "the voice of God."   But anyway, the boring part I was referring to was the beginners that 'tink' out the simplest of phrases like one SIMPLE (not complicated) verse of "Mary had a Little Lamb" and all the others. I know I was there once, and I know it's special for one person and his or her family, but there are several of us that do not care. I am sure there are more than that one person who can outplay everybody else that laughs when I play, but do I care? No. They think I am boring, and I do the same. All I do is shine for a little while, and the organ is my flame. (Rhyme not intended) So, to shorten it, I already knew what you had to say, but when the majority thanks and congradulates me, I know I am doing a satisfactory job for their ears. But, thanks anyway.   For now,   Kevin C. kevin1@alaweb.com   After all, I don't play on the organ for more than about five minutes anyway. It takes longer than that for one of those beginners to play 9/10 of the way through, just to make a mistake, and start over again, and again, and again, and again, and again...  
(back) Subject: Re: T.O. Pipework facades? From: Kevin Cartwright <kevin1@alaweb.com> Date: Wed, 28 Jan 1998 17:13:18 -0600   Dr Edward Peterson wrote: > > On Tue, 27 Jan 1998 21:17:00 -0600, Kevin Cartwright <kevin1@alaweb.com> > wrote: > > >If there were > >glass swell shades, you would be able to see about 90% of the organ! > >Something to look at when the sermon gets boring. > > Have you ever considered taking your Gameboy to play with during > "boring" sermons and/or piano recitals? > > The time could pass *real* quickly. > > Just wondering, > > Dr.Ed > > "Pipe Up and Be Heard!" > PipeChat: A discussion List for pipe/digital organs & related topics > HOMEPAGE : http://www.pipechat.org > List: mailto:pipechat@pipechat.org > Administration: mailto:admin@pipechat.org > Subscribe/Unsubscribe: mailto:requests@pipechat.org     No, I am not one of those "run of the mill" teenagers that is even interested in owning a Gameboy, or however it's spelled. Thanks anyway.   Kevin C. kevin1@alaweb.com  
(back) Subject: Famed Mollers [was Re: Curiosity killed the Comet (which was: Sagging Languids)] From: Ken <mewzishn@spec.net> Date: Wed, 28 Jan 1998 20:12:24 +0000   Jason D. Comet <bombarde8@juno.com wrote:   > I don't hear of many Moller organs that are famous today.   Well, there is that charmin' li'l ol' installation down south in Charlotte (actually, Matthews), North Carolina: Calvary Church, home of the 205 rank Moller.   Ken Sybesma        
(back) Subject: Re: From Today's Sydney Morning Herald From: Kevin Cartwright <kevin1@alaweb.com> Date: Wed, 28 Jan 1998 19:52:38 -0600   Sheridan Mascall wrote: > > A WEDDING to remember. Michelle Farrell, of Emu Plains, was on her way > to wed Dave Parry at St Finbar's, Glenbrook, on Saturday, when the car > radiator punctured. Thirty minutes late at the church, and the service > went ahead. Just as the vows were exchanged and the priest was to > pronounce them man and wife, voices came from above - flashes of > lightning, claps of thunder and a downpour of rain. All scurried > through the storm to the reception at a local civic centre. Barely > under way, there was a fat fire in the kitchen and the fire brigade > was called. And that's how the Parrys have wedding pictures to > remember - the bridal party posed with grinning firemen on the fire > engine, Dave wearing a fireman's hat. > > > > > > > > ... my question is, what should the organist charge? :) > > > > Stirring the flames, > > ~Sheridan~ > >     From the little experience I have: If I had to play the whole time, I would charge more. If I just had to wait, I would charge the normal amount. If I had to wait and then play the entire ceremony, I would charge more. If I had to play during the period, then play for the ceremony, I would probably charge more than more. What I want to know, why did everyone leave the ceremony for a storm if they were in a church anyway?   For now,   Kevin Cartrwight kevin1@alaweb.com  
(back) Subject: Re: T.O. Pipework facades (CROSS POSTED) From: bpearson@adelaide.on.net (Brian Pearson) Date: Thu, 29 Jan 1998 11:31:02 +0930   >Jason D. Comet wrote: >>Have there ever been theater pipe-organ installations >>with exposed {working} pipework in facade, as opposed >>to being totally enclosed/under expression? Thanks!   The Capri Theatre in suburban Goodwood in Adelaide, South Australia, did not have an organ when built in 1940. When the South Australian Division of the Theatre Organ Society of Australia [TOSA(SA)] bought it as a home for our organ, the seating was reduced from 1250 to 865, and the organ was constructed in front of the original stage on the Stalls (Orchestra) floor in place of the removed seats.   It occupies two chambers on either side of the large screen. The theatre is equipped for all wide screen formats and 3D film projection with state of the art sound. The current film "Titanic" has been shaking the floor for several weeks now. There is a screen curtain, and another much larger one in front of it which can be drawn back from the screen for films, and further to reveal the chambers when the organ is playing the overture, or for the regular organ concerts which have featured most of the world's finest theatre organists.   The chambers are fronted by large panes of centimetre thick glass, with the shutters above them, speaking directly into the auditorium. The four manual 273 stop tab Wurlitzer console is on a lift at centre stage, so that organists can hear each chamber in correct balance, and the presence of the organ in the theatre is so direct that it is easily possible to hear where the ranks in use are situated, while at the same time the ensemble is very full and satisfying with the small "just right" amount of reverberation that the theatre has.   Both the console and the chambers can be lit with an array of changing colours, and this includes the reservoirs, tremulants and wind lines in the sub- chambers which are in both timber and PVC. So far from the latter being cheap and nasty, it is by far the most neatly satisfactory of all trunking and it catches the lighting in a most decorative fashion. One of the secrets of the success of this organ which is generally acknowledged to be one of the finest of its kind in the world is the very careful attention which was given to optimum winding and tremulation. Each chamber has its own blower.   Two of the 30 actual ranks, the 16' Tibia I extension and the Diaphonic Diapason are unenclosed behind the screen, as is the Marimba Harp. All other percussions except the chimes are unenclosed in front of the chambers so that they can be seen working when in use. The large apron stage in front of the screen is able to accommodate large bands and choral groups which are frequently featured with the organ, as well as a grand piano and the organ's own piano, which can be seen on opposite sides of the stage at all times without being in any way obtrusive during film presentations.   We believe that this organ is the only one in an operating cinema anywhere in the world where the organ can be seen by the audience as are the several fine pizza parlor instruments in the USA, and we are very proud of it. The cinema is, apart from a small core management and projection staff, operated by unpaid volunteers. As one of them (and I'm a licenced projectionist of 57 years experience as well), this retired teacher greatly enjoys showing visitors our theatre and organ, and giving them information about the other organs in Adelaide and in other Australian cities.   I append a rank list of the organ.   Cheers, Brian. ********************************************************* THE CAPRI 4/29 THEATRE ORGAN, ADELAIDE, SOUTH AUSTRALIA.   MAIN CHAMBER   RANK PITCHES PIPES MANUFACTURER   DIAPASON 16-8-4-2 97 WURLITZER FLUTE 16-8-4-2 97 WURLITZER FLUTE CELESTE 8-4 73 WURLITZER MUSETTE 8 61 TRIVO SALICIONAL 8-4 73 CHRISTIE SALICIONAL CELESTE 8-4 73 WURLITZER GAMBA 16-8-4-2 97 CHRISTIE GAMBA CELESTE 8-4 73 WURLITZER VIOLE D'ORCHESTRE 8-4 73 WURLITZER VDO CELESTE 4 61 WURLITZER TIBIA CLAUSA II 8-4-2 84 KIMBALL/DODD TRUMPET 8 61 TRIVO TUBA HORN 16-8-4 85 WURLITZER VOX 8 61 CHRISTIE .......................................................... SOLO CHAMBER   CLARINET 16-8 73 CHRISTIE ENGLISH HORN 8 61 TRIVO HARMONIC TUBA 8 61 WURLITZER KINURA 8 61 WURLITZER LIEBLICH FLUTE 8-4 73 WANGERIN OBOE HORN 8 61 EX-CHURCH ORCHESTRAL OBOE 8 61 TRIVO QUINTADENA 8 61 STEPHENS SOLO STRING 8-4 73 MORTON STRING CELESTE 8-4 73 MORTON TIBIA CLAUSA I 16-8-4-2 97 WURLITZER VOX 8 61 WURLITZER HORN DIAPASON 8-4 73 MEYER & SONS SAXOPHONE 8 61 TRIVO .......................................................... UNENCLOSED (REAR STAGE)   DIAPHONIC DIAPASON 16-8 44 WURLITZER TIBIA CLAUSA I EXT'N 16 13 KIMBALL .......................................................... TOTAL PIPES: MAIN 1069, SOLO 950, STAGE 57 = 2076. ..........................................................   PERCUSSIONS (UNENCLOSED EXCEPT FOR SOLO CHIMES):   SOLO SIDE OF STAGE: PIANO 16-8-4 85 KIMBALL CHIMES 8 25 WURLITZER GLOCKENSPIEL 2 30 WURLITZER XYLOPHONE 4 37 WURLITZER SLEIGH BELLS 4 25 WURLITZER   REAR STAGE: MARIMBA HARP 4 49 WURLITZER   MAIN SIDE OF STAGE: CHRYSOGLOTT 4 UNTUNED PERCUSSIONS AND CINEMATIC EFFECTS (TOY COUNTER). *************************************************************