PipeChat Digest #1250 - Wednesday, February 2, 2000
 
Memphis Kimball
  by <RMB10@aol.com>
Re: Memphis Kimball
  by "David Scribner" <david@blackiris.com>
Re: Memphis Kimball
  by <ScottFop@aol.com>
Kimball organ in Church of the Ascension, Buffalo
  by "Bonnie Beth Derby" <orge@dreamscape.com>
Re: Swanson
  by "John Vanderlee" <jovanderlee@vassar.edu>
Tovey completion of Art of Fugue on web
  by <steve@open-tech.com>
Reeds and questions and other pipes
  by "John Vanderlee" <jovanderlee@vassar.edu>
Re: Memphis Kimball
  by "Charles Wertalik" <wertzl@earthlink.net>
Re: Memphis Kimball
  by <KurtvonS@aol.com>
Re: Memphis Kimball Stoplist (LONG!)
  by "David Scribner" <david@blackiris.com>
Re: Memphis Kimball Stoplist (LONG!)
  by "Charles Wertalik" <wertzl@earthlink.net>
 



(back) Subject: Memphis Kimball From: <RMB10@aol.com> Date: Wed, 2 Feb 2000 07:23:32 EST   Hi List-- Does anyone on this list know anything about the former Memphis Auditorium =   Kimball? If anyone has heard it or played it, please email me and let me know about it. I'm working with a church that is interested in puchasing = it and rebuilding/enlarging it for their 3500 seat sanctuary. All we know is =   that it is in storage, but have no idea about it's condition.     Thanks!     Monty Bennett rmb10@aol.com  
(back) Subject: Re: Memphis Kimball From: "David Scribner" <david@blackiris.com> Date: Wed, 2 Feb 2000 06:34:50 -0600   >Hi List-- >Does anyone on this list know anything about the former Memphis = Auditorium >Kimball? If anyone has heard it or played it, please email me and let me >know about it. I'm working with a church that is interested in puchasing = it >and rebuilding/enlarging it for their 3500 seat sanctuary. All we know = is >that it is in storage, but have no idea about it's condition.   Monty   I have never heard the instrument but I do know that it was professional removed and packed by Miller Pipe Organ Co. of Louisville. And it is stored in another building in the complex at the Civic Center, or whatever it is called. And it is stored on an upper floor for safety. You might contact Miller Pipe Organs for more information. They have an email address of: millerorgn@aol.com   From what I know of the size of it I don't thing it would need enlargement even for a sanctuary the size that you are describing considering that the wind pressures are somewhere in the range of 10"+ and the scaling of the pipework is on the biggish side. Since there are so few large Kimballs left, the church would be wise to have it restored and preserve it as an original Kimball.   David    
(back) Subject: Re: Memphis Kimball From: <ScottFop@aol.com> Date: Wed, 2 Feb 2000 08:00:54 EST   The Memphis Kimball is an instrument I cut teeth on as a kid. It is a 115 =   rank instrument, divided between the North Hall/Dixon-Meyers Auditorium, = (5 manuals, 74 ranks) and the South Hall (4 manuals, 41 ranks). It was = designed and dedicated by Charles Courboin. William H. Barnes was in attendance = the night of the dedication and remarked very favorably about the = expressiveness of the entire instrument. He was quoted as saying "that Swell is = marvelous!"   The amphitheatre style stage could be opened and the organs in both halls played simultaneously from the large console. When that happened the = South Hall organ acted like a huge "antiphonal" division- it was great fun once = one got past the very noticeable delays, which were even prevalent in the = north Hall side from the 5 manual console. The 5 manual console sat on the main =   floor just to the right of the orchestra pit and border of the proscenium arch , the 4 manual console sat in the left side of the orchestra pit. = Both were enormous dark oak consoles with roll tops that almost took two people = to manipulate. I remember as a kid in high school having to literally stand = on the pedals of the 5 manual console and "bear down" with all my weight and strength to pull the roll top closed after playing. When it slipped out = of your hands when opening there was no way to catch it and it made a = tremendous clattering roar in those cavernous acoustics. I remember having to push a =   little black button under the left key cheek and then pulling a little = silver switch to the left of the coupler rail to turn the blowers on, and then pushing a little black button under the right key cheek and pushing in the =   little silver switch to turn it off.   The pipes in both halls were located in chambers right in the stage house = and above the proscenium arch. The North Hall pipes spoke down at the = orchestra pit and the South Hall pipes spoke directly out into the upper balcony. = In fact one could see the expression shades moving in the four chamber = openings in that side. The North Hall also had an echo division in the northeast corner of the auditorium, at the back at the topmost corner of the rear balcony (stage right of the building).   The console combination actions had been fitted, from what I recall, with either a memory lock or a very early solid state system that had to be unlocked with a key.   The organs were "rediscovered" in the 70's by Bill Oberg, who got them playing again and kept them going until his death in the early 80's. My teacher at the time, John Hooker from Calvary Episcopal, did a recital = that I recorded from the balcony, which closed with Willan's "Introduction, Passacaglia and Fugue" and that organ just roared and roared! It was one hell of a sound. I have a stop list at home which I can send to the list = if anyone is interested or unless someone else can post it..   Having been through those chambers I seriously question whether ANY church =   would have room for scales like this- and for chamber layouts that grand = and spacious without compromising the tonal integrity of the instrument.   Look at Minneapolis, look at San Francisco and others. I'll say this: Memphis, my own home town, screwed up BIG by wanting to demolish that = GRAND building and that one of a kind dual auditorium, and even more so by = allowing that organ to be pulled out. Mark my words, it WILL be a typical case of "you don't realize what you have until it is gone." I tried to get = recording projects started when I heard rumors years ago about the building possibly =   being in jeopardy, but never had the luck I wanted unfortunately. This = one IS a loss to the music world, and very sad to me personally. =3Do(   Scott Foppiano  
(back) Subject: Kimball organ in Church of the Ascension, Buffalo From: "Bonnie Beth Derby" <orge@dreamscape.com> Date: Wed, 2 Feb 2000 08:13:39 -0500     Greetings all,   Lately, there have been several postings on Kimball organs. Does anyone know the state of the three-manual Kimball organ at the Episcopal Church = of the Ascension in Buffalo, New York. In the early to mid 1960s I played at the church as summer organist and just treasured this instrument. Unfortunately I did not have a stop-list but I remember a wonderful 32' = and a couple of solo reeds.   About two years ago I played a recital in the Buffalo area and heard a = rumor that the Church of the Ascension was on the verge of closing its doors. I would like to know more about the state of the church and that beautiful Kimball organ.   Best regards,   Bonnie Beth Derby, B.Mus; M.Mus. Producer & Host ``Orgelwerke'' & ``Choral Traditions'' WCNY-FM, 91.3; Syracuse; WUNY-FM, 89.5, Utica; WJNY-FM, 90.9, Watertown Organist, First Church of Christ, Scientist, Syracuse (1927 E.M. Skinner) Formerly Associate Organist/Choir Director, St. Paul's Cathedral, = Syracuse, 1970-1995 orge@dreamscape.com    
(back) Subject: Re: Swanson From: "John Vanderlee" <jovanderlee@vassar.edu> Date: Wed, 02 Feb 2000 08:39:15 -0500   >In a message dated 2/1/00 4:40:42 PM Eastern Standard Time, >jovanderlee@vassar.edu writes: > ><< And, yes there were actually records out by A "Brad Swanson" who = played the > "whispering organ of Brad Swanson" I think he played a Gulbransen. >> > >Brad Swanson played an Allen Theatre organ on his Albums. > >Just me   Really??   Amazing what I learn on this list!   John V      
(back) Subject: Tovey completion of Art of Fugue on web From: <steve@open-tech.com> Date: Wed, 2 Feb 2000 09:10:07 -0600   Hi All,   There's a lot of good organ music on MP3.com, some of which is played on real instruments. I would like to call attention to the most recent = addition to my page.   Donald Tovey composed a remarkable completion to the final contrapunctus = of the Art of Fugue. I've realized electronically with the Jeux sound font. = It sounds like a good electronic instrument. I'd like to encourage any who = are up to it to record it on a real instrument. This piece deserves to be = heard more widely. I think it would sound awesome on a fine "real" instrument. = Any takers.   Please go to www.mp3.com/stevechandler and have a listen.   Cheers, Steve Chandler www.mp3.com/stevechandler   PS. I'm not on PIPORG-L anymore, if anyone's inclined to pass this on to them I'd appreciate it.    
(back) Subject: Reeds and questions and other pipes From: "John Vanderlee" <jovanderlee@vassar.edu> Date: Wed, 02 Feb 2000 10:45:57 -0500   Dear List,   What is the numbering convention on a rank of pipes?   Does "1" start with "CCC" (16')? then what would 32' be?   Next question: A rank of Tubas recently obtained (might be Wurlitzer) starts at 16' and is marked "TU" with the pitch stamped below it. Also a 3 digit number is engraved on them "434"   At about F# in the 8' section "har" is added under the "TU" which I assume is harmonic, and that continues all the way up to the 1' I seem to recall that some reeds reeds tune to a harmonic combined with = the resonator length to obtain the pitch, or (and I don't think so) do I have two sets mixed up?   Next, although these look like Wurli, they do not have a brass sleeve on their tuning wire. Did Wurlitzer produce any like that ever? Or perhaps it is not Wurlitzer.   Lastly,   Although we have all the 16' boots (the ones that look like a tin can with leather around the top rim where the block fits in) half of the 16' resonators are missing. We do however have a nice set of Robert morton Resonators and although it appears that their toes would sit nicely on top of the above blocks, yet the scale of the RM resonators is considerably larger. I would appreciate any and all thoughts on this.   Thanks in advance!   John V      
(back) Subject: Re: Memphis Kimball From: "Charles Wertalik" <wertzl@earthlink.net> Date: Wed, 2 Feb 2000 16:00:32 -0500   WOW! I'd LOVE to see the stop list from THAT baby! PULEEZE post it to the list, Scott! ...and thanx!!! in advance.   Chuck     ----- Original Message ----- From: <ScottFop@aol.com> To: <pipechat@pipechat.org> Sent: Wednesday, February 02, 2000 8:00 AM Subject: Re: Memphis Kimball     > The Memphis Kimball is an instrument I cut teeth on as a kid. It is a = 115 > rank instrument, divided between the North Hall/Dixon-Meyers Auditorium, (5 > manuals, 74 ranks) and the South Hall (4 manuals, 41 ranks). It was designed > and dedicated by Charles Courboin. William H. Barnes was in attendance the > night of the dedication and remarked very favorably about the expressiveness > of the entire instrument. He was quoted as saying "that Swell is marvelous!" > > The amphitheatre style stage could be opened and the organs in both = halls > played simultaneously from the large console. When that happened the South > Hall organ acted like a huge "antiphonal" division- it was great fun = once one > got past the very noticeable delays, which were even prevalent in the north > Hall side from the 5 manual console. The 5 manual console sat on the = main > floor just to the right of the orchestra pit and border of the = proscenium > arch , the 4 manual console sat in the left side of the orchestra pit. Both > were enormous dark oak consoles with roll tops that almost took two = people to > manipulate. I remember as a kid in high school having to literally = stand on > the pedals of the 5 manual console and "bear down" with all my weight = and > strength to pull the roll top closed after playing. When it slipped out of > your hands when opening there was no way to catch it and it made a tremendous > clattering roar in those cavernous acoustics. I remember having to push = a > little black button under the left key cheek and then pulling a little silver > switch to the left of the coupler rail to turn the blowers on, and then > pushing a little black button under the right key cheek and pushing in = the > little silver switch to turn it off. > > The pipes in both halls were located in chambers right in the stage = house and > above the proscenium arch. The North Hall pipes spoke down at the orchestra > pit and the South Hall pipes spoke directly out into the upper balcony. In > fact one could see the expression shades moving in the four chamber openings > in that side. The North Hall also had an echo division in the northeast > corner of the auditorium, at the back at the topmost corner of the rear > balcony (stage right of the building). > > The console combination actions had been fitted, from what I recall, = with > either a memory lock or a very early solid state system that had to be > unlocked with a key. > > The organs were "rediscovered" in the 70's by Bill Oberg, who got them > playing again and kept them going until his death in the early 80's. My > teacher at the time, John Hooker from Calvary Episcopal, did a recital that I > recorded from the balcony, which closed with Willan's "Introduction, > Passacaglia and Fugue" and that organ just roared and roared! It was = one > hell of a sound. I have a stop list at home which I can send to the = list if > anyone is interested or unless someone else can post it.. > > Having been through those chambers I seriously question whether ANY = church > would have room for scales like this- and for chamber layouts that grand and > spacious without compromising the tonal integrity of the instrument. > > Look at Minneapolis, look at San Francisco and others. I'll say this: > Memphis, my own home town, screwed up BIG by wanting to demolish that GRAND > building and that one of a kind dual auditorium, and even more so by allowing > that organ to be pulled out. Mark my words, it WILL be a typical case = of > "you don't realize what you have until it is gone." I tried to get recording > projects started when I heard rumors years ago about the building = possibly > being in jeopardy, but never had the luck I wanted unfortunately. This one > IS a loss to the music world, and very sad to me personally.   > > Scott Foppiano > > "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 > >    
(back) Subject: Re: Memphis Kimball From: <KurtvonS@aol.com> Date: Wed, 2 Feb 2000 16:19:35 EST   What...all 8" Diapasons and fat Flutes...! Just kidding; I've seen it; and while it's not the equal of the = Minneapolis organ, or St.John, Denver, it's a great spec! Kurt  
(back) Subject: Re: Memphis Kimball Stoplist (LONG!) From: "David Scribner" <david@blackiris.com> Date: Wed, 2 Feb 2000 15:48:40 -0600   OK, Folks - Here it is and it is LONG!!   David   ********************************************************* Kimball Opus N/A 1928 Memphis Municipal Auditorium, Memphis, TN   NORTH HALL ORGAN   Great Organ - Enclosed - 10" wind pressure   1. Diapason 16' * 2. 1st Open Diapason 8' * 3. 2nd Open Diapason 8' * 4. 3rd Open Diapason 8' 5. Violin Diapason 8' 6. Hohl Flute 8' 7. Gemshorn 8' 8. 1st Octave 4' 9. 2nd Octave 4' 10. Twelfth 2 2/3' 11. Fifteenth 2' 12. Mixture V 13. Tromba 8' 15" wind * 14. Clarion 4' 15. Chimes 16. Piano 8' 17. Unison Off 18. Tremolo   * - The Great 16' coupler does not affect these stops, the 4' coupler does not affect all others.   Swell Organ - 73 pipes - 10" wind except where noted   19. Bourdon 16' 15" wind 20. Open Diapason 8' 15" wind 21. Horn Diapason 8' 22. Stopped Flute 8' 23. Clarabella 8' 24. Salicional 8' 25. Salicional Celeste 8' 26. Viola 8' 27. Viola Celeste 8' 28. Octave 4' 29. Flute 4' 30. Violina 4' 31. Flautino 2' 61 pipes 32. Mixture IV 33. Contra Posaune 16' 15" wind 34. Trumpet 8' 15" wind NORTH HALL Swell Organ (Continued)   35. Oboe Horn 8' 36. Vox Humana 8' 7 _" wind 37. Clarion 4' 15" wind 38. Chimes 39. Harp 8' 40. Piano 8' 41. Celesta 4' 42. Piano 4' 43. Unison Off 44. Vox Tremolo 45. Reed Tremolo 46. Main Tremolo   Choir Organ - 73 pipes - 10" wind   47. Muted Diapason 16' 48. English Open Diapason 8' 49. Concert Flute 8' 50. Dolce Flute 8' 51. Flute Celeste 8' 52. Dulciana 8' 53. Unda Maris 8' 54. Harmonic Flute 4' 55. Piccolo 2' 61 pipes 56. English Horn 8' 57. Orchestral Clarinet 8' 58. Harp 8' 59. Chimes 60. Piano 8' 61. Celesta 4' 62. Unison Off 63. Tremolo   Solo Organ - 73 pipes - 15" wind for flues and French Horn, other reeds 30" wind   64. Stentorphone 8' 65. Clear Flute 8' (after Wanamaker's) 66. Violaphone 8' 67. Violaphone Celeste 8' 68. Octave 4' 69. Mixture IV 70. Tuba Mirabilis 8' 71. Tuba Sonora 8' NORTH HALL Solo Organ (Continued)   72. French Trumpet 8' 73. French Horn 8' 74. Clarion 4' 75. Chimes 76. Harp 8' 77. Piano 16' 78. Piano 8' 79. Piano 4' 80. Unison Off 81. Tremolo   Echo Organ - 73 pipes - 10" wind   82. Fern Flute 8' 83. Dolcissimo 8' 84. Vox Angelica 8' 85. Flute d' Amour 4' 86. Vox Humana 8' 7 _" wind 61 pipes 87. Unison Off 88. Vox Tremolo 89. Main Tremolo   Pedal Organ - the location of each stop is in parenthesis, * indicate = borrows 10" wind except where noted   90. Diapason 32' (Gt) Resultant * 91. 1st Open Diapason 16' (Gt) wood 92. 2nd Open Diapason 16' (Gt) metal 93. Muted Diapason 16' (Ch) * 94. Violone 16' (Solo) * 15" wind 95. Bourdon 16' (Gt) 96. Gedeckt 16' (Sw) * 97. Bourdon 16' (Echo) * 98. Octave 8' (Gt) * 99. Flute 8' (Gt) * 100. Gedeckt 8' (Sw) * 101. Super Octave 4' (Gt) * 102. Flute 4' (Gt) * 103. Contra Bombarde 32' (Gt) 30" wind 104. Ophicleide 16' (Solo) 30" wind 105. Bombarde 16' (Gt) 30" wind * 106. Posaune 16' (Sw) 15" wind * 107. Tromba 8' (Gt) 30" wind * NORTH HALL Pedal Organ (Continued)   108. Clarion 4' (Gt) 30" wind * 109. Chimes (Gt) 110. Piano 16' 111. Piano 8"     SOUTH HALL ORGAN   Great Organ - Enclosed - 10" wind   1. Dulciana 16' 2. 1st Open Diapason 8' 3. 2nd Open Diapason 8' 4. Claribel Flute 8' 5. Gemshorn 8' 6. Octave 4' 7. Mixture III 8. Trumpet 8' 9. Chimes 10. Unison Off 11. Tremolo 12. Harp 8'   Swell Organ - 73 pipes - 10" wind   13. Gedeckt 16' 14. Open Diapason 8' 15. Rohr Flute 8' 16. Viola 8' 17. Salicional 8' 18. Voix Celeste 8' 19. Octave 4' 20. Flute 4' 21. Flautino 2' 61 pipes 22. Mixture V 23. Cornopean 8' 24. Oboe Horn 8' 25. Vox Humana 8' 61 pipes 7 _" wind 26. Clarion 4' 27. Chimes 28. Unison Off 29. Main Tremolo 30. Vox Tremolo 31. Harp 8' 32. Chimes SOUTH HALL   Choir Organ - 73 pipes - 10" wind   33. Open Diapason 8' 34. Concert Flute 8' 35. Dolce 8' 36. Dolce Celeste 8' 37. Traverse Flute 4' 38. Piccolo 2' 61 pipes 39. Clarinet 8' 40. Unison Off 41. Tremolo 42. Harp 8' 43. Celesta 4'   Solo Organ - 73 pipes - 10" wind   44. Principal Diapason 8' 45. Melophone 8' 46. Solo Cello 8' 47. Tuba Mirabilis 8' 20" wind 48. Unison Off 49. Tremolo 50. Harp 8' 51. Chimes   Pedal Organ - the location of each stop is in parenthesis, * indicate = borrows 10" wind except where noted   52. Acoustic Bass 32' (Gt) Resultant * 53. Open Diapason 16' (Gt) wood 54. Violone 16' (Solo) * 55. Bourdon 16' (Gt) 56. Lieblich Gedeckt 16' (Sw) * 57. Octave 8' (Gt) * 58. Flute 8' (Gt) * 59. Still Gedeckt 8' (Sw) * 60. Trombone 16' (Solo) * 20" wind 61. Tromba 8' (Solo) * 20" wind 62. Chimes           Consoles: NORTH HALL 5 manual Drawknob console which controls both the North Hall and South Hall Organs. Master Console SOUTH HALL 4 manual Drawknob console which controls only the South Hall Organ.   Miscellaneous Stops Sub-Couplers Off Super-Couplers Off 16' Stops Off All Swells to Master Pedal   Pistons (Main Console) GREAT - 1,2,3,4,5,6,7,8, Cancel SWELL - 1,2,3,4,5,6,7,8, Cancel CHOIR - 1,2,3,4,5,6,7,8, Cancel SOLO - 1,2,3,4,5,6,7,8, Cancel ECHO - 1,2,3,4, Cancel PEDAL - 1,2,3,4,5,6,7,8 GENERAL - 1,2,3,4,5,6,7,8,9,10,11,12, Cancel   4 Manual Organ On (South Hall organ on) 4 Manual Organ Off (South Hall organ off) Setter Piston All Swells to Master Pedal   Toe Levers Chimes Soft Chimes Sustain Celesta Sustain Piano Sustain Piano Loud Piano Soft Sforzando All Swells to Master Pedal   Couplers Usual Couplers   Ranks NORTH HALL 74 Ranks SOUTH HALL 41 Ranks Total: 115 ranks Organ designed by Charles M. Courboin with the Kimball firm. ***********************************************  
(back) Subject: Re: Memphis Kimball Stoplist (LONG!) From: "Charles Wertalik" <wertzl@earthlink.net> Date: Wed, 2 Feb 2000 17:28:23 -0500   David, THANX so much for the stoplist! Whew, I'm glad I didn't have to = type THAT!   Just a couple of questions: (1) What does the Clarabella stop sound like? = (I just can't help but think back to the "Howdy Doody" days - sorry). (2) = Stop #33 in the North Hall organ, the contra posaune 16': It seems odd that a contra ANYTHING should be only a 16' stop; I would expect this to be of = 32' pitch - 'cause I once went to a recital at a local church, and it has a = 32' contra posaune in the pedal. I'm a NUT when it comes to 32' stops - love that thunder.   Would appreciate your comments, and thanx in advance.   Chuck ----- Original Message ----- From: David Scribner <david@blackiris.com> To: PipeChat <pipechat@pipechat.org> Sent: Wednesday, February 02, 2000 4:48 PM Subject: Re: Memphis Kimball Stoplist (LONG!)     > OK, Folks - Here it is and it is LONG!! > > David > > ********************************************************* > Kimball Opus N/A 1928 Memphis Municipal Auditorium, > Memphis, TN > > NORTH HALL ORGAN > > Great Organ - Enclosed - 10" wind pressure > > 1. Diapason 16' * > 2. 1st Open Diapason 8' * > 3. 2nd Open Diapason 8' * > 4. 3rd Open Diapason 8' > 5. Violin Diapason 8' > 6. Hohl Flute 8' > 7. Gemshorn 8' > 8. 1st Octave 4' > 9. 2nd Octave 4' > 10. Twelfth 2 2/3' > 11. Fifteenth 2' > 12. Mixture V > 13. Tromba 8' 15" wind * > 14. Clarion 4' > 15. Chimes > 16. Piano 8' > 17. Unison Off > 18. Tremolo > > * - The Great 16' coupler does not affect these stops, the 4' coupler > does not affect all others. > > Swell Organ - 73 pipes - 10" wind except where noted > > 19. Bourdon 16' 15" wind > 20. Open Diapason 8' 15" wind > 21. Horn Diapason 8' > 22. Stopped Flute 8' > 23. Clarabella 8' > 24. Salicional 8' > 25. Salicional Celeste 8' > 26. Viola 8' > 27. Viola Celeste 8' > 28. Octave 4' > 29. Flute 4' > 30. Violina 4' > 31. Flautino 2' 61 pipes > 32. Mixture IV > 33. Contra Posaune 16' 15" wind > 34. Trumpet 8' 15" wind > NORTH HALL > Swell Organ (Continued) > > 35. Oboe Horn 8' > 36. Vox Humana 8' 7 _" wind > 37. Clarion 4' 15" wind > 38. Chimes > 39. Harp 8' > 40. Piano 8' > 41. Celesta 4' > 42. Piano 4' > 43. Unison Off > 44. Vox Tremolo > 45. Reed Tremolo > 46. Main Tremolo > > Choir Organ - 73 pipes - 10" wind > > 47. Muted Diapason 16' > 48. English Open Diapason 8' > 49. Concert Flute 8' > 50. Dolce Flute 8' > 51. Flute Celeste 8' > 52. Dulciana 8' > 53. Unda Maris 8' > 54. Harmonic Flute 4' > 55. Piccolo 2' 61 pipes > 56. English Horn 8' > 57. Orchestral Clarinet 8' > 58. Harp 8' > 59. Chimes > 60. Piano 8' > 61. Celesta 4' > 62. Unison Off > 63. Tremolo > > Solo Organ - 73 pipes - 15" wind for flues and French Horn, other > reeds 30" wind > > 64. Stentorphone 8' > 65. Clear Flute 8' (after Wanamaker's) > 66. Violaphone 8' > 67. Violaphone Celeste 8' > 68. Octave 4' > 69. Mixture IV > 70. Tuba Mirabilis 8' > 71. Tuba Sonora 8' > NORTH HALL > Solo Organ (Continued) > > 72. French Trumpet 8' > 73. French Horn 8' > 74. Clarion 4' > 75. Chimes > 76. Harp 8' > 77. Piano 16' > 78. Piano 8' > 79. Piano 4' > 80. Unison Off > 81. Tremolo > > Echo Organ - 73 pipes - 10" wind > > 82. Fern Flute 8' > 83. Dolcissimo 8' > 84. Vox Angelica 8' > 85. Flute d' Amour 4' > 86. Vox Humana 8' 7 _" wind 61 pipes > 87. Unison Off > 88. Vox Tremolo > 89. Main Tremolo > > Pedal Organ - the location of each stop is in parenthesis, * indicate borrows > 10" wind except where noted > > 90. Diapason 32' (Gt) Resultant * > 91. 1st Open Diapason 16' (Gt) wood > 92. 2nd Open Diapason 16' (Gt) metal > 93. Muted Diapason 16' (Ch) * > 94. Violone 16' (Solo) * 15" wind > 95. Bourdon 16' (Gt) > 96. Gedeckt 16' (Sw) * > 97. Bourdon 16' (Echo) * > 98. Octave 8' (Gt) * > 99. Flute 8' (Gt) * > 100. Gedeckt 8' (Sw) * > 101. Super Octave 4' (Gt) * > 102. Flute 4' (Gt) * > 103. Contra Bombarde 32' (Gt) 30" wind > 104. Ophicleide 16' (Solo) 30" wind > 105. Bombarde 16' (Gt) 30" wind * > 106. Posaune 16' (Sw) 15" wind * > 107. Tromba 8' (Gt) 30" wind * > NORTH HALL > Pedal Organ (Continued) > > 108. Clarion 4' (Gt) 30" wind * > 109. Chimes (Gt) > 110. Piano 16' > 111. Piano 8" > > > SOUTH HALL ORGAN > > Great Organ - Enclosed - 10" wind > > 1. Dulciana 16' > 2. 1st Open Diapason 8' > 3. 2nd Open Diapason 8' > 4. Claribel Flute 8' > 5. Gemshorn 8' > 6. Octave 4' > 7. Mixture III > 8. Trumpet 8' > 9. Chimes > 10. Unison Off > 11. Tremolo > 12. Harp 8' > > Swell Organ - 73 pipes - 10" wind > > 13. Gedeckt 16' > 14. Open Diapason 8' > 15. Rohr Flute 8' > 16. Viola 8' > 17. Salicional 8' > 18. Voix Celeste 8' > 19. Octave 4' > 20. Flute 4' > 21. Flautino 2' 61 pipes > 22. Mixture V > 23. Cornopean 8' > 24. Oboe Horn 8' > 25. Vox Humana 8' 61 pipes 7 _" wind > 26. Clarion 4' > 27. Chimes > 28. Unison Off > 29. Main Tremolo > 30. Vox Tremolo 31. Harp 8' 32. Chimes > SOUTH HALL > > Choir Organ - 73 pipes - 10" wind > > 33. Open Diapason 8' > 34. Concert Flute 8' > 35. Dolce 8' > 36. Dolce Celeste 8' > 37. Traverse Flute 4' > 38. Piccolo 2' 61 pipes > 39. Clarinet 8' > 40. Unison Off > 41. Tremolo > 42. Harp 8' > 43. Celesta 4' > > Solo Organ - 73 pipes - 10" wind > > 44. Principal Diapason 8' > 45. Melophone 8' > 46. Solo Cello 8' > 47. Tuba Mirabilis 8' 20" wind > 48. Unison Off > 49. Tremolo > 50. Harp 8' > 51. Chimes > > Pedal Organ - the location of each stop is in parenthesis, * indicate borrows > 10" wind except where noted > > 52. Acoustic Bass 32' (Gt) Resultant * > 53. Open Diapason 16' (Gt) wood > 54. Violone 16' (Solo) * > 55. Bourdon 16' (Gt) > 56. Lieblich Gedeckt 16' (Sw) * > 57. Octave 8' (Gt) * > 58. Flute 8' (Gt) * > 59. Still Gedeckt 8' (Sw) * > 60. Trombone 16' (Solo) * 20" wind > 61. Tromba 8' (Solo) * 20" wind > 62. Chimes > > > > > > Consoles: > NORTH HALL > 5 manual Drawknob console which controls both the North Hall and > South Hall Organs. > Master Console > SOUTH HALL > 4 manual Drawknob console which controls only the South Hall Organ. > > Miscellaneous Stops > Sub-Couplers Off > Super-Couplers Off > 16' Stops Off > All Swells to Master Pedal > > Pistons (Main Console) > GREAT - 1,2,3,4,5,6,7,8, Cancel > SWELL - 1,2,3,4,5,6,7,8, Cancel > CHOIR - 1,2,3,4,5,6,7,8, Cancel > SOLO - 1,2,3,4,5,6,7,8, Cancel > ECHO - 1,2,3,4, Cancel > PEDAL - 1,2,3,4,5,6,7,8 > GENERAL - 1,2,3,4,5,6,7,8,9,10,11,12, Cancel > > 4 Manual Organ On (South Hall organ on) > 4 Manual Organ Off (South Hall organ off) > Setter Piston > All Swells to Master Pedal > > Toe Levers > Chimes Soft > Chimes Sustain > Celesta Sustain > Piano Sustain > Piano Loud > Piano Soft > Sforzando > All Swells to Master Pedal > > Couplers > Usual Couplers > > Ranks > NORTH HALL 74 Ranks > SOUTH HALL 41 Ranks > Total: 115 ranks > Organ designed by Charles M. Courboin with the Kimball firm. > *********************************************** > > "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 > >