Wurlitzer, opus #1891, 1928,
Style 250 Special (4/19)
PEDAL ACCOMP
GREAT ORCH SOLO
S Tuba Mirabilis A 8 A 8 8 8t A 8
S Trumpet 8 8 8t 8
M Tuba Horn 16 8 16z 8 8t
16 8 4 16t 16 8 16 8 4
M
Diaphonic Diap. 16 8 16t
8 16 8 8 8
? (Open Diapason?) B D B
M Horn Diapason A
8 A 8 C 8 8
S Tibia Clausa 16 8
8 8t 16 8 4 3 2 8t 16 8 4 3 2 8t 16 8
4
M Tibia Clausa 8 8 4 3 2 16 8 4 3 2 8 4
S Orchestral Oboe 8 8 8
M Clarinet 8 8
16 8 8t 8 8
S Saxophone 8 8
16 8 16 8 8
? (Krumet?) B B B B
S String 8 8 8 8 8
S String Celeste 8 8 8
M Viol d'Orchestre 8
16 8 4 16 8 4 2
16 4
M Viol Celeste 8
8 4 8 4 4
? (Salicional?) B B B B
S Oboe Horn 8 8
M Flute 16 8 4 16 8 4 3 2 16 8 4 3 2 T 16 8 4 3 2 T
M Vox Humana 16 8 4 8 8
S Glockenspiel/Bells G B G B G B
S Sleigh Bells S S
S Cathedral Chimes C C C C
S Xylophone X X X X
S Marimba/Harp M H M H M H
M Chrysoglott C C C
Accomp to ... 4
Great to ... 8 16 -8 4
Orchestral to ... 8 8
Solo
to ... 8 8 8t 8z 8 8t 8z 8 8t
Tremulants:
Pedal traps: Bass Drum,
Kettle Drum, Snare Drum, Cymbal, Traps 1st/2nd Touch.
Accomp traps: Snare Drum, Tambourine, Castanets, Chinese Block, Tom-Tom,
Sand Block
10 Thumb pistons to each
manual, Suitable Bass and release to each manual
11 toe pistons
(Note: "3" =
2-2/3'; "T" = 1-3/5'; "t" = 2nd touch; "z" =
pizzicato touch)
The blank tabs are shown in
the order in which they appear on the stop jams, and I've made a guess as to
their possible meaning, based upon their locations. The letters have the following meanings in
each case:
A: 16 Bombarde (Tuba
Mirabilis) or 16 Bass (Horn Diapason).
B: 8 Open
Diapason, Krumet, or Salicional.
C: 16 Bass (Horn Diapason),
or possibly 16 Double English Horn.
D: Possibly 8 English Horn, or else 8 Open Diapason (tab before Diaphonic).
Except for the "D"
tab, all of the others make sense as listed here, with the addition of 16'
bottom octaves for the Tuba Mirabilis and the Horn Diapason. Only the "D" tab breaks the
pattern: since it comes between the Tuba Horn and Diaphonic Diapason, is was probably not meant to be an Open Diapason. Wurlitzer placed the English Horn ("Post Horn") in various locations relative
to the Tuba and Trumpet stops, so, again, it is a little difficult to be sure
about this one. Another argument against
an English Horn is that all of the other blank tabs
"work" as shown above and would not be candidates for the English
Horn; it would seem strange to have an English Horn playable only from the
Orchestral manual.
Ian McIver's note to TO-L (
Bon Smith wrote the
following about this organ:
The Beacon Wurlitzer is a
Style 260 special, installed in 1929. Special because of the 4m console and
four additional ranks: String Celeste, Tibia (main), Horn Diapason and Tuba
Mirabilis. There are two chambers above the proscenium,
Access to the chambers is
difficult: Walk to the back of the theatre, up to the Mezz, up to the Balcony,
up to the projection booth, up to the spotlight booth on top of the projection
room, out past the battery room and onto a hanging steel catwalk above the
ceiling. Continue back toward the stage area, down a 2 story ladder, across a
short catwalk, down another short ladder and you are (gasp) at the chamber.
Ironically, just a few feet away, on the other side of a concrete block wall,
is the stairway and elevator for the dressing rooms. Ever wonder why the organ
is still there?
The organ is an enigma. It
is a large-scale Wurlitzer in an impressive building, but is not particularly
successful for several reasons:
1. The chamber position puts
the sound back over the head of the organist, which is unsatisfying for the
organist. The organ does not begin to "bloom" until about the 10th
row back. It was best at the front of the balcony. And the grille muffled the
organ to a great extent.
2. The specification and the
unification were all quite bland. Possibly the organist at the time wanted an
"orchestral" sound. It desperately needed a Post Horn and brighter
voicing to please our generation. I made some minimum voicing changes, but was
hesitant to make changes that could not be reversed.
Billy Nalle was a good
friend at that time. He came by often to play and check our progress. He often
commented on the mild sound at the console, and I always responded, "You
wouldn't believe how loud it is in the chamber!" So one day Billy trekked
to the chambers with me. He sat neatly on the cleanest walkway with an innocent
smile, waiting for the organ to be played by a friend. When the sound
commenced, it was incredibly loud. Billy's mouth dropped open, both eyeballs
nearly fell out, and he clapped his hands over his ears. He shook his head to
indicate the organist should stop. I radioed a signal down to the console.
Billy left the chamber obviously shaken. He said he would never have believed
the difference.
I should point out that in 1962, NYC did not abound in available Wurlitzers. There was
the
Maybe you don't go back this
far, but there was quite a lot of publicity on the organ in years past. Tom
B'hend's Console magazine had many articles on the organ, even did a feature
issue on the organ and theatre when the organ was "reopened" by
Gaylord Carter. Lee Erwin then began a series of silent movie programs, which
brought him to the fame he now enjoys. Lee recorded the music from his
"The Eagle" score for Concert Recordings. I still have a couple of
the tapes.
The chamber/rank
arrangement:
Right Chest:
Vox Humana
Tibia Clausa
Diaphonic Diapason (to wood
16', no 32')
Tuba Horn (to 16')
Percussion: Chrysoglott
(Sliding door between
chambers)
SOLO, left chest:
Kinura
Oboe Horn
String
String Celeste
Orchestral Oboe
Right chest:
Brass Saxophone
Brass Trumpet
Quintadena
Tibia Clausa (to 16')
Tuba Mirabilis
Percussions:
Chimes
Glockenspiel
Xylophone
Tuned Sleigh Bells
Marimba
usual toy counter
A final memory: At one time,
Allen Miller was trying to reintroduce the Austin Quadruplex player for use
with home theatre organs. As a publicity stunt for one of the ATOE meetings at
the Beacon, Allen temporarily hooked his Quad to the Beacon organ. He had a
roll specially prepared for the stunt. Allen began playing "Roller Coaster"
on the organ. At an arranged time, I came running out from backstage, waving a
paper and shouting at Allen to come with me. Allen immediately got up from the
console and ran offstage with me, leaving the organ still playing and the
audience stunned! It was perfect! At the same moment, we had pushed the
"up" button for the orchestra elevator and as it rose, it revealed a
big spotlighted sign that read, "QUAD IS HERE!".
Wow!
(With many
thanks to Ian McIver and Bon Smith!)
Larry
Chace (Originally
posted to TO-L on