There is a “filler” cage/platform which currently sits on the stage (holding up the many-ton stage firewall “curtain”) which was used to “cover” the organ console such that when the console elevator was lowered to the appropriate height, the upper surface of this cage provided a continuous floor to match the orchestra pit elevator floor level, for when the organ was not in use. The drawknob 4-manual console is set on its own elevator, independent of the elevating orchestra pit. The tonal effects of this splendid organ will delight and interest both the organist and the layman. Tonally, it represents sane ideas in designing and voicing which, while rooted in the best traditions of the past, are advanced and modern in every respect, yet far from radical. Low and moderate pressures have been used throughout except for the Tubas and Bombardes. The Great Diapasons and their complementary upperwork are of pure tin, resulting in an harmonic quality of tone, the chief attributes of which are perfect blending and crystalline clarity. waxed eloquent about the new organ:Īgainst the background of a classical Open-Great ensemble is placed a wealth of soft effects and orchestral color. In an advertisement in The Diapason magazine, 1 November 1933, the W. Higgins, a member of the organ committee, who had a large concert organ in his home (Aeolian Op. Wood, president of the Worcester Festival Association and Aldus C. Elliot, the New York representative of the Kimball Company Hamilton B. and choral director at Chautauqua, New York he was assisted in the planning process by R. The magnificent AUD organ was designed by Walter Howe, official organist, assistant director, and manager of the Worcester Music Festival head of music at Abbot Academy, Andover organist at First Baptist Church, Arlington, Mass. In spite of the economy and business conditions, Kimball came through with extraordinary quality in craftsmanship and musical results. The AUD instrument was built in their last decade, one of the last large instruments they produced. Instead, they downsized their operation, and concentrated more on pianos, while still building an occasional organ until 1942. By 1933, Kimball was deeply in the red and there was talk of closing. (There are no chairs currently in the Great Hall main floor, and its balconies are off-limits.)Īfter the economic boom of the 1920s, organ building fell on hard times: Hook & Hastings (the successor to E & GG Hook, builder of The Worcester Organ at Mechanics Hall) folded in 1935 Skinner closed its Westfield MA branch in 1929 and absorbed the defunct Aeolian Organ Company in 1932 (to become Aeolian-Skinner). Hirons of New York, cost $2,000,000 and was opened in 1933, in “memory of those who died in the war.” The auditorium originally seated 4,500 the (original) stage accommodated a chorus of 500 and the elevating orchestra pit provided space for 100 musicians. The elegant Art-Deco building, designed by Lucius Biggs of Worcester and Frederic C.
KIMBALL ORGAN R80 GENERATOR
1955(?) & 1957 Virgil Fox – T&G Reviews (that fateful generator power supply!).Interesting Competitive Specs Proposal by Aeolian-Skinner no signs of use.Organ Historical Society Plaque given 1983ġ933 Kimball $40K Contract & Original Specs Condition: Open box, Condition: Never used. Please note: All orders placed after October 10 will be processed on November 5 2021.
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KIMBALL ORGAN R80 MANUAL
Make sure this manual is the right one you need.Shipping Expedited Parcel $18International Small package shipping approximately $50 NOTE: We ship worldwide.
KIMBALL ORGAN R80 SERIES
Please indicate which model you like to order when ordering - Pick 1Kimball Service schematics Model 012Kimball Service schematics Model 80Kimball Service schematics Model 100Kimball Service schematics Model 110Kimball Service schematics Model Series 541Kimball Service schematics Model Series 600-700Contents as shown on photosPlease ask all questions before ordering the manual. Location: Vancouver, British Columbia, CA,