It is common because it’s easy to measure: fill a U-shaped clear tube (hose) with water (called a “manometer”), and blow slightly into one end and measure (in inches) the difference in the two water levels.
“Inches of water” is a common unit of measure for pipe organs as well as HVAC furnace blower pressures. Yet witness a major wind leak or take a pipe out of its pipe chest hole and the rush of air can be greater than a common house fan on high speed.
Ģ8 “inches of water” (which is more than the above Kimball pressures used) equals 1 PSI which also equals 0.07 Atmosphere (i.e., less than 1/10th of the air pressure we breathe). Organ chamber wind pressures range from 5 inches through 6, 7 to 8, 10, 12, 15 to 17 or 20 inches. This mini-stair and platform is adjacent to a wiring and wind hose supply catch basin “reservoir” of sorts to manage the console’s tethered range of motion. Additionally there is a wooden stair and gang plank of sorts in the basement where the organist would (almost) crawl onto the organ bench when awaiting ascension by the elevator to be lifted up for an eager audience. 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.
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