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Console of the· Christie in the Odeon, Marble Arch, London.

By British A. T .O.E. Member done when an organ builder is given a her 1928, which incidentally was the DAVID H. HAYES free hand and allowed to express his same year and month as the opening of individuality without being unduly the first four manual in Britain hampe red by commercial restrictions". at The Empire, Leicester Square (now The above is the opinion of the late demolished), but the organ was saved "The organ at the Regal, Marble Quentin M. Maclean, who drew up the by T .O.C. member Leo Rawle. I say Arch, is to my mind, one of the most original s pee ific ations with Mr. Norman 'installed just in time' because behind characteristic creations of that great of Messrs. Wm. Hill and Norman and scenes at most official openings there artist, Herbert Norman, and as such it Beard Ltd., well known British firms of is usually a panic, but this was more commands the respect and admiration of straight organ builders and of Christie · apparent at the Regal. The builders got all organ lovers. The Regal is not a Unit Organs. Also included in these so behind schedule that they had to large theatre, and its interior decoration consultations was the late Arthur Meale, work overtime with extra shifts. This in scheme is of an intimate and delicate who at that time was one of the most turn put everyone else behind - the character: hence the organ partakes of famous recitalists in the country, and electricians, the furnishers, the decora­ the same nature and blends perfectly official organist at the Methodist Cen­ tors, not to mention the organ builders. with the beauty of its surroundings. tral Hall, Westminster. His nephew and The chanbers were extremely small Being an unique and individual work of theatre organist Neville Meale has some art, built and designed to secure per­ of the original correspondence relevant fection, regardless of expense, it has to the specification and costing of this little in common with the ordinary 'mass organ. production' type of cinema organ, and The organ was installed just in time is a shining example of what can be for the opening of the cinema in · Novem-

Closeup of the Christie Organ. Gerald Shaw, last resident organist. 4 considering the size of the organ, and centre of the orchestra pit, and the or­ THE ORGAN. The 30 units (36 ranks) one had to be quite a contortionist to gan is in two chambers both on the same are housed in two chambers. Chamber move around in them, which did not help (right) side of the cinema looking to­ "A" - Diapason Phonon, Open Diapa­ in trying to catch up on a schedule. The wards the stage, and the furthest point son, Hohl Flute, Clausa, Gedeckt, chambers are tall and narrow, and the from the hostel. The swell shades or Strings {2 ranks), Viole, Viole d'Or .. pipes are s~acked in three tiers. To­ shutters opened towards the stage to chestre, Viole D'amour, Saxophone, Vox wards the end, the noise of the various give, as far as pos~ible, the sound re­ Humana, , Fanfare , workmen made it well n-igh impossible flected from the screen as the perfect and Ophic le ide. to tune the organ during the daytime, so accompaniment for the silent films f~ Chamber "B" - Diaphone Hoen, Gems­ it was decided to tune at nights. which this instrument was primarily de­ horn, Diapason, Orchestral Flute, Tibia But adjacent to the new cinema was signed, hence the large number of softer Minor, Violins ,(,'2 ranks) . Muted Strings a men's hostel run by a religious or­ stops. On the opposite side was a cham­ (2 ranks)., Clarinet, Violincello, Sali­ ganization, and they took their com­ ber which housed a real Carillon of 32 cional, Quintadena, Musette, Orchestral plaint to court and secured an injunction genuine bells, which alone cost £2000 Oboe, Oboe Horn, Tuba Sonora, Trumpet prohibiting the tuning or playing of the and was played from the console and and 4 rank de Violes. organ from about 11 p.m. at night until operated by some very special pneuma­ Chamber A contains about 1000 pipes, about 6 a.m. However, the organ was tic motors. At the inception of the Re­ and B about 1500, as well as a very ready for the opening, and it was natural gal, the original plan was to have the full range of percussions • Cathedral that Quentin Maclean should be the carillon in the roof, not presumably Chimes, Muted Chimes, Tubular Chimes, Regal's first resident organist. At this played from the console, but eventually Sleigh Bells, Xylophone, Vibraphone, time the big scenery dock shutters were the bells were hung from. the main gir­ Glockenspiel, Orchestral Bells, Harp, open almost continously. The injunction ders of the building. This worked until plus a full array of drums, cymbals and still stands, and it was not only be­ 1947 when it was decided (of all crimi­ effects, not to mention an upright cause of the ireopening noises, but nal things) to put amplification of the in the pit which has since 'disappeared'. Maclean's midnight recording sessions organ in that grille. The swe 11 shutters As many of the ranks went down to 16 ft. were al.so frowned on. Strangely enough, were used for mounting the loudspeakers, and with a 32 ft. base plus all the per­ the complaints were mainly against the and a few be Us were unhung, but the cussions and effects there was very blower, and not the organ itself. carillon is still there. little speaking room for the pipt::s so The cinema is built near the site of In comparison with many American out came the effects, including a realis­ the Ty burn Gallows, where two hundred cinemas, the Regal is not very large tic 'cror.kery crash' and a 'thunder' or more years ago countless petty (2000 seats), and contrary co expecta­ sheet. W.J. Hemsley was instrumental thieves were hanged and buried. Rumor tions full organ is exciting but not in in arranging this, and for moving various has it that some of their bones were any way overpowering. We all know of chests forward. He wired the 'Diapason found when the foundations were being some installations where even a small Phonon (then only 8') to the piano stop- dug. 2/8 can blast patrons out of their The console is on its own lift in the seats - this you cannot do at the Regal. • Please tutn to page 8

The carillon on the Marble Arch Christie. One of the chambers of the Marble Arch Christie. Summer1963 5 Original Spectflcatlons of Chr istle Organ in the Odeon 1 Marble Arch 1 London 1 England PEDAL Synthetic ce I lo 8 Cymba I Tap COUPLERS ~erA Tuba sonora 8 Tubular Chimes Accompaniment to Great Phonon bass 16 Clarinet 8 Roll Orchestral to Great 16 Orchestra I oboe 8 Wood Block Roll Solo to Great 16 Musette 8 Solo to Great Pizzicato Contra viola 16 Orchestra I flute 8 Couplen Ophlclelde 16 Tuba Sonora 4 Solo to orchestral ACCOMPANIMENT Tuba Horn 16 Musette 4 Great to orchestral pizzicato Chamber A Saxophone 16 Orchestra I piccolo 2 Stop Quint 10-2/3 Piano 8 Manuals: CC to C Bourdon 16 Tibia Clausa 8 Harp 8 Pedal: CCC to G Contra vlo le d 'amour 16 Celesta 4 Viola 8 Strings 16 Tubular chimes Bass Flute 8 GREAT Open Diapason 8 Glockenspiel Tuba Hom 8 Tibia Clause 8 Saxophone 8 Orchestral bells Chamber A 8 Flute maJor 4 (reiterating) Contra tibia clause 16 Hoh) flote 8 Flute minor 4 Vibraphone Bourdon 16 Viole d'orchestre 8 Xylophone Contra Viola 16 Strings 8 Chamber B Sleigh be 11s(caril Ion to solo) Tuba Horn 16 Vlo le d 'amour 8 Diaphone Horn 2 Triangle Saxophone 16 Tuba Hom 8 Vlolone f6 Cymba I choke tap Diapason Phonon 8 Saxophone 8 Contra Sallcional 16 Open Diapason 8 8 Tibia Clausa 8 Bassoon 16 ORCHESTRALiChamber B Stopred Flute 4 Clarinet 16 Gedackt 8 Hoh flote 4 Clarinet 8 Shi~ -Section Viola 8 Strings 4 Vlo le d lorchestre 8 Vloloncel lo 8 Vlo one 16 Octave vlole d'amour 4 Strings 8 Salicional 8 Muted Strings 16 Stopped twe Ifth 2-2/3 Tuba Horn 8 Synthetic Ce I lo 8 Contra Sallclonal 16 Piccolo 2 Plano 16 Gemshom Dfapason 8 Fanfare Trumpet 8 Flute Saxophone 8 Plano 8 Vlo lonce Ilo 8 Plano 8 tap (soft) Violins 8 Stopped quint 5-1/3 1-brp 8 Tom-tom Muted Strf111s 8 Octave Diapason 4 Celesta 4 Salrclonal 8 Tibia Clausa 4 Snare Drum Tap Second Touch Saltclonal Quint 5-1/3 Stopped Flute 4 Sanre Drum Roi I Tibia Clausa Octave Violonce llo 4 Viola 4 Tom-tom 16 4 Strings 4 Tuba Horn 8 Violins Wood Block Tap Bass Drum Tap ( loud) Muted Strings 4 Tuba Horn 4 Tambourine Bass Drum Roll Sallcet 4 Tibia Twelfth 2-2/3 Castanets Crash Cymbals Sallcet Twelfth 2-2/3 StoFped Twelfth 2-2/3 Jingles Cymbal Roll Sallcetlna 2 Octave Viole 4 Sand Block Cathedra I Chimes Echo Mlxture Piccolo 2 Muted Chimes Comet de vloles Tierce 1-3/5 Second Touch Qulntadena 8 Bri I Ira nt Ml xture Diapason Phooon 8 COUPLERS (selected stops) Tuba Hom 8 Accompaniment to peda I Wood-Wind Section Plano 16 Cathedral Chimes Great to peda I Contra Tibia Minor 16 Plano 8 Triangle Orchestra I to peda I Bassoon 16 Plano 4 Cymbal Tap Solo to peda) Tibia Minor 8 Muted Chimes Oboe Hom 8 Great to pedal pizzicato Second 1ouch Snare Drum RoII Solo to pedal octave Clarinet 8 Fanfare Trumpet 8 Wood Block Roll Carillon to pedal Orchestral Oboe 8 Cathedral chimes Tuba Sonora 8 Glockensplel COUPLERS Tibia Minor 4 SOLO Snare Drum Roll Orchestral to accompaniment Flageolet 2 "Oicimber A Muted Chimes Solo to accompaniment Contra Trumpet 16 Solo to Great Cartllon to accompaniment Contra Tibia Clausa 16 Trumpet 8 16 Clarion 4 (tenor C to G2) Vox Humana ( CC) 16 Snare Drum Tap Tibia Clausa 8 Snare Drum Roi-I ACCESSORIES Fanfare Trumpet 8 Tom-tom 10 double-touch comblnatlon pistons Saxophone 8 Wood Block Tap to each manualt first touch giving Vox Humana 8 Tambourine combination only, second touch Tibia Clausa 4 Castanets adding suitable pedal combJnatlon. Vox Humana 4 Jingles Cathedral Chimes Sand Block Cancel - bar to each manual and Muted Chimes pedal organ. f;cond Touch 10 Chamber B . wood-wf nd section only) 1 Balanced Swell Pedal with Indi­ Contra tuba Sonora 16 Vibraphone cators Bass Clarinet 16 Xylophone Balanced Stop Crescendo Peda I Orchestral flute 8 Sleigh Bells with Indicator Quintadena 8 Triangle 6 theatre organ ORGAN IN THE OOEON It was in July 193 0 that THE record operator in the box, the film projector (Continued from Page 6) appeared which for ever set the seal of was switched off and a dazzling white fame for both organ and organist - 'The spotlight fell straight onto the real keys, g1v10g an extra Diapason chorus Ride of the Valkyries' and the 'Tocata console, which had now reached full of 16', 8', 4', 2', and some other' modi­ in F '. I have played this record to a height, and there was Reg Foort sitting fications. number of highbrow organists and musi­ and smiling in exactly the same posi­ It is still a magnificent cinema organ cians without warning or introduction. tion as he was seen on the film seconds with many extra tone colours which en­ Afterward I asked them to guess who and earlier. This brilliant p iece of showman­ able straight and orchestral music to be where. Not only were their answers ship brought forth greac applause. I faithfully rendered. Mac's record of the most illuminating, but best of all was noticed he had a microphone on the lift 'Tocata in F' is the perfect example and the look on their faces when I proudly with him, and he proceeded to chat with a lasting tribute both to the organ and announced that the organ in question the audience and announce his titles in its organist. For a cinema organ the was in a cinema! The same year Mac his bright and breezy style for which he pedal department is particularly impres­ recorded Gershwin's 'Rhapsody in Blue', subsequently became well known. sive (13 stops at 16' pitch), wind pres­ using the effects siren to reproduce the All this time, a very interested sure varying from 5" to 25". Some of clarinet glissando. About this time the spectator V1-as the Jianist and arranger the quieter stops would seem more B.B.C. tested the organ for broadcasting of the Regal Virtuoso Orchestra. With suited to a church organ, but if the and found it unsatisfactory, yet the re­ the advent of 'talkies,' he saw only too specification does not convey it, the or­ cording equipment was producing a well the pattern of the future. When the gan is well balanced, with the reeds good job. orchestra was disbanded on re-organiza­ dominating at full organ. When Mac left the Regal to go to the tion due to the advent of sound films. Access to the chambers is through a Trocadero, he had set a very high stan­ and Reg F oort moved on to open the Re­ room containing the re lays and setter dard for his successor. Looking back gal at Kingston upon Thames, the boards for the adjustable double touch now after 33 years, there was really pianist merely transferred from the pistons. Off this room at the opposite only one man who could have taken piano stool to the organ bench. His end to the chambers is a smaller room over - and he did - Reginald F oort. He name was Sidney Torch, and very soon c-ontammg the motor and generator. was already a regular broadcaster and he established a classy rhythmic style The air for the blowers is filtered. he had the B.B.C. test the organ again, of playing pop mus i c which made The electro-pneumatic console is and with certain modifications it was earlier attempts sound really corny. He very ornate and has some 250 stop keys. now approved, and its ' first broadcast treated the organ for what it was in­ It has 16 couplers, 31 second touch fa­ was on Christmas Day, 1930. My first tended - a one man orchestra. He ar­ cilities, 40 double touch pistons, 10 tre­ sight of the huge ornate console was a ranged and re-phrased. Using heavy mulants, 38 stops for percussion con­ few weeks later. With my colossal ne-rve reeds he played staccato like a dance trol, 21 percussion stops, 26 effects (I was only 16 at the time), I callt:d band . The percussions stops and cancel bars to each section, a at the stage door. Mr. Foort came down were used correctly. And he established feature of Chris tie organs. Four manu­ personally to collect me, and he re­ still further the theatre organ as a legit­ als are Accompmiment, Great, Orches - membered me from an earlier visit to imate instrument. tral, Solo. Swell pedals to each cham­ him when at the Regent, Bour!.!emouth. Of the dozen records he made, I have ber, and a balanced general crescendo He was never too busy nor too snooty already worn out the copy of 'Dance of pedal with indicator. Gerald Shaw com­ to chat with non-playing enthusiasts the Blue Marionettes', backed with mented that it must be one of the few like myself, and he was able to pass 'Hot Dog'. This is Torch at his best, organs that has 40 pedal pistons! By some of his obvious enthusiasm on to with his 'Hotter than Ever' selection of that he means that you can set 40 dif­ me. When I met him again later when standard hits a close second. He was ferent pedal combinations for the sec­ starting out in business, he gave me quick to use the wonderfully expressive ond touch of the 40 thumb pistons. some sound advice which stood me in swell shades of the Regal organ for THE ORGANISTS. First and foremost very good stead. I went down to the pit flares and slurs popular with the saxo­ was Quentin Maclean, whose playing on when he was due to go up for a 15- ophone teams in dance bands of that this organ reached such a high peak of minute interlude, and I had a worm's period. perfection that he set a standard which eye view. Foort too made some records Torch moved on to open another Re­ all other organists and students set on this organ, of which his novelty train gal (also with a Christie Organ) at Ed­ out to achieve. His inter .pretation of or­ number, 'Choo Choo', appealed to me monton in North London, and he was chestral music has never been sur­ most. succeeded by Nelson Elms, then Jack passed. His extraordinary memory for On another visit I was made equally Courtnay, Clifford Birchell, Phil Finch, c.omplete scores and great works was welcome, but this time I was shown to and then Gilbert Handy, who stayed uncanny, and his of them the centre stalls for the interlude, and 4½ years until Reginald New arrived in for the organ was unique. It was not I was soon to learn why. The main fea­ 1943. He made it his first job to get the long before he signed a contract with ture ended with the front tabs closing organ back on the B.B.C., it having been Columbia to record the organ in early over the screen only to re-open im­ off the air since F oort left. 1929, and considering the equipment mediately as Reg commenced to play On leave at this time, I quickly re­ available in those days, the recording his signature tune. On the screen a newed my acquaintance with New and engineers did a wonderful job. Playing film appeared n{ the top only c,f an or­ the Christie. My arrival was about five his records 34 years later on modern gan console rising out of any pit, which minutes before he was due to go up for equipment which is very critical, these was soon recognised as that of the Re­ an interlude, and although I did not know early Mac recordings still sound very gal itself, and the head and shoulders it at the time, he was notorious for clear and fresh, with full range includ­ now visible in the film were clearly leaving his arrival at the console until ing a good bass. If your equipment, like those of Reg Foort. As the organ came the very last second. 'We stood outside mine, can filter out the hiss of the higher into view in the filmp Reg at the the stage doorkeeper's office ar.d we needle, they might have been post war real console was synchronizing his both kept looking at our watches, but recordings. playing to coincide with the movement Reg chatted calmly on. In the end I Who am I to set myself up as a critic of his hands in the film. As the film could stand it no longer and pointed out of records? But I can te 11 you which console came into full view, the film the time, a minute to go, and then he are my favourites, which I've nearly camera moved slowly in for a gradual sauntered down. He leaped onto the worn out. For an example of his or­ close-up of Reg, who turned and smiled console, but not in any sense of panic, chestral playing, 'Flower of Love' and at the audience. In the dim light re­ pressed the motor button (it takes 45 Serenade Berceuse ! The backing of the flected from the screen, I could see the seconds) wiped his hands on his hand­ former is 'Suhbi Kazib', an example real console coming up in complete kerchief, pressed half a dozen pistons, of silent film music at its descriptive darkness, no horseshoe or music lights pushed the lift button , went into his best. on. At a moment rehearsed with the signature tune and up. No music, 8 theatre organ straight into a selection of popular over­ club members. Gerald Shaw always made LETTERS TO THE EDITOR tures. Again I had a worm's eye view. a point of maintaining the traditions of He said nothing to me about his those early days by including renditions Dear Sir: fin ale, and he did a modulation and in the style of Maclean, Foort and Torch. The following quotation was taken seemed to pause rather a long time on a Gerald took a sincere interest in the from the May 13, 196 3 edition of soft chord. Suddenly I heard the hiss of organ, and when he went there in 1953, Boxoffice. Center of page SE-2. a needle on a recurd coming through the all was not as it should have been, due ''The big in Florida loudspeakers, and a split second later, chiefly to lack of use, but by utilizing State's Olympia Theatre, silent for the the organ and a full orchestral record some of the wiring from removed per­ past five years, is now in full voice, complete with the guns firing were play­ cussion, he has been successful in and according to John Steele of Binder­ ing, in perfect pitch and timing, the keeping everything working. Baldwin, who i:e,conditioned the 38-year "1812 Overture." I'll never forget it. The organ has stood more or less old instrument, sports one of the finest As I mentioned at the beginning of my silent since Gerald Shaw moved to the sets of bellows in town ..• " article, the swell shades propelled the No. 1 theatre in the circuit in N ove m­ Ah, there's good news tonight. The sound of the organ towards the stage, ber 1958,.; The Odeon, Leicester Square, three manual Wurlitzer in the Tampa and I do not think many in the auditor­ where I am pleased to state he is still Theatre, Tampa, Fla., was sold to a ium were even aware that the whole in residence. Rumors of closing of the church a year or so ago. There is a fin ale was organ and record perfectly Regal (sorry, the Odeon).. Marble Arc1!, three manual Wurlitzer also in the blended have been circulating for"years, but at Florida Theatre, St. Petersburg, Fla. In 1945, the cinema was taken over the moment the biggest cinema organ Also one at the Florida in Jacksonville by Odeon Associated Theatres and was in Europe stands silent and neglected, and Orlando, Fla. I understand that re-named the Odeon, but to all organ its future uncertain. However, it is still some are in playing condition but I fans everywhere, it will always be the serviced monthly. haven't been in those cities for some Regal. Change of management led to I apologize if this article appears too time to hear them. Thought you folks changes of organists, many staying for personal, but with so many organists would like to have this good news. only a few weeks - Harry Davidson, and changes of management, my main Sincerely yours, Harold Coombs, Neville Me ale, Cyril sources of news and information have Ted Garrison Martin, John Howlett, W.J. Hemsley, been my own diaries and memories. I Leslie Jen kins, Louis Mordish, and am also greatly indebted to Mr. Gerald finally Gerald Shaw. All who knew Shaw for reading my draft notes and for Gerald Shaw guessed it would not be supplying some very helpful and inter­ esting information, as well as for c cx­ long before he got the organ back on the IF YOU WANT TO RECEIVE air, and once again the giant Christie recting a few technical errors, or should was regularly heard both in the regular I say 'editorial cyphers'? 'THEATRE ORGAN' morning weekly sessions, and also in Editor's Note. ATOE also wishes to Please keep us advised of your correct the late night spot. One morning broad­ thank David Hayes, Gerald Shaw and address. The Post Office DOES NOT cast took place on a Saturday morning Ralph Bartlett f oc their parts in making forward Second Class Mail. with a large unofficial audience of organ this article and pictures available. the ULTIMATE The world's newest and finest theatre organ with "horseshoe" console - the best loved design of all times reborn for today's living. The Rialto by Gulbransen, with the multi­ channel Leslie ISOMONIC speaker system, combines dramatically to recapture all the warmth, color and brilliance of true theatre pipe organ tone. Fashioned from the finest materials, crafted with exquisite care, the Rialto is a modern masterpiece destined to reach new heights of distinction. 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GULBRANSEN COMPANY Melrose Park, Illinois

Summer1963 9