Wilhelm Bruder Söhne Model 76 and 77 “Starkton” Organs

Carousel Organ , Issue No. 47—April, 2011 Wilhelm Bruder Söhne Model 76 and 77 “Starkton” Organs

Part I

Jonathan J. Holmes

he Starkton or mitred trombones. The powerful sound- largest resonator runs Ting organs are once around the inside were advertised in the of the case, plus a little mid 1920s. Starkton’s more—just over eight were available in two feet long! This gives models, Model 76 and these small organs their Model 77, the Model 76 deep sonorous bass and has no percussion. unlike many organs Although they were they have no flue bass never really classified as pipes or helpers. a Starkton by Wilhelm Figure 2 Bruder Söhne (WBS), The tracker bar has the firm always first 46 holes and although referred to them by their the original books have model numbers and then holes punched for forte in the subtext they used and piano , there is no the word Starkton . For mechanism to operate the purposes of this arti- such functions in any of cle I will use the word the Model 76 and 77 Starkton when talking Figure 1. A Starkton Model 77, owned by the author is painted in its original instruments that I have color scheme of circa 1935. about these organs. found. Figure 1 In this article I examine a variety of organs that play on the Model 76/77 scale. The Starkton organs were part The Starkton Model 77 organ’s of a rationalization programme after the First World War, small size . . ., defy these instruments when changes to the tonal structure of the firm’s organs also took place. It is very likely that Eugen Bruder, who decibel output and their musical was in charge of their music arrangement department, had ability, which was probably one of the a substantial input into the design of these organs. reasons for their popularity, the other The Starkton Model 77 organ’s small size (2 metres was obviously that they were well high, 2.10 metres wide and 0.75 metres deep), defy these instruments decibel output and their musical ability, priced. which was probably one of the reasons for their popularity; the other was obviously that they were well priced. In Q David Bowers’ Encyclopedia of Automatic Musical The scale as seen in Figure 3 comprises five notes Instruments , page 825, there are two photographs taken allocated to the bass, 15 notes for the accompaniment from a WBS catalogue. Bowers states that in the 1930s a (trumpet section) and a further 17 notes for the melody. Model 76 cost 1400 DM. Converting that into pounds This makes a total of 37 holes providing the musical sterling in 1930, we get a price of £70.00. If I then use an notes. It’s worth noting that in the Starkton , and in other inflation formula to calculate the organ’s equivalent price German organs, the accompaniment doubles up as a coun- today we arrive at a figure of £2500.00! [ $4,050—ED ] termelody. Then there are three holes for percussion, two A Starkton with reed pipes normally had a total of 113 for the snare drum and one that operates the bass drum pipes. The whole top section of the case contains the five with Chinese cymbal, and finally one hole for the action

10 Carousel Organ , Issue No. 47—April, 2011

Wilhelm Bruder and Söhne Models 76/77 Starkton’s Musical Scale

1 unknown or not used 2 F-lowest bass note 3 Cut out 4 G 5 A 6 C 7 D 8 Bass drum and cymbal 9 G-lowest accompaniment/trumpet note 10 A 11 A# 12 B 13 Snare drum 14 Snare drum 15 C 16 C# 17 D 18 E 19 F 20 F# 21 G 22 G# 23 A 24 A# 25 B 26 C-lowest melody note 27 C# 28 D 29 E 30 F 31 F# 32 G Figure 2. The Model 77 advertised in the Wilhelm Bruder Söhn Catalogue, circa 1926. 33 A Courtesy: Paul Fleck Sohne 34 A# 35 B cut off. This makes 38 holes utilized on Model 76 organs 36 C and 41 holes used in Model 77 organs. If we include the 37 C# holes designated for forte/piano functions a total of 43 38 D holes have a designated function leaving three blank. 39 E Although generically very different, for comparison 40 F 41 F# purposes, let’s look at another popular WBS instrument, 42 G which are common in and unique to the UK. The 46-key- 43 Forte less WBS instruments that were commissioned by 44 unknown or not used Chiappa Limited in the 1920s and 1930s to play on the 45 unknown or not used Gavioli scale. A number of these popular WBS 46-key- 46 Piano (nearest to the hinge of the less organs have survived into preservation. Chiappa already had patterns for this scale, so it is likely that this was one of the reasons for the British/Gavioli 46-keyless Figure 3. The Model 76/77 Starkton scale. specification.

11 Carousel Organ , Issue No. 47—April, 2011

Figure 5. WBS Chiappa organ in Mayne’s Chair-O-Planes, Heston May Fair, 1942. FHT 1609 © Fairground Heritage Trust Chiappa imported many of these tuneful little organs. Exact numbers are not known at present, but the Chiappa archives would probably hold that information including the purchase and sale price to UK showmen. It’s believed that more than thirty of these instruments were purchased from WBS. Chiappa then sold them with music from their own pattern library to showmen all over the UK. There seems to be two distinct designs for the facades, Figure 4. A WBS Chiappa organ in Jacob Studt Jr’s Chair- while the pipework specification remains roughly the O-Planes, Wantage Market, circa 1925. FHT 0386 © Fairground Heritage Trust same throughout the period of their production. One difference is that in early organs the trumpet pipes are only WBS catalogues show that they had their own range on the bottom 10 notes of the melody, while the remain- of organs which were similar in size to the organs ordered ing pipes in the rank are stopped flutes; later organs have by Chiappa, including the Starkton and their Models 78 trumpets over the whole rank. Some of these organs have and 79. As far as we know no Starktons were ever import- since been altered—in my view this has been detrimental ed into the UK before preservation. The WBS Gavioli and not an improvement. The most common change is the scale organs were commissioned by Chiappa Limited in addition of a glockenspiel while many have had their London because of the compa- feeders removed and been so ny’s need for a supply of small called updated with the addi- organs to accompany a new The WBS Gavioli scale organs tion of a blower. type of fairground ride that were commissioned by Chiappa Two unaltered examples was being imported into the Limited in London because of the com- are those owned by Margaret UK from Germany, the Cooke Serial No. 3543 “Chair-O-Plane.” Figures 4 pany’s need for a supply of small (Figure 6 on center spread ) & 5 organs to accompany a new type of and Amersham Fairground The importation of these fairground ride that was being import- Organ Museum (Teddy Reed). rides into the UK started in Serial No. 3633 circa 1925 the early 1920s. These small ed into the UK from Germany, the (Figure 7 on center spread ). organs were also used on “Chair-O-Plane.” I decided to discuss the steam yachts and cakewalks 46-keyless Chiappa / WBS where space was limited. It’s pos- instruments thereby providing a comparison for readers to sible that Chiappa Limited did not contemplate making the Starktons , as the 46-Keyless Gavioli scale is well these small organs themselves because of their own com- known to British fairground organ enthusiasts. While mitments, but it’s more likely that it was for financial rea- attending the 2008 Waldkirch organ festival, Kevin sons. The good exchange rate and Germany’s economic Meayers discovered the original WBS factory scale stick collapse at that time made the price of these organs very for these Chiappa ordered organs in an organ builder’s competitive. workshop where some of WBS workforce transferred when the WBS factory closed. 12 Carousel Organ , Issue No. 47—April, 2011

Scale Comparison Chart

Figure 8. Scale comparisons between the Bruder Starkton and the Bruder Chiappa organs.

A Starkton is not much larger in physical size to the If you compare the scales and the pipe work ( Figures Chiappa / Bruder organs, but its pipework is of a larger 3 & 8 ) you can see there are many differences, but one scale and of course the Chiappa / WBS organs do not have major difference is certainly the way the music is the normal German mixture ranks. More importantly they arranged i.e. do not use the scale in the same way, i.e. the accompani- by using the ment as a true counter melody; therefore the sound is very accompani- different. Today the 46-keyless Gavioli scale is extreme- ment section ly popular with both professional and amateur organ to play a builders who have produced new instruments with vari- counter ous degrees of success. The scale is also the basis for the melody on the 52/54 keyless organs built by a variety of builders includ- trumpets. ing Dean, Leach and McCarthy. The one major benefit of This gives the the Gavioli scale, compared to the Model 76/77 scale, is Starkton a that it’s virtually chromatic, thus making arranging music fuller richer somewhat easier. Please see the comparison charts to sound and compare these two small types of instruments built by allows the WBS. marker Figure 9. The Starkton Model 77, Serial No. 3799, showing the two ranks of stopped and open flutes. The [arranger— organ may be seen in Figure 14 on the center spread. Ed ] to be Photo: Charles Stebleton. A Starkton is not much larger in more creative. physical size to the Chiappa / Bruder It is important to realize that in the Models 76/77 organs, the pipe work was not standardized and variations organs, but its pipework is of a larger do exist. A number of organs were built with a softer tone scale and of course the Chiappa / WBS and these instruments did not contain any reed pipes organs do not have the normal although they usually had a small mixture. But in one example, Serial Number 3799 ( Figures 9 and 10 on cen- German mixture ranks. ter spread ), the melody and accompaniment comprises two ranks of pipes throughout. One rank is open and the other rank is stopped. The bass comprises one rank of stopped pipes at 8'. Obviously this organ has a much mel-

13 Carousel Organ , Issue No. 47—April, 2011 lower and softer sound which is considerably different to the normal Model 76/77. It is possible that towards the end of WBS in 1941 the Model 76/77 scale became a universal scale that was used on small to medium organs.

Figure 12. The interior of Starkton Model 76, Serial No. 3647 (see Figure 11 on the center spread) showing the large stopped flutes that take the place of normal trumpet pipes. Photo: Russel Wattam/AC Pilmer Automatic Music

It has been suggested that these softer-toned organs were designed for smaller machines, such as juvenile rides. It should be noted, however, that even organs having only flue pipework can still be called a Starkton , i.e. a powerful sounding organ. Just because a Model 76/77 has no reed pipework does not mean that it was softly voiced. In fact Model 76 Serial Number 3647, ( Figure 11 on center spread ) has loudly-voiced stopped flutes ( Figure 12 ) instead of trumpets. It also has the normal three rank mix-

Figure 16 Cross section to a scale of 1:25 of Model 77 Organ, Serial No. 3648 (see Figure 12) own by René Weiss. Photo: René Weiss, 5614 Sarmenstorf, Switzerland

ture. However the bass pipes are stopped flutes. This organ has also got one unusual feature in that the mixture ranks are housed in a swell box made of cardboard and wood. The box’s opening is in the top of the organ and comprises a simple wooden hinged flap. This allows the operator to leave it open or to close it at his wish! Russell Wattam, who is familiar with this organ (restoration and tuning at AC Pilmer Automatic Music), states Whether open or closed it makes little difference; it also makes for a very difficult tuning job. Quite why they should have gone to such trouble is hard to understand . If we look at the front of a standard Model 76/77 organ, the first rank that is visible is on the melody, and is normally either large-scale stopped flutes ( Figures 13 & Figure 15. Starkton model 77, Serial No. 3690, circa late 14, both on center spread ) or as in the MBSI and my 1920s in the holdings of the Musical Box Society instrument, violin pipes ( Figures 1 & 15 ). International. 14 Carousel Organ , Issue No. 47—April, 2011 It seems that the rest of the pipework in these organs the instrument uses the forte/piano functions. During remains the same. There is however some evidence that normal play i.e. piano, 95 pipes are available. When experiments took place in using double-mouthed pipes to the forte hole is punched a further 83 pipes are further increase the decibel level of these organs. The switched into play giving the organ a total of 178 typical layout of these organs can be seen in the drawing pipes, compared to the Model 76/77’s 113 pipes . The (Figure 16 ) by René Weiss. This shows his instrument, fifteen note trumpet rank in this organ runs from “e” in which has stopped flutes as the front melody rank rather the accompaniment to “e” in the melody—something than the optional violins. that is also seen in Model 79 WBS organs. This is a During my research I came across the following completely different range to Model 76/77 organs. instruments: Although we shall probably never know, it has been • Model 76 in the Museum of Mechanical Instruments, suggested that this organ dates from a time when WBS Bruchsal, Germany. Serial No 3645, 1926. Figure 13 were trying to rationalize its production and music. • Model 76 with only flue pipe work and no percussion. It’s interesting to note that this organ has more pipes This instrument is owned by Tony Henley, Harrogate, that a normal Gebruder Bruder Model 107. Was it a North Yorkshire. Serial No 3647 1926. Figures 11 & case of using up what they had in stock, even possibly 12 second hand pipes? The front is in the 1925 WBS cat- • Model 77 owned by René Weiss in Switzerland. Serial alogue and is allocated to a Model 110 / 111 organ that No 3648 1926. Figures 14 & 16 was a roll playing instrument. It’s probable that they • Model 77 owned by the Music Box Society used a front that they had in stock. International (presently in storage in the USA). Serial No 3690 late 1920s. Figure 15 In addition, here in the UK some people may be • Model 77 owned by myself in Penzance, Cornwall, aware of the remains of a Model 77, Serial No 3764 which UK. Serial No 3790 mid 1930s. Figure 1 dates from circa 1930 ( Figure 18 ). This instrument today • Model 77 with only stopped flute pipes, owned by plays on the 42-key Verbeeck/Anton Pluer street organ Charles Stebelton Ohio, USA. Serial No 3799 mid scale and is now owned by Frank Heaton. Changing the 1930s ( Figures 9 & 10 ). Interestingly this organ has a scale has altered the character of the organ completely! two-stick snare drum mechanism, which is operated, One of the reasons given for the change and adoption of a by a single hole. new scale was the unavailability of music, but as you will • Model number not allocated ( Figure 17 ). I have see later in this article, music is readily available for the included this organ for comparison purposes although Model 76/77 Starkton scale. (For more information about it’s not strictly a Model 76/77. This organ is owned by this organ refer to the following articles: Allan Guest Joe Hilferty, York, Pennsylvania in the USA. The KF2/03 and Jan l.M.van Dinteren KF3/03) organ has the Serial No 3810 and dates from the late 1930s. It’s one of the latest serial numbers known for a WBS organ. The organ plays on the same scale as a Starkton, but has considerably more pipes. In addition

Figure 18. The ‘Royal Bruder’ owned by Frank Heaton. This is a much rebuilt, enlarged and altered organ that started life as a Model 77 Starkton.

Figure 17. Unknown model WBS organ playing on the Starkton 46 scale. Photo: Joe Hilferty, York, PA 15 Carousel Organ , Issue No. 47—April, 2011 A further half a dozen Starktons are known to exist in Europe in Holland, Germany and Switzerland, including one rebuilt by Carl Frei. A Model 77 façade is on display in the Eltztalmuseum in Waldkirch. Photographs ( Figures 19 & 20 ) from the Paul Fleck Söhne archives, show two Model 77 organs working on the fairgrounds of Germany and Switzerland. It’s interesting to note that the organ in Figure 19 has had a glockenspiel added into the void under the main wind chest. From examination of my organ, and as you can see in the drawing by René Weiss, this would have been a relative- ly simple modification to make, as the front rank would be the range of the glockenspiel.

Figure 21. A Wilhelm Bruder Sohne circa 1926 catalogue showing roll- operated Models 100/101/102. These were also designated as Starkton’s by Figure 19 (above). A Starkton Model 77 organ now owned by Paul WBS. Paul Fleck Söhne reprint. Weber, Richterswil, Switzerland. Photo taken at the Herbestmesse (Autumn Fair) in Basel. It’s interesting to note that by far the majority of Figure 20 (below). A Starkton model 77 organ with a non-standard Starktons that were built seem to have stopped flutes on front. The owner and current location of the organ is not known at the the melody rather than violin pipes. But as I have already present. The photo was taken at the Oktoberfest in Much, Germany. said, many variations were built and the ones I have infor- Both photos : Willy Vanselow, Waldkirch/Archive Paul Fleck Soehne-Orgelbau, Waldkirch, Germany mation for, only represent a small cross section of the numbers that left the factory.

It’s interesting to note that by far the majority of Starktons that were built seem to have stopped flutes on the melody rather than violin

Although with a different scale, and different in other ways, it’s worth mentioning the following. In the circa 1926 WBS catalogue they advertise three versions of roll- operated Starktons . These organs used the Gebruder Bruder Model 111 43 Airophon scale and roll operating system. The roll mechanism and the vacuum bellows were a standard Gebruder Bruder product; WBS purchased these from Gebruder Bruder and then built a roll-

16 Carousel Organ , Issue No. 47—April, 2011 operated Starkton using their chests, mechanisms and lot more sensitive. The downside is that music costs a lot pipework. Three models were offered in the circa 1926 more. The music books are 180 mm wide. A normal WBS catalogue ( Figure 21 ). The Model 100 was adver- Starkton works on a wind pressure of 9” or 230 mm water. tised as Jazz Besetzung , which meant that this model did That WBS used the 3.5 mm spacing is interesting as this not have trumpets but saxophones. In addition they had was the spacing used in the key frame in the WBS further percussion--a wood block and a triangle. Two Chiappa organs. Did they use this spacing as a result of model 100 organs exist in Bavaria and both have glock- the Chiappa organs (they then went on to use this spacing enspiels, which were fitted in the factory at the request of on other instruments). I believe this is unlikely to be the the showman. There is evidence that one of these Model only reason as this spacing was not unusual in Waldkirch 103 organs was imported into the UK and used in as the Gavioli branch factory would have used it. Lawrence Bishton’s Cakewalk fairground ride ( Figure 22 ). It was imported into the UK by Fred Hands of Nottingham—he imported only roll-operated organs from The Starkton 41 scale is Waldkirch. He also invented his own roll playing mecha- not scrambled, as is the case nism. The roll-operated organs, however, were not popular with showman, unlike the United States. As these with the majority of organs are quite different to the Model 76/77 Starkton Waldkirch-built organs. instruments I will not discuss them further.

The repertoire that is available, even today, for Starktons is quite comprehensive, with music arranged by the great and the good. But obviously this is only an indi- cation of what was originally available. Unfortunately none of the WBS factory patterns exist, but what we do have, are arrangements including classical books by Gustav Bruder such as the Jolly Robbers Overture by Franz Von Suppe; Rigoletto Potpourri by Giuseppe Verdi; and wonderful (and extremely large) books featuring the work of Franz Lehar and Paul Linke. The only original patterns that are left are in the Heinrich Voigt and the Carl Frei / Gustav Bruder archives. The rest of the music available are copies taken from the various books that have survived with the few organs that still exist. Figure 22. A Model 100 Starkton organ on Lawrence Bishton’s Cakewalk fairground ride. So far I have been able to discover the following people that can supply original / period music:- The Starkton 41 scale is not scrambled, as is the case • Gerhard Kern and Frederic Keller, in Germany/France, with the majority of Waldkirch-built organs. The adop- now own the Carl Frei Archive which includes work tion of this type of unscrambled scale was also starting to by Carl Frei Sr, Gustav Bruder. Gustav Bruder’s pat- be utilized by other Waldkirch builders such as Gebruder terns were acquired by Carl Frei after his death in Bruder in their 43-keyless Model 111. (See above) 1972. The Starkton scale is far from chromatic, as you can • Heinrich Voigt, Frankfurt Am Main, Germany has pat- see in the comparison chart, and this restricts the reper- terns by the Ruth arrangers, and others. When the toire of music that can be arranged successfully. The Ruth factory closed down in 1938 Voigt acquired their music is spaced at the standard French spacing of 3.5 mm pattern library. It’s also very likely that they have centre, although the music is pulled through the key frame some patterns that were commissioned from Gustav at the higher speed of 4.6 metres per minute, compared to Bruder. the French organ speed of 3.6 metres per minute. The • Paul Fleck Söhne in Waldkirch, which today is run by faster speed, roughly 25%, has a number of benefits, but Stephan Fleck, can offer approximately 85 patterns for primarily it allows for better repetition using the standard the Model 76/77 organs. These include some that are punch size and the standard tracker/bar box hole. A slow- medley/potpourri books. Arrangers in Stephan’s hold- er speed would have meant smaller holes which would ings include the work of the WBS factory arrangers, mean the action would have had to work quicker and be a Eugen Bruder and Gustav Bruder. In addition there

Continued on page 20 . . . 17 Figure 6. 46-keyless WBS/Chiappa owned by Margaret Cooke. Photo: Kevin Meayers

Figure 11. Starkton Model 76, Serial No. 3647.

Figure 7. 46-keyless WBS/Chiappa owned by the Amersham Fairground Organ Museum. Figure 14. Starkton Model 77, Serial No. 3648, c Photo: Amersham Fairground Organ Museum Owned by Tony Henley, Harrogate, UK. Photo: AC Pilmer Automatic Music

Figure 13. Starkton Model 76, Serial No. 3645, circa 1926, in the Deutchsches Musikautomaten Museum, Schloss Bruchsal, Germany. Photo: Deutch Musikautomaten Museum

Figure 10. Starkton model 77, Serial No. 3799, circa mid-1930s. In the Charles Stebleton, collec- circa 1926. Owned by René Weiss, Switzerland. tion, Carrol, Ohio. Carousel Organ , Issue No. 47—April, 2011 . . . Continued from page 17 are some by Carl Frei Sr. From around 1936/7 Eugen a simple form that makes recording the data easier. All Bruder was no longer well enough to continue as the personal information will be treated in strict confidence factory arranger (due to the deterioration in his health unless permission is grated to treat it otherwise. Please secondary to war wounds) so from that date onwards contact me by email on [email protected] if you feel Gustav Bruder provided patterns to the factory. you can help and are willing to take part in this survey. • Kevin Meayers has arranged some new books for the The information will be shared with all that have an inter- scale and also has an arrangement to supply books via est. So far very few books of music in collector’s libraries the patterns owned by Paul Fleck Söhne, Heinrich exist in any of the pattern libraries! Voigt, and Keller & Kern. • Andrew Pilmer has some copies of old books includ- Part two will cover the restoration of my own Starkton. ing those by Gustav Bruder, Carl Frei Sr. and the WBS factory arrangers, plus some arrangements by himself. © Jonathan J Holmes 2010 He has also access to other books for copying purposes from Paul Fleck Söhne, Heinrich Voigt, and Keller Acknowledgements & Kern. I would like to especially mention Raphael Luethi of Paul Fleck and Söhne who gave me Dean Organ, Bristol acquired the only two books that so much information and confirmed many of were with Frank Heaton’s Bruder when Andrew Pilmer my findings. In addition I would like to thank imported it into the UK. These two books are rather apt the following Jory Bennett; Klaus Biber – Badisches Landesmuseum; Fairground for an organ that was exported directly from Waldkirch to Heritage Trust; Paul Fleck Söhne, Waldkirch; the USA. Both are factory arrangements; the march Stars Tony Henley; Joe Hilferty; Kevin Meayers; and Stripes by J P Sousa, while the other is the American Andrew Pilmer; Michael Smith; Charlie National Anthem The Star Spangled Banner that is clev- Stebelton; Russell Wattam and René Weiss. erly entwined with an arrangement of Yankee Doodle Dandy ! Bibliography I have purposefully not included in this article a com- Waldkirch Street and Fairground Organs by H. Juttemann prehensive list of all the people that can supply newly (translated and revised by Andrew Pilmer) 1993 arranged music for this scale. Wilhelm Bruder Söhne catalogue circa 1926 reprinted by Paul Some owners, of organs playing on this scale, have Fleck Söhne supplied me with lists of music books in their collection. Die Orgelbaur-familie Bruder by Valesca Heizmann 2002 I would be grateful if other owners of organs playing on Ignaz Blasius Bruder – Schwarzwälder Drehorgelbau by Herbert Jüttemann 2006 this scale would contact me, as I am trying to build up a Encyclopedia of Automatic Musical Instruments by Q David clearer picture of variations, serial numbers and any Bowers 1972 known dates of manufacture. I would also welcome a list Key Frame (back issues), Journal of the Fair Organ of music that you hold, and to aid this I have a drawn up Preservation Society

Figure 23 Disposition & pipework comparisons between the Bruder Starkton and the Bruder/Chiappa organs.

Jonathan initially trained as a piano builder and has worked on many different types of mechanical musical instruments including orchestrions, reproducing pianos and player pianos, rebuilding his first instrument at age 14. 10 years ago he had a heart transplant that has let to his early retirement which gives him more time for his hobby and to research.

A special “thank-you” to Jonathan Holmes, author, and David Smith, Editor of the Fair Organ Preservation Society’s Key Frame for allowing the reprinting of this article which appeared in a recent (KF3-10) issue of the Key Frame. 20 Carousel Organ , Issue No. 49—October, 2011 Restoration of a Wilhelm Bruder Söhne Model 77 “Starkton” Organ

Part II

Jonathan J. Holmes aving discussed the instruments that use this scale in When Richard Dean sent me the photographs ( Figures a previous issue of the Carousel Organ (April, 3 & 4) nobody actually seemed to know exactly what type of H2011—#46), I now turn my attention to the restora- organ it was. I came across a similar organ on the website tion of my own instrument (Serial Number 3790—the num- site of Paul Fleck and Söhne, where they were advertising a ber is stamped throughout the instrument). Figures 1 & 2 As CD of a Model 77 owned by René Weiss. The organ sound- previously mentioned, I purchased my instrument from ed promising, as I had the opportunity to play one of the Germany via Dean Organs, Bristol, United Kingdom. tracks, via their website, St Petersburg Sleigh Ride a gallop arranged by Gustav Bruder. I decided immediately that I would contact Richard Dean first thing the following day and asked him to secure the organ for me. It was a leap of faith, as I had only seen photographs, but Richard assured me that he knew the dealer well. In fact the organ turned out to be exactly as described.

Figure 1 (above). The cut-off mechanism (mutes the organ when the end of the book has passed through the keyframe) showing the organ’s serial number, 3790.

Figure 2 (below). The organ as first seen in storage in Germany.

Figure 3. The drum mechanisms prior to restoration.

The instrument could be best described as in good restorable condition—it was just extremely dirty. There was a large amount of woodworm in the two bottom sleds and the lower mouldings that runs along the bottom of the organ’s case. Luckily there was no sign of woodworm in the chest, pipes, bellows, front or percussion. Prior to coming into the UK the organ had been partially dismantled, and had been treated by subjecting it to gas fumigation. This is an extremely good way to treat such an instrument and—it is used by museums and art galleries world-wide. Objects of any size can be treated by this method, either at a specialist

8 Carousel Organ , Issue No. 49—October, 2011 have been painted during their lifetime, usually white when it comes to German organs. Once the case had been rebuilt and refinished I had to decide where to start with the rest of the organ. Previously I had dismantled the organ and put all the pipes on trays and laid them out in the order that they came off the chests. The percussion mechanisms and action were all photographed before dismantling and then put on shelves in my workshop. Drawings had been made of the pipe layout, as many of the pipes mouths in the mixture do not face the same way. This is so that there are no problems with the speaking of these small pipes.

Figure 4. Internal view when the organ arrived in my workshop. company’s works or via a mobile unit. Unfortunately the gas that was used has since been outlawed and a new type of fumigation is offered. The problem with woodworm (furniture beetle), which is not always understood, is that their life cycle can be up to five years from egg to adult beetle. In the United Kingdom, they normally hatch and lay their eggs in the summer. Although the instrument was gassed, I also treated it using woodworm fluid, injecting every hole with a syringe. It’s Figure 6. The completed bellows installed in the case. also important that all surfaces are treated, especially any joints. When the beetles hatch out and crawl over the sur- I decided to start work with the bellows and reservoir. faces the residue of the insecticide should kill them. Although the bellows leather seemed to be reasonable, there However I will keep an eye out for any evidence they have were some problems in that one of the double acting boards returned. had become loose ( Figure 6). The boards are hinged using a piece of rope that is stretched and then fixed in place using a small wooden dowel. Having cut the leather for the bellows and reservoir and cut out new ribs using thin birch plywood, I then recovered the bellows and reservoir, having already replaced the flap valve leather and the wood battens around the edges that strengthen and help fix the leather ( Figure 7).

Figure 5. New sleds made for the bottom of the case.

New sleds and mouldings were made from American Oak a wood that is not much liked by the beetle ( Figure 5 ). While cleaning the case, I was surprised to find out that the varnish on the woodwork was in fact shellac based. Because of the damage to the finish I decided to refinish the case keeping its original natural wood finish. Many organ cases Figure 7. Inside of the reservoir showing internal flap valves. These are made up of leather with a backing of thick rubber cloth.

9 Carousel Organ , Issue No. 49—October, 2011 Although they work reasonably well I was not satisfied with the end result and I have decided to commission Kevin Meayers to rebuild them once the organ has been playing for a while and settled down. The bellows can be taken out quite easily, but you also need to take out the windchest! I will disassemble the organ, and strip and dismantle the bellows and clean off the old glue before Kevin does the more tech- nical work.

Figure 10. Chest and pallet springs.

Figure 11 (below). Pipework trumpets followed by the three rank mixture.

Figure 8. Positioning lug on bellows showing pencil annotation.

The bellows and reservoir had been recovered a number of times during the organ’s history, and at least on one previous occasion due to water damage. Toward the front of the bellows, on the two lugs that are used to fix the bellows into the instrument, there are two pencil notes; one says 41 not and the other say Mod 77 (Figure 8 ). The pipework was generally in good condition. The tuning wires in the trumpets had corroded and some had broken off. These were replaced with new ones, made to pattern also out of phosphor bronze wire. Each of the original wires were heated slightly to expand them just enough to loosen the wire in the reed’s boot. This is a job that needs to be done with great care, as it’s easy to burn and damage a boot with excessive heating. It was not necessary to replace the tuning rods in the trombones. The resonators, however, were coming apart, especially where they had been mitered. These were all repaired and carefully clamped using hot Figure 9. Pallet guide pins showing corrosion and general poor condi- glue. Figure 11 tion. The mixture’s pipe work was in reasonable condition, apart from two pipe feet and all the tuning shades. The metal I then stripped down the pipe chest and found that all the shades had either broken off or they were about to. Booths, pallet guide pins had corroded ( Figure 9 ) to such an extent, the well-known pipe makers, supplied me with some pipe that most had broken off. These were replaced with new metal to the same specification as originally used. The foot phosphor bronze pins. The pallet leather was worn and pit- and cap of one pipe was very badly damaged and it had been ted and was also replaced. The wind ways were cleaned and poorly repaired in the past. A local church organ building then hot glue was flowed into each chamber to make sure friend, David Grinley, managed to put the pipe pieces back that there was no air leaks from one channel to another. All together and to make a new foot. Figure 12 the leather gaskets were replaced as were a number of paper The stopped flutes on the melody are situated in the back patches which covered knots and splits that mostly dated of the organ—they add foundation tone. These had suffered back to when the organ was built. The pallet springs were from some bad tuning practice. Over time the stoppers had remade using phosphor bronze wire and the grooves treated obviously gotten very stiff; as a result a tuner had used pli- with graphite ( Figure 10 ). ers on them which resulted in all of them having the tops of

10 Carousel Organ , Issue No. 49—October, 2011 off far too short or badly damaged and because of this it was necessary to make five new pipes. The feet and friens from the original pipework have been utilized in the new pipework as well as a few other parts. The result of Kevin Meayers work is that you would be hard pressed to decide which ones are the new pipes. The tuning of the organ was not straight forward, as it is not tuned to equal temperament, as used today on modern keyboard instruments. The bass drum mechanism was in good order and required only the recovering of the pneumatic and the pouch (Figure 14 ). The snare drum mechanism was another case: the beaters Figure 12. Completed pipework. comprised two metal rods with a screw thread on one end for the wooden beater, while the other end was not a standard design. In fact it had a sharp point like a nail and this had been driven lengthways into the top board of the pneumatic, causing a Figure 14. The bass drum mechanism. weak point resulting in a split developing in both pneumatics’ top boards. After examining other Wilhelm Bruder organs, I have not replaced the beaters in the same way, but as per the standard pattern. There were also other problems with splits in the mechanism. Finally the mechanism has unusual return springs, Figure 13. Trumpets prior to restoration and replacement of tuning which are original although not to the pattern usually seen. wires and the stopped flutes. Note the condition of the stoppers. These springs are being replaced by standard Wilhelm Bruder pattern springs. The original springs resembled their stoppers completely chewed off! Figure 13. These large pallet springs ( Figure 15 ). were replaced with similar style stoppers to facilitate tuning. The final two ranks are the front ranks that in my organ are a rank of melody violins and behind on the accompaniment, a rank of open flutes, some of which have beards. The violins and half of the open flutes behind them are fixed tuned ranks. These pipes had been repainted a number of times over the organ’s lifetime, but by no Leonardo Da Vinci. White gloss paint had been sloshed down the sides, in the mouth and even all over the freins! The pipes were sanded, cleaned and then repainted. Now if that was the only challenge that would have not been a major problem, but that was not the case. It happened that one violin pipe had been replaced sometime in the organ’s history, perhaps it had been pulled out or vandal- ized—its frein and its scale was totally different to the rest of the pipes in the rank. When it came to laying a scale and tuning the organ Kevin Meayers found that the fixed tuned Figure 15. The unusual snare drum springs are original to the organ, as I have come across the same type of spring in a basic Model 76 in the ranks had been butchered. A total of five pipes had been cut USA.

11 Carousel Organ , Issue No. 49—October, 2011 it started to leak from one chamber to another and from one side to another! I had not noticed these leaks at first, so the unit needed a complete rebuild once again! Because of these many problems I decided to ask Kevin Meayers to undertake the remedial work. I know I should have checked the chan- nels and pouch board more extensively in the first case, but somehow I didn’t.

Figure 16. Rear of the organ showing restored primary and secondary chest and the cut-off. Figure 18 (above). The drums themselves were in a poor state. The snare Bleed board showing drum had most of its nickel plating missing, while the bass repairs that were nec- drum needed refinishing. All the metalwork on both drums essary so that the was replated and the drum skins were replaced. A local screws could be drum specialist, who has worked on other drums from other tightened. mechanical musical instruments, fitted new hide drum skins. The area that needed the most work was the primary and secondary action ( Figure 16 ). These required a complete Figure 19 (right) rebuild and all of the primary motors and pouches were The keyframe box recovered. The motors were done with a Zephyr skin, and showing damage and the pouches with leather, new valve facings were cut and zinc dividers new millboard washers were purchased from Russell’s. Unfortunately during reassembly and testing, a number of The final and obviously the most important part of the problems came to light. The screw holes that secure the pri- organ to require work was the keyframe. I had the rollers mary chest to the pouch board were drilled in the most stu- recovered and all the metalwork was nickel plated as per the pid places. Many actually lined up with the edge of the holes original finish. At the same time I had the snare drum and the that fed the pouches so they had split! It must have left the fittings from the bass drum also cleaned and replated. The factory like that. The bleed covers suffered from the same wood was cleaned but not refinished. The springs were problem ( Figure 17 ). cleaned and the mechanism degreased before repacking it with new grease. The lead tubing from the keyframe to the primaries was in good condition so it did not need replacing. One major problem, that was not initially discovered, was that the keyframe box had delaminated. It was possible for charged air to leak from one chamber to another ( Figure 18 & 19 ). This meant that although it partially worked, it was necessary to close off the bleeds completely, which was obviously not right. The keyframe box comprises a number pieces of wood laminated together with a central chamber divided by zinc partitions. The whole thing is glued together and then there is two small blocks of wood that keep it Figure 17. Primary motors prior to restoration. together. It became necessary to dismantle the whole box— which was not difficult. Kevin Meayers took the two fixing While testing and getting advice from Kevin Meayers, it blocks off each side and right away the whole mechanism became obvious that the pouch board was substandard. It fell apart. It’s probable that the keyframe got wet and there- seems that they drilled the pouch wells on one side of the fore all the hot glue used had been weakened or washed wood, but then discovered that they were in the wrong place. away or perhaps unseasoned wood had been used. Kevin Instead of getting another piece of wood they just turned it Meayers rebuilt the keyframe for me including replacing the over and drilled more pouch wells on the other side. The tracker bar, the original was badly worn and pitted. The problem was that on the misdrilled side they just stuck a drive gears were also excessively worn, so they have been piece of card over the top. Over time, although it looked ok, replaced. Figure 20.

12 Carousel Organ , Issue No. 49—October, 2011 The final part of the When I purchased my organ it came with only nine books renovation was the refin- of music all in an original hopper (the hopper was configured ishing of the front. The for continual playing). All the tunes dated from the 1930s color scheme on the (probably supplied new with the organ). All the books were façade when the organ badly damaged, worn and torn. Because of this I decided to arrived was obviously not have them repaired and separated into single books. original, as it was possible to see where some areas had been repainted a number of times in different colors. The paint was carefully stripped, using paint stripper. Photographs were taken throughout the process and I also took specimens of Figure 20. The restored keyframe installed in the organ. the paint. It turned out that Figure 22. The keyframe drive mechanism. after the initial gesso finish, a type of undercoat, there were two distinct colors, these The organ is powered by a new 3 phase ½ horse motor were a light blue, as seen on other organs of the period, and that is controlled via an inverter, this makes it possible for the bright orange. The carvings had a mix of decoration, some organ to run on a normal domestic supply i.e. 240 volts or a were gold while other areas had been decorated in silver. A portable generator. The unit has a built in speed control detailed paint scheme was drawn up and paint was specially which allows me to adjust the crankshaft speed to the recom- mixed to match the original colors. mended speed that is specified in Wilhelm Bruder’s cata- The col- logue, 70 r.p.m. The keyframe is driven directly off the ors are bright organ’s crankshaft and while some of these organs have a and unusual direct gear drive, mine has a more complicated drive using a for a fair- small leather belt which runs across the back of the organ, ground organ, then it turns 90 degrees, before going over a tensioning but it’s impor- device, then it drives the lower roller of the keyframe ( Figure tant to realize 22 ). The crankshaft was in a very bad way when the organ that this is not arrived in that it was very loose and had come apart so you a Victorian or could in fact bend it! A local engineering company repaired Edwardian and straightened the shaft. instrument, The organ has been built into a purpose-built trailer with but one dating a lifting front panel. The lower panel lifts out and on its from the reverse it will have a reproduction of the Wilhelm Bruder 1930s, the Söhne’s logo and letterhead. This can be used to cover the Jazz Age and trailer’s wheels. There are double doors at the rear, to allow the period also the organ to be loaded on and off when necessary. The width Figure 21. The completed organ with its new paint scheme. It is viewed here in a purpose-built trailer with famous for Art of the trailer is six feet, which is larger than really necessary, a lifting front panel. Deco ( Figure but this allows the windchest and bellows to be taken out of 21 ). In this the case without taking the organ in and out of the trailer. country the work of the well known designer Clarice Cliffe Because of the design of the case, the windchest and bellows certainly used these colors on her ceramics. Taking this into can only be extracted from the rear of the instrument. The account and the rather angular design of the front the color trailer was built by Tyrone Snell Trailers, Cornwall, United scheme makes perfect sense. Other designs for facades for Kingdom. Waldkirch organs from the 1920s and 1930s have angular design features. The only part that has not been repainted is Acknowledgements the three marbled panels, I decided to keep the original facto- Kevin Meayers, Chesham, Buckinghamshire; David ry finish as it was in reasonably good order and I have had Gridley, organ builder, Penzance, Cornwall; Photographs as them restored by a fine art painting conservator. credited.

Jonathan initially trained as a piano builder and has worked on many different types of mechanical musical instruments including orchestrions, reproducing pianos and player pianos, rebuilding his first instrument at age 14. Ten years ago he had a heart transplant that has led to his early retirement which gives him more time for his hobby and to research.