®r?IDIDill ~ [Il ilU) (B ®(!]CB©ill (formerly the RegaI) ~filrflliil@filrr~llio I1© [Il (ll © U) l1 ~ [Il~ nG) rn (ll 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 Wurlitzer 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 theatre organ 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, Tibia 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, Tuba Horn, Fanfare Trumpet, 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 Cornet 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 piano 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 Snare Drum Roll Orchestral to Great Tibia Clausa 16 Orchestra I oboe 8 Wood Block Roll Solo to Great Bourdon 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 Gedackt 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 Vox Humana 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 Mixture Saxophone 8 Plano 8 Vlo lonce Ilo 8 Plano 8 Bass drum 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 Trombone 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.