To Kevin and List:
 
I would very much like to second the statements made by Poncho on
this topic. His post is an excellent model of reason and sense.
 
One should particularly avoid an attempt at an eclectic instrument; it
is unlikely to please anyone. Also one statement of Poncho's bears
repeating:
 
>     4) The theatre organ is a uniquely American development in the
> realms of organbuilding, and notwithstanding perpetual assaults
from
> the elite concerning its "decadence" and "debauchery," evolved an
> integrity of layout, design and musical focus which still generates
> enthusiasm today, and is worthy of being conserved in tact, even if
> this means new locations and new uses.
 
Don't worry about those who tell you that theatre organs are not
serious musical instruments. These people usually have quite narrow
musical tastes. Exposing such people to good theatre organ playing -
- live-- will help them to learn about the wonderful things they have
been missing, to the betterment of us all.
 
I will add one thing: Do not let the design of the organ be done by
amateurs, no matter how well-intentioned. Many amateurs have a
tendency to put in too many ranks, as they cannot bear to do without
even one of the sounds that the largest installations had. A
professional will favor an instrument that is the right size to fit into its
environment and has "integrity of layout, design and musical focus."
Unless the auditorium is unusually large, the approximately 7-8
ranks mentioned by Poncho should be ideal. And, it would be a great
idea to get an entire instrument that was in a theatre, and install it
without additions or deletions (modern replacements for some of the
non-sound-generating innards excepted). That way, you can have a
link to our past that people can identify with (rather than a group of
miscellaneous organ parts).
 
With good theatre organ and organist, in a good hall, with intelligent
publicity, you should get full houses for musical events.
 
Best of luck,
Allen
 
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Note:  opinions  expressed on PIPORG-L are those of the  individual con-
tributors and not necessarily  those of the list owners  nor of the Uni-
versity at Albany.
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