Worcester, Massachusetts
Memorial Auditorium
1933 Kimball, Op. 7119

(Larry Chace, Grahame Davis on PIPORG-L 1997)

The Kimball is an example of R. P. Elliot's conception of a "classical"
instrument, and it is well-supplied with a _tin_ Diapason chorus on the Great
consisting of 16,8,8,8,8,5-1/3,4,4,3-1/5,2,V,VI with chorus reeds of 16,8,8,4. 
The Pedal has a 32' wooden Violone, a 32' Major Bass (stopped wood), and a 32'
Bombarde of metal.  (The Great's 32' is a tenor-c Gemshorn, also playing at 16'
and 8'.)  There are additional mixtures in the Swell (V), Choir (III), and Pedal
(V).  The Pedal has its own unenclosed 16' Open Diapasons of both wood and metal
as well as a further enclosed 16' open wood.

The Swell also has a chorus of 16,8,8,4 Trumpets.  The Choir's is only 8,4, as
are the Solo Tubas.  (All are independent.)  The Pedal 32' Bombarde, unenclosed,
also plays at 16,8,4, while its  enclosed Trombone plays at  16,8,4.

The 1933, 106 rank Kimball organ which is in the War Memorial Auditorium at
Worcester, MASS. is surely one of Kimball's finest instruments.  It resembles
the 1938 instrument which they built for the Episcopal Cathedral in Denver
Colorado.  The Worcester Kimball is larger and not as buried as the Cathedral
organ.  Ten years ago, myself and some other builders were privileged to be able
to spend many hours touring through the organ taking scales, measurements and
examining other details.  At the time, my firm was about to begin the
restoration of 1928 Kimball (four manuals 58 ranks, now complete) and we wanted
to see along what lines the company developed its later, and subsequently final
tonal philosophy.  Tom Murray from Yale ably demonstrated the organ to us and we
all quite pleased to note that only one drawknob refused to cancel, there being
a blown console pneumatic....this after no maintenance for at least ten years. 
How's that for good, solid American organ building?!  All of the builders
present were stuuned by the beauty of the individual voices, the cohesiveness of
the ensembles and the regulation of the entire instrument....still intact and
working well 53 years later.  This instrument was built during the last days of
Robert Pier Elliot's reign and I commend to all a study of this man's influence
on several organ compnies of the day.   His story may be found in David
Junchen's Encyclopedia of the Theater Organ under the listing beautifully made. 
They all speak promptly and are very effective in the room.