Lincoln Center for the Performing Arts 10 Lincoln Center Plaza Broadway at 65th Street New York, N.Y. 10023 http://www.lincolncenter.org Avery Fisher Hall Organ Specifications: ► III/95 Walker Technical Co. electronic (2006) ► IV/98 Aeolian-Skinner Organ Co., Inc., Op. 1388 (1962) Lincoln Center for the Performing Arts is a 15-acre complex of buildings built during Robert Moses's program of urban renewal in the 1960s. The concept of gathering major cultural institutions in a centralized location came to fruition on June 22, 1956 with the incorporation of Lincoln Center for the Performing Arts, Inc. John D. Rockefeller 3rd was the center's first president, and the New York Philharmonic-Symphony Society was the first constituent. The boards of The Juilliard School and The Metropolitan Opera Association voted to become constituents in 1957, and on May 14, 1959, President Dwight D. Eisenhower broke ground for the new center. Philharmonic Hall was the first building to open, in 1962, followed by the New York State Theater (1964), the Vivian Beaumont Theater and Forum (1965), the Library and Museum of the Performing Arts (1965), the Metropolitan Opera House (1966), Alice Tully Hall (1969), and The Juilliard School (1969). In 2004 Lincoln Center was expanded by the addition of Frederick P. Rose Hall, Jazz at Lincoln Center's facilities at the AOL/Time Warner Center, located a few blocks to the south at Columbus Circle. Philharmonic Hall was designed by Max Abramovitz of Harrison & Abramovitz, and opened on September 23, 1962. The state-of-the-art concert hall featured retractable acoustic clouds as specified by Leo L. Beranek, the hall's acoustician. Unfortunately, the new hall's acoustics were immediately panned by audiences and critics, with musicians complaining they couldn't hear themselves on stage. Several attempts were made to improve the acoustics, but without much success. Finally, it was decided that the only solution was to gut the hall and start over. A $10.5 million donation by Avery Fisher, a member of the Philharmonic board of directors, made possible an acoustical reconstruction of the auditorium, designed by architects Philip Johnson and John Burgee of Johnson/Burgee, with Dr. Cyril Harris as acoustician. At this time, the hall's Aeolian-Skinner concert pipe organ was removed. Avery Fisher Hall reopened on October 19, 1976, but the reviews were mixed on the acoustics. Further acoustical renovations were implemented in 1992, when changes were primarily made to the stage area, including the addition of reflection panels along the sides of the stage. In 2005, the board of the New York Philharmonic approved a plan to renovate Avery Fisher Hall, with a design by architect Norman Foster, of Foster and Partners in London. Avery Fisher Hall has used various electronic instruments since 1976. It is hoped that a future reincarnation of the hall will include a concert pipe organ.
Walker Technical Company Zionsville, Penn. (2006) Digital tone generation 3 manuals, 86 speaking stops, ~95 equivalent ranks The three manual, six division electronic instrument built by Walker Technical Company features 86 stops created utilizing high definition, digital sound production. Based on the American Classic style of organ building with enhancements to expand its versatility, the unique design of the specification provides complete tonal resources in all divisions. With the extensive resources utilized, the instrument provides a tonal palette that allows virtually any of the organ literature to be performed accurately and effectively. The console of this instrument is of a traditional design with raised panels on the sides and rear of the console shell. It is constructed with a solid oak exterior and solid rosewood interior. These rosewood interiors are finished with a high gloss elegant finish. An internal caster system in the console facilitates the quick, efficient movement and set up of the instrument by the stage personnel. The audio system is capable of being “flown” above the stage with speaker clusters specifically designed to provide the multi-directional, complex sound spectrum required by an organ of this size and nature.                 Great Organ (Manual II) – 61 notes, normally expressive on Choir shoe 16   Flute Conique       Sesquialtera II ranks   8   Principal       Fourniture IV ranks   8   Bourdon       Cymbel III ranks   8   Harmonic Flute (Choir)   16   Posaune   8   Gemshorn   8   Tromba   4   Octave       Chimes   4   Spitzflöte   8   Trompette en Chamade (Solo) 2   Super Octave                           Swell Organ (Manual III) – 61 notes, expressive 16   Rohrbourdon       Plein Jeu IV ranks   8   Geigen Principal   16   Basson   8   Rohrflöte   8   Trompette   8   Viole   8   Hautbois   8   Voix Celeste   8   Clarinet   8   Flauto Celeste II ranks   8   Voix Humaine   4   Principal   4   Clairon   4   Waldflöte       Tremulant   2 2/3   Rohr Nazard       Swell to Swell 16'   2   Piccolo       Swell Unison Off   1 3/5   Tierce       Swell to Swell 4'                   Choir Organ (Manual I) – 61 notes, expressive 16   Quintaton   2   Blockflöte   8   Viola Pomposa   1 1/3   Larigot   8   Viola Celeste       Mixture III ranks   8   Holzgedackt   8   Krummhorn   8   'Cello Celeste II ranks       Tremulant   8   Erzähler Celeste II ranks       Choir to Choir 16'   4   Fugara       Choir Unison Off   4   Koppelflöte       Choir to Choir 4'   2 2/3   Nazard   8   Trompette en Chamade (Solo)                 Solo Organ (Manual III) – 61 notes, expressive 8   Doppelflöte   8   Cor Anglais   8   Gamba   8   French Horn   8   Gamba Celeste       Tremulant       Grand Cornet V ranks   8   Trompette en Chamade *   8   Tuba       * plays from Antiphonal location                 Antiphonal Organ (Manual I) – 61 notes, expressive on Choir Shoe 8   Principal       Mixture III ranks   8   Schwebung   8   Oboe d'Amour   8   Hohlflöte   8   Vox Humana   4   Prestant       Tremulant   4   Flute d'Amour                           Pedal Organ – 32 notes 64   Gravissima       Mixture III ranks   32   Contra Violone   32   Contra Bombarde   32   Untersatz   32   Contra Fagotto (Swell)   16   Principal   16   Trombone   16   Bourdon   16   Basson (Swell)   16   Rohrbourdun (Swell)   8   Trumpet   16   Erzähler (Choir)   4   Clarion   8   Principal   4   Rohr Schalmei   8   Gedeckt       Chimes   4   Choralbass   16   Pommer (Antiphonal)   4   Harmonic Flute (Choir)   8   Gedackt (Antiphonal)   2   Waldflöte                           Couplers     Great to Pedal   Solo to Great     Swell to Pedal 8', 4'   Antiphonal to Great     Choir to Pedal 8', 4'   Swell to Choir 16', 8', 4'     Solo to Pedal 8', 4'   Solo to Choir     Antiphonal to Pedal   Antiphonal to Swell     Swell to Great 16', 8', 4'   Antiphonal Off Choir     Choir to Great 16', 8', 4'   Solo Off Swell     Solo to Great   All Swells to Swell                 Adjustable Combinations     Swell Organ Pistons 1-2-3-4-5-6 (thumb) Great Organ Pistons 1-2-3-4-5-6 (thumb) Choir Organ Pistons 1-2-3-4-5-6 (thumb) Solo Organ Pistons 1-2-3-4-5-6 (thumb) Antiphonal Organ Pistons 1-2-3-4 (thumb) Pedal Organ Pistons 1-2-3-4-5-6 (thumb & toe) Entire Organ Pistons 1-2-3-4-5-6-7-8-9-10-11-12-13-14-15-16-17-18 (thumb & toe)   Set (thumb)   General Cancel (thumb)                 Reversibles     Swell to Pedal (thumb & toe)   Zimbelstern (thumb & toe)     Great to Pedal (thumb & toe)   Bass Coupler (lighted thumb)     Choir to Pedal (thumb & toe)   Melody Swell (lighted thumb)     Solo to Pedal (thumb & toe)   Melody Choir (lighted thumb)     Antiphonal to Pedal (thumb)   Orch. Crescendo (lighted thumb)     Swell to Great (thumb)   Tutti I (lighted thumb & toe)     Choir to Great (thumb)   Tutti II (lighted thumb)     Pedal to Great (thumb)   Tremulant Full (lighted thumb)     32' Untersatz (toe)   GT/CH Transfer (lighted thumb)     32' Violone (toe)   GT/PED Unenclosed (lighted thumb)     32' Bombarde (toe)                     Sequencer & Memory Controls     Previous (thumb pistons & toe)   Memory Levels (12 per bank)     Next (thumb pistons & toe)   Memory Banks (1-16)     Memory Level Up/Down (thumb pistons)   Total Memory Levels: 192                 Expression     Balanced Pedal – Choir/Great/Antiphonal         Balanced Pedal – Swell         Balanced Pedal – Solo           Balanced Pedal – Crescendo
Aeolian-Skinner Organ Company, Inc. Boston, Mass. – Opus 1388 (1962) Electro-pneumatic action 4 manuals, 89 stops, 98 ranks The Aeolian-Skinner organ built in 1962 for Philharmonic Hall in Lincoln Center was designed by a committee consisting of organists Robert Baker, Charlotte Garden, and Searle Wright; plus Joseph Whiteford, chairman and tonal director of Aeolian-Skinner; and Carlos Mosely, president of the Philharmonic-Symphony Society of New York. The organ was installed on a shelf that was behind and 12 feet above the stage, in a space measuring 50 feet wide, 11 feet deep and 27 feet high. A wire mesh scrim to which was attached random-width wooden slats hid the pipes from view; when desired, the organ could be seen through the scrim by turning on theatrical lighting in the chamber. Although the organ was shipped in plenty of time, last-minute construction work and several labor disputes in the hall made conditions impossible for Aeolian-Skinner personnel to tonally finish the organ in time for the hall's opening concert on September 23, 1962. In the interim, a two-manual Allen electronic organ was used. The inaugural concert on the Aeolian-Skinner organ was postponed until December 15, 1962, when Catharine Crozier, E. Power Biggs, and Virgil Fox shared the honors. The first solo organ recital was given by Virgil Fox on January 7, 1963. In 1976, the organ was removed when Philharmonic Hall was gutted, rebuilt and renamed Avery Fisher Hall. At the suggestion of Virgil Fox, Opus 1388 was purchased by the Garden Grove Community Church in Garden Grove, Calif., where it was combined with a five-manual Ruffatti organ in the Crystal Cathedral. The four-manual ebony console was later sold to a private individual in Arizona, and is now owned by Hal Stoddard, who has connected it to the organ in his Hooper, Utah barn, known as "The Hoopernacle."                 Great Organ (Manual II) – 61 notes (3-5/8" pressure) 16   Kontra Geigen 61 2   Super Oktav 61 8   Prinzipal 61 2   Blockflöte 61 8   Bourdon 61     Mixtur IV-VI ranks 330 8   Spitzflöte 61     Zimbel III-V ranks 263 4   Oktav 61     Kornet III ranks 183 4   Rohrflöte 61 16   Fagott [4" w.p., enc. in CH] 61 2 2/3   Quinte 61                         Swell Organ (Manual III) – 61 notes, enclosed (4½" pressure) 16   Flute Courte 68   Plein Jeu III ranks 183 8   Montre 68     Cymbale III ranks 183 8   Viole de Gambe 68 16   Bombarde 68 8   Viole Celeste 68 8   Trompette 68 8   Flute Ouverte 68 8   Bassoon 68 4   Prestant 68 4   Clairon 68 4   Flute à Pavillon 68   Tremulant 2 2/3   Nazard 61     Swell Unison Off   2   Octavin 61     Swell 4'   1 3/5   Tierce 61                         Choir Organ (Manual I) – 61 notes, enclosed (4½" pressure) 16   Gemshorn 68 1 3/5   Terz 61 8   Viola Pomposa 68 1 1/3   Larigot 61 8   Viola Celeste 68   Scharff IV ranks 244 8   Cor de Nuit 68 8   Petite Trompette 68 8   Flauto Dolce 68 8   Clarinet 68 8   Flute Celeste 68 4   Fagott [ext. GT] 31* 4   Principal 68   Tremulant 4   Flute Triangulaire 68     Choir 16'   2 2/3   Rohr Nasat 61     Choir Unison Off   2   Zauberflöte 61     Choir 4'               * flue pipes Positiv Organ (floating) – 61 notes (3" pressure) 16   Holz Quintade 61 1   Sifflöte 61 8   Rohrflöte 61     Zimbel III ranks 183 8   Holz Quintade [ext.] 12 8   Krummhorn (4" w.p.) 61 4   Koppelflöte 61 4   Rohr Schalmei (4" w.p.) 61 2   Prinzipal 61     Tremulant   1 1/3   Larigot 61                         Bombarde Organ (Manual IV) – 61 notes, enclosed (6" pressure)     Chorus Mixture VII ranks 427 8   English Post Horn [ext.] — 16   English Post Horn 73 4   Clairon Harmonique 61 8   Trompette Harmonique 61     Tremulant                   Pedal Organ – 32 notes (5" pressure) 32   Kontra Geigen [ext. GT] 12 2   Spillflöte [ext.] — 16   Principal 32     Fourniture IV ranks 128 16   Contrebasse 32     Acuta II ranks 64 16   Bourdon [unit] 44 32   Kontra Posaune [unit] 44 16   Kontra Geigen GT 16   Posaune [ext.] — 16   Gemshorn CH 16   Bombarde SW 16   Flute Courte SW 16   English Post Horn BOM 16   Holz Quintade POS 16   Fagott GT 8   Oktav 32 8   Trompete [unit] 44 8   Spitzflöte 32 8   Fagott GT 8   Gemshorn CH 8   Krummhorn POS 8   Flute Courte SW 4   Klarine [ext.] — 8   Bourdon [ext.] — 4   Rohr Schalmei 32 4   Choral Bass 32 4   Krummhorn POS 4   Spillflöte [unit] 44                         Couplers     Great to Pedal 8'   Choir to Swell 8'     Swell to Pedal 8', 4'   Positiv to Swell 8'     Choir to Pedal 8', 4'   Bombarde to Swell 8'     Positiv to Pedal 8'   Swell to Choir 16', 8', 4'     Bombarde to Pedal 8'   Positiv to Choir 8'     Swell to Great 16', 8', 4'   Bombarde to Choir 8'     Choir to Great 16', 8', 4'   Great to Bombarde 8'     Positiv to Great 16', 8', 4'   Swell to Bombarde 8'     Bombarde to Great 16', 8', 4'                     Adjustable Combinations     Bombarde Organ Pistons 0-1-2-3-4-5 (thumb) Swell Organ Pistons 0-1-2-3-4-5-6-7-8-10 (thumb) Great Organ Pistons 0-1-2-3-4-5-6-7-8 (thumb) Choir Organ Pistons 0-1-2-3-4-5-6-7-8 (thumb) Positiv Organ Pistons 0-1-2-3-4-5-6 (thumb) Pedal Organ Pistons 0-1-2-3-4-5-6-7-8-9-10 (toe) Couplers Pistons 1-2-3 (thumb) Entire Organ Pistons 1-2-3-4-5-6-7-8-9-10-11-12 (thumb & toe)   General Cancel (thumb)                 Reversibles     Great to Pedal (thumb & toe)   16' manual stops (thumb & toe)     Swell to Pedal (thumb & toe)   Full Pedal (thumb & toe)     Choir to Pedal (thumb & toe)   32' Kontra Geigen (thumb & toe)     Bombarde to Pedal (thumb & toe)   32' Kontra Posaune (thumb & toe)     Swell to Great (thumb)   Zimbelstern (thumb)     Choir to Great (thumb)   Sforzando (thumb & toe)     Bombarde to Great (thumb)                     Expression     Balanced Pedal – Swell           Balanced Pedal – Choir           Balanced Pedal – Bombarde           Balanced Pedal – Register Crescendo
Sources:      Aeolian-Skinner Archives web site: http://aeolian-skinner.110mb.com/      Callahan, Charles. Aeolian-Skinner Remembered: A History in Letters. Minneapolis: Randall M. Egan, 1996.      Jepson, Barbara. "Needed: An Organ Transplant," The Wall Street Journal (May 31, 2007).      Kinzey, Allen, and Sand Lawn, comps. E.M. Skinner/Aeolian-Skinner Opus List. New Rev. Ed. Richmond: The Organ Historical Society, 1997.      Lincoln Center web site: www.lincolncenter.org      Mattison, Ben. "New York Philharmonic Approves Plan for Revamped Avery Fisher Hall," The New York Times(June 22, 2005).      Ochse, Orpha. The History of the Organ in the United States. Bloomington: Indiana University Press, 1975.      Raver, Leonard. "Lincoln Center Inaugural Recital," The American Organist (Feb. 1963).      Walker Technical Company. Press Release and organ specifications. Courtesy Joel Kuznik.      Whiteford, Joseph S. "An Organ for an Orchestra," The American Organist (Feb. 1963). Specifications of Aeolian-Skinner Organ, Op. 1388 (1962). Illustrations:      Aeolian-Skinner Archives web site. Pipe display of Aeolian-Skinner Organ, Op. 1388 (1962).      The American Organist cover (Feb. 1963). Aeolian-Skinner Organ, Op. 1388 (1962).      Lee, Chris. Plaza at Lincoln Center.      Scofield, Jeff. Console of Aeolian-Skinner organ, Op. 1388 (1963).
| NYC AGO Home Page | Back to NYC Organs List |