The New York Hippodrome - New York City

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Hippodrome Theatre

756 Sixth Avenue between 43rd and 44th Streets
New York, N.Y. 10036


Organ Specifications:
► IV/24 "Style Special 4m" Wurlitzer, Op. 1538 (1926)
• III/7 Midmer-Losh (1924)
• II/5 Midmer-Losh (1920)
► II/14 M.P. Möller, Op. 1580 (1913); enl. 1914


One year following the opening of Luna Park, Frederick Thompson & Elmer Dundy made a small step and a giant leap towards Manhattan. In 1905 the Hippodrome on Sixth Avenue between 43rd and 44th street is built, only one block away from the newly named Times Square. With it, the entrepreneurs radically changed the world of Times Square in two ways. First, its low admission prices were aimed at the middle class, who had thus far been unable to visit the costly legitimate Broadway theatres. Second, it brought the high-tech pleasures of the amusement parks to the inner city. The combination of these two factors made the Hippodrome what Thompson called a "gigantic toy" for the masses. "The toymaker of New York", as he had proclaimed himself, however, had designed it not for children, but for the adult consumer. In Thompson's opinion, the turn-of-the-century American adult suffered from too much work and too little play. He had first created the enlarged playground that allowed them to return to their childhoods. As was the purpose of Luna Park, the fantastic shows at the Hippodrome would temporarily offer an escape for its visitors away from their grim world.

Electricity was used in every conceivable way in the Hippodrome, from the obvious to the inventive. The entire block-long facade was itself an electrical billboard, that "threw a fire and glare of electric illumination for miles." When approaching the theatre, "a tumult of sudden light hit you on the eyeballs ... you couldn't possibly pass it by unnoticed." The Hippodrome threw the spark that would forever light Times Square. The inside of the theatre was as much an unequalled lighting spectacle. The amount of current used by the Hippodrome's stage was more than the average electrical station could supply.
1907 Postcard of the New York Hippodrome - New York City
  
Postcard (1907) of Hippodrome interior  
Designed in the Beaux-Arts style with Moorish Revival influences by architect J. H. Morgan, the Hippodrome had a seating capacity of 5,200. Its stage was 12 times larger than any Broadway "legit" house and capable of holding as many as 1,000 performers at a time, or a full-sized circus with elephants and horses. There was also an 8,000-gallon clear glass water tank that could be raised from below the stage by hydraulic pistons for swimming-and-diving shows. The Hippodrome opened on April 12, 1905 with a production titled "A Yankee Circus on Mars."

For over two decades the Hippodrome was the largest and most successful theater in New York; its scale wouldn’t be replicated until the construction of the Roxy Theatre in 1927. Until the end of World War I, the Hippodrome housed all sorts of spectacles — complete with circus animals, diving horses, opulent sets, and 500-member choruses — then switched to musical extravaganzas produced by Charles Dillingham, including "Better Times," which ran for more than 400 performances.

Unfortunately, the Hippodrome's huge running costs made it a perennial financial failure, and a series of producers tried but failed to make money from the theatre. When Dillingham left in 1923 to pursue other interests, the Hippodrome was leased to Keith-Albee, which hired Thomas Lamb to turn it into a vaudeville theatre by building a much smaller stage and discarding all of its unique features. The most popular vaudeville artists of the day, including illusionist Harry Houdini, performed at the Hippodrome during its heyday. Others might vanish rabbits, but in 1918, on the brightly-lit stage of the Hippodrome, Houdini created a sensation when he fired a pistol and made a 10,000-pound elephant disappear!

In 1925, movies were added to the vaudeville, but within a few years competition from the newer and more sumptuous movie palaces in the Broadway-Times Square area forced Keith-Albee-Orpheum, which was merged into RKO by May 1928, to sell the theatre. Several attempts to use the Hippodrome for plays and operas failed, and it remained dark until 1935, when producer Billy Rose leased it for his spectacular Rodgers & Hart circus musical, "Jumbo," which received favorable reviews but lasted only five months due to the Great Depression.

After that, the Hippodrome sputtered through bookings of late-run movies, boxing, wrestling, and Jai Lai games before closing on August 16, 1939. It was demolished that same year as the value of real estate on Sixth Avenue began to escalate. However, the start of World War II delayed re-development and the site remained vacant until 1952 when a combination office building and parking garage known as "The Hippodrome Center" was built.
             
  Console of Wurlitzer Organ, Op. 1538 (1926) originally in the Hippodrome Theatre - New York City
Wurlitzer Organ Company
North Tonawanda, N.Y. – Opus 1538 (1926)
Electro-pneumatic action
"Style Special 4m"
4 manuals, 24 ranks







Console of Wurlitzer Organ, Op. 1538 (1926) originally in the Hippodrome Theatre - New York City  
Rex Koury at the Op. 1538 console in the Palace Theatre, Albany  


The Wurlitzer organ in the Hippodrome Theatre was a "Special 4 manual" that was a somewhat smaller version of the firm's Op. 1168 organ built in 1925 for the Fabian Theatre, Paterson, N.J. Both organs had floating Orchestral String divisions, large coupler complements, the very rare Doppel Flute (only three were made by Wurltizer), and the uncommon 4’ Harmonic Flute. The organ for the Hippodrome had a factory date of Dec. 16, 1926.

In 1931, this organ was moved to the Palace Theatre in Albany, N.Y. At some point, believed to be the 1960s, the organ was acquired by Richard Loderhose of Jamaica Estates, Queens, who then sold it to Robert Gates of Mendham, N.J., in the 1970s. Gates sold all components except the console, which he gutted and refinished in mahogany to control his digital Walker organ.
             
Pedal – 32 notes
    Spare       Accompaniment to Pedal
16
   Tuba Profunda       Great Unison Pedal
16
   Diaphone       Great Octave Pedal
16
   Diapason Phonon       Orchestral to Pedal
16
   Tibia Clausa       Solo to Pedal
16
   Bass Viol       Orchestral Strings Pedal
16
   Bourdon  

   
8
   Harmonic Tuba  

  Pedal 2nd Touch
8
   Diapason Phonon       Bass Drum
8
   Diaphonic Diapason       Kettle Drum
8
   Tibia Clausa       Crash Cymbal
8
   Gamba       Cymbal
8
   Flute       Spare
             
Accompaniment (Manual I) – 61 notes
16
   Diaphonic Diapason       Marimba
16
   Bourdon       Harp
16
   Vox Humana [TC] (Main)       Snare Drum
16
   Vox Humana [TC] (Solo)       Tambourine
8
   Harmonic Tuba       Castanets
8
   Diapason Phonon       Chinese Block
8
   Diaphonic Diapason       Triangle
8
   Tibia Clausa       Tom Tom
8
   Gamba       Sub Octave
8
   Salicional       Unison Off
8
   Oboe Horn       Octave
    Spare       Orchestral Sub Accomp.
    Spare       Orchestral Unison Accomp.
8
   Flute       Orchestral Octave Accomp.
8
   Vox Humana (Main)       Solo Sub Accomp.
8
   Vox Humana (Solo)       Solo Unison Accomp.
    Spare       Solo Octave Accomp.
    Spare       Orchestral String Accomp.
4
   Octave        
4
   Gambette       Accompaniment 2nd Touch
4
   Salicet  
16
   Tuba Profunda
    Spare  
8
   Diapason Phonon
    Spare  
8
   Tibia Clausa
4
   Flute       Cathedral Chimes
4
   Vox Humana (Main)       Glockenspiel
4
   Vox Humana (Solo)       Xylophone
    Spare       Orchestral Unison Accomp.
    Spare       Solo Unison Accomp.
2
   Piccolo        
             
Orchestral String (Floating) – 61 notes
8
   Violin  
8
   Violin Celeste
8
   Violin Celeste  
8
   Viola

           
Great (Manual II) – 61 notes
16
   Tuba Profunda  
2
   Piccolo
16
   Diaphone  
1 3/5
   Tierce
16
   Tibia Clausa       Cathedral Chimes
16
   Violone       Marimba
8
   Harmonic Tuba       Harp
8
   Diapason Phonon       Glockenspiel
8
   Tibia Clausa       Xylophone
8
   Gamba       Sleigh Bells
8
   Salicional       Sub Octave
8
   Oboe Horn       Unison Off
    Spare       Octave
    Spare       Accomp. Sub Great
8
   Concert Flute       Accomp. Unison Great
8
   Vox Humana (Main)       Accomp. Octave Great
8
   Vox Humana (Solo)       Orchestral Sub Great
    Spare       Orchestral Unison Great
    Spare       Orchestral Octave Great
4
   Harmonic Clarion       Solo Sub Great
4
   Octave       Solo Unison Great
4
   Piccolo       Solo Octave Great
4
   Gambette       Orchestral String Great
    Spare        
    Spare       Great 2nd Touch
4
   Flute  
16
   Tibia Clausa
4
   Vox Humana (Main)  
8
   Harmonic Tuba
4
   Vox Humana (Solo)  
8
   Gamba
    Spare       Orchestral Unison Great
    Spare       Solo Unison Great
2 2/3
   Twelfth        
             
Orchestral (Manual III) – 61 notes
16
   English Horn       Spare
16
   Clarinet  
2
   Harmonic Piccolo
16
   Contra Viol [TC]       Cathedral Chimes
16
   Saxophone [TC]       Marimba
8
   Trumpet       Harp
8
   English Horn       Glockenspiel
    Spare       Xylophone
8
   Kinura       Sleigh Bells
8
   Orchestral Oboe       Sub Octave
8
   Clarinet       Unison Off
8
   Saxophone       Octave
8
   Viol d'Orchestre       Orchestral String Orchestral
8
   Viol Celeste        
8
   Doppel Flute       Orchestral 2nd Touch
4
   Viol  
16
   English Horn
4
   Octave Celeste  
8
   Trumpet
4
   Harmonic Flute  
8
   Saxophone
             
Solo (Manual IV) – 61 notes
16
   English Horn  
4
   Harmonic Flute
8
   Trumpet  
2
   Harmonic Piccolo
8
   English Horn       Sub Octave
    Spare       Unison Off
8
   Kinura       Octave
8
   Orchestral Oboe       Orchestral to Solo
8
   Saxophone       Orchestral String Solo
8
   Doppel Flute        

           
Tremulants (9)
    String     Tibia Clausa
    Solo     Main
    English Horn     Tuba
    Vox Humana (Solo)     Vox Humana
    Foundation      
             
Adjustable Combinations
   
Pedal Pistons 1-2-3-4-5-6 (thumb)  
Accompaniment * Pistons 1-2-3-4-5-6-7-8-9-10 (thumb, 2nd touch) Suitable Bass
Great * Pistons 1-2-3-4-5-6-7-8-9-10 (thumb, 2nd touch) Suitable Bass
Orchestral Pistons 1-2-3-4-5-6-7-8-9-10 (thumb, 2nd touch) Suitable Bass
Solo Pistons 1-2-3-4-5-6 (thumb)  
General Pistons 1-2-3-4-5-6 (thumb)  
 
* affects Orchestral String stops
 
2nd touch pistons engage Suitable Bass
             
Toe Levers
    Five toe levers (two double touch), one toe stud. No labels.
             
General
    Four Expression Pedals  
    Master Expression Pedal  
    Crescendo Pedal  
    Indicators and couplers for all Swells  
             
Chamber Analysis
     
Foundation (15" wind)
16
   Diapason Phonon
73 pipes
16
   Tibia Clausa
85 pipes
8
   Doppel Flute
61 pipes

Main (10" wind)
16
   Harmonic Tuba (15")
85 pipes
16
   Diaphonic Diapason
85 pipes
16
   Gamba
85 pipes
16
   Clarinet
73 pipes
16
   Concert Flute
97 pipes
8
   Viol d'Orchestre
85 pipes
8
   Viol Celeste
85 pipes
8
   Salicional
73 pipes
8
   Vox Humana
61 pipes

Orchestral String (15" wind)
8
   Viola
61 pipes
8
   Viole
61 pipes
8
   Viole Celeste (sharp)
61 pipes
8
   Viole Celeste (flat)
61 pipes
 
Solo (10" wind)
16
   English Horn (15")
73 pipes
8
   Brass Trumpet
61 pipes
8
   Brass Saxophone
61 pipes
8
   Kinura
61 pipes
8
   Oboe Horn
61 pipes
8
   Orchestral Oboe
61 pipes
8
   Vox Humana (6")
61 pipes
4
   Harmonic Flute
73 pipes
   
Cathedral Chimes
25 notes
   
Marimba
49 notes
   
Harp
49 notes
   
Glockenspiel
37 notes
   
Xylophone
37 notes
   
Sleigh Bells
25 notes
    Trap Assembly (Bass Drum, Snare Drum, Crash Cymbal, Cymbal, Tambourine, Castanets, Chinese Block, Triangle)
             
  Frederick Kinsley at the Midmer-Losh Organ (1924) in the New York Hippodrome - New York City (photo: U.S. Dept. of the Interior)

Frederick Kinsley at the 1924 Midmer-Losh organ
Midmer-Losh Company
Merrick, N.Y. (1924)
Electro-pneumatic action
3 manuals, 7 ranks





In 1924, the Midmer-Losh Company rebuilt and enlarged their 1920 organ to have three manuals and, it is believed, seven ranks. Specifications of this organ have not yet been located.
             
Midmer–Losh Company
Merrick, N.Y. (1920)
Electro-pneumatic action
2 manuals, 5 ranks


The Midmer-Losh Company of Merrick, N.Y. installed a new two-manual organ in 1924. Tradition has it that this organ had five ranks and was installed under the stage. Specifications of this organ have not yet been located.
             
M.P. Möller, Inc.
Hagerstown, Md. – Opus 1580 (1913); enl. 1914
Tubular-pneumatic action
2 manuals, 33 stops, 17 ranks


The handwritten contract between M.P. Möller and the New York Hippodrome, dated May 3, 1913, states that Möller agreed "to build an organ complete and ready for use on or before the 15th day of July 1913 or as soon after as possible, but not a date later than the first day of August 1913." The cost of the organ was $4,500, payable in nine monthly payments of $450. In 1914, Möller enlarged the organ, at a cost of $1,500, by adding three ranks: 32' Bourdon, 16' Tuba and 8' Vox Humana. Following is the 1913 specification showing where the 1914 additions might have been.
               
Manual I – 61 notes, enclosed (10" wind pressure)
16
   Contra Bass [unit]
97
4
   Tromba [Trombone]
—
8
   Horn Diapason [Con. Bass]
73
8
   Cello
Man.II
8
   Double Flute
—
8
   Concert Flute
Man.II
8
   French Horn [Open Bass]
PED
8
   Viole d'Orchestre
Man.II
8
   Geigen Principal
73
8
   Viole Celeste
Man.II
4
   Flute Major [Open Bass]
PED
8
   Oboe
Man.II
8
   Trumpet
73
8
   Clarinet
Man.II
8
   Trombone
73
        

     

     
Manual II – 61 notes, enclosed (8" wind pressure)
8
   Violoncello III ranks *
207
2
   Piccolo [fr. C. Bass]
Man.I
8
   Concert Flute
73
8
   Double Flute [fr. C. Bass]
Man.I
8
   Viole d'Orchestre
73
8
   French Horn [fr. Op. Bass]
PED
8
   Viole Celeste
73
4
   Flute Major [fr. Op. Bass]
PED
8
   Oboe
73
8
   Vox Humana [added 1914]
73
8
   Clarinet
73
     Harp
8
   Clarinet
73
    
* 2 ranks from low C; 1 rank from tenor C
4
   Flute d'Amour [Con. Bass]
Man.I
        

     

     
Pedal Organ – 30 notes, enclosed (8" wind pressure)
32
   Bourdon [added 1914]
30?
16
   Contra Bass
Man.I
16
   Open Bass
85
8
   Double Flute
Man.I
8
   Octave [Open Bass]
—
16
   Trombone [added 1914]
30?
               
Couplers
    Manual I to Manual II 16', 8', 4'   Manual I to Pedal
    Manual I Super   Manual II to Pedal
    Manual II Super, Sub, Unison    
               
Combinations
    Pistons No. 1-2 affecting Manual I Stops
    Pistons No. 1-2 affecting Manual II Stops
    Pistons No. 1-2 affecting All Stops
               
Pedal Movements
    Crescendo Pedal   String & Woodwind Cresc. Pedal
    Brass Crescendo Pedal   Great to Pedal Reversible
             
Sources:
     AJWB Collection. Specifications of Wurlitzer organ, Op. 1538 (1926).
     Cinema Treasures web site: http://cinematreasures.org/theaters/534
     Junchen, David L. Encyclopedia of the American Theatre Organ, Vol. 1. Pasadena: Showcase Publications, 1985.
     Junchen, David L.; comp. and ed. by Jeff Weiller. The WurliTzer Pipe Organ – An Illustrated History. Chicago: The American Theatre Organ Society, 2005.
     Kaufmann, Preston J. Encyclopedia of the American Theatre Organ, Vol. 3. Pasadena: Showcase Publications, 1995.
     Kopp, David. Electronic correspondence (Nov. 2011) regarding specifications and provenance of Wurlitzer organ, Op. 1538 (1926).
     New York Architecture web site: http://nyc-architecture.com/GON/GON027.htm
     Trupiano, Larry. Factory Specifications of M.P. Möller organ, Op. 1580 (1913).

Illustrations:
     AJWB Collection. Console of Wurlitzer organ, Op. 1538 (1926).
     eBay.com. 1910 postcard of exterior; undated postcard of interior.
     Junchen, David L.; The WurliTzer Pipe Organ – An Illustrated History. Console of Wurlitzer Organ, Op. 1538 (1926) after being moved to Palace Theatre, Albany, N.Y.
     U.S. Department of the Interior, National Park Service, Edison National Historic Site. Frederick Kinsley at the 1924 Midmer-Losh organ. Courtesy Ian McIver.