I am providing these notes preparatory to our Branch's visit to the Albert Hall on 23 November to inspect the Compton Theatre Pipe Organ.

Theatres have been venues for musical performance for a very long time. However in the early twentieth century, a new development occurred. Electronic motion pictures appeared, initially in black and white and were silent. Some form of musical accompaniment was required and in addition, most theatres provided a live segment as part of each performance. Sometimes, a sole pianist was engaged, but larger venues often employed live orchestras as well. Subsequently the potential of using an organ was realised. Initially, instruments similar to those in churches were used, but progressively a more distinctive technology and features were adopted. Many of the innovations were the work of an Englishman, Robert Hope-Jones in collaboration with Rudolph Wurlitzer of New York state, USA, and their efforts brought the theatre organ to its zenith. In England, the John Compton Organ Company built both theatre and church organs as did Hill Norman and Beard. The latter called their creations Christie, to avoid any evident association with church organs.

In Australia, several cinemas in all state capital cities employed theatre organs for varying periods. However some others used devices such as a Fotoplayer, which consisted of some ranks of pipes together with a piano or reeds to provide an imitation 'one-man' orchestra.

Theatre organs utilise electric action and adopt the 'unit-extension' principle, whereby a number of stops at different pitches are derived from one rank of pipes. Theatre organs have 2 or more manuals and pedals, but the stops on each manual are usually derived from the same sets of pipes. The pipes are usually located in at least 2 chambers bearing swell shutters, but again, the division of ranks does not correspond with the various manual or pedal departments. A number of percussion and other effects are included, such as castanets, drums, fog horn, fire sirens, bird whistles etc. which enhance the silent film accompaniment.

I made my public debut playing the Theatre Organ in Melbourne in 1987 in a cinema at Reservoir. I was proud as punch of my efforts until I read the reviews. The critics raved, in an adverse direction at this fellow who imagined he could play the theatre organ. However some veteran theatre organists present were much kinder and I found myself ushered into a world of a new and exciting art form. Hopefully my technique has improved, as it is pleasing to maintain the tradition of theatre organ music.

Many theatre organists of the past were very skilled musicians and played classical organ as well. For example, Horace Weber officiated for several years at the Capitol Theatre, Melbourne and was renowned for performing classical items. He is reputed to have influenced the design of the Melbourne Town Hall organ built after the fire of 1925 and rebuild of St. Paul's Cathedral organ in 1929. He was also the organist at Armadale Baptist Church. A former minister told me many stories about him and some time ago, invited me to play the fine organ used by Horace.

- Bill Fraser
  Chairman, RSCM ACT Branch