Before the movies had sound, live music was performed to help set the mood for the photoplay. Lush music for love scenes, hectic music for the chase, and stately music for times of triumph. In the earliest small nickelodeons, which were usually storefront spaces, an upright piano was used. When films were shown as part of a musical theatre review or vaudeville, there was already a small orchestra in place and it supplied accompaniment to the movie.

As movies grew from short novelties into full-length features, music became an important part of the presentation. The largest theatres boasted full symphony orchestras. However, the cost of hiring a large compliment of musicians and the complex problem of arranging musical scores was too expensive for most theatres. Piano music seemed to grow tiring during a long film, so the pipe organ emerged as a compromise.

At the time movies were coming on the scene, an English organ builder moved to the United States with a new concept in organ design. He voiced a modest number of pipes to imitate the tones of the orchestra, and through a complex system of electrical switches created an impressive sound only attempted in very large pipe organs. His name was Robert Hope-Jones, and while he was very creative, he was a poor businessman and couldn't sustain the operation. His principal backer was Samuel Clemens, who lost much on the venture. The patents were acquired by the Wurlitzer Company, who marketed the organs to the new motion picture theatre business. Between 1914 and 1929 organs were built on a colossal scale. At its peak, Wurlitzer was turning out almost two pipe organs a day, compared to other builders who considered themselves successful if they manufactured one a month.

The new sound was beautiful, impressive and much more economical than a full-time orchestra. Soon no theatre was complete without a pipe organ. Some organs were inferior and others were truly grand. The instrument in our Capitol Theater is one of the most grand. It was built by the Barton Organ Company of Oshkosh, Wisconsin, which was one of the major builders of theatre organs in the country. Historians claim that this organ was a favorite of Mr. Barton. It creates a naturally stereo sound since the pipes are located in shallow chambers on either side of the auditorium. The subtle shades of orchestral color and full organ effects are some of the most impressive you will ever hear.

The large illuminated console with its 141 stop keys and three manuals is now located at stage left. At one time, it was on its own elevator in the orchestra pit, but was moved to make space for theatrical productions. The organ is powered by a seven and one-half horsepower blower in the basement of the theatre, and the electrical switching system is sealed in a special room high in the building. This electrical relay is so large that it was put in place before the theatre was finished in 1928 and could only be removed by demolishing part of the building.

The voluminous sound of the organ is created through wind-blown pipes with no electrical amplification of any kind. Such an august sound usually emits from the world's largest organs with hundreds of ranks of pipes. Our Grand Barton organ has a total of 14 ranks. Each specially designed rank is blown with high wind pressure at the maximum volume consistent with good tone quality. A wall of shutters in front of each of the two chambers controls the intense volume. When the shutters are closed, the organ whispers; and as they gradually open the organ fills the room with glorious sound. The full range of percussion stops include simulations of the glockenspiel, xylophone, Celeste, marimba, chimes, drums, cymbals, tambourine, castanets, Chinese block and even an old-fashioned automobile horn. closeup of the Grand Barton logo on the organ console

Very few theatre organs remain today, and those that do have been altered tonally by well-meaning but historically insensitive enthusiasts. Overture Center's Grand Barton organ is just as it was built in 1927 and stands as a thrilling reminder of the sounds of a golden past.