'Fashion' in this case was the Organ Reform Movement. This world-wide movement proclaimed that the real heart of the organ was in J S Bach's Northern Europe. Polyphonic was the word, not Symphonic. Romantic-styled organs like the one in the Auckland Town Hall were out and neo-classical instruments with their clear bright sounds, in. They sprang up everywhere, either as new instruments, or severely altered romantic organs.

As this wave of change swept though New Zealand in the 1960s, committees in Auckland and Wellington debated what could be done with their Town Hall organs to 'bring them up to date.' Each city developed its proposals, taking a fairly modest approach. Eventually, Wellington decided on the status quo but Auckland followed the fashion.

In 1969 Auckland organ builders George Croft and Son were given the responsibility for the organ makeover. Under the new management of Kenneth Aplin, Crofts canvassed interested organists for their views. Kenneth Aplin says the resulting rebuild was a distillation of their ideas - a detached playing console being a unanimous request. The contract was duly signed with a price tag of $72,000.

Most of the organ's pipes were replaced by 4000 new pipes made in Holland and Germany that conformed to the classical ideology. Scaling and styles were different and wind pressures were generally lower than those used in the 1911 organ. A few of the original Norman and Beard ranks were retained: the façade pipes, some of the larger pipes, and imitative ranks to broaden the tonal range. The original primary pneumatic mechanism was discarded in favour of the latest electric system and the organ received a comprehensive range of modern accessories.

However, through all the changes, Crofts had one concern – prophetic as it turned out - would enough sound from this different kind of organ get out into the hall?

To minimize the risk, the organ layout was radically changed. It was considered that the huge wooden reflector then above the stage, which effectively masked the top of the organ, was a barrier to the instrument's sound, so no pipes were placed at the upper level. Instead, they would occupy the level below and floor level with grills replacing some of the oak panels to let the sound out. Crofts wanted to make further changes to the 1911 façade but the Council's architects forbade it. A new mobile playing console was provided on the stage – to be wheeled out when required.

The 1970 instrument represented a high point in New Zealand's neo-classical organ world and it was generally hailed as a success. A comment from one observer summed up the feeling of the majority, "Gone is the Auckland Town Hall organ with its massive sound. In its place has emerged an organ of classical design which should give listeners a completely different conception of the field of organ music".

The Town Hall stage as it was in 1993 - note the detached console at left of stage, and the reflector in the ceiling obscuring the upper level of the organ	Mark Quarmby (visiting Australian recitalist) at the console in 1994	Sarah Kim performing in 2007 - one of the last recitals on the 1970's organ before it was dismantled
Inside the organ	Wooden pipes painted in Croft's signature green livery	Closeup view of the console

The specification of the 1970's organ

Follow the history: Restoring the Splendour