The Cooper organ was publicly demonstrated earlier this year, with only about 75 percent of the pipes in play, and the sound was reminiscent of the great Wanamaker instrument in several respects. Of course, there is the grandiose, gaudy and completely overwhelming sound of these behemoths at full throttle, producing a sound that quite literally rattles one's bones. There are, as well, the sublimely beautiful tones of the softer registers, which seem to waft through the air on endlessly swirling currents. All of these effects rely on a crucial element, the acoustics of the space in which the instrument resides, and in this respect Philadelphians—and visiting organ aficionados in general—are doubly blessed. The Wanamaker exudes its musical magic within Daniel Burnham's vast cathedral of commerce, the sound floating amidst the soaring columns and statuary, not to mention the handbags, lingerie and cash registers.

The Cooper instrument resides in a much more controlled environment, producing a sound that is more direct and focused. At the demo, the sound quality at the mid orchestra seats was completely spectacular; from whispery to roaring, the noise was palpable and engaging, and, at least in short doses, not fatiguing. The dynamics of the organ sound were marvelously terraced, which bodes well for its ability to integrate with an orchestra, as opposed to being the bully on the playground. If this turns out to be the case in practice, the Kimmel will have an excellent lure for visiting orchestras.

The Kimmel puts it all to the test this month with a wonderful series of inaugural concerts. Both the Philadelphia and Pittsburgh bands will present concerts with music for orchestra and organ, there will be a marathon of solo recitals and several classic silent films will be screened with live organ music accompaniment. There is even an invitation to the public to take a seat at the mighty console (for a slight fee, of course). Go to kimmelcenter.org for a complete schedule.