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The Mighty Wurlitzer Media Station
Cinema Organs in the Silent Film Era
The Mighty Wurlitzer organ, which today holds a special place in the Museum of Musical Instruments, is far more than just an instrument – it is a witness to an entire era.
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How did the Mighty Wurlitzer get into the museum?
In 1929, Werner Ferdinand von Siemens (1885–1937) purchased the Wurlitzer organ from the Rudolph Wurlitzer Company in North Tonawanda, New York, USA.
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Video in German Sign Language
Watch: Video on History and Special Effects
Why do cinema organs exist, what special effects does the Mighty Wurlitzer have, and how did it come to the museum? Jörg Joachim Riehle shares the story and performs music.
Link to the video
Listen: The Greatest Show on Earth
Robert Duksch plays the Mighty Wurlitzer.
Link to the audio sample
The Wurlitzer Theatre Organs (USA) in the Silent Film Era
The Mighty Wurlitzer organ, which today occupies a special place in the Museum of Musical Instruments, is much more than just a musical instrument – it is a witness to an entire era. In the early 20th century, a new art form conquered the world: the motion picture. Films captivated the masses in a way no other medium had before. To provide appropriate musical accompaniment to the moving images, numerous musicians were initially hired – a costly endeavor.
During this period, theatre organs – especially those made by the Wurlitzer Company – rose to fame and played a central role in the early cinema experience.
Wurlitzer theatre organs could imitate the sounds of an entire orchestra: they replicated violins, flutes, oboes, and trumpets, and were equipped with percussion instruments such as xylophones, vibraphones, and marimbas. In addition, they featured a wide range of special effects that made the cinema experience even more vivid – from thunder and bird calls to bells and other sound effects.
During film screenings, organists ensured that the music and effects were perfectly synchronized with the action on screen.
How did the Mighty Wurlitzer get into the museum?
1929: A Sound Marvel Moves to Berlin
The Mighty Wurlitzer organ was acquired in 1929 by Werner Ferdinand von Siemens (1885–1937) from the Rudolph Wurlitzer Company in North Tonawanda, New York. Siemens, a passionate enthusiast of fast cars and grand music alike, had a concert hall built in his villa in Berlin-Lankwitz. Initially, a smaller Wurlitzer organ was installed, which he later sold to the Ufa Palace. Afterwards, a larger four-manual instrument took its place.
In 1943, the villa—and with it the organ—passed into the possession of the German Reich. Unlike many other theatre organs destroyed during World War II, the Wurlitzer survived the war unscathed. Tragically, it was later badly damaged in a fire. According to organ builder Edgar Töpfer, the blaze was ignited by candles at a lively party and caused extensive damage to the instrument.
1962: Rescued by a U.S. Soldier
Marvin E. Merchant was a U.S. soldier stationed in Berlin who played a crucial role in saving the Mighty Wurlitzer organ. In 1962, an electrical fire in the Siemens villa caused significant damage to the instrument. Merchant devoted himself with great enthusiasm and skill to its repair—and did so entirely free of charge.
For his efforts, he was awarded a certificate of appreciation by the German federal government in 1964. Merchant even considered purchasing the organ himself. However, upon learning that it would be donated to the Musical Instrument Museum, he was pleased that it would be enjoyed and seen by many.
1984: A New Home in the Museum
After years of negotiations, the Museum of Musical Instruments finally received the Mighty Wurlitzer as an “unconditional donation from the Federal Republic of Germany.” Before its unveiling at the museum’s opening in 1984, the instrument was meticulously restored by the E. F. Walcker company—for a cost of 206,000 Deutsche Mark, equivalent at the time to about 70 average monthly salaries.
Due to its impressive size, the organ was incorporated into the museum’s architecture from the outset. Architect Edgar Wisniewski, working from Hans Scharoun’s designs, integrated it across three floors: the basement, the ground floor, and the first floor—far more than its white console might suggest.

