Furthermore, organ builders were at liberty to construct their register crescendi so that stops entered either one at a time or in groups of two or more. […] Of course, a sensitive organist would not rely wholly or even predominantly upon a register crescendo to effect stop changes, particularly when those changes had more to do with simple manipulation of tone color than with progressive crescendi.

Die Zauberflöte, K. 620

Richard DeLongpre: I have to say, we were surprised that Principal Gottlieb wasn't more accommodating. Judith Gottlieb: Oh, for God's sake, he's a child. I'm not gonna date him.

He kept his family out of harm's way.