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Trinity's
organ is several years old now, and continues to impress....
Our organ's history:
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| The history of Trinity's
current
organ really goes back to the beginning of the Trinity Parish. Within a year of the
church's founding, the ladies of the church held parish dinners to raise
funds for an organ, and purchased a fine, if smallish, Johnson pipe organ. The
years passed, and the little organ served the parish well. However, the
economics of the parish weakened significantly with the failure of the iron
industry in Lime Rock, and the parish came to realize that they were not
financially able to afford to maintain the organ. Thus, it was sold
to an individual with a home in our area, Robert Lehman, who upgraded it
by adding an electronic console to replace the tracker console
originally part of the organ, kept it in his home, and who very graciously willed the organ back to
the church upon his death.
The old Johnson organ was reinstalled in its
familiar place, including the new console, but
the congregation was still unable to afford to maintain it properly, and
the passing years took their toll on the instrument, making it increasingly
unreliable. At the same time, new fire codes were enacted that made
it impossible to keep the organ pipes as configured in the location where it had
been constructed and to which it had been returned, as it partially blocked an
important exit route from the church.
Organ committees were periodically
constituted and reconstituted over the years to deal with this dual
problem. Generally they completed their work by recommending that the parish
replace the old Johnson with a new pipe organ costing in the neighborhood
of $350,000 -- and escalating from there. While the fiscal health of the parish had improved over
the years, it had not improved that much! Proposals for
a new organ were received and duly filed under "dreams".
Finally the fire code violation became a
matter that would require prompt resolution, and at around the same time the old organ partially failed
during several services, requiring heroic measures by the organist even to get
through the service -- and at Trinity we do love our music!
Clearly it was now time to act. A
new committee was formed to study the situation.
At first the
alternatives that seemed to be available were having a new pipe organ
built, buying a used pipe organ from another congregation, or having the
present organ reconstructed somewhere else in the sanctuary. At the suggestion of
Trinity's organist at
that time, a fourth alternative was added -- but with serious misgivings: purchasing a digital organ.
For most committee
members, "digital organ" meant something associated with
country funeral
homes, heard playing lachrymose hymns in the background, and sounding like
everyone's concept of truly tacky and even downright appalling taste in music.
Despite the organist's insistence that modern digital
instruments were NOT necessarily like that, it was a hard sell to convince the
committee even to consider the digital alternative!
The committee
dutifully pressed onward and carefully reviewed
the previous pipe
organ proposals and even had the vendors update them. The prices
had continued to climb with the passing years. However, they did
finally take an important additional step: to actually go and listen to modern digital organs!!
Augmented by members of the technology committee, they visited several
installations of modern digital organs from two manufacturers, played them and heard them
played, and investigated their benefits and disadvantages.
When
the committee submitted their recommendations, a modern digital organ had
made its way into second place, immediately after a large new
(and unaffordable) pipe organ, and a
preferred vendor for a digital organ had been identified.
At the same time, a major capital
campaign was underway in the parish to add space for the Sunday School and
to free up some of the public space in Walker Hall for parish and community
activities. Sadly, a new organ was not on the capital campaign's
priority list, and thus one more
organ proposal was consigned to the "dreams" file.
This time the
outcome was
different, however. This time the proposal was rescued from the
"dreams" file by an unexpected opportunity to buy a Rodgers
model 960
concert-quality digital organ for a particularly attractive price. With some adjustment of
Capital Campaign priorities and an overwhelming, almost unexpected, immediate outpouring of donations
for the new organ from the parish, we were
able to take advantage of the opportunity.
Our new organist and our new organ
arrived nearly simultaneously!!
The organ was "voiced" on Friday, October 5, 2001,
and was first used in a Sunday service on October 7, 2001 -- when the Parish had
the annual Blessing of the Animals for St. Francis. Under the circumstances, the
organ was cast in a supporting role to myriad dogs, cats, gerbils, ponies, parrots,
and other living things that Sunday! |
to visit the History
section of our website, where you will find more information about our
old organ and its history as well as material about the history of our
church and our community. |

Above,
Christine Gevert begins to explore our new organ's capabilities.
(Click on either of the photos below to see our new organ in more detail)
| Christine and
Les Inegales offered the first of a series of organ concerts for the community November 18,
2001. |
Since our digital organ has been in
place we have discovered that our organ has
unique advantages that would not have been available in a pipe organ of
virtually any
price!!
to read a short essay from one concert program about the use of digital organs in
Baroque music, for example!
to go to our main music page, where you can
see pictures and read about our other musical activities. |
|
Below are some photos from the installation process, generously provided by Bob Johnson, our
salesman from Marshall
Ogletree Associates, the Boston firm that includes digital organs in
their offerings. Thanks, Bob!! (click on individual images to see full-sized) |
 |
Voicing the organ |
 |
Putting a speaker in place |
| Are we happy we made the
choice we did?
In two words, VERY happy!
- Our Treasurer is delighted to have
eliminated the ever-growing expense line called "Organ maintenance" from
the annual budget
- Our Organist and Choir Director is
pleased to have the flexibility and dependability our new instrument
offers
- Our Sunday School is happy
that the
funds that would have been spent on a new pipe organ were available to
expand their facilities
- Our choir and congregation (and
visiting choirs and congregations and concert audiences) enjoy the great music the organ makes possible.
We have discovered that our new organ
draws people to our church -- especially musicians and those who know a lot
about music -- those who appreciate really good organ music. In fact,
the more musically sophisticated people are, the better they seem to like
it!
On several
occasions, professional musicians who have heard it played (who were not
already in on the secret
that it is a digital instrument), have asked where we managed to hide all the pipes!
When we tell them that there are no pipes at all, their reaction is invariably
"I never thought that a digital organ could sound so absolutely real -- so
much like a huge, multi-million dollar pipe organ!"
We
have to admit that before we installed the new organ we had concerns about
what it would look like: would there be a wall of speakers, as at a
rock concert? The answer is "No" of course, but if this is
a concern of yours,
to see our page called "Where
did you hide the pipes?" |
| Perhaps the clearest vote of confidence for
this instrument comes from Trinity Church, Wall Street. When their
magnificent pipe organs
(four of them) were destroyed by dust and debris from 9/11, they were faced with
the task of replacing them. And, as noted elsewhere
on the site, the choir of "Big Trinity" visits "Little
Trinity" annually when they are in the area for a retreat,
and has done so since 2002.
That choir, and their director, Dr. Owen Burdick, first heard our
digital organ on their initial (2002) visit.
We at "Little Trinity" were
flattered to find that Trinity Wall Street, too, chose to install a digital organ
from Marshall Ogletree.
to see the article
on Trinity Wall Street's website about THEIR new digital organ! Or,
to read an article from the New
York Times of September 10, 2003, about their new
instrument.
The New Yorker
of September 11, 2006 provides additional information about the
status of Trinity Wall Street's digital organ. The article notes
that when "Big Trinity" installed their digital in late 2003 it was
viewed as an interim solution. However, the
solution is no longer an interim one! Dr. Burdick demonstrated their
digital to the American
Guild of Organists (AGO) convention in Chicago, where it received a
standing ovation from what is unquestionably the hardest audience in
America to convince of the quality of an organ. Burdick also noted
"It can do a lot of things a pipe organ can't."
Now, in 2007, we have
learned that Trinity Wall Street has made their Marshall Ogletree organ
their permanent instrument!
We don't really know
just how much Trinity Wall Street's experience here at Trinity Lime Rock
in 2002 had to
do with their decision to take the highly visible step of
"going digital." We hope that our experience did provide
them with encouragement in what for them was a far more difficult and
risky decision than it was for us. And we are grateful that
Trinity Wall Street's choir has returned to us every year since their
first hearing of our digital organ. |
| Below
are the specifications of our Rodgers Organ from Marshall Ogletree. We remain excited about it, and we
hope that you, too, will come and hear our new organ!! |
| Products
: Model 960 : Specifications |
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CONSOLE
Lighted drawknob console with 72 speaking stops (111 with Voice Palette™).
Manuals: 61 notes x 3 (velocity sensitive). Pedalboard: 32-notes, concave
and radiating, built to AGO specifications. Lighted music rack. Lighted
pistons. Locking rolltop. Lift-lid bench and deluxe console shell are
standard.
SOUND SOURCE
Rodgers Digital Voice Modules™ utilizing Parallel Digital Imaging®
(PDI™) technology in a multiple microprocessor parallel computing system.
Digital Domain Expression™ provides unsurpassed realism. Rodgers Digital
Dynamic Wind™ provides independent computer modeling of a pipe organ wind
system for each organ division (US Patent #5508472).
RANDOMIZED DIGITAL TUNING
Digitally produces random tuning fluctuations throughout each voice, as all
pipe organs are affected by changes in environmental conditions.
COMBINATION MEMORIES
12 General pistons (12 thumb, 12 toe); 6 divisionals for Great, Choir and
Swell pistons (thumb); 6 Pedal pistons (toe); Set and General Cancel. 6
internal memory levels per piston. Unlimited memory levels with Rodgers’
Personal Memory Card™ system. Combination memories may also be stored on
an external MIDI sequencer.
REVERSIBLES
Thumb and Toe pistons: Great to Pedal, Swell to Pedal, Choir to Pedal,
Tutti I, Tutti II, Zimbelstern. Thumb pistons: MIDI A and B for Great,
Swell, Choir and Pedal, Great/Pedal Enclosed, Festival Trumpet Enclosed,
Solo expressed with Choir, All Swells to Swell, Swell to Great, Choir to
Great, Swell to Choir, Melody from Swell, Melody from Choir, Bass Coupler,
Great/Pedal Pipes Off, Great/ Pedal Ancillary On, Choir Pipes Off, Choir
Ancillary On, Great/Choir Manual Transfer, Orchestral Crescendo,
Zimbelstern. Toe pistons: Contre Bombarde 32', Contre Violone 32', Contre
Bourdon 32'.
STANDARD CONSOLE FEATURES
Expression Pedals - Choir/Pedal and Swell, Programmable Crescendo Pedal
with indicator, Antiphonal On, Main Off, Tuning Control, Transposer (±4
semitones), Temperament Selector (8 temperaments), Headphone Jack, MIDI
IN/OUT/THRU, Sequencer IN/OUT, Console Menu Display, Digital Audio Control,
Stereo Auxiliary In.
AUDIO
8 audio channels minimum, 800 WRMS into 4 ohms/400 WRMS into 8 ohms.
Minimum speaker complement is six Rodgers FR 1.7 speakers and two Rodgers
SW 7.5 subwoofers. Audio system provides for optional expansion to 16
discreet audio channels with 1600 WRMS into 4 ohms/800 WRMS into 8 ohms.
The digitally controlled system provides stereo reverberation output for
independent amplification and output for additional external reverberation
system.
DIMENSIONS AND WEIGHTS
52-1/2" (133 cm) height x 70-1/2" (179 cm) width x 35-3/4"
(90 cm) deep without pedalboard. 54" (137 cm) deep with AGO pedalboard.
Console weight: 570 lbs (259 kg) bench 55 lbs (25 kg). |
| VOICE
SPECIFICATION |
Great
Organ
Violone 16'
[Bourdon 16']
Principal 8'
[Diapason 8', Prinzipal 8']
Flûte Harmonique 8'
Rohrflöte 8'
Gemshorn 8'
Octave 4'
[Principal 4']
Spitzflöte 4'
Quinte 2-2/3'
Super Octave 2'
[Fifteenth 2']
Waldflöte 2'
Terz 1-3/5'
Fourniture IV
Scharf IV
Posaune 16'
[Double Trumpet 16']
Trompete 8'
[Trumpet 8']
Tremulant
Chimes
Swell to Great 16'
Swell to Great 8'
Swell to Great 4'
Choir to Great 16'
Choir to Great 8'
Choir to Great 4'
Great MIDI A (LP)
Great MIDI B (LP)
Melody from Swell (LP)
Melody from Choir (LP)
Swell Organ
Bourdon Doux 16'
[Contre Gambe 16']
Geigen Principal 8'
[Geigen Diapason 8']
Bourdon 8'
[Tibia 8']
Viole de Gambe 8'
Gambe Celeste 8'
Flûte Celeste II 8'
Prestant 4'
Flauto Traverso 4'
Nazard 2-2/3'
Octavin 2'
Tierce 1-3/5'
Plein Jeu IV
Contre Basson 16'
[Contre Trompette 16']
Trompette 8'
[Trumpet 8']
Hautbois 8'
[Oboe 8']
Voix Humaine 8'
[Vox Humana 8']
Clairon 4'
[Clarion 4']
Tremulant
Swell 16'
Swell Unison Off
Swell 4'
Choir to Swell 8'
Swell MIDI A (LP)
Swell MIDI B (LP)
|
Choir
Organ
Quintade 16'
[Erzähler 16']
English Diapason 8'
[Concert Flute 8']
Holzgedackt 8'
Erzähler Celeste II 8'
Viola Celeste II 8'
Prinzipal 4' [Fugara 4']
Koppelflöte 4'
[Flûte d' Amour 4']
Oktav 2'
[Sesquialtera II]
Zauberflöte 2'
Larigot 1-1/3'
[Sesquialtera II]
Sifflöte 1'
[Jeu de Clochette II]
Mixture IV
[Rauschquinte IV]
Dulzian 16'
[Corno di Bassetto 16',
Rankett 16']
Trumpet Harmonique 8'
Cromorne 8'
[French Horn 8']
Festival Trumpet 8'
Tremulant
Harp
Choir 16'
Choir Unison Off
Choir 4'
Swell to Choir 16'
Swell to Choir 8'
Swell to Choir 4'
Choir MIDI A (LP)
Choir MIDI B (LP)
Pedal Organ
Contre Violone 32'
Contre Bourdon 32'
Principal 16'
[Diapason 16']
Subbass 16'
[Bourdon 16']
Violone 16'
Bourdon Doux 16' (SW)
Octave 8'
Gedackt 8'
Choralbass 4'
Nachthorn 4'
Mixture IV
Contre Bombarde 32'
Bombarde 16'
Basson 16' (SW)
Trompette 8'
Clarion 4'
Rohrschalmei 4'
Great to Pedal 8'
Swell to Pedal 8'
Swell to Pedal 4'
Choir to Pedal 8'
Choir to Pedal 4'
Solo to Pedal 8'
Pedal MIDI A (LP)
Pedal MIDI B (LP)
|
Solo
(Manual III, tilt tabs
on coupler rail)
Violoncello Celeste II 8'
[Strings, Slow Strings]
Flauto Mirabilis 8'
[Brass, Boy Choir "Ah",
Soprano "Ah"]
Harmonic Flute 8'
[SATB Choir "Ah",
SATB Choir "Oh"]
French Horn 8'
[Handbells, Choir Amens,
Festival Trumpet 8']
English Horn 8'
[Harpsichord, Gregorian
"Oh", Gospel "Oh"]
Solo on II
Solo on I
Thumb Pistons
Generals 1-12
Great Divisionals 1-6
Swell Divisionals 1-6
Choir Divisionals 1-6
General Cancel
Memory Levels M1-M6
Set
Tutti I
Tutti II
Great to Pedal Reversible
Swell to Pedal Reversible
Choir to Pedal Reversible
Swell to Great Reversible
Choir to Great Reversible
Gt/Ch Manual Transfer
Antiphonal On
Main Off
Melody from Swell
Melody from Choir
Bass
Gt/Ped Enclosed
(on choir shoe)
Festival Trumpet Enclosed
Solo to Choir
Expression
Orchestral Crescendo
Flute Tremulant II
Main Tremulant II
Gt/Ped Pipes Off
Gt/Ped Ancillary On
Choir Pipes Off
Choir Ancillary On
(All thumb pistons
are lighted except
Set and General
Cancel)
Toe Pistons
Generals 1-12
Pedal Divisionals 1-6
Tutti I
Tutti II
Contre Bombarde 32'
Reversible
Contre Violone 32'
Reversible
Contre Bourdon 32'
Reversible
Great to Pedal Reversible
Swell to Pedal Reversible
Choir to Pedal Reversible
Zimbelstern Reversible
|
(that's Latin for
"Praise Him with the organ")
to go to our main
page!
|