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Trinity Lime Rock history

Trinity's organ is several years old now, and continues to impress....

Our organ's history:

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 our History section 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.

 

Christine Gevert, Organist and Choirmaster of Trinity Church

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)

neworgan004.jpg (206478 bytes)  neworgan005.jpg (204461 bytes)

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!!  Digital organ and Baroque music? to read a short essay from one concert program about the use of digital organs in Baroque music, for example!  To our main music page 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)
organinstall2.jpg (47662 bytes) Voicing the organ
organinstall4.jpg (153173 bytes) 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, Where did you hide the pipes? 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 the website of Trinity Church, Wall Street to see the article on Trinity Wall Street's website about THEIR new digital organ!  Or, New York Times, September 10, 2003 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
 
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

 

Laudate Eum in organum

(that's Latin for "Praise Him with the organ")

Music is everywhere at Trinity Lime Rock! to go to our main Music is everywhere at Trinity Lime Rock! page!

Trinity Lime Rock welcomes you

 Offering Companionship Along The Way

 

Trinity Episcopal Church, 484 Lime Rock Road, Lakeville, Connecticut!

(860)435-2627

Contact us at Trinity!

 

Website updated Thursday, July 01, 2010 01:37 PM