The OHS Pipe Organ Database

Trinity Episcopal Church
Milton, Connecticut 06759

OHS Database ID 2147.

Awards

This organ received OHS Citation number 68, 1984-08-18.


Status and Condition

The organ has been restored to a previous state.
The organ is in good condition and in regular use.
We received the most recent update on this organ's state and condition 2014-07-29.


Technical Details

Slider chests. Mechanical key action. Mechanical stop action.

One manual. 1 divisions. 7 stops. 8 registers. 7 ranks. Manual compass is 58 notes. No pedals.

There are hinged doors that enclose keyboards. There is an attached keydesk en fenêtre.

Drawknobs in vertical rows on flat jambs. No enclosed divisions. Combination Action: Blind action not moving stop controls.

Notes

  • Restoration of previously altered organ of 1823. (OHS PC Database. 2004-10-30)
  • From St. Michael's Episcopal, Litchfield. On loan to St. Michael's from Solomon Marsh, 1823-51; gift to St. Michael's in 1851. To Milton in 1866 for $300. Identified as Hall by Mary Julia Royall on post card 3-2-87. Restored c. 1985 by Dana Hull who played ded. recital 15 Dec 1985. (OHS PC Database. 2004-10-30)
  • Updated through online information from Gregg Patruno. -- Removed by Scot Huntington in January 2013 for "comprehensive restoration," with re-installation scheduled for Spring or Summer 2013, according to The Litchfield County Times newspaper on 2/1/2013. Article includes photograph of partially dismantled instrument, and an overview of its history. (Database Manager. 2013-02-22)
  • Updated through online information from Gregg Patruno. -- Still under restoration by Scot Huntington in January 2014, with re-installation postponed into 2014, according to The Day newspaper (New London, CT) on 1/5/2014. Article includes 5 workshop photos of the instrument, and an update on the restoration process. (Database Manager. 2014-02-06)
  • Updated through online information from Gregg Patruno. -- Re-installation began January 22, 2014, with re-dedication concert planned for June 7, 2014. Church website includes photographs of the instrument's removal and return. (Database Manager. 2014-05-08)
  • Updated through online information from Scot Huntington. -- The organ purchased in 1866 was the 1823 Hall in a previous altered state, with the ca. 1857 addition of one octave of permanently-coupled pedals, and a swell box enclosure. Installed in the rear gallery of Trinity Church, the organ remained essentially unaltered until a partial renovation in the early 1960s by Geddes of Winsted, CT, at which time a blower was installed and the feeder system removed.
    The organ was "restored" ca. 1974 by Charles Aiken, and in hindsight, many regrettable and irreversible changes were made to the original fabric including the removal of the original sprung sliders and machine stop mechanisms, and replacement of the mahogany table with plywood.
    Dana Hull was contracted n 1987 only to regild and restore the case finish. The long unknown builder of this instrument was identified by John Ogasapian as Thomas Hall based on specific and unusual case and carving characteristics, in a 1989 Tracker article.
    In 1990, the organ received a new blower, feeder reconstruction, and new rackboards, amongst other refurbishments, by Quimby Pipe Organ Co. of Warrensburg, MO, during their construction of a new organ for St. Michael's Litchfield, the original home of the Milton organ.
    By 2012 the organ had again become extremely unreliable and only marginally functional, and what was planned as a major renovation eventually developed into a complete restoration to its original 1823 state by S.L. Huntington & Co. of Stonington, CT. This work included the removal of the pedalboard, swell shutters and encasement, restoration of the casework to its original proportions, retabling of the windchest with new sliders and gibs based on the altered originals- all in mahogany, restoration of the two machine stops and sprung slider mechanisms, new rackboards, refinishing of the casework gilding, and restoration of the original voicing and pitch. Long underwinded by a 1974 blower that was undersized at this considerable altitude, a new, larger blower was installed. All removed components are labeled and stored with the organ in the church. Internal toeboard and machine stop evidence indicates the organ was originally designed to contain a treble Trumpet and divided Cornet/Sesquialtera. These were replaced with a Dulciana, Twelfth, and Flute (4) respectively, and internal evidence also indicates these changes were made prior to the original installation in Litchfield. The restored organ is tuned in a late 18th-century English well-tempered system as reconstructed by Charles Padgham. Pitch A438 @ 68 degrees, pressure 60 mm (2 3/8"). (Database Manager. 2014-07-10)
  • Updated through online information from Scot Huntington. -- John Ogasapian, "Identifying a Thomas Hall Organ"; The Tracker, 33:2:1989, 13-17. (Database Manager. 2014-07-10)
  • Updated through online information from scot huntington. (Database Manager. 2014-07-29)

Online Documents

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Related Database Entries

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Photographs

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Gallery and Organ Case (2013). Photograph by Rev. Richard Wyland

Pipe organs in Connecticut sponsored by S.L. Huntington & Co.

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Stoplist

When they are available, stoplists for organs are included in the Database. To make corrections in stoplists that you see here, please send details via e-mail to stoplists@organsociety.org rather than submitting a new stoplist through our online form.

  • Extant instrument.

  • Milton, Connecticut
    Trinity Church, Episcopal
    
    Thomas S. Hall, New York City, 1823
    
    Compass GGG,AAA-f3, 58 notes
    
    Open Diapason          common metal, from tenor-c, borrows 1-16 from St. Diap.
    Stop'd Diapason        stopped pine, GGG-BB (16 pipes) common with Open Diap.
    Dulciano*              stopped pine GGG-BB, common metal from tenor-c. Stands on toeboard 
                             likely intended for a Trumpet treble.
    Principal**            stopped pine GGG-BBB borrowed from Flute(4 pipes), common metal from CC
    Flute                  stopped pine, GGG-BBB common with Principal,  top 6 have pierced
                             stoppers, on front toeboard/slider originally intended for Cornet Treble 
    Twelfth**              common metal, stands on toeboard/slider originally intended for 15th
    Fifteenth              common metal, on front toeboard/slider originally intended for
                             Sesquialtera Bass
    
    Bellows Signal**       blower switch 1974-2013, now reconstructed from surviving pieces
    
    *Old, non-original stop label
    ** 2013 replicas replacing spurious labels 
    
    Sliders originally intended for Cornet treble/Sesquialtera bass, divided at tenor-b/middle-c; 
    now bored full compass, toeboard modified internally to accommodate Flute and Fifteenth
    instead.
    
    Stopknobs default to the ON position by springs, a notch in the stop shank locks each stop
    in the OFF position.
    
    Two machine stop pedals, held down by foot or latched in down position to engage. Activating
    the machine stop temporarily turns off only those sliders drawn into the ON position which
    are affected by that particular pedal, without physically moving the stop knobs. Any drawn stops
    so affected return to ON when the pedal is released. Mechanism reconstructed, pedals 
    and iron action combs original.
    
    Left pedal: Disengages the Open, Stop'd, Principal, 12th, 15th 
      (Dulciano, Flute not affected)
    Right pedal: Disengages the Dulciano, Principal, Flute, Twelfth, Fifteenth 
      (Open, Stop'd not affected)
    
    Original foot treadle for operating single wedge feeder missing and not reconstructed.
     
    Double-rise reservoir; hand pumping system reconstructed in 1992 with new feeder, 
    tell-tale indicator reconstructed in 2013 along with rear case panels.
    
    Originally cone tuned, fitted with slide tuners in 1974, 1992, and 2013.
    A438 @ 68 degrees
    60 mm (2 3/8") pressure
    Reconstructed historic English temperament after Charles Padgham (1979).
    
    Front access for tuning restored following removal of swell enclosure.
    
    
    
     [Received from Scot Huntington 2014-07-08.]
  • Extant instrument. Plain text; will open in a new window or tab.