Abstract
The pipe organ is the only musical instrument inseparably associated with the room acoustics of the building for which it was constructed (Cathedral, church, concert hall, private residence). Historical pipe organs are items belonging to the cultural heritage of humanity, which deserve special care for restoration, conservation and preservation. Specific methodologies should be employed for each of the main four structural elements namely the casework, the manual also called the console or key–desk and the keys, the mechanical–tracker–action and the wind system. Conservation treatment requires examination, documentation, treatment for stabilization, maintenance, restoration and reconstruction. Preventive conservation acts to slow deterioration by controlling the agents of decay. Preservation implies preserving pipe organs in their historical context, requiring periodic inspection.
«L’orgue seul nous fait comprendre comment l’éternité peut évoluer».
(Only the organ enables us to understand the meaning of eternity).
Emil Cioran «Syllogisme de l’amertume» 1952.
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Appendices
Appendix 1: Evolution of the Organ and Registration in France from 17th to 20th Century (Data from Guilhemjoan 1998)
Seventeenth century Organ St Gervais Paris—organ builder Alexandre Thierry 1684 | ||||
Grand orgue | Positif | Recit | Echo | Pedale |
49 notes | 49 notes | 25 notes | 37 notes | 29 notes |
Montre 16 Bourdon 16 Montre 8 Bourdon 8 Prestant 4 Flute 4 Nasard 2 2/3 Doublette 2 Quarte 2 Tierce 1 3/5 Fourniture Cymbale Comet Trompette 8 Clairon 4 Voix humaine 8 | Bourdon 8 Montre 4 Flute 4 Nasard 2 2/3 Doublette 2 Tierce 1 3/5 Larigot 1 1/3 Fourniture Cymbale Cromorne 8 | Cornet | Bourdon B Prestant 4 Nasard 2 2/3 Doublette 2 Tierce 1 3/5 Cymbale Cromorne 8 | Flute 8 Flute 4 Trompette 8 |
Eighteenth century Organ Cathedral St Pierre—Poitiers—FH Clicquot 1789 | ||||
Grand orgue | Positif | Recit | Echo | Pedale |
53 notes | 53 notes | 34 notes a G2 | 34 notes a G2 | 25-28 |
Montre 16 Bourdon 16 Montre 8 Bourdon 8 Flute 8 Prestant 4 Grosse Tierce 3 1/5 Nasard 2 2/3 Doublette 2 Quarte 2 Tierce 1 3/5 Fourniture 5 rangs Cymbale 5 rangs Comet 5 rangs (1) Trompette 8 (2) Trompette 8 (1) Clairon 4 (2) Clairon 4 Voix humaine 8 | Montre 8 Bourdon 8 Flute 4(a A2) Prestant4 Nasard 2 2/3 Doublette 2 Tierce 1 3/5 Plein jeu 7 rangs Cornet 5 rangs Trompette 8 Cromorne clairon 4 | Flute 8 Cornet 5 rangs Trompette 8 Hautbois 8 | Flute 8 Trompette 8 | Flute 16 bouchee Bourdon 8 Flute 8 Flute 4 Bombarde 16 Trompette 8 Clairon 4 |
Acouplement Positif/Grand Orgue et Tirasse Grand-Orgue | ||||
Nineteenth century Organ Saint François de Sales Lyon—Aristide Cavaillé—Coll 1880 | ||||
Grand orgue | Positif expressif | Recit expressif | Pedale | |
56 notes | 56 notes | 56 notes | 30 notes | |
Montre 16 Bourdon 16 Montre 8 Bourdon 8 Flute harmonique 8 Salicional 8 Prestant 4 Flute douce 4 Doublette 2 Fourniture 4 rangs Cymbale 3 rangs Bombarde 16 Trompette 8 Clairon 4 | Nachthorn 8 Dulciana 8 Unda Maris 8 Flute harmonique 8 Flute octaviante 4 Doublette 2 Carillon 1-3 rangs Trompette 8 Basson 8 Clarinette 8 | Quintaton 16 Flute harmonique 8 Gambe 8 Voix celeste 8 Bourdon 8 Diapason 8 Flute octaviante 4 Octavin 2 Cornet 5 rangs Basson 16 Trompette 8 Basson hautbois 8 Clairon 4 Voix humaine 8 | Basse acoustique 32 Contrebasse 16 Soubasse 16 Flute 8 Violoncelle 8 Bombarde 16 Trompette 8 | |
Orage, accouplement positif/GO, recit/GO, recit/positif, Tirasses GO, recit et positif; Expression recit et positif; Appel d’anches GO, recit, positif et pedale; Appel GO (machine Barker ), Octaves graves GO, recit et popsitif Tremblant et recit | ||||
Twentyest century Orgue Cathedral of Soissons—organ builder Victor Gonzales 1956 | ||||
Grand Orgue | Positif de dos | Recit expressif | Pedale | |
56 notes | 56 notes | 56 notes | 32 notes | |
Montre 16 Quintaton 16 Montre 8 Diapason 8 Flute 8 Bourdon 8 Prestant 4 Flute a cheminée 4 Quinte 2 2/3 Doublette 2 Fourniture 5 rangs Cymbale 4 rangs Cornet 5 rangs Bombarde 16 Trompette 8 Clairon 4 | Montre 8 Flute creuse 8 Bourdon 8 Salcional 8 Prestant 4 Flute douce 4 Nasard 2 2/3 Quarte 2 Tierce 1 2/3 Larigot 1 1/3 Plein jeu 3 rangs Cymbale 2 rangs Trompette 8 Cromorne 8 Clairon | Bourdon 16 Principal 8 Flute harmonique 8 Cor de nuit 8 Gambe 8 Voix céleste 8 Principal 4 Flute 4 Nasard 2 2/3 Flageolet 2 Tierce 1 3/5 Piccolo 1 Plein jeu 5 rangs Cymbale 4 rangs Bombarde 16 Trompette 8 Hautbois 8 Clairon 4 Regale 8 -voix humaine | Flute 32 Sousbasse 32 Principal 16 Flute 16 Soubasse 16 Principal 8 Flute 8 Bourdon 8 Principal 4 Flute 4 Flute 2 Plein jeu 5 rangs Cornet 4 rangs Bombarde 16 Trompette 8 Clairon 4 Clairon 2 |
Appendix 2: Structural Components of a Modern Organ Made in 2008 by the Holtkamp Organ Company—Cleveland for the Cathedral of St Louis in New Orleans—Opus 2093. (http://www.holtkamporgan.com/Controls/ImageViewer/ImageViewer.aspx)
Appendix 3: Saint Sulpice Church in Paris and the Organ Rebuilt in 1862 by Cavaillé-Coll. Roth and Dud Attenti (2014) Explained in Detail the Historical and Structural Aspects of the Organ Built by Aristide Cavaillé-Coll
Appendix 4: Reconstruction of the Organ of St Eustache Church in Paris
Appendix 5: Technical Specification of the New Organ Built by van Den Heuvel in Paris, for St Eustache Church
This church is on the list of Historic Monument in France. Inauguration of this organ on 21 September 1989. www.orgue-saint-eustache.com.
(Data from http://vandenheuvel-orgelbouw.nl/en/instruments/instruments-per-country/item/403-sainteustacheparis-en.html?tmpl=component&print=1. Accessed 1 November 2017).
Internal layout
The main parts of the instrument are distributed on 5 levels:
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in the nave: the movable console ;
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on the gallery level: the attached console , two blowers in sound-proof boxes, three reservoirs, the room for the Barker machines, the Positif (Pos);
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on the 1st floor: The Grand-Orgue (G-O), the Pédale (P1: Anches; P2: Fonds; P3: Mutations) and the Grand-Choeur Tubas (T). One blower in a sound-proof box and eight reservoirs;
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on the second floor: the Récit (Réc) and the Grand-Choeur (G-Ch), two blowers in sound-proof boxes and six reservoirs;
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on the 3rd floor: The Solo (S) with Chamades (Ch), one blower in a sound-proof box and six reservoirs.
Wooden staircases allow access to every part of the organ easily. The gallery entrance, the doors of the gallery entrance, were completely remade in Mahogany by the Van den Heuvel brothers who have restored the case around the gallery console and the back wall of the Positif which had disappeared.
Wind supply
Six blowers produce the wind necessary for the 8000 pipes. The most powerful one feeds the Pedal windchests and the Barker machines; the others are put in sound-proof boxes. 23 reservoirs enable every division to get the right pressure (from 90 to 167 mm). As a matter of fact, every division—with the exception of the Positif—has at least three different wind pressures : one for the bass, one for the medium and on for the treble . The Grand-Choeur has four different wind pressures because the Tubas stand on a special windchest at 150 mm and the Solo has six different wind pressures from bass (105 mm) to treble (167 mm); this feature is unique in the world.
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10 lockable memory banks of 20 general combinations together with 100 memory places. A grand total of 20,000 combinations. USB storage [2010].
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10 cancellers: stops per division, couplers.
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A symphonic crescendo program and a “normal” crescendo program up to full organ.
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A reversible tutti.
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MIDI capture/replay system [2010].
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Mechanical key action with Barker -levers for Pédale, Grand-Orgue, Récit Expressif, Grand-Choeur and Solo and electrical stop action.
Appendix 6: Stop List for the Organ in St Eustache Church in Paris—8000 Pipes
Pédale, C1-g32, 6 windchests. [pressure : 110 mm] Principale basse 32’ [wood & metal] Flûte 16’ [wood] Contrebasse 16’ [wood] Soubasse 16’ [1-24 wood] Grande Quinte 10 2/3’ [wood, open] Flûte 8’ [wood, open] Violoncelle 8’ Grande Tierce 6 2/5’ Quinte 5 1/3’ Flûte 4’ [wood, open] Théorbe 2r. [4 4/7’ + 3 5/9’] Mixture 5r. 4’ [pressure : 125 mm] Contre-Bombarde 32’ Contre-Trombone 32’ [1-18 wood] Bombarde 16’ Basson 16’ Trompette 8’ Baryton 8’ Clairon 4 | Positif (I), C1-c61, 2 windchests. [pressure : 90 mm] Quintaton 16’ Montre 8’ Salicional 8’ Unda-Maris 8’ [TC] Bourdon 8’ Prestant 4’ Flûte à Fuseau 4’ Nasard 2 2/3’ Doublette 2’ Tierce 1 3/5’ Larigot 1 1/3’ Septième 1 1/7’ Fourniture 5r. 2’ Cymbale 2r. 1/3’ Douçaine 16’ Trompette 8’ Cromorne 8’ Clairon 4’ |
Grand-Orgue (II), C1-c61, 4 windchests. [pressure : 100 mm] Montre 32’ Montre 16’ Principal 8’ Flûte à Cheminée 8’ Prestant 4’ Flûte 4’ Doublette 2’ Grande Fourniture [32’] 4-8r. 2 2/3’ Plein-Jeu 4-5r. 1 1/3’ Sesquialtera 2r. [2 2/3’ + 1 3/5’] [pressure : 1-24 100 mm, 25-38 105 mm, 39-61 115 mm] Violoncelle 8’ Grosse Flûte 1-2r. 8’ Grand Cornet 3-5r. 2 2/3’ [mounted] Bombarde 16’ [1-8 L/2, 1-12 wood] Trompette 8’ Clairon 4’ | Récit Expressif (III), C1-c61, 2 windchests. [pressure : 115 mm] Flûte à Cheminée 16’ Principal 8’ Cor de Nuit 8’ Octave 4’ Plein-Jeu 6r. 2 2/3’ Basson-Hautbois 8’ Voix Humaine 8’ pressure : 1-24 115 mm, 25-38 120 mm, 39-61 130 mm] Flûte Traversière 8’ Viole de Gambe 8’ Voix Céleste 8’ [TC] Flûte Octaviante 4’ Octavin 2’ Carillon 3r. 2 2/3’ [mounted] Contrebasson 32’ [1-16 L/2] Bombarde 16’ [1-12 L/2] Trompette Harmonique 8’ Clairon Harmonique 4’ |
Grand-Choeur (IV), C1-c61, 6 windchests. [pressure : 100 mm] Violonbasse 16’ Bourdon 16’ Diapason 8’ Principal 4’ Plein-Jeu Harmonique [16’] 2-8r. 2’ [pressure : 1-24 100 mm, 25-38 105 mm, 39-61 115 mm] Flûte Majeure 8’ [wood & metaal, c25-c61 mounted] Violon 8’ Grande Quinte 5 1/3’ Flûte Conique 4’ [wood, open] Grande Tierce 3 1/5’ Quinte 2 2/3’ Grande Septième 2 2/7’ Fifre 2’ Grande Neuvième 1 7/9’ Clarinette 16’ Cor de Basset 8’ [old, Willis] [pressure : 150 mm] Tuba Magna 16’ [1-12 L/2, hooded] | Solo (V), C1-c61, 4 windchests. [pressure : 1-24 105 mm, 25-38 115 mm, 39-61 125 mm] Flûte Harmonique 8’ Flûte Octaviante 4’ Nasard Harmonique 2 2/3’ Octavin 2’ Tierce Harmonique 1 3/5’ Piccolo Harmonique 1’ Harmoniques 3r. [1 1/3’ + 1 1/7’ + 8/9’] Ranquette 16’ Chalumeau 8’ [pressure : 1-22 105 mm, 23-32 115 mm, 33-38 125 mm, 39-41 135 mm, 42-46 145 mm, 47-61 167 mm] Trompeteria 2r. [C1 8’ + 4’, c25 16’ + 4’, c37 32’ + 16’] Trompette en Chamade 1-3r. 8’ |
Couplers, etc. Tirasse Positif Tirasse Grand-Orgue Tirasse Récit Tirasse Grand-Choeur Tirasse Solo Crescendo Générale Expression Récit Copula Positif/G-O Copula Récit/G-O Copula G-Ch/G-O Copula Solo/G-O Copula Positif/Récit Copula Solo/Récit Octaves Graves G-O Octaves Graves Récit Octaves Graves G-Ch Octaves Graves Solo Renvoi Machine Grand-Orgue Trémolo Positif Trémolo Récit Trémolo Solo | Couplers, etc. (Pedal + I) (Pedal + II) (Pedal + III) (Pedal + IV) (Pedal + V) (Stop crescendo) (Swellbox) (II + I) (II + III) (II + IV) (II + V) (III + I) (III + V) (II 16’) (III 16’) (IV 16’) (V 16’) (Switch off Barker machine G-O, not in function) (Tremulant I) (Tremulant III) (Tremulant V) |
Additional couplers, etc. (nave console ) Sostenuto Positif Sostenuto Récit Sostenuto Solo Tirasse Récit 4’ Tirasse Grand-Choeur 4’ Tirasse Soprano Récit Tirasse Soprano G-Ch Tirasse Basse G-Chr Copula Récit/Positif Copula G-Chr/Positif Copula Solo/Positif Copula G-Ch/Récit Copula Solo/G-Ch Copula Alto G-Ch/G-O Copula Soprano Solo/G-O Coupure Pédale | Additional couplers, etc. (nave console ) (P + III 4’) (P + IV 4’) (P + III soprano) [2010] (P + IV soprano) [2010] (P + IV bass) [2010] (I + III) (I + IV) [2010] (I + V) [2010] (III + IV) [2010] (IV + V) (II + IV alto ) (II + V soprano) (pedal divide, adjustable c13-c25) [2010] |
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Bucur, V. (2019). Restoration of Pipe Organs. In: Handbook of Materials for Wind Musical Instruments . Springer, Cham. https://doi.org/10.1007/978-3-030-19175-7_20
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