Cavaillé-Cool

"Joke specification" II) Hauptwerk (61 notes) 01 Quintatön 16 02 Klein Prinzipal 8 03 Bourdon 8 04 Praestan 4 05 Superoktav 2 06 Kornett V 07 Oberacutascharffmixtur X (1/8) 08 Spitztrompete 8 09 Spitzclarion 4 I) Rückpositiv (61 notes) 10 Quintatönlein 8 11 Prinzipal 4 12 Rhorflœte 4 13 Nasat 2 2/3 14 Quarte 2 15 Terz 1 3/5 16 Larigot 1 1/3 17 Hochymbel V (1/6) 18 Baërpfeiferegal 16 19 Klein Krummhorn 8 III) Brustwerk (enclosed, 73 notes) 20 Gedackt 8 21 Gedackt céleste 8 22 Flœte 4 23 Prinzipal 2 24 Ripieno IV (1/4) 25 Schamey 8 Pedalwerk (32 notes) 26 Praestan 16 27 Subbass 16 28 Oktavbass 8 29 Choralbass 4 30 Posaune 16 I/II (tiroir), III/II sub, uniss, super I/P, II/P, III/P Tremulant I, II, III

My proposition isn't as the french neoclassic organs but is in the tradition of Dalstein-Hærpfer (Boulay) between 1863 and 1914. This sort of organ is in the middle of Walcker and Cavaillé-Coll (Johann Karl Hærpfer was Walcker's student and met Dalstein when Cavaillé-Coll was at the construction of Saint-Sulpice in Paris). If you see my stoplist, you can find elements of french symphonic organ (harmonic flutes, french trumpet, harmonic progression as carillon I-III, details reed), and elements of german orgnbuilding (kegelladen, conical stops like gemshorn, terz-mixtur like the fourniture of grand-orgue, flûte majeur — no harmonic, two mouth opposed, salicional 16). I think this sort of instruments are the better to play great pieces of Liszt and other german composers.

Some proposal here view like neo-classic french organs from the 60-70s... My version (in the langage between french and german, like in my country of east from France). I) Grand-Orgue (56) 01. Montre 16 02. Bourdon 16 03. Montre 8 04. Bourdon 8 05. Flûte majeure 8 06. Gemshorn 8 07. Viola di gamba 8 08. Prestant 09. Flûte amabile 4 10. Quinte 2 2/3 11. Fourniture V * C : 2 2/3, 2, 1 1/3, 1, 2/3 * c : 4, 2 2/3, 2, 1 1/3, 1 * c' : 5 1/3, 4, 2 2/3, 2, 1 3/5 12. Fagott 16 13. Trompette 8 14. Clairon 4 II) Récit expressif (56) 15. Salicional 16 16. Lieblich gedackt 8 17. Salicional 8 18. Voix céleste 8 19. Flûte octaviante 4 20. Octavin 2 21. Carillon I-III * C : 2 2/3 * c : 2 2/3, 1 * c' : 2 2/3, 1 3/5, 1 22. Cor anglais 16 23. Trompette mirabilis 8 24. Fagott-Oboe 8 25. Vox humana 8 Pédale (30) 26. Contrebasse 16 (open, wood) 27. Soubasse 16 28. Quintebasse 10 2/3 29. Octavebasse 8 30. Trombone 16 I/I (Barker on I), II/I, Suboctavkoppel II/I I/P, II/P, Trémolo II, mechanical combinations (PP, P, mF, F, FF), crescendo. Mechanical notes traction, pneumatical stops traction.

Add a fourth keyboard on an authentic Mutin-Cavaillé-Coll of 1903, inaugurated by Widor? Are you crazy? These week-end I will play these organ with the fourth symphony of Louis Vierne in concert. You can believe me : there's nothing to add at this very beautifull organ!

In 1868 Notre-Dame of Paris was an instrument for improvisation, it was impossible to play some organ pages because all keyboards had just copula on Grand-orgue (I/II, III/II, IV/II, V/II) and just "Grand-orgue/pédale" and "Grand-choeur/pédale (I/P, II/P). How play Franck or Vierne without more accessories? That's why Vierne an Cochereau have modified this organ which was an intellectual instrument into a music instrument. Sorry for my english...

Happily in France organs are protected by commissions. Otherwise all those which are not to the taste of certain persons (Notre-Dame of Paris, Saint-Sulpice, Saint-Ouen of Rouen, Saint-Sernin of Toulouse, etc) would leave to the garbage can. To destroy his heritage it is to kill History.

In french I would say : "mais euh..." (buuuut...). Many great organs have electronic combinations, it's like machintosh... just one button on the mouse... you don't have to use manual stops when you play. Just "+1".

You can see the console of Evreux. Do you think that's horrible?

I find this console isn't very beautyfull... If you can see the old Cavaillé-Coll's console at the Museeum... that's a really monument! French organbuilders? Who? I agree when you see the Aubertin's consoles with very short unconfortable keyboards (I have big hands and I can play C-g on this sort of keyboards...). Cavaillé-Coll or Puget made very pratical consoles, the same for Dalstein-Haerpfer. For neobaroc instruments, the Alfred Kern organs are like Bentley or Rolls Royce for car. After... it's thru, that's maybe very difficult.

I've just a word about these organbuilder for the reconstruction of the Moucherel-organ of Albi : FFfzzFfFFFFffZzzZfFFFfFFFZzZZzzzFFffFFffFormentelli

Hello everybody, I'm a new logged forumist of France. To beginn I scuse me for my very bad english, but I can't speak better french... or german... Don't fight on my head please... Sad you can't go in north-est of France (Lorraine). You could see very particular organs between Cavaillé-Coll and Walcker. The most importants organbuilders of the 19th century in these country are Dalstein&Haerpfer, Bartholomaei-Blési, Sauvage... You can see my Bartholomaei-Blési organ HERE.