C1This opus 19, now with 11 stops, originally consisted of 18 stops (see composition). Cavaillé-Coll proposed adapting transposing keyboards to remedy the problem of pitch raised by the organist and the choirmaster: ‘to accompany the plainsong, the organ must play a tone lower than that of the orchestra, whereas for the High Masses in music, it must be in tune with the orchestral instruments, i.e. a tone higher than for the plainsong’. The organ builder later suggested adding new stops, bringing the total to 18 by 1847. In 1865, revoicing work was carried out by Cavaillé-Coll, to obtain "a notable improvement in the sound". In 1913, a restoration and transformation was carried out by Mutin. Maintenance works were carried out by Convers (1925-1927), then by Gutschenritter from 1929. In 1980, a restoration was carried out by organbuilder Barberis. n 1986, restoration by Jean Renaud, following flooding of the building. The current instrument has only 12 stops, a decrease probably attributable to Mutin: "... the excellent thick and wide pipes were used in 1910 by Charles Mutin in the reconstruction of a 13-stop organ with a wide sonority, but where the solitary Nasard does not replace the forgotten Plein-Jeu" (revue l'Orgue, 1951, n° 58-59, "choir organs in Paris").It is equipped with a pendulum mechanism and tubular pneumatic action for the Pedal (borrowed from the Bourdon 16' GO). The draw of the stops is mechanical.Source: facebook Aristide Cavaillé-CollPhotos organ: Victor Weller
C1This opus 19, now with 11 stops, originally consisted of 18 stops (see composition). Cavaillé-Coll proposed adapting transposing keyboards to remedy the problem of pitch raised by the organist and the choirmaster: ‘to accompany the plainsong, the organ must play a tone lower than that of the orchestra, whereas for the High Masses in music, it must be in tune with the orchestral instruments, i.e. a tone higher than for the plainsong’. The organ builder later suggested adding new stops, bringing the total to 18 by 1847. In 1865, revoicing work was carried out by Cavaillé-Coll, to obtain "a notable improvement in the sound". In 1913, a restoration and transformation was carried out by Mutin. Maintenance works were carried out by Convers (1925-1927), then by Gutschenritter from 1929. In 1980, a restoration was carried out by organbuilder Barberis. n 1986, restoration by Jean Renaud, following flooding of the building. The current instrument has only 12 stops, a decrease probably attributable to Mutin: "... the excellent thick and