The organs of Paris
ORGANS OF PARIS © 2024 Vincent Hildebrandt HOME ALL ORGANS
Saint Séverin dates back to the end of the 11th century, built on the place of a former chapel (VIth century). The clocktower dates to 1412. Its present appearance in flamboyant Gothic style dates back to the 15-17th century.
Vue vers l'orgue de St Séverin en 1903
Drawing of the organ, 1860
1748 - Claude Ferrand (1) 1825 - Pierre-François Dallery (5) 1889 - John Abbey (3a) 1963 - Alfred Kern (3) 1982 - Daniel Kern (6) 1988 - Dominique Lalmand (6) 2011 - Quentin Blumenroeder (5)

IV/59 - traction mécanique

composition

A2 The church of Saint-Séverin had an organ as early as the 14th century, which was replaced in the 16th century by the organ builder Valeran de Héman. Enlarged by Charles and Alexandre Thierry in the years 1670-1673, it was replaced by a new instrument in 1745. The instrument was then in a state of total disrepair, eaten away by rats and rust. 1745 The creation of the beautiful oak sideboard, in the Louis XV style, was entrusted to the carpenter François Dupré and Jacques-François Fichon, for the execution of the sculptures. Organ builder Claude Ferrand provided a new instrument using some old stops. This "tall 16-footer" was considered one of the most beautiful in the capital. 1825 Although the organ survived the French Revolution without incident, the elder Dallery sent a memorandum on 21 Oct. 1825 stating that "the organ is in such a state of decay that it threatens your interests and public safety." A restoration followed. Dallery redid the reeds as well as the feet and badges of the Grande Montre. A basic repair was carried out in 1850. 1889 Organ builder Abbey was commissioned to rebuild the organ. Only 25 stops were reused. Abbey completely rebuilt the instrument in the symphonic style: windchests, wind tunnel and action were rebuilt. The emptied Positive received the new detached console. The organ was completely revoiced. At that time, the instrument had 36 stops on three manuals and pedalboard 1963-1964 The construction of the new instrument was entrusted to the organ builder Alfred Kern. The design of the organ was to be a synthesis between the French Classical Organ and the Germanic Organ: The Back Positive returns to its original function. a Resonance division is created, complementary to the Great and the Pedal in the main case, on the ground floor, were placed, on either side of the mechanical block, the two windchests of the Echo, the base serving as an expressive box. Abbey's windchests and wind tunnel were reused, as well as 26 old stops and 10 Abbey stops. Abbey's stops and the old ones modified by him in 1889 were restored according to the classical style. Germanic mixtures and a Germanic Third Cymbal took their place alongside the nine rows of an "alla Dom Bedos" Plein Jeu. The old-fashioned (suspended) mechanism was designed by Philippe Hartmann and Alfred Kern. A new window console was built. 1970 In the 1970s, changes were made to the layout, possibly by the Kern House. The 16' Resonance Musette replaced the G.O.'s 16' Bombarde while being shifted to 8'. The 4' Oboe of Résonnance was moved to 8'. 1982 Daniel Kern made a few changes: The Quintaton 8' of the Positif was placed at the Resonance keyboard. The Echo's 8' old Trumpet found its place at the Positif In the Echo, the 4' Clairon was changed to the 8' Trumpet and a 1' Sifflet was added. 1988 Dominique Lalmand proceeded to a revision of the power supply, to adjust the calls of reeds and mixtures, and of the mechanisms of the various manuals, and to revoicing the Plein-Jeu of the positif. 2011 A major restoration of the instrument was carried out by Quentin Bluenroeder in collaboration with the Thomas Organ Factory. The reeds were all voiced by Jean-Marie Tricoteaux. These builders respected the work and spirit of Alfred Kern, while maintaining the modifications made in 1970 and 1982. St Séverin is also emblematic for the liturgy. Since the Second Vatican Council, St. Severin has become widely known thanks to his exceptional liturgy performed by Michel Chapuis and Father Duchesnau. The latter largely favors the place of the organ and the participation of the assembly, as required by the constitution "Sacrosanctum Concilium" of Vatican II. Enriched over the years, this repertoire gives a large place to the Lutheran chorale and the Huguenot Psalter, while retaining the Gregorian translated into the vernacular.
Organistes titulaires François Espinasse, Nicolas Bucher, Christophe Mantoux, Véronique Le Guen. Famous organists in the past: Nicolas Séjan, Camille Saint-Saëns, Michel Chapuis. Concerts Regularly on Saturdays Masses with organ Vêpres Saturday 6:00 PM, Masses at 10:30 and 12:00 AM, 7:30 PM. Videos Christophe Mantoux Michel Alabau (former co-titulaire). All organs built before the revolution Photo case: Jeroen de Haan Other photos : Victor Weller
The organs of Paris
ORGANS OF PARIS © 2024 Vincent Hildebrandt ALL ORGANS
1748 - Claude Ferrand (1) 1825 - Pierre-François Dallery (5) 1889 - John Abbey (3a) 1963 - Alfred Kern (3) 1982 - Daniel Kern (6) 1988 - Dominique Lalmand (6) 2011 - Quentin Blumenroeder (5)

IV/59 - traction mécanique

composition

A2 The church of Saint-Séverin had an organ as early as the 14th century, which was replaced in the 16th century by the organ builder Valeran de Héman. Enlarged by Charles and Alexandre Thierry in the years 1670-1673, it was replaced by a new instrument in 1745. The instrument was then in a state of total disrepair, eaten away by rats and rust. 1745 The creation of the beautiful oak sideboard, in the Louis XV style, was entrusted to the carpenter François Dupré and Jacques-François Fichon, for the execution of the sculptures. Organ builder Claude Ferrand provided a new instrument using some old stops. This "tall 16-footer" was considered one of the most beautiful in the capital. 1825 Although the organ survived the French Revolution without incident, the elder Dallery sent a memorandum on 21 Oct. 1825 stating that "the organ is in such a state of decay that it threatens your interests and public safety." A restoration followed. Dallery redid the reeds as well as the feet and badges of the Grande Montre. A basic repair was carried out in 1850. 1889 Organ builder Abbey was commissioned to rebuild the organ. Only 25 stops were reused. Abbey completely rebuilt the instrument in the symphonic style: windchests, wind tunnel and action were rebuilt. The emptied Positive received the new detached console. The organ was completely revoiced. At that time, the instrument had 36 stops on three manuals and pedalboard 1963-1964 The construction of the new instrument was entrusted to the organ builder Alfred Kern. The design of the organ was to be a synthesis between the French Classical Organ and the Germanic Organ: The Back Positive returns to its original function. a Resonance division is created, complementary to the Great and the Pedal in the main case, on the ground floor, were placed, on either side of the mechanical block, the two windchests of the Echo, the base serving as an expressive box. Abbey's windchests and wind tunnel were reused, as well as 26 old stops and 10 Abbey stops. Abbey's stops and the old ones modified by him in 1889 were restored according to the classical style. Germanic mixtures and a Germanic Third Cymbal took their place alongside the nine rows of an "alla Dom Bedos" Plein Jeu. The old-fashioned (suspended) mechanism was designed by Philippe Hartmann and Alfred Kern. A new window console was built. 1970 In the 1970s, changes were made to the layout, possibly by the Kern House. The 16' Resonance Musette replaced the G.O.'s 16' Bombarde while being shifted to 8'. The 4' Oboe of Résonnance was moved to 8'. 1982 Daniel Kern made a few changes: The Quintaton 8' of the Positif was placed at the Resonance keyboard. The Echo's 8' old Trumpet found its place at the Positif In the Echo, the 4' Clairon was changed to the 8' Trumpet and a 1' Sifflet was added. 1988 Dominique Lalmand proceeded to a revision of the power supply, to adjust the calls of reeds and mixtures, and of the mechanisms of the various manuals, and to revoicing the Plein-Jeu of the positif. 2011 A major restoration of the instrument was carried out by Quentin Bluenroeder in collaboration with the Thomas Organ Factory. The reeds were all voiced by Jean-Marie Tricoteaux. These builders respected the work and spirit of Alfred Kern, while maintaining the modifications made in 1970 and 1982. St Séverin is also emblematic for the liturgy. Since the Second Vatican Council, St. Severin has become widely known thanks to his exceptional liturgy performed by Michel Chapuis and Father Duchesnau. The latter largely favors the place of the organ and the participation of the assembly, as required by the constitution "Sacrosanctum Concilium" of Vatican II. Enriched over the years, this repertoire gives a large place to the Lutheran chorale and the Huguenot Psalter, while retaining the Gregorian translated into the vernacular.
Organistes titulaires François Espinasse, Nicolas Bucher, Christophe Mantoux, Véronique Le Guen. Famous organists in the past: Nicolas Séjan, Camille Saint-Saëns, Michel Chapuis. Concerts Regularly on Saturdays Masses with organ Vêpres Saturday 6:00 PM, Masses at 10:30 and 12:00 AM, 7:30 PM. Videos Christophe Mantoux Michel Alabau (former co-titulaire). All organs built before the revolution Photo case: Jeroen de Haan Other photos : Victor Weller