COMPOSITION 1933
THE ENLARGMENT OF THE ORGAN
A first, substantial, change of the instrument of Cavaillé-Coll was realized in
1933 under the direction of the titulaire, Charles Tournemire, both in terms of
stops and reharmonisation and in terms of mechanics. The works were
carried out by Joseph Beuchet-(Ets Cavaillé-Coll).
THE REASONS
In a letter to Carl Weinrich, Charles
Tournemire complained about the
precarious state of the organ: "The organ of
Sainte Clotilde is in such poor condition
that it has been decided to repair it." In
addition to its multiple failures due to its
great age (seventy-two years without
restoration), the instrument presented to
Tournemire some technical weaknesses:
•
The range of keyboards and pedals: 54
notes (C, f3) for keyboards and 27 notes
(C, d1) for pedals.
•
The high number of 8-foot foundations
and the lack of mutations
•
The relative poverty of stops on the
Swell which had, moreover, no mixtures
and mutations
•
The Pedal, which had a limited number
of foundation stops.
Although consistent with the aesthetics of
the young Cavaillé-Coll of 1859, the
composition was no longer up-to-date in
1930. Tournemire was one of the first to
rediscover the early European music,
especially in Frescobaldi, Buxtehude,
Cabanilles, Pachelbel, Grigny and Bach.
Therefore, it does not appear unthinkable
that, taking advantage of the instrument's
dilapidation, Tournemire wanted more
than a 'pious' restoration and favored the
implementation of his innovative ideas
with respect to the organ building. He
elaborated on these ideas in the a notice of
the inauguration of 1933:
This enrichment is justified by the concern
that I had, in conscience, to fully serve the
Art of the Organ, from the 13th century to
the present day. In addition, I have not
forbade myself to think about future
possibilities ...
EYEWITNESS REPORTS
Following the inauguration of the organ modified
by the Maison Beuchet, many personalities from
the Parisian organ world spoke about the work
done.
•
Tournemire
•
Miramon Fitz-James/André Fleury
•
Pierre Moreau
•
Maurice Emmanuel
Some articles published in journals .
THE ORGAN OF CHARLES TOURNEMIRE
The works included:
•
Conservation of the original traction, including the two Barker machines
•
Installation of a pneumatic stoptraction
•
Extension of the manuals to 61 notes (C-c4), and the pedal to 32 notes (C-
g1), requiring the placement of supplementary windchests for Great, Pos
and Swell; the extension of the pedal was realized within the existing
windchest
•
Enlargement and deepening of the Swell by adding a new windchest (with
six stops) behind the original and porbably the installation of a Barker
machine for the swell
•
A lowering of wind pressure of the Positive. According to Marie-Louise
Langlais (source: video), Tournemire wanted to achieve a significant
difference between the GO and the positive (which was originally louder
than GO). The result was a change in the balance between the GO and the
Positif compared with the organ known by Franck and Tournemire (before
1933).
•
Installing of a new ergonomic console with several new features, including
26 spoons of combinations. The expression pedal was refocused. The layout
of the stops was as follows: the sets of funds on the left, the sets of
combinations on the right, like the combination pedals.
Aware of the historical value of Franck's console, Tournemire bought it
from the parish priest of Sainte-Clotilde and his widow gave it to his former
friend Flor Peeters (Belgium). In turn, Flor Peeters gave it by will to the
Royal Conservatory of Antwerp. It is now showed at the Vleeshuismuseum
in Antwerp.
The composition was also modified (an addition of about 40% to the
original piping). The changes and additions were:
Great
•
+ cornet V (on a small additional windchest);
•
Octave 4' replaced by a Flûte 4' (perhaps realized during the 1962-
works)
Positive
•
+ Tierce 1 3/5' + Piccolo 1' (on the place of the Clarinette which had been
moved to the Swell);
•
the Unda maris was tuned equally and called Salicional;
•
the Flûte octaviante 4' was transformed into a Flûte 4'.
•
the Viole de Gambe was reharmonized
Récit
•
+ Quintaton 16' + Nasard 2 2/3' + Tierce 1 3/5' + Plein Jeu IV + Bombarde
16' + Clarinette 8' (of the Positif)
•
Addition of the first octave octave of the Gambe 8’
Pedal
•
Addition of a Soubasse 16 and a Quinte 5 1/3 on an additional new
windchest in front of the Swell. This addition caused an imbalance
between the Swell and the Positive. That's why (probably just after
1945), a part of the roof of the organ case was taken away and replaced
by a sound board placed approx. 1 meter above the case to improve to
sound of the Swell in the church.
•
Basse 8' was transformed into a Flûte 8’
•
Octave 4' was transformed into a Flûte 4'.
The works started in July 1932. The reharmonisation
was done by Michel Merz and the mechanical works
(restoration and enlargement) were carried out by
Berthelot and Thiemann. The costs were
approximately 250,000 franc. The inspection took
place on June 27, 1933, in the presence of Albert Alain,
Joseph Bonnet, Paul Brunold, Alexandre Cellier, André
Marchal, Dom Letestu (organist at Solesmes) and Félix
Raugel. The inauguration was on Friday 30 June in the
presence of Cardinal Verdier, Archbishop of Paris. The
program of Tournemire: Tiento VII of Cabanilles,
Buxtehude's Toccata (BuxWV 156), the third Chorale by
Franck, a first performance of the first two of his three
poems opus 59, Communion of the sunday in the octave of the Ascension of
the ‘Orgue Mystique’ and an improvisation.
* The last audition of the organ "of Franck" was given by seven students of Tournemire, on April 25, 1932 (Daniel Lesur, Gaston Litaize, Jean Langlais, Olivier Messiaen, Noelie Pierront,
Maurice Duruflé and André Fleury). The program was devoted to the compositions of "L’orgue mystique.
.** The harmonist Michel Mertz was trained in the Cavaillé-Coll workshop, where he entered in May 1898 (National Library of France, RES VMA MS-1370), the same year that Aristide
Cavaillé-Coll sold his business to Charles Mutin. According to Jean-Marc Cicchéro (Hommage à une passion, p. 68), he remained there until 1936. But he was not part of the staff of the
Beuchet-Debierre house.
THE GREAT ORGAN 3/5
the organ of Franck - the organ of Tournemire - the organ of Langlais - the organ of Taddei
RECORDINGS
A photo of the Grand Orgue taken by Maurice Duruflé
himself (with thanks to Frédéric Blanc)
Another photo of the Great Organ in the era of Tournemire
B. de Miramon Fitz-James (President
of the Society of Friends of the
Organ) praised the addition of the
numerous bass and high octaves
that enhanced the sound intensity of
the organ.
However, there were also a number
of less positive opinions.
According to the personal testimony
of André Fleury, Tournemire's
assistant from 1922 to 1930, who
played and listened to the
instrument before and after the
modifications, the sound had
become less attractive.
Until the end, Charles Tournemire showed great care for his
instrument with which he maintained a true emotional
relationship (My dear faithful companion, confidant of my
pains and my joys (Charles Tournemire in "Memoirs" p71).
Tournemire praised the timbres and harmony of the
instrument, but was very critical of the precision of the
mechanics and the toughness of the keyboards, which he
repeatedly called for improvements.
Tournemire wrote in the 'Notice of Inauguration': "This
enrichment is justified by the concern that I had, in
conscience, to fully serve the Organ Art from the 13th
century to the present day". Tournemire praised the work as
"balanced according to all the rules of the art" and asserted
that the particularity of this instrument lay in the fact that
there were great homogeneity and incredible nuances of
extraordinary balance (both in the crescendo on the basis of
the Cor de Nuit of the Swell with the box closed up to the
stronger fortissimo, as in the decrescendo).
Extract of the Mémoires de Charles Tournemire, datéed 26
juin 1933: ‘The sound of my organ of Ste Clotilde is beautiful,
but the mechanics leave something to be desired’.
According to his widow, Tournemire was not very happy with
the keyboards that were not easily playable (very tough,
despite the Barker machines).
Pierre Moreau, organist of St Marcel
et titulaire-adjoint of Notre Dame
wrote:
This instrument of 45 stops (sic) was
certainly one of the most beautiful in
Paris by the quality of its voices, and,
moreover, the acoustics of the
Basilica allowed to hear every detail
that highlighted the personal way in
which Charles Tournemire used it. In
1932, the organ was completely
refurbished: a new console with five-
octave keyboards and a pedal of
thirty-two notes, replaced the former.
In addition, some stops were added,
because the organ of 1858-1859 had
no cornet. Since its creation, the
organ had been harmonised by
Gabriel Reinburg, a fully recognised
member of the Cavaillé-Coll firm, and
Michel Metz, whose talent was rightly
appreciated, did not changed the
initial voicing in any way.
Pierre Moreau Souvenirs. Charles
Tournemire. L'orgue Cahiers et
mémoires, 1989-1, nr 41.
Maurice Emmanuel, Maitre de Chapelle of the
Basilica from 1904 to 1907, wrote in june 1933:
... I went behind the altar, in order to enjoy at this
distance the truly magical effects of the
instrument. It seemed to me that your mixtures
have transformed the sound of tutti, it has
become delectable "fat". The mixture of
foundations and reeds is made in total
perfection. Never before had I heard (at your
organ) such a sweet and mysterious sub-bass.
Isn't it one of your creations? The expressive box
had to be modified, because the degradations of
colours seemed wonderful to me. The Clarinette
had to be changed places because she lost her
"positive" immutability and in the splendid piece
of "Sacris Solemniis", she really delighted me,
although her voice did not have risen for long in
the concert of your orchestra. But as short as his
intervention was, what a charm! Without betting
harmonic wonders that contain in various pieces
the great chords (especially perfect) chained
with grandeur as you know do, the sound has
taken a nobility, a accuracy, a new meaning.
What a joy all this, in the back of the church, at
least sixty meters from the instrument! I think
you're satisfied. You will be able, on this
instrument adapted to your conveniences, to
create a sound world according to your dreams. I
envy you such happiness.
(Source : Mémoires de Charles Tournemire)