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Restoration of Pipe Organs

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Handbook of Materials for Wind Musical Instruments

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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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Authors and Affiliations

  1. School of Science, RMIT University, GPO Box 2476, Melbourne, 3001, VIC, Australia

    Voichita Bucur

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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)

figure afigure a

Legend a view of the casework , b the console , c façade drawing of the casework , d isometric front view, e side elevation

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

figure b

View of the church as it was in 2011. The church was built in 1646 and Queen consort of France, Anne of Austria, laid the first stone. https://upload.wikimedia.org/wikipedia/commons/4/40/P1000718_Paris_VI_Eglise_Saint-Sulpice_reductwk1.JPG. Accessed 3 December 2017)

figure c

The Great Organ of Saint Sulpice church in Paris, rebuilt by A. Cavaillé-Coll in 1862. Casework built between 1776 and 1779 by the architect Jean Francois Chalgrin (1739–1811), Jadot – cabinet maker, Clodion (Claude Michel) sculptor (1738–1814) (https://upload.wikimedia.org/wikipedia/commons/6/62/Paris_06_-_St_Sulpice_organ_01.jpg. Accessed 3 December 2017)

figure d

Structural details of the organ built in 1862 by Cavaillé-Coll for St Sulpice in Paris. Legend Vertical sections (http://stsulpice.com/Images/stsulpice04.jpg. Accessed 3 December 2017)-sections verticales de la tribune et des 1er et 2e étages du Grand Orgue de St. Sulpice à Paris par Aristide Cavaillé-Coll )

figure e

The console and the organist Daniel Roth

figure f

Composition of the console in 1991—adaptation from the plan of the organist Daniel Roth

Appendix 4: Reconstruction of the Organ of St Eustache Church in Paris

figure g

Legend a view of the church https://upload.wikimedia.org/wikipedia/commons/thumb/2/21/St.-Eustache.jpg/800px-St.-Eustache.jpg, b casework of the organ designed in 1844 by the French architect Victor Baltard https://upload.wikimedia.org/wikipedia/commons/0/0f/Great_organ_Saint-Eustache_Paris.jpg

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

figure h

The main parts of the instrument are distributed on 5 levels:

  • in the nave: the movable console ;

  • on the gallery level: the attached console , two blowers in sound-proof boxes, three reservoirs, the room for the Barker machines, the Positif (Pos);

  • 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;

  • on the second floor: the Récit (Réc) and the Grand-Choeur (G-Ch), two blowers in sound-proof boxes and six reservoirs;

  • 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.

  • 10 lockable memory banks of 20 general combinations together with 100 memory places. A grand total of 20,000 combinations. USB storage [2010].

  • 10 cancellers: stops per division, couplers.

  • A symphonic crescendo program and a “normal” crescendo program up to full organ.

  • A reversible tutti.

  • MIDI capture/replay system [2010].

  • 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]

  1. Last modified on Sunday, 04 September 2016 17:57

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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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