The organ of the "Conservatoire National de Région de Paris"

The organ of the "Conservatoire National de Région de Paris"
To build an organ for a conservatory asks for great responsibility: The organbuilder might be able to offer both teachers and
students an instrument that (just as a tool) helps the study. Musical and technical taste of the student could be influenced by
such an instrument. The students are bound to use the instruments character in comparison with other instruments they come
across in their career. At the same time our organ should be appropriate to answer all the students ideas and efforts. We do after all
believe in the energetic effects of a good instrument : practicing should be inspiring rather then tiring.
The tutors Marie-Claire Alain, Georges Guillard, Marie-Louise Langlais and Jacques Taddei did not have very strict ideas about the
tonal appearance of the instrument. It should enable to play mid European organ literature (except Romantic, for which another
historic instrument will be prepared for) at the same time giving mediterranean colour and vitality. Therefore mediterranean organ
music could up to a point feel "at home" here.
The case is made of solid French oak, discrete gilding and painting is supposed to give its appearance more vitality.
The breathing wind system is made with three parallel one folded bellows, great and recit with common soundbourds, positiv , pedal.
The stop action is both mechanical and electric, with 256 combinations and memory card. The key action is directly suspended
offering quick and secure repetition. The organ is positioned about 5m below the entrance, which was important both for the case
design, its proportions (taken out by Simon Platt) and the voicing. The intensity of the sound is very different from the keyboards or
in the audience. The only resonating structure of this room is the case (the panels of ceiling and walls are of materials with surfaces
partly sealed). Taking into account these circumstances we have chosen a wind pressure of only 55mm WG. The pipe shades are
completely closed. The difficult struggle between evenness and vitality was often sorted out in favour of the natural pipe speech and
sound.
I
31
32
33
34
35
36
37
38
39
40
Positif
Salicional
Bourdon
VoceUmana
Flûte à fuseau
Prestant
Nazard
Doublette
Tierce
Sifflet
Cromorne
II
1
2
3
4
5
6
7
8
9
Grand-Orgue
Bourdon
Montre
FLûte à cheminée
Prestant
Quinte
Plein-Jeu
Flûte
Trompette
Voix Humaine
12
24
41
Tremblant Pos.
Tremblant Récit
Tremblant Pédale
8'
8'
2'
4'
4'
2 2/3'
2'
1 3/5'
1'
8'
16'
8'
8'
4'
2 2/3'
IV rgs
2'
8'
8'
III Recit
25 Bourdon
26 Flûte douce
27 Flageolet
28 Larigot
29 Cornet
30 Hautbois
8'
4'
2'
1 1/3'
III rgs
8'
Pedale
Soubasse
Flûte
Flûte
Cor de nuit
Basson
Trompette
Chalumeau
16'
8'
4'
2'
16'
8'
4'
13
14
15
16
17
18
19
10
11
20
21
22
23
III / II
I / II
III / PED
II / PED
I / PED
III / 4' PED
Technical details :
Manual
Pédal
C - gIII
C - fI
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Extension
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Suspended keyaction with a light touch and precise, rapid repetition
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Double stop-action control: Stops may be pulled out manually or programmed in advance.
There are 256 programmable combinations, as well as an individual memo-card with 256
additional combinations.
Instructions for the combination system are in French and German
Sequencer bottoms "<" and ">" are located at different places on the console
The Pedal Coupler is modelled after the "cuillère" and works in both directions
Ornamental stop: Rotating gilded suns.
Adjustable bench .
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for further information : www.grenzing.com