photo Sylvie Pasquier

Caen St-Peter

technical description

We wanted to bring together authentic sonorities of historical instruments, using the methods and materials of the great organbuilders of the past. The stoplist encompasses two different yet complementary esthetics : French classic and German baroque. Certain stops are common to both, with others being unique to one or the other. Organists have at their disposition authentic French or German sounds as well as modern sonorities utilizing both esthetics simultaneously.

Examples : the mixtures

On the Grand-Orgue, the Mixture 4-6r (in blue) is a purely Germanic stop. The Complément Français 4-2r (in pink) adds the appropriate pitches for a 16' French Plein-Jeu in the style Dom Bedos :

Do1
1'1/3
1'
2/3'
2/3'
1/2'
1/2'
1/3'
1/4'

Do2
2'
1'1/3
1'
1'
2/3'
2/3'
1/2'
1/3'

Fa2
2'2/3
2'
1'1/3
1'1/3
1'
1'
2/3'
1/2'

Do3
2'2/3
2'
2'
1'1/3
1'1/3
1'
1'
2/3'

Fa3
5'1/3
4'
2'2/3
2'2/3
2'
2'
1'1/3
1'

Do4
5'1/3
4'
4'
2'2/3
2'2/3
2'
2'
1'1/3

Fa4
5'1/3
4'
4'
2'2/3
2'2/3
2'
2'
1'1/3

Do5
5'1/3
5'1/3
4'
4'
2'2/3
2'2/3
2'
2'

On the Positif, the Plein-Jeu 3r (in blue) was conceived for French music. The Surcymbale 2-3r (in pink) adds the appropriate pitches for a German Scharff.

Do1
1'
2/3'
1/2'
1/3'
1/4'

Do2
1'1/3
1'
2/3'
1/2'
1/3'

Fa2
1'1/3
1'1/3
1'
2/3'
1/2'

Do3
2'
1'1/3
1'
2/3'
1/2'

Fa3
2'2/3
2'
1'1/3
1'1/3'
1'
2/3'

Do4
2'2/3
2'2/3
2'
1'1/3
1'1/3'
1'

Fa4
4'
2'2/3
2'2/3
2'
1'1/3
1'1/3'

Do5
4'
4'
2'2/3
2'2/3
2'
2'

Recorded excerpts

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