Plein-Jeu à Saint-Séverin

The organs of Saint-Séverin

On the organ of Saint-Séverin

THE PROJECT OF 1959

The great organ of Saint-Séverin, in its current state (as of January 2025), is the precise realization of the vision of Michel Chapuis, the emblematic organist of the movement to rediscover the interpretation of the French classical repertoire in the second half of the 20th century. Father Aumont, a priest attached to the parish, had asked him around 1959 to oversee the restoration of the instrument.

Having examined the organ—known to have been installed on the present gallery in 1748 by the builder Claude Ferrand (with likely preservation of material from earlier instruments) and later radically altered in the Romantic style by the Abbey brothers in 1889—Michel Chapuis observed that it still contained a very significant proportion of 17th-century or older material.

Long dedicated to the study of organ repertoire from these periods, both in France and Germany—through musicological research of historical documents and practical experience in organ building and performance on historical instruments—Chapuis was part of a growing movement among musicians worldwide who specialized in early repertoire (soon to be dubbed, not without derision, as the ‘authenticity crusaders’). He proposed a transformation aimed at enabling the proper interpretation of 17th- and 18th-century music. He stated: "We expanded the instrument to create a synthesis of the classical organ, not merely a French classical organ, but one that, through the arrangement of its 'plein-jeux' in particular, also allows for the performance of German literature. It is somewhat a synthesis like that achieved in the 18th century in Holland by Jean-Baptiste Moreau, a French builder who also attempted to merge the French and German organ traditions." ("Claude Duchesneau interviews Michel Chapuis," Éditions Le Centurion, p. 113).

THE AESTHETICS OF THE FRENCH ORGAN: FROM THE LATE ROMANTIC ERA TO THE 1950s

Since the mid-19th century, organ building had seen the creation of the Romantic and then symphonic organ, inspired by the grand orchestra. Its key features included:

the blending of tonal colours, enabling a continuous crescendo culminating in a very powerful sound—particularly the Grand chœur (later evolving into the Tutti), where the expressive box played an essential role in France, allowing for dynamic nuances and a crescendo that gradually brought the reed stops to the fore amid the flue stops, eventually dominating them (with mixtures reinforcing the treble against the more powerful reed basses);
various technical devices designed to emphasise the treble in foundation-stop combinations, creating the effect of a solo melody accompanied by a mass of sound;
mechanical aids for key action (such as the Barker lever), making the touch as light as a piano’s and facilitating legato playing, in keeping with the musical aesthetics of the time.

This Romantic-symphonic aesthetic was later succeeded by that of the neoclassical organ of the 1920s–1950s, which sought a synthesis between the symphonic organ and a somewhat imaginary (rather than rigorously restored) classical organ—one supposedly capable of performing the entire repertoire written to date, yet readily accommodating innovations like electric action between the keyboards and pipes.

A RETURN TO CLASSICAL ORGAN BUILDING

Michel Chapuis, who for years had dedicated himself to the study of 17th- and 18th-century French and German repertoire, concluded that the prevailing neoclassical approach—then widely accepted—had failed. He argued that the neoclassical organ was neither truly "neo" (since the ambition to embrace the entire repertoire was already present in Aristide Cavaillé-Coll, who had sought to create a "link between the old art and the new"—as stated in his letter to Jacques-Nicolas Lemmens, 30 January 1863; kindly provided by Daniel Roth) nor authentically "classical" (as it utterly failed to enable a proper performance of early music). Instead, he advocated a return to organ building practices that were either close to—or, where possible, identical to—those of the classical era, grounded in real, rather than imagined, historical evidence.

For the restoration of the Saint-Séverin organ, Chapuis (then professor of organ at the Conservatoire of Strasbourg) recommended the Alsatian builder Alfred Kern, whose work on several instruments in Alsace he had observed and highly praised. Kern was subsequently commissioned by the City of Paris to undertake the radical transformation of the instrument.

A FRENCH CLASSICAL CORE

The wind pressure was significantly reduced to values between 60 and 70 mm of water column (compared to 95–105 mm in late 19th-century instruments).

A mechanical action was designed by organ builder Philippe Hartmann—a bold choice, as the leading French manufacturers consulted before Kern had unanimously declared a four-manual mechanical action impossible, insisting that only electric action was feasible. The console was positioned "en fenêtre" (within the base of the main case), as in historical instruments, to minimize the distance between the keys and the pipes. Combined with the lower wind pressures, this allowed for precise and nuanced articulation, delivering the crisp, defined touch essential for interpreting 17th- and 18th-century repertoire.

The sound divisions assigned to the manual keyboards (which, in the French classical organ, constitute almost the entire instrument) were—with a few exceptions discussed later—selected, spatially arranged, and voiced to approximate the instrument’s likely configuration at the time of its installation in 1748. While its exact original state is unknown, French classical organs of this scale followed fairly standardized designs.

The large Romantic expressive division ('Récit expressif'), central to the Romantic organ’s crescendo structure, was entirely removed.
The rear Positive (located at tribune level in a small case—emptied in the 19th century—that once concealed the organist) was restored to its instrumental function with a rich pipework, partly historical.
Additionally, an echo division was created, producing the classic effect of distance due to its placement in the base of the main case, behind the organist’s desk.

The organ thus returned to a design based on distinct sound divisions, rejecting the Romantic ideal of timbral fusion.

The flue stops had their tone slots (vertical openings near the tops of the pipes, added in the 19th century to dramatically alter and enrich harmonic development) sealed, restoring the calm, noble, and softer sound characteristic of the French Classical era.

The manual flue stops were now limited to principals, bourdons, and flutes (at 4′ pitch and above), all voiced with a smooth, rounded, and transparent tone to enhance polyphonic clarity—no longer emphasizing soloistic trebles over accompanimental basses. However, a single conical 8′ flute and a quintaton 8′ (a stop strongly colored by its fifth harmonic) were added to expand the palette with Baroque Germanic sonorities. Harmonic flutes and narrow-scaled string stops (gambes) were omitted, with only two exceptions: the Viole de gambe and Unda maris in the Écho division, neither playing a central role.

The color of registrations now relied entirely—following the principles of French classical organ building, and apart from the four exceptions mentioned above—on individual mutation stops (six ranks), the three cornets, and the reeds (both solo and full ensemble), which were vividly colored but not intended to blend with the flue choruses. This marked a deliberate departure from Romantic organ building, which multiplied 8′ and 4′ flue stops to create an orchestral texture through harmonic complementarity and to achieve tonal diversity via the stops’ own harmonic development (a technique Cavaillé-Coll had observed in Central Germany during his European tour in 1844). The reed stops regained their clarity and independence, no longer designed to fuse with the flue work.

Alfred Kern’s voicing drew inspiration from pipes confirmed to be unaltered since 1748, particularly those of the rear Positive façade—which had served a purely decorative role in the Abbey brothers’ instrument. These pipes lack nicks (small notches used in Romantic organs to eliminate attack noise and achieve a smooth, articulated legato).

In many cases, Kern was guided by the historical material itself. For example, the narrow resonators of the cromorne led him to voice it in a manner better suited to 17th-century repertoire. The homogeneity and roundness of the 17th-century lead cornet likely inspired the voicing of the magnificent tierce stop on the third manual…

A COMPLETELY TRANSFORMED COMPOSITION

The organ was equipped, across nearly all its sound divisions, with rich mixture stops, reconstructed to crown the pyramid of principals and form a grand plein jeu—a registration that quickly became emblematic of this instrument.

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The plein jeu—a sound unique to the organ (that is, not imitating any other instrument, unlike other registrations)—is the characteristic sonority of the medieval organ and likely earlier still. This sonority persisted throughout Europe until the mid-19th century, with regional variations. Subsequently, the desire to imitate the symphonic orchestra, along with changing musical styles, led to the complete alteration of its constituent stops, shifting their purpose from an independent existence to a complementary role in enriching the most powerful combinations; in some cases, mixture stops were simply eliminated. The 1963 reconstruction at Saint-Séverin of this forgotten sonority—and many others—based on principles gleaned from the study of historical instruments and writings (notably the famous organ-building treatise (1766–1770) by the Benedictine monk Dom Bédos de Celles), marked a turning point in 20th-century French organ building.

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THE REAR POSITIVE

The composition of the rear Positive (the 1st manual, as is standard in a mechanically actioned organ) became rigorously French Classical, featuring its small plein jeu based on an 8′ Montre, a tierce stop with larigot (reflecting late 17th- to early 18th-century aesthetics), and two reeds (Cromorne and Trompette).

THE GREAT KEYBOARD

The comprehensive Great division (a self-contained division in the French Classical organ) was recreated but, in an innovation proposed by Michel Chapuis, distributed across two manuals:

the 2nd manual (Grand Orgue, with pipes located at the façade level of the main case) hosts the plein jeu based on the 16′ Montre (principals and mixtures) and the grand jeu (powerful reeds and the grand cornet);
The 3rd manual (Récit, positioned at the top of the case—akin to a German Oberwerk—and whose sound is immediately reflected by the vaults into the nave) accommodates the soft stops (bourdons and flutes forming the tierce stop based on a 16′ bourdon—enriched by the grosse tierce, a hallmark of the French Classical organ) and an 18th-century Voix humaine (a small reed).
To combine these two manuals into a single Grand clavier when needed, not only is there a III/II coupler, but also a II/III coupler. This allows the organist to isolate the sound of one manual while adding it to the other.

THE CLASSICAL RÉCIT

The 3rd manual also includes two treble solo stops typical of the French Classical Récit: a 17th-century cornet and an 18th-century Hautbois.

THE ÉCHO

The 4th manual (Écho) features—consistent with large historical instruments—a plein jeu, a reed stop, and a Cornet. To maximize the instrument’s versatility (within the constraints of its design), this manual extends down to the lowest notes, unlike Classical practice. Additionally, this division is equipped with an expressive box, enabling subtle dynamic variations from soft to extremely soft. Here, the box serves none of the dual functions of its Romantic counterpart: it does not drastically vary the intensity of the enclosed division (often used for solos), nor does it act as the initial core of a crescendo leading to the tutti within a foundation of other divisions.

Gentle tremulants on the Positive, Récit, and—since 2011—on the Grand Orgue restore the classical registrations that require them, lending an extraordinary poetry to soft combinations.

AN OPENING TOWARD GERMANY

In addition to this French Classical Great, a few stops provide an opening to the German Baroque repertoire, as Michel Chapuis had intended.

The pedal division is generally far more developed in the various German Baroque traditions than in France during the same period. Here, with the exception of the historical 8′ and 4′ reeds—typically French in character (powerful, broad, and brilliant, likely by Pierre Dallery, 1825)—the composition is entirely inspired by German organ building, featuring:

a plenum based on the 16′ Flute by Abbey, serving as the Principal and crowned by two mixtures, one of which includes a tierce (this mixture can also be used to create a narrow-scaled cornet for a solo part at 4′ pitch);
less brilliant 16′ and 32′ reeds;
soft stops at 16′, 8′, and 2′.

On the Great, in addition to the previously mentioned conical 8′ flute, the Great includes a short reed (musette) and a cymbal-tierce designed for the interpretation of Central and Southern German repertoire (notably Bach), where organs often contain principal tierces (either separate or included within mixtures).

On the Swell, an 8′ Quintaton—a stop entirely foreign to French Classical organ building but common in Germany and Northern Europe at the time—enables richly colored German-style combinations and expands the versatility of this manual, both with flue stops and reeds. A 1′ Sifflet further complements the flute family, a stop that was very common in France during the Renaissance and up to the late 17th century, and which remained widespread in the German sphere until the 18th century. Again, this reflects the intention to embrace the German Baroque repertoire.

At the Écho, in addition to the previously mentioned Viole de gambe and Unda maris—more Baroque than Romantic in character due to the moderate narrowness of their pipes—a 1′ Sifflet completes the flute family in the same spirit as on the Swell.

Certain features of the instrument’s composition are linked to its use in liturgy. At the time of the project, there was increasing discussion about greater congregational participation, a trend later confirmed by the Second Vatican Council (1962–1965). For this reason, Michel Chapuis chose to separate the loud and soft stops of the Great by distributing them across two manuals. This allowed the organist to switch instantly from a bold registration (to accompany the congregation) to a soft one (to accompany a soloist or improvise a verse in alternation with congregational singing)—a practice quite different from the French Classical tradition, where the organ typically did not blend with the singing.

Moreover, to facilitate rapid registration changes—varied from verse to verse, as recommended in the German Baroque era—Alfred Kern installed reed and mixture pistons that produce distinct, rather than gradual, changes in sonority, in contrast to the Romantic ideal of seamless transitions.

THE INFLUENCE OF THE SAINT-SÉVERIN ORGAN

A NEW IMPULSE FOR MUSICIANS AND ORGAN BUILDERSAt a time of growing interest in performing early music on period instruments or their replicas, the reconstruction of the Saint-Séverin organ was a national landmark—and more. The influence of its titular organists—Michel Chapuis, Jacques Marichal, Francis Chapelet, André Isoir, Jean Boyer, and others—deeply committed to this movement of rediscovery, ensured the instrument’s renown and had a determining impact on the evolution of organ building in the late 20th century. It inspired a wave of restorations of historical instruments and galvanized interest in historically informed performance, particularly among younger generations. The essential work of musicologist Jean Saint-Arroman, whose name is closely linked to this tribune, must also be acknowledged. For years, he taught the interpretation of the French Classical repertoire alongside Michel Chapuis to a pleiad of young musicians, many of whom became leading organists. World-renowned performers were invited to play the instrument, including Helmut Walcha, a pioneer in performing Bach on period instruments, who gave his first three recitals in France here to resounding acclaim.

Today, it is difficult to fully grasp how revolutionary and isolated Michel Chapuis’s project to return to an early organ was at the time. Alfred Kern, though already well-versed in historical instruments, was so little known that Chapuis had to personally guarantee his financial stability for the City of Paris to approve the project. The success of the work was so overwhelming that the approach of restoring instruments to their earlier (particularly Classical) states quickly became a model for countless organs in the decades that followed.

THE LITURGICAL ORGAN

The instrument’s influence also stems from its role in the liturgy at Saint-Séverin. Following the Second Vatican Council (which called for significantly greater congregational participation), the parish became a major center of reflection and innovation in liturgical music, thanks to dynamic and visionary teams of priests and musicians. This led to the creation of a true Saint-Séverin repertoire of hymns, which would not have been possible without the enthusiastic and responsive congregation. The organ, with its unique characteristics, played a fully integrated and vital role in this liturgy. The organist, regularly accompanying chorale hymns, often had the opportunity to perform pieces based on these chorales. Moreover, the organ’s role in supporting the faithful in prayer and accompanying liturgical actions (processions, offertory, communion, etc.) is particularly significant here, providing constant opportunities for improvisation—one of the purposes for which the instrument was designed. The liturgy at Saint-Séverin became a source of inspiration for generations of French and European musicians, and it is here that many vocations for liturgical organists were born or confirmed.

THE STORY CONTINUES

After nearly half a century, the organ was restored in 2011 by Quentin Blumenroeder, Dominique Thomas, and Jean-Marie Tricoteaux, with complete respect for Kern’s original work, despite significant advancements in the techniques of restoring historical instruments. There was never any question of altering what all recognized as a masterpiece—a milestone in the history of organ building.

Such enduring success, still exemplary 60 years later, would not have been possible without Michel Chapuis’s profound knowledge, tenacity, and boldness, nor without Alfred Kern’s experience, prudence, and talent.

Christophe MANTOUX, February 2025