This volume is in the series Paris et son Patrimonie: others of the thirty-eight titles cover such varied fields as the bridges, libraries, cafés and railway stations . This is beautifully produced in large-format and richly illustrated. At first sight, it might be taken as a coffee-table book; it will certainly fulfil this function in any house where people enjoy beautiful design. It is, however, much more.
It opens with a technical and aesthetic account of the organ in France from c. 1500 to very recent years, with excursions into such matters as social history; there is, for instance, material on the social and professional standing of Paris organists during the years covered.
There are also interesting asides, including an explanation that the word “orgue” is masculine in the plural except when it is employed emphatically, as in “les grandes orgues”! Footnotes and references form a guide to wider reading. The historical account is divided into periods: 1500-1660; 1660-1792 and so on to 1992 - and beyond. The earlier years are illustrated with numerous black and white drawings, documents and photographs, as well as colour photographs of historic instruments as they are to-day. (The illustration reproduced here is from the City Archives and shows the console of St-Sulpice in pre Cavaillé-Coll years.) This part of the book may be something of a challenge to those whose knowledge of French is rusty, but an effort is worthwhile; for those who find this beyond them, there is still a very great deal to make this a desirable addition to any organ-lover's library .
The second part is a Dictionnaire of Paris organs: the compilers estimate that there are over 300 instruments in the city and its environs, some of which are owned privately. This dictionnaire is arranged by arrondissement (voting and postal district) and lists the principal known organs in each. Names and dates of original builders and of those who have worked subsequently are followed by a complete specification of each. In many instances, black and white photographs show personalities and memorabilia as well as details of particular interest - pipework, clocks, case details and consoles. A number are reminders of the recent past; Cavaillé-Coll's original console at Notre Dame, as your reviewer remembers it in 1948, is there, together with its two successors.
This is a most useful section for organ-lovers planning a visit to Paris and presents no problems of language for those who can read an organ specification. The book is, perhaps, too bulky to be carried by any except the most enthusiastic tourist, but it makes possible careful planning to ensure that time is used most effectively .
The book is large so that detail of the many excellent colour photographs may be seen. The oldest – St Jacques-de-Haut-Pas – is there, as is one of the most recent, St Louis-en-l’Ile. This latter is a fine case for a neo-classical organ and forms a marked contrast to pipe-rack formations of which a number appear. Details repay study. The unusual clock incorporated in the case of Saint-Louis-des-Invalides is seen more clearly here than in the church itself. Everywhere is a wealth of detail that is easily missed when gaining overall impression from the floor. The organ of St Philippe-du-Roule tends to be indistinct in barrel-vaulted splendour; its intricate carving may be enjoyed here – without strain on the neck. The best-known organs are shown: St Severin; St Etienne-du-Mont; St Sulpice; St Roch; St Vincent-de-Paul, this last ingeniously designed round a rose-window. So are many others, some perhaps undeservedly less famous than those mentioned.
The copy reviewed was obtained via www.amazon.fr and cost 50 euros, including postage within the EEC. This is remarkable value by any standards.
If you love French church and organ music, you should consider this for your library.
