Aristide Cavaillé-Coll
| Aristide Cavaillé-Coll | |
|---|---|
 |
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| Born |
4 January 1811 Montpellier, France |
| Died | 13 October 1899 (aged 88) Paris, France |
Aristide Cavaillé-Coll (French: [aʁistid kavaje kɔl]; 4 February 1811 – 13 October 1899), was a French organ builder. He has the reputation of being the most distinguished organ builder of the 19th century. He pioneered innovations in the art and science of organ building that permeated throughout the profession and influenced the course of organ building and organ composing through the early 20th century. The organ reform movement sought to return organ building to a more Baroque style; but since the 1980s, Cavaillé-Coll's designs have come back into fashion. After Cavaillé-Coll's death, Charles Mutin maintained the business into the 20th century. Cavaillé-Coll was the author of many scientific journal articles and books on the organ in which he published the results of his researches and experiments. He was the inventor of several organ sounds/ranks/stops such as the flûte harmonique.
Born in Montpellier, France, to Dominique, one in a line of organ builders, he showed early talent in mechanical innovation. He exhibited an outstanding fine art when designing and building his famous instruments. There is a before and an after Cavaillé-Coll. His organs are "symphonic organs": that is, they can reproduce the sounds of other instruments and combine them as well. His largest and greatest organ is in Saint-Sulpice, Paris. Featuring 100 stops and five manuals, this magnificent instrument, which unlike many others remains practically unaltered, is a candidate to become a UNESCO World Heritage Site.
Cavaillé-Coll was also well known for his financial problems. The art of his handcrafted instruments, unparalleled at that time, was not enough to ensure his firm's survival. It was inherited in 1898, shortly before his death in Paris, by Charles Mutin. He continued in the organ business, but by World War II the firm had almost disappeared.
Cavaillé-Coll is responsible for many innovations that revolutionized organ building, performance and composition. Instead of the Positif, Cavaillé-Coll placed the Grand-Chœur manual as the lowest manual, and included couplers that allowed the entire tonal resources of the organ to be played from the Grand-Chœur. He refined the English swell box by devising a spring-loaded (later balanced) pedal with which the organist could operate the swell shutters, thus increasing the organ's potential for expression. He adjusted pipemaking and voicing techniques, thus creating a whole family of stops imitating orchestral instruments such as the bassoon, the oboe and the english horn. He popularized the harmonic flute stop, which, together with the montre, the gambe and the bourdon, formed the fonds (foundations) of the organ. He introduced divided windchests which were controlled by ventils. These allowed the use of higher wind pressures and for each manual's anches (reed stops) to be added or subtracted as a group by means of a pedal. Higher wind pressures allowed the organ to include many more stops of 8' (unison) pitch in every division, so complete fonds as well as reed choruses could be placed in every division, designed to be superimposed on top of one another. Sometimes he placed the treble part of the compass on a higher pressure than the bass, to emphasize melody lines and counteract the natural tendency of small pipes (especially reeds) to be softer.
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