ORGANS OF PARIS © 2021 Vincent Hildebrandt ALL ORGANS
Saint-Paul-de-Montmartre was built in 1896-1897. It
is the work of Auguste Rey, an architect of Protestant
origin (to whom we also owe the Lutheran church of
BonSecours, rue Titon. in the 11th arrondissement of
Paris). The style of the church is Romano-Byzantine
with geometric and plant decorations. The façade is
made of stone and topped by a bell tower. The
interior of the church is sober and clear. The nave is
composed of 4 spans opened by arches to the right
and left overlooking the grandstands and aisles.
Cult with organ
Sunday at 10:30 a.m.
Joseph Merklin establishments sent the parish an
offer dated 18 Dec. 1897. It provided for two manual
keyboards (at the Grand Orgue, 56 notes [ut-sol]:
Montre, Bourdon and Salicional of 8 feet; at the Récit
expressif, 56 notes [ut-sol]: Gamba and Voix Cécleste
of 8 feet, Flûte octaviante of 4 feet and Bassson-
Haurbois of 8 feet) and a Pedal keyboard (30 notes [ut-
fa] Soubasse of 16 feet). The pipes of the manual stops
were made of tin, those of the pedal of wood. The
organ buffet was designed by the architect of the
church, Augustin Rey. At the same time, the Merklin
establishments delivered three other "Protestant"
instruments, to l’Oratoire du Louvre and the Temples
of Batignolles and Raincy.
By 1910, the instrument had already undergone the
rigors of temperature variations: pieces of wood had
cracked and horns were occurring. To make matters
worse, the Merklin establishments no longer seriously
maintained the instrument. The organ builder was
changed in 1912.
In 1926, the wind engine became electric and was
modified in 1929 to match the new frequency of
In 1933, Georges Gutschenritter, former head of
Merklin, proceeded to the complete overhaul of the
organ. He had just installed the organ of the Lutheran
church of La Villette (Saint-Pierre, rue Manin).
In January 1977, Adrien Maciet (Montainville, Yvelines)
proposed a proposal for the restoration and
enlargement of the organ. In addition to the work of
dismantling, dusting, repairing the pipes, restoring the
(then) pneumatic traction and its transformation into
direct mechanics, the composition of the instrument
had to evolve: at the Grand Orgue. transformation of
the Salicional 8' into a 4' Prestant and the addition of a
Doublette 2’ or Plein Jeu; to the Pedal, reconstruction
of the keyboard, with the addition of three real stops.
A "complementary project" reported in November of
the same year, states the necessary reconstruction of
two new wind chests to replace the single one, which
had become irreparable. The new composition of the
instrument, proposed by Marie-Louise Girod-Parrot,
titular of the great organ of l; Oratoire du Louvre,
on the GO: Montre and Bourdon of 8 feet, Prestant
4'. Doublette 2'·, Plein Jeu IV
on the Swell (or Positive), Cor de nuit 8', Flute 4'·,
Quarte 2'·, Nasard, Tierce, Cymbale II and Hautbois
on the Pedal: always the Soubasse 16'.
In 2021, Ie Grand Orgue includes the Montre and the
Bourdon of 8' as well as the Prestant of 4'.
On the Swell, which is no longer expressive, take
place Ie Cor de nuit 8', the Flute octaviante 4', the
Nasard and the Basson-Hautbois 8' (reassembled in
the 2010s). The Pedal is unchanged. Of the six original
coupling and combination pedals, only the two pulls
and the coupling of the two manual keyboards now
Yves Fossaert now maintains the instrument.
Source: Le Paris des Orgues, Marathon des orgues 18