Great Organ of Perpignan Cathedral

The Great organ of the Perpignan Cathedral was built Cavaillé-Coll in 1854, with 54 stops over four manuals and pedals. Built in a renaissance organ case, the organ has a few particular features that set it apart from other Cavaillé-Coll Organs. The organ was modernized by the Puget firm, but these were removed by Renaud. Currently, the organ is under restoration is to be partly unplayable until 2023. However, due to the COVID-19 Pandemic, concerts and other events surrounding the organ were cancelled already.

### History of the Organ

The Oldest section of the organ is its case, which originally housed a Spanish Instrument of 21 stops over two manuals and pedal. The case originally had large doors with murals upon them which could be closed to protect the pipes, although they were removed from the organ itself and used as wall décor in a side chapel. They were dated to 1510. Originally, the center flat of the case consisted of two sets of principals mirroring each other, with paintings between them. This was replaced with the current central flat by Cavaillé-Coll. Also, a Positif de dos was added in 1550, also removed by Cavaillé-Coll.

The first organ was most likely from around 1504, as the case doors were dated to then. By 1688, It was a two manual and twenty three stops following a the late french renaissance stile. The rear positive case added in 1550, and the grand orgue manual had no reed stops. In 1689, Jean De Joyeuse builds a three manual 28 stop organ in a rough French classical style. In 1786 this organ was expanded by 4 stops by Jean Pujol, firmly establishing it as a french clasic organ. Larroque made a three manual 50 stop organ in 1844. Upon the downfall of this organ, Cavaillé-Coll is contracted to build a new organ using suitable materials from the old organ of 58 stops on four manuals.

In 1930, the Puget firm added 14 registers to the organ and re-arranged the manuals, expanding the manual compass to be 56 notes as opposed to 54 notes, while the pedal was extended to 30 notes. The expression pedal was converted to be a balanced pedal in the center of the pedal board, and a third small barker machine was added to the recit. At the same time, the positif was enclosed in a swell box of its own. Given the interior layout of the organ, this box made the use of the recit impossible as it blocked it's sound. In 1993, Renaud restored the organ to Cavaillé-Coll specifications, although the extended compasses, balanced expression pedal, and the recit barker are retained for the sake of convience.

While the organ was used regularly following the restoration, the mechanics were untouched by Renaud and began to show signs of aging. By 2020, the organ was in need of a complete restoration. The whole organ (Sans the case and front pipes) was gutted, and is in the process of being cleaned and regulated. Further restoration actions are under discussion, and at least part of the organ is currently playing.

### Interesting Features

Given the history of the organ, it has some particular features that are unique to this organ. The most interesting are the Moor's head and the case doors.

#### The "Moor's Head"

At the very bottom of the organ case, there is a carved head with a hinged jaw. The jaw could be opened by a special pedal or stop knob at the console, and was often accompanied by a special effect sound. The symbolism behind this is that even evil must praise God whether they wanted to or not. The representation of Satan as a Moor dates back to the organ's Iberian roots, where the devil was portrayed as a Moor to celebrate the Catholic victory over Islamic Spain.

Interestingly, Cavaillé-Coll kept this special tradition alive. The head was rigged to open its jaw when the orage pedal is depressed. Local stories say that the interior of the head was stuffed full of candy before the Christmas mass, and during the improvisation, the organist would make a point of using the orage pedal, dropping a load of candy on the children waiting below the organ.

Sadly, the priest in the 1920s was not a fan of this feature- it was disconnected at their request, possibly done by Puget. However, the head is to be re-attached to the orage pedal during the ongoing restoration at the request of the titular organist.

#### The Case Doors

Originally, the case had a pair of large doors that could be closed to protect the organ pipes when not in use, a common feature on early organs. The Doors had murals of bible stories on their interior side, so that they would be displayed when the doors were opened. This feature plays a important role in their survival.

The doors survived on the organ case up until the 1880s, based on a historical photo from time. The exact time of when the doors were removed from the organ case is unknown, but possibly done by the Puget firm. However, due to the historical and liturgical values, the doors were converted into altarpieces for side chapels. They are still there too this day.

The reattaching of the doors was considered for the restoration, but this may not come to fruition due to their fragility and their use in the side chapels. The doors were dated to 1504 and are probably completely unchanged since then.

### Interior Layout

At the bottom of the organ are the console, mechanisms for the stops, the barker machine for the grand orgue, and the bellows. The calcant(s) feeds the organ from a chamber located behind it.

On the first layer, there are the pipes for the grand orgue, bombarde, and pedal. The grand orgue and bombarde wind chests are perpendicular to the façade pipes, arranged chromatically, with the treble pipes closer to the façade then the bass pipes. The Montre and Gambe 16' of the Grand Orgue are on mechanical cone chests just behind the façade. From these chests, metal tubes connect the pipes which are in the façade. Above the treble pipes of these two manuals is the Puget barker machine for the recit, with the positif's barker machine in front of the two chests. Looking at the organ, the grand orgue is on the left side and the bombarde is on the right. The pedal is behind the big 24' façade pipes.

Interestingly, one may expect these 24' pipes to be used in the 32' register with the lowest few pipes not in the façade, but this is not the case. The 32' quintaton is really an acoustic bass. The 24' pipes are attached to the 16' montre of the grand orgue, and the pipes are overlength on the same principle of a harmonic flute, but not to the same caliber.

On the second layer, directly behind the second tier of façade pipes is the positif, and the facade pipes in this tear come from the montre 8' of the same divison. The positif has a diatonic wind chest, with Bass pipes on the outside of the chests & the trebles in the middle, forming a V shape. Behind the left side of the positif chest is the recit, enclosed in a swell box. A few of the deepest basses are outside the swell box as they are too large to fit inside of it. Behind the Right side of the positif is a space for the large amount of 16' bass pipes of the first tier to extend without the need for mitering.

### Disposition

#### (I) Bombarde

*Wind Pressures: 3.5" in the bass and ~4" in the treble.*

Jeux de Fonds

Jeux de Anches
 Bombarde

#### (II) Grand Orgue

*Wind Pressures: 3.5" in the bass and ~4" in the treble.*

#### (III) Positif

*Wind Pressure: ~4.75" for the whole compass.*

Jeux de Fonds
 Salcional

Jeux de Anches
 Doublette
 Trompette

#### (IV) Recit Expressif

*Wind Pressure: ~4" for the whole compass.*

#### Pedale

*Wind Pressure: ~3.9" for the whole compass.*

 Flute
 Flute
 Flute

Jeux de Anches
 Trompette