The resurrected pipe organs bring Notre Dame’s music back to life
EarRelevant Staff | 12 DEC 2024
On a crisp April evening in 2019, the world watched in horror as flames consumed the spire of Notre-Dame de Paris, piercing the Parisian skyline with an eerie glow. The fire, which began in the cathedral’s attic, quickly spread, gutting the roof and sending the iconic 19th-century spire crashing down through the vaulted ceilings. As the flames raged, Parisians and tourists alike gathered along the Seine, their eyes fixed on the medieval masterpiece that had stood as a sentinel of history since the 12th century.
In the aftermath of the fire, a somber silence fell over the city, but it was quickly replaced by an unwavering determination to restore Notre Dame to its former glory. President Emmanuel Macron, amidst the smoldering ruins, vowed to rebuild the cathedral within five years, a promise that seemed audacious to many but ignited a global spirit of solidarity. Donations poured in from around the world, with contributions from 340,000 individuals across 150 countries, including significant sums from American donors, totaling nearly a billion dollars.
The restoration process was nothing short of a Herculean task. Specialists from various fields — architects, historians, archaeologists, and craftspeople — converged to resurrect Notre Dame. The initial phase involved clearing the rubble, which took over two years, revealing not just the extent of the damage but also providing unprecedented archaeological insights. Miraculously, the cathedral’s walls held firm against the inferno, allowing for the preservation of much of its ancient stonework.
The reconstruction of the roof, known historically as “the forest” because of its dense oak beams, required cutting down 2,000 oak trees. Craftsmen used traditional methods, with some even forging axes engraved with the cathedral’s facade, to ensure authenticity in reconstruction. The spire, a symbol of Viollet-le-Duc’s neo-Gothic revival in the 19th century, was meticulously rebuilt to match the original design, topped with a golden rooster symbolizing rebirth.
Inside, the cathedral underwent a meticulous cleaning and restoration. The limestone walls, once dimmed by centuries of soot and pollution, now gleam under the Parisian sun, thanks to innovative cleaning techniques that removed layers of grime without damaging the stone. The stained glass, including the famous rose windows, survived the blaze; they were cleaned, and some panels were restored to their vibrant colors. Paintings, like the “Mays” from the 17th century, were also restored, revealing their original splendor. Meanwhile, new liturgical furnishings were crafted, providing a contemporary touch to the sacred space.
The Grand Organ of Notre Dame, an instrument of monumental proportions, was a focal point of the restoration efforts. This organ, one of the largest in France, was designed by Aristide Cavaillé-Coll in 1868 but has roots tracing back to the 14th century. Miraculously, the fire of 2019 spared the organ from direct flame damage; however, it was not untouched by the disaster. The primary threats were the lead dust from the melted roof, which settled over the organ, and the humidity changes caused by the fire’s aftermath and subsequent exposure to the elements.
The restoration began with a comprehensive dismantling process. Each of the nearly 8,000 pipes, along with all mechanical components including the five keyboards, 115 stops, and the pedalboard, were removed. It was a delicate operation, requiring the construction of a 30-meter-high scaffold to facilitate the removal of everything from the smallest pipe to the largest windchest. The pipes, which vary from 10 meters in length for the bass notes to mere centimeters for the treble, were cleaned to remove lead dust, which involved careful brushing and sometimes specialized vacuums to avoid damaging the delicate metalwork.
The leather bellows, crucial for providing the air pressure needed for the organ’s operation, were entirely replaced due to water damage and the corrosive effects of lead. The sheepskin that lines these bellows had to be sourced and tailored to fit the exact dimensions of the organ’s wind system. The wooden components, like the casework and internal structural elements, were cleaned and treated to remove soot and ensure longevity.
The electronic system, updated in the organ’s last major restoration in 2014, was inspected. Although relatively modern, ensuring its reliability post-fire involved testing each circuit and connection, particularly since the system controls the organ’s stop action, allowing the organist to switch between different sound sets.
Once cleaned and restored, the reassembly was equally meticulous. Each pipe was revoiced, a process where the organ builder adjusts the pipe to ensure it speaks correctly in its new environment. Voicing involves fine-tuning how each pipe produces sound, balancing the intensity and tone to match the organ’s historical voice. This was crucial as the cathedral’s acoustics might have subtly changed due to the fire and subsequent restoration.
The console, which had been removed for restoration, was reinstalled in its loft position overlooking the nave. The console’s controls were reconnected to the organ’s pipes through a complex network of trackers, wires, and electric relays, ensuring that every note played by the organist would resonate through the cathedral as intended.
Beyond the grand organ, Notre Dame also features a Choir Organ which suffered more from water damage due to its location. While the grand organ was the star of the restoration, the choir organ, smaller but no less significant for liturgical use, was also carefully restored. Its pipes, fewer in number and mostly made of wood, had to be cleaned and some replaced due to water ingress. The action mechanism was overhauled, ensuring the organ could accompany the choir and services with its intended clarity and warmth.
Notre Dame also features a third, less frequently mentioned Positiv Organ. This smaller, portable instrument was historically used for various liturgical purposes, especially in areas where the stationary organs could not be heard well or for processions.
It was less affected by the fire, primarily because it could be moved out of harm’s way during the emergency. However, it still suffered from the environmental impact of the fire, particularly from the lead dust that permeated the cathedral. The restoration of this organ involved less extensive work but was no less meticulous, focusing mainly on cleaning, minor repairs, and ensuring its mobility was not compromised.
The current status of the grand organ is one of triumph; it was played again in public on December 7, 2024, during the cathedral’s reopening to the public, with the Archbishop of Paris, Monsignor Laurent Ulrich, calling it back to life with the command, “Awake oh organ, Let God’s praise be heard!”
In response to the Archbishop’s wake-up commands, the cathedral’s organists — Olivier Latry, Notre Dame’s longest-serving organist, and titular organists Vincent Dubois, Thierry Escaich, and Thibault Fajoles — improvised music in a musical offering that lasted approximately 10 minutes, underscoring the sacred significance of the moment.
The ensuing liturgical prayer service consisted of a hymn, a psalm, the Magnificat, prayers for the world, and the Lord’s Prayer. The Archbishop gave the final blessing, followed by the singing of the Te Deum.
At 9:05 pm, immediately after the opening ceremony and liturgical service, the evening segued into a concert highlighting the restored organ’s versatility and splendor. J.S. Bach’s Toccata and Fugue in D Minor, BWV 565, performed by Olivier Latry, demonstrated the instrument’s power and precision. Camille Saint-Saëns’ Symphony No. 3 (Organ Symphony) was performed by Vincent Dubois with the Orchestre Philharmonique de Radio France under Gustavo Dudamel, blending the majestic organ with a full orchestra in a stunning display of musical collaboration. Dubois also performed J.S. Bach’s Prelude and Fugue in G major, BWV 541. Thierry Escaich performed one of his own compositions, Poèmes, and Thibault Fajoles performed Chorale No. 3 in A minor by César Franck.
This extraordinary program honored the cathedral’s history, reaffirming its enduring role as a center for sacred music and culture while underscoring the significance of the organ’s return to full use at Notre Dame.
The inaugural Mass, including the consecration of the high altar, took place the following day on Sunday, December 8, at 10:30 am.
Organists from around the globe have expressed eagerness to experience the grand organ’s renewed voice, which retains the majestic sound that has echoed through Notre Dame for centuries, now harmoniously integrated into the cathedral’s rejuvenated acoustic environment.
Today, Notre-Dame de Paris stands as a testament to what can be achieved through collective will and expertise. It is more than a cathedral; it’s a living museum of Gothic architecture, a beacon of faith, and a symbol of French identity. The restoration has not only brought back a piece of history but has also introduced modern safety measures like fire suppression systems, ensuring that this jewel of Paris can inspire for centuries to come. With its renewed splendor, the Notre Dame Cathedral continues to draw millions, embodying the spirit of Paris and the enduring legacy of human endeavor. ■
EXTERNAL LINKS:
- Notre-Dame de Paris: notredamedeparis.fr
Read more by Mark Gresham.
