Organ of the church St. Martin in Mitry-Mory

Héman, Désenclos, Lefèbvre.
Case from G. Pilon 1651
Partial restauratione: Atelier Bertrand Cattiaux 2013

Disposition IV/P 34 stops
II Grand-Orgue 50n. I Positif 50n. III Récit 30n. (a2-d2)
Montre 8' a Montre 8' a Bourdon 8' a
Dessus de Flûte 8' m Bourdon 8' a Cornet V r. a
Bourdon 8' a Prestant 4' a Hautbois 8' a
Prestant 4' a Nazard 2 2/3' a&m    
Flûte 4' m Doublette 2' a IV Echo 30n. (a2-d2)
Nazard 2 2/3' a Tierce 1 3/5' m Bourdon 8' a
Doublette 2' m Larigot 1 1/3' m Cromorne 8' a
Quarte 2' m Plein-Jeu V r. m    
Tierce 3 1/5' m Trompette 8' a Pédale 30n
Fourniture IV r. m Cromorne 8' a Flûte 8' m
Cymbale III r. m Flûte 4' m
Cornet V r.a   Trompette 8' m
Trompette 8' a Clairon 4' m
Clairon 4' a    
Voix Humaine 8' a&m        
      a =old  
        m = modern from Hearpfer

Shift coupler: I/II
Pedal coupler: II
Tremblant doux everywhere

The organ of Mitry-Mory can be considered as a major instrument of the ancient organs of the "Ile de France" ( whole region around Paris ). First it's paternity: Louis and Jean de Héman, organbuilders issued from the flemish school who created the Parisian school and is at the origin of the french organ style til the end of the 18th century. Then the refinement and the quality of the organ case made by the workshop of Germain Pilon, the famoust sculptor of the Renaissance, are enough to single out this instrument.

The remain of ancient windchests, keyboard arms, some rollerboards and an impressive amount of pipes as well from 1651 as from Dallery all in general good state even if some unlucky interventions were made are enough to declare this instrument one of the most remarkable of the mid 17th century. There remain only very fiew organs of this type in france today.

Revoicing: Bertrand Cattiaux & Itaru Sekiguchi