SAINT-REMY DE PROVENCE - Collégiale Saint-Martin

Organ : 3 keyboards , pedalboard - 62 stops




The instrumental part of this organ is new.
The case of the Great-Organ was built in 1923. It was drawn by an architect from Marseille.

The project of reconstruction consisted in recreating an instrument of 63 stops on 3 keyboards and pedalboard.

The "positif de dos" was made in copy of the upper element of the case situated in front of the swell "Récit".

A new polychromy was executed on the organ by Mr Pierre Sibieude and the balustrade of the gallery was added on the occasion of this reconstruction











All the instrumental part is completely mechanical, suspended action for the Great-Organ and the great Swell organ , at right angles for the Positive. Very few metallic elements take place in the conception and the construction of the instrument. We used systematically the massive wood, no modern material of any kind, plywood or particle board, was used.

This rigorous bias voluntarily reflected before all a particular "craft” posture, very practiced in the 1980s: all the constituent elements of the instrument had to be produced by hands of the craftsmen, of the workers or their pupils. The materials is chosen above all locally and the modus operandi use machines as little as possible.


Composition :


Positif - 56 notes Grand-Orgue - 56 notes Récit expressif - 56 notes Pédale - 32 notes
Montre 8' Montre 16' Bourdon 16' Bourdon 16'
Bourdon 8' Montre 8' Bourdon 8' Flûte 16'
Flûte 8' Gambe 8' Gambe 8' Flûte 8'
Prestant 4' Flûte harmonique 8' Voix céleste 8' Violoncelle 8'
Flûte 4' Bourdon 8' Flûte harmonique 8' Grande Quinte 5 1/3'
Nazard 2 2/3' Prestant 4'

Prestant 4'

Prestant 4'
Doublette 2' Flûte 4' Flûte harmonique 4' Grande Tierce 3 1/5'
Flûte 2' Quinte 2 2/3' Flûte harmonique 2' Flûte 2'
Tierce 1 3/5' Doublette 2' Flûte harmonique 1' Bombarde 32'
Fourniture 4 rangs Flûte 2' Plein-jeu 5 rangs Bombarde 16'
Cymbale 3 rangs Grande Fourniture 2 rangs Cornet 5 rangs Trompette 8'
Cornet 5 rangs (C3) Fourniture 4 rangs Basson 16' Clairon 4'
Cromorne 8' Cymbale 4 rangs Hautbois 8'  
Trompette 8' Cornet 5 rangs (C3) Voix humaine 8'  
Clairon 4' Bombarde 16' Trompette harmonique 8'  
  1ère Trompette 8' Clairon harmonique 4'  
  2ème Trompette 8'    
  3ème Trompette 8' en chamade    
  Clairon 4'    

Couplers Pos/G.O. - Récit/G.O.

Pedalcouplers II, III - Appel d'anches I, II, III et Pedal

Tremulants Récit et Positive


The musical project paradoxically takes up the neo-classic concept so slandered at that time, but the plan was to demonstrate that it was possible to combine various esthetics without breaking the rules of the classic organ building. So, the stylistic references remain clear and without ambiguities, a large number of usual registrations operates, others generate new colors and the large sound entities remain particularly coherent: Plenum, Tutti, Great-Choir, foundation stops etc...

The main division of the Great-Organ is situated at the level of the great case's belt, arranged in four aligned windchests. The reed stops are on separate pallet boxes. The Swell organ is above this group, in two diatonic windchests with separate pallet boxes for the reeds.

The Pedal division occupies the bottom of the organ on a narrow depth what required a complex set of grooved boards which distributes the pipework in height and on all the width of the instrument.

The Choir organ, far enough away  from the great case, is composed of  two diatonic windchests with only one pallet box. We have, at the console, various calls of reed stops used  in the symphonic organ: reeds Great-Organ, Swell organ, Pedal, Positive.

There is also a windbreak of the Great-Organ which allows to play on the Great-Organ’s keyboard the Swell organ coupled with the Positive.


Numerous concerts took place and always take place on this instrument, most of them organized by the organist Jean Pierre Lecaudey, holder of the instrument since 30 years. Today, a  faithful and demanding public comes regularly every year in  summer, when takes place the essential of these musical manifestations.


The organ allows a diversified and attractive programming. The absence of a combiner obliges the concert performers to have several rehearsals with assistants, this fact being able to be lived as a constraint today hardly acceptable for certain interpreters.

Jean Pierre Lecaudey watched, on the other hand, constantly to accompany and to help every concert performers for this important task.


The performance by Jean Pierre Lecaudey of the pieces presented here was recorded in live:

Louis Vierne, 2nd Symphony and Romanic Symphony of Charles-Marie-Widor, Marcel Dupré and J.S Bach testify of the magnificent adequacy between the organ and his holder, its extremely precise play and the registrations which he proposes, which are perfectly adapted, are a convincing demonstration of this organ’s versatility




audio recording :


Vierne, Widor, Bach -Jean-Pierre Lecaudey


vidéos :