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a Bombarde division consisting of Bombarde 16 & Gros Cromorne 8 ??

smilingvox

New member
Unless this Bombarde division is really a Solo, what's the logic behind the Bombarde and Gros Cromorne as the only two stops?

As a few of you might guess, I refer to the great Dom Bedos in Sainte-Croix, Bordeaux. As far as balancing each of these goes, my guess is that would be accomplished via couplers.

Input?

And I think I remember reading that the Gros Cromorne is full-length. Anybody know if it is?
 
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pcnd5584

pcnd5584

New member
They were probably intended to be used as solo stops.* Therefore, making them available on their own keyboard was largely for the convenience of the player. It should be remembered that French organs of this period did not possess composition pedals to move pre-selected combinations of stops. In addition, the stops were usually somewhat larger than those on a modern instrument and the 'draw' could be anything up to around six inches. They were also generally heavy to move, so kaleidoscopic changes of registration were simply not possible. Even with registrants, it would have been difficult.

Here is a link to the instrument in question: http://www.renaissance-orgue.fr/orgues/abbatiale-sainte-croix/

I do not know if the Gros Cromorne is indeed of full length. However, it would be surprising if it were. The half- (or even quarter-) length resonators, in addition to their shape, contribute to the particular tonality of this rank. The prefix may in fact indicate a larger scale, or the fact that the pipes were mounted on an open soundboard in a prime position within the case.



* Although, in the case of the Bombarde (and due to the presence of a Bombarde to G.O. coupler), it was almost certainly envisaged that this stop should also form an integral part of the tutti.
 
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