Organ dispositions and organ stop combinations in Marin Mersenne’s theory

Abstract

This article analyses organ dispositions and combinations of stops cited by Marin Mersenne in “Harmonie Universelle” (1636–1637). In “Harmonie Universelle” Mersenne presents two organ dispositions and provides a detailed explanation of organ stops. These dispositions present valuable information about the structure and sound of the French stops of the first decades of the 17th century. Mersenne is also one of the first theorists of the French organ Baroque who performs a full and sophisticated stop combination system based on contemporary organ dispositions. He offers two tables of stop combinations by using the principle of letter designations. The article analyses organ stops, explains their structure and presents the results of decoding of Mersenne’s register tables. It sheds light on the origin of such “stop combination types” as Grand Plein jeu, Petit Plein jeu, Grand jeu, Petit jeu, Grand jeu de Tierce, Petit jeu de Tierce, Jeu doux, and some more peculiar sounds in Mersenne’s system of French Baroque. The article draws attention to some inaccuracies and errors that can be found in the original French edition. By comparing the principles determined by Mersenne with organ structure and stop combination practice of preceding and  subsequent periods, the author reveals the role of Mersenne as a founder of French Baroque organ school of thought.

Keywords:

organ, Mersenne, organbuilding, France, Baroque, disposition, organ stop, combination of stops