21 February 2020
Artistic Careers — Organ Builder
First day Friday, February 21, 2020
Cancellation illustrated 1st day in PARIS (75) Le Carré d’Encre, from 10H to 17H, 13 bis rue des Mathurins, 75009 PARIS.
Line Filhon & Frederique Vernillet will lead a signing session from 11 a.m. to 4 p.m. on Friday, February 21.
and at the St-Didier-au-Mont-d’Or post office, from 9 a.m. to 12 p.m. and from 2.30 p.m. to 5.30 p.m., Friday February 21, 59 avenue de la République 69370 ST DIDIER AU MONT D OR.
General sale on Monday February 24, 2020 Info
Face value: € 1.40 See prices as of February 24, 2020
Notice of receipt of the registered letter for international
Postage of the priority letter up to 20g to the international
Stamp square Overall dimensions 40,85×40,85 mm Perforation 13
Printed in intaglio to 30 stamps per sheet
800,000 copies issued
Graphic design by Frédérique Vernillet
According to the organ of Saint-Didier-au- Mont-d’Or
From photos by Michel Jurine, Organ builder
Engraved by Line Filhon
A little history
The origin of the organ, wind and pipe instrument, dates back to the dawn of time. Present in the Greek and Roman civilizations, we know that this is truly the beginning of the XIV th century the organ begins to spread in our religious buildings.
The organ is always the reflection of a culture in a given place and at a given time. There is not an organ but organs; in this sense, the richness of our profession is considerable.
It all starts with the design: a musical idea that must be translated concretely into pipes, box springs, tanks, frame, mechanical connections between keyboards and valves, in sound harmony.
The drawing desk is the center of the workshop; the plans and drawings are immediately taken in hand by the organ builders who are in turn carpenter, carpenter, mechanic, fitter, trimmer, electrician, electronics technician sometimes. The raw material, mainly wood, metals and skins, is implemented through “professional gestures” which cross generations. The organ builder must pass on his knowledge, in this sense organ building is a profession of tradition. The pipe-making workshop is a universe: here the cauldron and the pouring table, there the scraping of the sheets. Finally, flow, shaping and welding. What we call a game is a series of pipes (56, 58 or 61 depending on the extent of the keyboard), the longest makes the lowest note, the shortest, the highest note. These immense pan flutes constitute veritable forests of pipes of all sizes and shapes.
The harmonization of the pipes takes place in three stages. First at the table to open the mouth of the pipe, work the mouth at the foot, correctly position the bevel, the upper lip, adjust the light, cut length; then on the mannequin, a rudimentary organ used to make the pipes speak and work them; finally in the acoustics of the place where the organ will be mounted. Harmonization requires a good ear, great meticulousness in gestures, significant concentration; any operation carried out on the pipe transforms its stamp, its color. The harmonist must constantly make the link between the gesture and the sound emitted by the pipe. We can transmit the technical gestures but we cannot teach the aesthetic sense,
Attending the masterpieces of our elders is an inexhaustible source of knowledge and learning in the noble sense of the term. It is an important part of our profession which contributes largely to the construction of our own aesthetic feeling.
In a world of impatience and speed, the organ building constitutes an island in which the values of patience and duration are fundamental. It takes ten years to learn the essentials, then ten years to understand and “feel”, finally the following years will allow the expression of his own aesthetic feeling.
© – La Poste – All rights reserved – Michel Jurine, organ builder, doctor of musicology.
From Phil @ Poste press release