in front of its altar took place for centuries solemn celebrations for the king’s coronation, from Louis VIII to Charles X. Thus it was easy to comprehend how the building and its furnishings were objects of particular care. The organ was always considered the principal among those of the reign: musicians, as Nicolas de Grigny, were succeeded on its console.
The instrument was constructed by the English organ player John Abbey. Built between 1845 and 1849, it preserves, inside the monumental case of 1647, some registers of ancient instruments, mainly of the 18th century. John Abbey, born in Northamptonshire, moved to Paris on request of the famous piano constructor Sébastien Erard in 1826. His role in organ French history between the Revolution and the appearance of Aristide Cavaillé-Coll was of absolute relevance. In fact was him who introduced technical and timbre innovations, that will be brought, afterwards, to perfection by the same Cavaillé-Coll: keyboards, expressive case, transmissions, bellows.
Grison’s organ production comprehends pages, appointed to the main religious festivities and also thought for different moments of celebrations. Liturgical pieces, so, of wide breath, where virtuosity plays often an important role and compositions characterized by the use of harmonic resources. There are also pieces for concert use, as the Toccata, in which listeners do not avoid Bach’s and Mendelssohn-Bartholdy’s quotations . The author doesn’t disdain also references to local traditions or the use of popular melodies. The specialized critic of the time understands the originality of his performances, appreciates the picturesque effects of his compositions and evidences the success with contemporaneous listeners. Estimated improvisator, honorary member of the London’s Royal College of Organists, Grison gives a concert not only in France, but also in Belgium and England (Manchester, Town Hall, for example).
The current recording collects part of the most significant Grison’s compositions, dissolving the oblivion around those interesting pages after their author’s death and turning to account the valuable organ of Santena (Turin), made in 1929 by Francesco Vegezzi Bossi. The instrument is furnished with the suggesting register Campane (bells). Were consulted the copies of Costallat’s original edition, preserved at the British Library and the Rochester University.
Best regards to Jean-Yves Sureau, who has kindly placed his documents at disposal and Don Nino Olivero, parish priest of Santena.