From the beginning, the association has been keen, despite limited resources, to make Cavaillé-Coll and his world known through various publications, grouped under the term La Flûte Harmonique, which takes up the name of the most emblematic game of the postman. It is above all a journal whose size has varied according to the periods of its publication but which has always been devoted exclusively to the subject listed in our statutes. Most of the issues – initially quarterly, then biannual – brought together the most diverse articles as well as the republication of texts and documents from the period often unknown even to specialists.

Some issues are presented in the form of monographs, devoted either to a single instrument, or to a unique aspect of the subject (bankruptcy files, etc.). From 2000, the proceedings of the conferences organized by the association constitute the now annual journal and in A4 format given the importance of the subject.

Special issues have been reserved for publications of particularly important studies and documents; furthermore, La Flûte Harmonique has also occasionally encompassed musical scores, either historical or contemporary, where the narrow theme of connection to the romantic organ was fundamental.

From 2019 the association decided to suspend the regular publication in paper form of La Flûte Harmonique, preferring to devote its energy and resources to other projects. It now primarily uses the website for the dissemination of various texts and documents.

Download a selection of former articles

  • Souvenirs d’un ami de la première heure : Charles Collin

    The Breton organist Charles Collin, born the year Beethoven died and died the same year as Guilmant, is an exceptional witness to the career years of his friend Aristide Cavaillé-Coll. In 1892-93 he published his “Artistic Memories”… [excerpt from La Flûte Harmonique n°31/32 (1984)]

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  • Un témoin du tempérament chez Cavaillé-Coll père et fils

    If the tuning of historical organs has been modified many times over time, a priori the free reed, and consequently the Poïkilorgue, does not change and thus offers a precious index of the practices of the first professional years of Aristide Cavaillé- Coll. [excerpt from La Flûte Harmonique No. 30 (1984)]

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