From the beginning, the association has despite limited resources been intent on making Cavaillé-Coll and his environment better known through various publications, under the general title La Flûte Harmonique (based on the name of the most emblematic stop devoloped by Cavaillé-Coll). It is above all a journal whose size has varied over three decades of publication but which has always been devoted exclusively to the area of interest specified in our by-laws. Most of the issues – initially quarterly, then biannual – brought together highly diverse articles as well as the republication of period texts and documents often unknown even to specialists.

Some issues are presented in the form of monographs, devoted either to a single instrument or to a given aspect of the subject (bankruptcy filings, etc.). From 2000, the proceedings of the conferences organized by the association constitute the henceforth annual journal, printed in A4 format given the increasedscope of the material.

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, in which the narrow theme of connection to the Romantic organ was paramount.

From 2019 the association regretfully 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, reserving paper pulbications for studies as they may be presented by prospective authors.

Download a selection of former articles

  • La restauration de St-Denis vue par l’association (1982-88)

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  • 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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