By commissioning the construction of a claviorganum, the Royal Opera pays tribute to the tradition of innovation and sonic beauty that made the glory of the court of the Kings of France.

This exceptional project follows in the great artisanal and artistic traditions of France’s Golden Age. It brings together historical research, craftsmanship, and artistic rigor, answering to the practices of today’s performers, who will take on the task of bringing back to life the many virtuoso concertos composed for this instrument during the 18th century.

As Enlightenment in Europe pushed the boundaries of science and art, a fascinating instrument came into being: the claviorganum, a perfect union of harpsichord and organ. A true symbol of Baroque ingenuity, it captivated the most prestigious courts and chapels across the continent, before gradually fading into obscurity.

Royal and princely inventories from 1500 to 1880 record these instruments throughout Europe — some great households owned as many as ten. Louis XIV himself owned a claviorganum to enhance the splendor the grand music of his court. The claviorganum reigned in chapels, aristocratic salons, and royal courts, delighting the most discerning musicians. It was prized for its magical balance between the clarity of the harpsichord and the majesty of the organ — a true sonic firework in the service of concertante music. Alas, the considerable cost of construction, along with the scarcity of craftsmen capable of building and tuning them, put these instruments out of reach for most musicians. Their use remained the preserve of the great courts, true centers of musical innovation.

This instrument will now allow the Royal Chapel to offer a program introducing this repertoire to the public, with the instrument placed at the heart of the orchestra.

This project was funded by Château de Versailles Spectacles with the support of Madame Françoise Kahn-Hamm and Madame Brigitte Cotillon, to whom we extend our warmest thanks.

The Château de Versailles’s claviorganum was built by the Blumenroeder workshop, a French company specializing in the construction of new instruments in the historical tradition. A significant part of the soundboard was carried out in close collaboration with the celebrated Emile Jobin, maker of harpsichords and claviorganums.