For us, an historical organ is like a defenceless living being asking us to respect it as we try to preserve it. We come face to face with this challenge each and every time and try and treat each case on its own terms, as if it were the very first time.
Our work is based on in-depth research and careful documentation. This has provided us with rewarding experiences in rebuilding. Our hope is to give these instruments new life within the parameters of our vision and todays needs.
The creative freedom a brand new instrument offers us is stimulating because it helps create a new energy in our musical and achitectural style as well as our collaborators, organists and achitects.
We feel a special commitment to building organs that will be used for training organists, tools which they must work with for many-a-long hour for many years. We give special attention to the action, the ergonomic and, most especially, to the voicing; we endeavour to create instruments that exude energy and excitement, instead of an organ that tires the player over a period of time. Students at the University of Kobe ( Japan) and the Conservatories of Paris, Lyon, Düsseldorf, Seoul, Barcelona, Madrid and others, have stimulated us to continue working by telling us how grateful they are for the quality of the instruments they play regularly.