The transcript or reconstitution, this is Mozart noting memory Allegri's Miserere going out from the Sistine Chapel this is Maurice Duruflé transcribing the recordings of Charles Tournemire improvisations, this is John Scott Whiteley reconstructing the internal struc- ture of the chords in the sound flood of the great organ of Notre-Dame de Paris.

The organ, by its huge orchestral resources, is the ideal instrument for these sound adventures, and that of Notre-Dame de Bon Voyage in Cannes has all the necessary range in addition of its great technical possibilities. Thank you to Henri Pourtau, titular organist, having us generously welcomed, and Jean-Cristophe Debély, the harmonist, for having ensured the accuracy of its tuning.

In the first case, it is to rethink a work for musical training to be played by another instrument. In the other it is to rebuild, just by listening faculties, the unwritten score that would have allowed such performance or improvisation. Two difficult exercises, opening the field to the reserves and criticism from those who do admit only the original version.
Borodin, Cochereau, Haydn, Mozart Rachmaninoff, Scriabine, Verdi, Wagner

The most beautiful transcription examples were given by J. S. Bach, adapting to the organ concertos for strings or transcribing himself by transforming a partita for solo violin in a brilliant orchestral sinfonia with trumpets and timpani. It shows freedoms to take with the original text to give the same life to a sentence issued by an animated body as an oboe or flute and rows of static and non-expressive pipes like those of the organ.