Notre Dame

de l’Assomption

de Passy

88, rue de l'assomption, 75016 Paris

Originally, this chapel was the chapel of the convent of the Fathers of Mercy on Rue de Varennes in Paris. It has simply been transported stone by stone to Passy when the fathers were expelled in 1881. It is dedicated in 1928 to Our Lady of the Assumption of Passy, in view of the nuns of the Assumption whose convent is further down the same street. The chapel was enlarged in 1934 by the architect Labro with the addition of aisles. Finally, in 1952, a second nave was built. Notre- Dame-de-l'Assumption-de-Passy is neo-classical in style with a beautiful dome at the crossroads of the two naves.

D5 A first organ was built at the end of the 19th century by the Abbey workshop of Versailles for the Church of Notre‑Dame de l’Assomption in Passy, Paris. When the church was enlarged around 1952, the original organ was purchased by the parish of Sainte‑Bernadette in Brignogan (Finistère), where it still resides today. More info… The current organ of Notre‑Dame de Passy has undergone several transformations and has changed hands at least three times. It was built by Charles Mutin at the very beginning of the 20th century. We know nothing about the instrument’s first owner—presumably a wealthy private organ enthusiast or a small community. In 1928 the organ was bought by Count Léonce de Saint‑Martin, titular organist of Notre‑Dame de Paris, for his apartment on Place des Vosges. Gutschenritter re‑voiced the instrument and took the opportunity to make a few modifications and additions to Mutin’s organ, including a third keyboard that carries no stops but serves as a coupler manual, thereby giving the organist more possibilities. At that time the instrument had 19 stops. Canon Boulard, pastor of the Church of Notre‑Dame de l’Assomption, had carried out expansion work on the church in the 1950s and was looking to replace the modest organ that occupied the second gallery at the back of the nave. Around that time Emmanuel de Villèle, then the church’s titular organist, learned that Léonce de Saint‑Martin’s organ was for sale. He promptly informed Canon Boulard, who acquired it. The instrument was re‑voiced by Beuchet‑Debierre. Major enlargement and electrification work were undertaken to adapt the organ to the church’s dimensions and to increase its musical possibilities. The essentially romantic organ was transformed into a neoclassical instrument, in line with the prevailing style of the era. The overall re‑voicing was entrusted to the harmonist Jacques Picaud, a Parisian collaborator of the Beuchet firm.