In music history, there are several important examples of composers whose oeuvre is dominated to a significant extent by works written for a specific instrument. The identification between Chopin and the piano, Paganini and the violin, or Tárrega and the guitar is almost total (even though at least the first two were not limited to their favorite instrument). And this identification is of course connected with the composer's own activity as a performer (as a great, virtuoso interpreter) on that same instrument. Less often, however, does such an identification concern not only a composer and an instrument, but rather a particular brand of the production of that instrument. This is what happened with Charles-Marie Widor, the organ, and in particular the Cavaillé-Coll organs.
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