The organ recordings are listed by chronological order of the birth of the composers. The earliest composer (Dietrich Buxtehude) is at the beginning of the list. This organization will provide the listener a historical perspective, with the most recently composed works toward the end. Two organs were used for these recordings, the three-manual re-built Tellers organ at the Cathedral of St. Raphael in Dubuque, Iowa, and the two-manual Casavant organ at Sinsinawa Mound, Wisconsin.
DIETRICH BUXTEHUDE (1637 – 1707)
Dietrich Buxtehude was a Danish-German organist and composer whose style influenced many composers, including J.S. Bach. In 1705, J.S. Bach, then age 20, walked over 250 miles from Arnstadt to Lübeck to meet Buxtehude, hear him play, and learn from him. Bach stayed in Lübeck for nearly three months. After his return home, it was remarked that Bach’s style of organ playing and composition had noticeably changed.
In comparing the music of Bach and Buxtehude, Bach appears to be masterful at developing a musical idea (as in his fugues), while Buxtehude often switches to a new musical idea rather than developing an old one. In this regard, Buxtehude sacrifices musical development for musical inventiveness and ingenuity. Some of his music takes on the character of a mosaic of short musical ideas, ever changing, always fresh. His improvisatory passages lend his music a sense of freedom. Of course, some of his works still adhere to structure and designated forms, such as his famous passacaglia, which is a perfect example of the artistic ideal of freedom within bounds.
All of the Buxtehude works were recorded on the Casavant organ at Sinsinawa Mound, Wisconsin.
Praeludium in C Major (Praeludium, Fuga, Ciacona), BuxWV 137:
Passacaglia, BuxWV 161:
Praeludium in G Minor, BuxWV 149:
Praeludium in F-sharp Minor, BuxWV 146 (recorded Sept. 2018):
JOHANN SEBASTIAN BACH (1685 – 1750)
Despite being one of history’s greatest composers, Bach was not widely recognized as a composer during his lifetime. Rather, he was well known as an organ virtuoso of great skill, and was in demand for dedicatory recitals of newly built organs.
Prelude and Fugue in C Major, BWV 545:
Prelude and Fugue in B Minor, BWV 544:
Prelude and Fugue in D Major, BWV 532:
Prelude and Fugue in G Major, BWV 541:
Prelude and Fugue in C Minor, BWV 546:
Pastorale in F Major, BWV 590 (in four movements):
Pièce d’Orgue (Fantasia in G), BWV 542:
Bach was influenced by French composers when he composed this piece. He even gave it a French title as well as French tempo indications. There are three movements: Trés vitement (Very lively), Gravement (With depth), and Lentement (Slowly). Although there are rapid figurations in the last movement, the term Lentement refers to the tempo of the 4/4 meter, as outlined by the pedal line.
Chorale and Chorale-Prelude on “An Wasserflüssen Babylon” (By the Waters of Babylon), BWV 653:
This chorale is based on Psalm 137, which describes the despair of the Jewish people after having been exiled from Zion by the Babylonians. While they sit by the river, longing for their homeland, the Babylonians ask them to sing a song of Zion. They refuse, and hang their harps up on the willow trees.
Chorale-Prelude on “Schmücke dich, O liebe Seele” (Adorn Yourself, O Dear Soul), BWV 654:
Chorale-Prelude on “Valet will ich dir geben” BWV 736:
Two Chorale Harmonizations and Chorale-Prelude on “Herzlich tut mich Verlangen” (O Sacred Head, Now Wounded):
Schübler Chorales:
Chorale and Chorale-Prelude on “Wachet auf, ruft uns die Stimme” (Sleepers Wake! A Voice is Calling), BWV 645 (Sinsinawa):
Chorale-Prelude on “Meine Seele erhebt den Herren” (My Soul Exalts the Lord), BWV 648 (St. Raphael Cathedral):
Triosonata No. 4 in E Minor, BWV 528:
Adagio-Vivace, Andante, Un poco Allegro
Orgelbüchlein:
“Orgelbüchlein” is translated into English as “Little Organ Book.” This collection is also called “The Liturgical Year.” It consists of 45 short chorale-preludes. Each of them is truly a gem. In addition to the supreme beauty of these works, each chorale-prelude is a technical exercise for a developing organist, as well as a model of counterpoint for a developing composer. These works reflect Bach as both composer and teacher. The pieces are also very useful in church because they are short and liturgically based. It is no wonder that this collection is so popular among organists. The chorale-preludes are grouped according to divisions of the Church Year, including Advent, Christmas, Passion, Easter, and Pentecost. Some of the chorales are based on topics emphasized in scripture, such as faith, trust, and salvation in Christ. The translations of the titles are not literal translations, but are usually based on figurative translations of the opening phrase of the chorale.
BWV 599 Nun komm, der Heiden Heiland (Savior of the Heathen, Come):
BWV 600 Gottes Sohn ist kommen (Once He Came in Blessing):
BWV 601 Herr Christ, der einge Gottes-Sohn (O Thou of God the Father):
BWV 604 Gelobet seist du, Jesu Christ (All Praise to Jesus’ Hallowed Name):
BWV 605 Der Tag, der ist so freundenreich (O Hail This Brightest Day of Days):
BWV 608 In dulci jubilo (Latin title):
This chorale-prelude is a wonderful piece of counterpoint. There are four voices (soprano, alto, tenor, bass) The soprano and tenor are in canon (they produce a “round”). The alto and bass produce a second round from a different melody. So this is a double canon. The tenor line, played by a reed stop, is most pronounced, and is recognizable as “Good Christian Men, Rejoice.” The “affekt” is one of serene and peaceful joy.
BWV 610 Jesu, meine Freude (Jesu, Priceless Treasure):
BWV 614 Das alte Jahr vergangen ist (The Old Year Now Hath Passed Away):
BWV 618 O Lamm Gottes, Unschuldig (O Lamb of God, Spotless):
BWV 619 Christe, du Lamm Gottes (Lamb of God, Our Savior):
BWV 622 O Mensch, bewein’ dein’ Sünde gross (O Man, Bewail Thy Grievous Fall) – recorded at Sinsinawa, March 2018:
BWV 625 Christ lag in Todesbanden (In Death’s Strong Grasp the Savior Lay):
BWV 629 Erschienen ist der herrliche Tag (On Earth Has Dawned This Day of Days):
BWV 633 Liebster Jesu, Wir sind Hier (Blessed Jesu, At Thy Word):
BWV 639 Ich ruf zu dir, Herr Jesu Christ (I Call to Thee, Lord Jesus Christ):
BWV 641 Wenn wir in höchsten Nöten sein (When in the Hour of Utmost Need):
CÉSAR FRANCK (1822 – 1890)
Cesar Franck was arguably the greatest organ composer of the 19th century. He was a Belgian by birth, and lived in France most of his life. A distinctive feature of his organ compositions is his attention to texture and color. Franck provides very specific indications in his scores regarding registration of organ stops. He uses the organ as an orchestra. With every new age, developments in the construction of musical instruments have a profound influence on composers, and newly written music has a profound influence on instrument builders. In Franck’s lifetime, the tonal design of organs was undergoing a revolution, so that the new organs provided a broad symphonic palette of sound, opening new possibilities for organ composers. This was due to the vision and work of Aristide Cavaille-Coll, arguably the greatest organ builder of the 19th century. Many of the great cathedrals in Paris and throughout France house beautiful Cavaille-Coll organs which are played every day. Some of these instruments are French National Historic Treasures. Franck very much loved the Cavaille-Coll at Saint Clotilde in Paris, where he was organiste titulaire for many years. This particular instrument inspired him profoundly. Franck was organ professor at the Paris Conservatoire, where he was affectionately known by his students as a father figure, and referred to as “Père Franck.” He had a humble and unassuming character. He influenced many future generations of great organists and composers.
FRANCK RECORDINGS AT ST. RAPHAEL CATHEDRAL, DUBUQUE, IOWA
Trois Chorals:
Choral No. 1 in E Major:
Choral No. 2 in B Minor:
Choral No. 3 in A Minor:
Pastorale:
Trois Pièces:
Fantaisie in A Major:
Cantabile:
Pièce Héroïque:
FRANCK RECORDINGS AT SINSINAWA MOUND, WISCONSIN
Trois Pièces (recorded June 2019):
Fantaisie in A Major:
Cantabile:
Pièce Héroïque:
Pastorale (Sept. 2017):
Prière (August 2017):
Choral No. 1 in E Major (August 2017):
LOUIS VIERNE (1870 – 1937)
Vierne was titular organist of Notre Dame in Paris for many years. He was legally blind from birth. He died on the organ bench at Notre Dame after playing a recital. His foot hit a low pedal note when he passed, creating a boom through the church. The composer Maurice Duruflé was at his side.
Organ Symphony No. 1:
Prélude:
Fugue:
Pastorale:
Allegro Vivace:
Andante:
Final:
JEAN LANGLAIS (1907 – 1991)
Langlais was Organiste Titulaire at the Basilica of Sainte Clotilde in Paris from 1945 to 1988, the same church where César Franck was titular organist decades earlier. Langlais was blind from the age of 2 from glaucoma. He studied organ with André Marchal, composition with Marcel Dupré and Paul Dukas, and improvisation with Charles Tournemire. He was a prolific composer.
Hymne d’Actions de Grâces “Te Deum” (from Three Gregorian Paraphrases):
OLIVIER MESSIAEN (1908 – 1992)
One of the great organ composers of the 20th century, Messiaen’s music incorporates many influences, including Gregorian chant, birdsong, mysticism, Hindu rhythm, the French Romantic organ tradition, Debussy’s impressionism, Wagner’s breadth and timelessness, and most importantly, a profound Catholic faith. The result is a strange new musical language, poetic and powerful.
Le Banquet Céleste:
Dieu Parmi Nous (from La Nativité du Seigneur):
JEHAN ALAIN (1911 – 1940)
Alain was born into a family of organists and pianists. His output of musical compositions was fairly large, considering his short lifetime. He tragically died at the age of 29, in battle during World War II. He was posthumously awarded the Croix de Guerre for bravery.
Litanies:
“When, in its distress, the Christian soul can find no more words to invoke God’s mercy, it repeats endlessly the same litany ….. for reason has reached its limit, only faith can take one further ….”
Choral Dorien:
Choral Phrygien: