recommended by Christopher B., Organ Music Specialist
Suite Gothique by Leon Boellmann
The first movement (Introduction – Choral) is in C minor and is made up of harmonized choral phrases that are first played in block chords on the great and pedals, and then repeated, piano, on the Swell. The second movement (Menuet gothique) is in 3/4 time and in C major. The third movement (Prière à Notre-Dame) is in A-flat major; it rarely uses dynamics above ‘piano’. The final fourth movement (Toccata) is the best-known of the suite. This movement returns to C minor, ending with a Tierce de Picardie on full organ.
Carillon de Westminster by Louis Vierne
Carillon de Westminster is a piece written for organ by Louis Vierne. It constitutes the sixth piece in the third suite of Vierne’s four-suite set 24 pieces de fantaisie, first published in 1927. Carillon de Westminster is in the key of D major, and is in compound triple time.
Grand Choeur Dialogué by Eugene Gigout
Gigout published his 6 Pièces d’orgue in 1881, the Grand Choeur Dialogue served as a grandiose finale to the collection, written very much in the French Romantic style.
Poèmes Évangéliques by Jean Langlais
Poèmes évangéliques by French composer Jean Langlais features three sacred pieces for organ. Titles include: “L’Annonciation,” “La Nativité,” and “Les Rameaux.”
Pièce Héroïque by César Franck
The Piéce héroïque, one of Franck’s most popular organ pieces, is in three sections. A serene “chorale” middle segment is bookended by an almost sinister main theme, supported by pulsating chords. There follows a bustling passage of arpeggios and a powerful reprise of the opening, which leads to a peroration for full organ of the “chorale.”
Tu Es Petra by Henry Mulet
The last movement, a brilliant toccata, is titled in full, “Tu es Petra et portae inferi non praevalebunt adversus te.” It’s usually known simply as “Tu es Petra.” Mulet refers not to the ancient apostle Peter, but to the Basilica Sacré-Cœur itself. Its white limestone construction, on top of the rocky outcrop of Montmartre, is both the “rock” and the “church,” the “Petra” of the title, and Mulet’s glorious toccata celebrates its permanence in the face of all kinds of sinister threats from below.
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About the Author:
Christopher B. grew up in eastern Kentucky in a musically diverse family, and began playing organ at the age of 12. He majored in vocal performance with minors in keyboards and conducting at Marshall University and later received a Master of Theological Studies in congregational ministry from Trinity Lutheran Seminary. Christopher has served as a church music director and organist for more than 20 years, presently serving as Director of Music and Worship Arts/Organist at Church of the Master United Methodist in Westerville, OH.
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