In addition to wanting to harness the expressivity of a full symphony orchestra on a single keyboard instrument, the sound world of the French Organ School strove to achieve a heightened heroic sound, one epitomized by the French idea of “la gloire.” Among the changes in pipe organ design was the addition of many new stops and registrations to imitate instruments of the orchestra. The trumpet stop – often using pipes thrusting out horizontally from the organ into the sanctuary – was a favorite of French composers of the period. Even better and even more heroic are these ensemble pieces arranged by Wilhelm Junker from the originals of the French Romantic organ school, combining the versatile pipe organ with a brass quintet.
The organ of the papal Basilica of St. Mary in Kevelaer, Germany, is a monumental instrument which has been enlarged to now encompass 135 stops. Organist Lehnen is well acquainted with the French Organ School style, having gained distinction as organist on a Cavaillé-Coll organ at the Schola Cantorum in Paris. The brass quintet has members from Latvia, the Netherlands and the UK as well as Germany, and one of their own members was responsible for the thrilling arrangements. The opening five-movement Sonata by Guilmant is over a half-hour length, and is one of the composer’s eight such organ sonatas. It blends ancient and modern elements, and ends with a grandiose final double fugue. My pick of the disc is Boëllmann’s Gothic Suite, which also harks back to earlier music but avoids liturgical chant or even counterpoint. After an Introduction and Chorale, a minuet and a prayer to Notre Dame, the work ends with an absolutely spectacular audiophile-ecstatic Toccata finale which closes out the musical experience in stunning fashion. The reverberation in the basilica is very extended and well-captured by Audite’s 88K/24bit PCM original surround recording.
– John Sunier
