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13 discos

1 - Aaron TAN

• 10 Pieces Published 1894-1923 in L'Orgue Moderne •

P. Kunc : Sortie Fuguée, pub. 1899

A. Schmitt : Pièce en forme de canon, pub. 1899

E. Bourdon : Choral varié sur l’Hymne Ave Maris Stella, pub. 1920

H. Dallier : Offertoire In Deo Charitas, pub. 1895

R. Vierne : Méditation, pub. 1904

P. Combes : Toccatina pour Grand Orgue, pub. 1897

Y. Hédoux : Prélude et Fugue en Mi Mineur (E Minor), pub. 1921

M. Lanquetuit : Intermezzo, pub. 1923

H. Mulet : Prière, pub. 1902

C. Tournemire : Sortie op. 3, pub. 1894

- Richmond Cathedral of the Sacred Heart
- Disque Raven; OAR-208, 14 oct. 2025

Juget-Sinclair (opus 55) 2024.

Ten Pieces Published in L’Orgue Moderne
by Aaron Tan

The late 19th century, known as the belle époque in France, was a time of peace and prosperity. Art and industry flourished, and Paris was the musical capital of the world. At the heart of France’s musical institutions was the Conservatoire National Supérieur de Musique et de Danse de Paris, established in 1795 as a singing school and eventually expanding to encompass all disciplines of music as well as dance. The Conservatoire turned out elite young musicians and composers, and its faculty influenced the shape of European music-making. Among the faculty was Charles-Marie Widor, professor of organ and composition, who assumed this role in 1890 following the 33-year tenure of César Franck, father of the French symphonic organ tradition.

Between 1894 and 1930, Widor and his colleague Alexandre Guilmant curated a collection of 70 compositions for solo organ entitled L’Orgue Moderne and published them in 42 editions of the periodical. The vast majority of works published were by Widor’s or Guilmant’s students or colleagues, or by students from the other major musical institutions in Paris: the École Niedermeyer and the Schola Cantorum. Clearly, Widor was using his formidable influence as a famous organ recitalist throughout Europe, composer of widely performed works in many genres, professor of the elite Paris Conservatoire, and a Chevalier of the Légion d’honneur (1892), to give his and his colleague’s students a platform to launch their compositional careers.

The collection of 70 pieces by 49 composers demonstrates the largely conservative style of the Paris Conservatoire during the early years of the 20th century. Indeed, when Gabriel Fauré took over as Director of the school in 1905, he was regarded as groundbreaking in allowing the music of Wagner and Debussy to be performed in its hallowed halls.

In the preface of the first volume, all of which were published by Alphonse Leduc of Paris, Widor describes his goal: to present a series of contemporary organ compositions featuring young, prize-winning students of the Conservatoire. He also aspires to an eclecticism that welcomes works of genuine artistic interest by all who compose. Whether this lofty intent was propaganda is up for debate.

By the ninth edition in 1897, Guilmant had been added as co-editor of the series, a position which he retained until 1902, when L’Orgue Moderne took an 18-year hiatus. Likely reasons for the publication gap include the editors’ very busy schedules, Guilmant’s death in 1911, and World War I (1914–18) and its aftermath.
In his article for The Diapason magazine in December, 2015, musicologist Steven Young refers to L’Orgue Moderne as “arguably the premier publication of new organ music by young French composers in the early part of the twentieth century.” Yet, in his 600-page biographical book on Widor’s life and work, John Near mentions Widor’s involvement with L’Orgue Moderne in only one sentence. The disconnect between the high-profile status of the collection’s contributors and the lack of both published research and recordings of works from the collection suggested that this would be a potentially fruitful project to pursue, not only for the collection’s historical significance but also as a source for discovering interesting and accessible organ works that add to the grand story of the French symphonic tradition.

For me, the rewards of investigating this forgotten collection of repertoire have been worth the effort. These lesser-known composers lived alongside, worked with, and learned from the giants of the French symphonic tradition who organ music fans know and love: Widor, Louis Vierne, Marcel Dupré, and Charles Tournemire. In fact, Vierne and Tournemire made their compositional debuts in L’Orgue Moderne, and were published in the very first edition in 1894.

The ten works I have selected for this recording are immediately attractive and familiar in style if unfamiliar in name. The writing is tuneful and harmonically pleasing. Listen for similarities to the styles of Franck, Fauré, and Duruflé.

Pierre Kunc 1865–1941: Sortie Fuguée 1899
The Sortie fuguée is Pierre Kunc’s earliest known composition. He was born into a family of church musicians. His father, Aloÿs, was organist at the cathedral in Lombez, France. His younger brother, Aymé, was a celebrated composer, director of the Toulouse Conservatory, and is also published in L’Orgue Moderne.

While in Paris, Pierre frequented concerts of the Schola Cantorum and developed relationships with some of Paris’s great musicians, many of whom were devotees of Franck. This sphere of influence, coupled with Kunc’s devout Catholicism, may have influenced his style. Aside from being a keyboard professor at the St. Geneviève School in Paris, he played and conducted at several Parisian churches throughout his career.

· Education: École Niedermeyer (studied organ with Gigout and composition with Guiraud)
· Major positions: professor of piano and organ, St. Geneviève School, Paris (1899–1925); choirmaster, St. Louis Cathedral, Versailles (1891); choir organist, Ss. Eugène & Cécile and St. Étienne du Mont (1905); organist and choirmaster, Notre Dame de Bercy (1912); choirmaster of St. Sulpice, Paris (1928); organist, St. Pierre, Charenton-le-Pont, Paris (1928).
· Publication in L’Orgue Moderne: Sortie fuguée (1899); Adagietto (1902)

Alphonse Schmitt 1875–1912:
Pièce en forme de canon 1899
Born in Kœtzingue in the Alsace region, Alphonse Schmitt was a student of Guilmant (ca. 1901) and Widor. He succeeded Vierne as assistant to Widor at Saint-Sulpice (1900–1903) and afterward directed the choir of Saint-Philippe-du-Roule.

· Education: 1893, Paris Conservatoire (studied with Guilmant and Widor); 1898, 1st prize, organ
· Major positions: choirmaster, Église Saint-Philippe-du-Roule, Paris (1903–1912)
· Publications in L’Orgue Moderne: Prèlude-Choral (1898); Pièce en forme de canon (1899); Prélude-Choral sur l’hymne Sacris solemnis (1901); Pièce romantique (1901)

Émile Bourdon 1884–1974:
Choral varié sur l’Hymne Ave Maris Stella 1920
The Choral varié is Émile Bourdon’s first published work that survives. Joseph Antoine Émile Bourdon was a classmate of Marcel Dupré at the Conservatoire, and they remained lifelong friends. Bourdon would dedicate several of his compositions to Dupré. Shortly after graduating from the Conservatoire, he fell ill and needed to relocate to Switzerland from 1912 to 1917. Seeking a more tropical climate, he relocated to the town of Beaulieu-sur-Mer, just outside Nice on the French Riviera, and in 1922 won the position of organist at the cathedral in Monaco, where he would remain until his retirement in 1968. Bourdon was a skilled liturgical improviser. Somewhat mystical, Bourdon would kneel in the Sacré-Coeur chapel, lost in long inner contemplation, before each of his morning sessions at the cathedral’s organ, recounts Henri Carol (1910 –1984), his successor at the cathedral.

· Education: 1902–1912, Paris Conservatoire (studied organ with Guilmant, composition with Widor); 1905, 2nd prize, harmony; 1907, 1st accessit, organ; 1908, 2nd prize, counterpoint
· Major positions: Cathedrale Notre-Dame-de-l’Immaculee-Conception, Monaco (1922–1968); professor of organ, Nice Conservatoire (1951– 1954)
· Publication in L’Orgue Moderne: Choral varié sur l’hymne Ave maris stella (1920); Canzona (1923)

Henri Dallier 1849–1934:
Offertoire In Deo Charitas 1895
Born in Reims, Dallier studied organ with César Franck at the Conservatoire and was organist of two important Parisian churches: Saint-Eustache (1875–1905) and the Madeleine (1905–1934). He was a professor of harmony at the Paris Conservatoire and the Niedermeyer School from 1908 to 1928 and was known as a virtuoso performer and improviser. He was an organist for the funerals of Camille Saint-Saëns (1921) and Gabriel Fauré (1924).

Dallier’s contributions to L’Orgue Moderne occurred at a mature period of his career: he was 46 years old when his two compositions were published in Volumes 4 and 5 of the series. Perhaps the inclusion of a work by an older composer who held an important post as titulaire of Saint-Eustache was an attempt by Widor to gain traction for the series. Indeed, the following year (1896), Charles Lenepveu, another faculty member of the Conservatoire, would be published in the series.

· Education: 1876, Paris Conservatoire (studied organ with Franck); 1878, 1st prize, counterpoint and fugue
· Major positions: Saint-Eustache (1875– 1905); Church of the Madeleine (1905–1934); professor of harmony at Paris Conservatoire and École Niedermeyer (1908–1928)
· Publications in L’Orgue Moderne: Andante, op. 26 (1895); Offertoire In Deo charitas (1895)

René Vierne 1878–1918: Méditation 1901
René Vierne was born in Lille, the younger brother of Louis Vierne and the son of journalist Henri-Alfred Vierne and Marie-Josephine (née Gervaz). René entered the Catholic seminary at Versailles in 1889 where he studied music but eschewed the priesthood, becoming a student of his brother in organ, counterpoint and fugue. His death on the front lines in Austria was profoundly felt by his brother.

· Education: 1906, 1st prize, organ and improvisation (studied organ with Guilmant)
· Major positions: organist, Notre-Dame-des- Champs, Paris (choir organ, 1902–1904; main organ, 1904–1917)
· Publication in L’Orgue Moderne: Gavotte (after Bach; 1899); Méditation (1901)

Paul Combes 1858–1921:
Toccatina pour Grand Orgue 1897
A native of Bordeaux as was Charles Tournemire, Paul Combes studied at École Niedermeyer and would later teach Joseph Bonnet and Henri Sauguet, among others. In 1880, he became organist at Notre-Dame, Bergerac, before moving back to Bordeaux in 1882, where he worked for the remainder of his life. The Toccatina is his earliest surviving composition.

· Education: École Nie

2 - Ryan CHAN

• Paris milieu •

N. de Grigny : Veni Creator

L. J. A. Lefébure-Wély : Elévation la mineur

G. Bizet : Carmen fantasy (arr. Lemare)

C. Saint-Saëns : Danse macabre (arr. Lemare)

J. Alain : Fantasmagorie, 2e Fantaisie

M. Duruflé : Suite op. 5

G. Fauré : In paradisum (arr. M. Dupré)

- Richmond Cathedral of the Sacred Heart
- Disque Pro Organo;, août 2025

Ryan Chan, the 2024 First Prize Winner in the American Guild of Organists’ National Young Artists Competition in Organ Performance (AGO NYACOP)

2024 Juget-Sinclair pipe organ, Opus 55

3 - Daniel SANEZ

• More of What I Do on Sundays, Vol. 2: The Liturgical Year •

D. Sanez : Entrada ; Advent Alma Redemptoris Mater; He Is Born Puer natus est nobis; Kings’ Homage ; Ordinary salve Regina; Conversion Ave Regina Cælorum; Charity and Love Prevail ; Lætare Regina Cæli ; Breath Veni, sancte Spiritus,; Be at Rest Requiem æternam with Dies iræ.; Revelation

- Richmond Cathedral of the Sacred Heart
- Disque Raven; OAR-205, 2025

2024 Juget-Sinclair Op. 55 Gallery Organ.

Daniel Sáñez: More of What I Do on Sundays
If you enjoyed What I Do on Sundays, I hope you find this second volume as engaging. These improvisations blend ancient melodies with a personal, modern voice – music meant to inspire the listener and to accompany reflections throughout the Church year. Apart from the Entrada, each piece draws from chant, with the appropriate Marian Antiphon beginning each season, as traditional as the candles of an Advent wreath.

Begin the journey with the Entrada (Track 1), a processional into the cathedral. Alma Redemptoris Mater (Track 2) opens into Advent and Christmas, evoking the mystery of time before creation. He Is Born (3), built on Puer natus est nobis, radiates the joy of the Nativity, while Kings’ Homage (4) honors the Epiphany, weaving together Eastern and Western traditions to depict the Magi’s reverence.

The brief period of Ordinary Time in winter follows the Salve Regina (5), using the solemn minor-mode chant to reflect the lingering resonance of Christmas. Lent arrives with Conversion (6), a free meditation on Ave Regina Cælorum. For Holy Week, I chose to focus on Holy Thursday, when the Church sings Ubi Caritas, “Where There Is Love,” as it commemorates the institution of the holy priesthood and recalls Christ’s command to join in service and to live in communion (7).

Easter bursts forth in Regina Cæli (8), a jubilant toccata, followed by Breath (9), an improvisation on Veni, sancte Spiritus, symbolizing the Holy Spirit moving freely through creation. Echoing the journey from sorrow to the hope of eternal life that the Church traverses in November, Be at Rest (10) pairs Requiem æternam with Dies iræ.

The finale, Revelation (11), paints scenes of the Apocalypse: trumpet calls, visions of heaven, cosmic battles, and the promise of renewal, closing with a Gregorian Alleluia. Like the dismissal at Mass, this conclusion, in the tradition of the French sortie, inspires us onward: “Go forth, glorifying the Lord by your life.”
—Daniel Sáñez

4 - Daniel SANEZ

• What I Do On Sundays: Daniel Sáñez Improvises •

D. Sanez : Improvisations

- Richmond Cathedral of the Sacred Heart
- Disque Raven; [OAR-188], 20 juillet 2023

Cathedral of the Sacred Heart, Richmond, VA
Juget-Sinclair Choir & Continuo Organs, Op. 53 & 54, 2022.

**
Continuo Organ, Op. 53
1 Continuo Flute 81:00
2 Continuo Flute 4 0:51
3 Continuo Principal 8 0:54
4 Continuo Plenum 1:00

Choir Organ, Op. 54:
5 Choir Principal 2:24
6 Early Fragments Suite 4:14
7 North German 5:04
8 Flutes Suite: Flutes I 2:14
9 Flutes Suite: Flutes II 7:22
10 Flutes Suite: Flutes III 3:56
11 Flutes Suite: IV. Lullaby 4:28
12 Großer Gott, wir loben dich (Hymn Improv.: ”Holy God, We Praise Thy Name”) 3:29
13 Pastiche 13:41
14 Slow 8:44
15 Pseudo Romantic 9:36
16 Postlude 4:07
17 March 5:52

For this album, Daniel Sáñez followed the styles of organ music played and heard in Europe from the Renaissance into the 20th century. The remarkably fine Choir Organ erected in the chancel of the Cathedral in 2022, and the continuo organ also received in 2022, motivate this recording.

5 - Ardyth LOHUIS

• Works for Violin & Organ, Vol. 6, An International Collection •

O. Respighi : Aria

J. Aavik : Fantasie, Op. 130 (1955)

C. Kint : Hymne, Op. 8

E. I. Baghdasaryan : Three Medieval Chants

Gustaf Hägg : Adagio, Op. 34 (1909)

Günter Raphael : Largo aus der Violinsonate, Op. 12, Nr. 1 für Violine und Orgel (1924)

D. Healey : Sonata for Virginia, Op. 94 (2004) [2]

W. Held : That Lonesome Valley (2007) [2]

S. Foster : Jeanie With the Light Brown Hair (arr. Leo Dubensky)

V. A. Herbert : A la valse [2]

- Richmond Reveille United Methodist Church [1], Richmond St-Stephen's Episcopal Church [2]
- Disque Raven; OAR 923, Mai 2008 [1], Nov. 2009, jan. 2010 [2], Robert Murray, violin

-1951/1968 Aeolian Skinner organ, Op. 1110, St. Stephen’s Episcopal Church, Richmond, Virginia
- 1954 Austin organ, Op. 2218, Reveille United Methodist Church, Richmond, Virginia

6 - Erik Wm. SUTER

• Fête Français •

J. Langlais : Fête, Cantilène

C. Franck : Prélude, Fugue et Variation

J. Bonnet : Variations de concert

L. Vierne : Andantino, Allegro maestoso de 3° Symphonie

J. Alain : Choral dorien, Choral phrygien

F. Couperin : Tierce en taille, Offertoire de la Messe des Paroisses

N. de Grigny : Ave Maris Stella

M. Dupré : Ave Maris Stella I-IV

C.-M. Widor : Finale 6° Symphonie

- Richmond St-James’s Episcopal Church
- Disque JAV; 132, 2002

7 - Ardyth LOHUIS

• Violin & Organ, Vol. 5, All American, Murray/Lohuis Duo •

P. D. Mathews : Intermezzo

N. Bartow : Soliloquy

J. Corigliano : Lento, Sonata for Violin and Piano (with organ at the composer's suggestion)

J. Weaver : Dialogues for Flute or treble instrument & Organ

G. Dethier : Aria

D. Healey : Four Presludes on Latino Religious Songs, op. 89

L. Sowerby : Elevation

W. Held : Variations on Amazing Grace

G. Read : A Christmas Pastorale, op. 124

R. Wienhorst : Pentecost for Violin & Organ

C. Callahan : Valediction, a Biblical Poem

L. E. Whikehart : An Eclectic Suite for Violin & Organ

- Richmond Reveille United Methodist Church, Richmond St-Stephen's Episcopal Church
- Disque Raven; OAR 650, vers 2000, Robert Murray, Violin

-1954 Austin, op. 2218, with tonal revisions by Guzowski & Steppe in 1991 at Reveille United Methodist Church, Richmond, Virginia
-1951/68 Aeolian-Skinner op. 1110 at St. Stephen's Episcopal Church, Richmond, Virginia

8 - Ardyth LOHUIS

• Violin & Organ, Vol. 4, Airs & Romances, Murray/Lohuis Duo •

O. Ravanello : Andante, Op. 117, No. 1

O. Olsson : Romance, Op. 24

Albert Becker : Adagio, Op. 81

A. Beach : Invocation, Op. 55

S. Coleridge-Taylor : Suite de pièces pour violon et orgue, Op. 3 (in 4 movements)

M.-J. Erb : Pièce de concert sur le motif Pater Noster - Gib uns heute, Op. 71

O. Lindberg : Gammal Fäbodpsalm från Dalarna

E. Lovreglio : Arioso

J. S. Svendsen : Romanze in G Major, Op. 26

G. Jensen : Arioso & Rondo patetico, Op. 40

- Winston-Salem St-Paul's Church [1], Richmond St-Stephen's Episcopal Church [2]
- Disque Raven; OAR 510, vers 1998 (1990?), Robert Murray, violin

-1929 E. M. Skinner, Op. 712, St. Paul's Episcopal Church, Winston-Salem, North Carolina
-1951/68 Aeolian-Skinner, Op. 1110, St. Stephen's Episcopal Church, Richmond, Virginia

9 - Ardyth LOHUIS

• Violin & Organ, Vol. 3, Breached Borders, Murray/Lohuis Duo •

H. Lepnurm : Variations

K. Wilkomirski : Aria

H. B. Orlinski : Sonatina

V. Voloshinov : Concerto

B. Woytowicz : Recitativo

O. Komarnitskii : Partita

- Norfolk First Presbyterian Church, Richmond St-Stephen's Episcopal Church
- Disque Raven; OAR 370, Fev. & Juillet 1995,

1951/68 Aeolian Skinner at St. Stephen's Church, Richmond, Virginia
1993 J. W. Walker at First Presbyterian Church, Norfolk, Virginia

10 - George BOZEMAN

• Sounds Lost But Not Forgotten - The Hot Air Duo •

E. Titcomb : The Hedding Suite

O. Nicolai : Potpourri from The Merry Wives of Windsor (arr. Hofmann)

G. Fauré : Berceuse op. 16

M. Ravel : Vocalise-Étude en forme de Habanera

P. Hindemith : Echo, Sonata for Flute and Clavier

E. Pepping : Sonata for Flute and Clavier; Vom Himmel hoch, da komm ich her; Es kommt ein Schiff geladen ; Freuet euch, ihr Christen alle ; Zengt an die Macht, du Arm des Herm ; Sonne der Gerechtigkeit

A. F. Kropfreiter : 4 Pieces for Flute and Organ

E. Petrovics : Hungarian Children’s Songs

S. Karg-Elert : Sonata Appassionata in F-sharp Minor for Solo Flute, op. 140

B. Bartok : Mikrokosmos (transcribed for organ by G. B.) n°2 & 5

- Richmond St-James’s Episcopal Church
- Disque Raven; OAR-173, 1991, 1992, J. Bryan Dyker, flute. Parution en 2021. 2CD

Organ Rieger in 1974 burned on July 13, 1994

13 discos

Fuente: base de datos discografica Alain CARTAYRADE
www.france-orgue.fr

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