Orgue organ

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Organist (first Name Last Name)			Record title
Composer (NAME) Piece			Place / Church
CD DVD Vinyl			Publisher

16547 discs

1 - Wolfgang HÖRLIN

• 1200 Jahre Nordheim/Rhön (789-1989) •

W. Hörlin : improvisations

J. V. Rathgeber : Pastorellen Für Die Weihnachtszeit - Ex C, Ex D, Ex G, Ex A

F. X. Schnitzer : Sonate Nr. 5 B-Dur

Pater B. Holzapfel : Schlagstück A-Dur

- Nordheim/Rhön, Neustädtles
- Disque Musik & Fest Verlag – LP FS 150 224 -Kirchenorgeln In Bayern – 001, 1988

Katholische Kirche Nordheim/Rhön
A1 Glockengeläut Der Katholischen Kirche Nordheim 0:54
A2 Improvisation Über ”Johannes Auserkoren” 7:53
A3 Pastorellen Für Die Weihnachtszeit - Ex C, Ex D, Ex G, Ex A
Composed By – Johann Valentin Rathgeber
6:31
A4 Sonate Nr. 5 - B-Dur - Allegro/Minnetto/Presto
Composed By – Franz Xaver Schnitzer
9:38
Evangelische Kirche Nordheim/Rhön
B1 Glockengeläut Der Evangelischen Kirche Nordheim 0:34
B2 Improvisation Über ”Wie Schön Leucht Uns Der Morgenstern” 11:18
Katholische Kirche Neustädtles
B3 Glockengeläut Der Katholischen Kirche Neustädtles 0:54
B4 Schlagstück A-Dur
Composed By – Pater Bruno Holzapfel*
3:52
B5 Improvisation Über ”Gegrüßt Seist Du, Königin” 6:12
Evangelische Kirche Neustädtles
B6 Glockengeläut Der Evangelischen Kirche Neustädtles 0:41
B7 Improvisation Über ”Nun Danket Alle Gott” 5:13

2 - Luk BASTIAENS [1], Nicolas De TROYER [2], Stijn HANSSENS [3], Edward VANMARSENILLE [4], Bart WUILMUS [5]

Anonyme Oxford : ”Missa Dominicalis”, Fantasia, Magnificat 6e ton [5]

J.-F. Dandrieu : Livre 1 / Suite 1 Pièces en D. La Ré [1]

M. van Ingelgem : Meditatio, Le Stelle della Via Appia, Die Nachtegael [3]

J. S. Bach : Concerto, D min, BWV 596 [2]; An Wasserflüssen Babylon, BWV 653 [4]

M. Weckmann : Gelobet seist du, Jesu Christ [2]

K. P. E. Bach : Fantasia und Fuge, C min, Wq 119-7 [4]

- Schurhoven, Boorsem, Wondelgem
- Disque Orgelkunst [Nov. 2025] CD25,

3 - Cédric MECKLER, Olivier VERNET

• Bwv2, organ and synthesizer •

J. S. Bach : Toccata con fuga BWV 565 (second piano part by W. Middelschulte); Invention 8 BWV 779 (second piano part by L. V. Saar; and arrg. 2 pianos by C. Scott); Brandenburg concerto BWV 1048 (tr. meckler/ Vernet); Choral Sei gegrüsset Jesu Gütig BWV 768 ( arr. organ duet N. Gade); Prélude BWV 875 (second piano part I. Moscheles); Concerto BWV 1061; Ciaccona (chaconne) BWV 1004 (arr. C. Reinecke, R. Schumamn & F. Mendelssohn, Meckler/Vernet);
- : Swinging Bach (arr. P. Heaps, L. Nordin)

C. Balayer : Bach Chat (jazzy digessions on BWV 1043, 1067, 147, 971)

- Disque Ligia;, sept. 2025

Cet album célèbre le 20ème anniversaire du duo d’organistes que forment Olivier Vernet et Cédric Meckler.

Toujours anticonformistes, les deux artistes, pour l’enregistrer jouent sur des instruments samplés pour le logiciel Hauptwerk, de même que sur des synthétiseurs. Dans ce disque des instruments parfois éloignés de centaines de kilomètres dialoguent de manière inédite.

Olivier Vernet, synthesizer et orgue

Cédric Meckler, synthesizer et orgue

St. Marien, Stralsund (Stellwagen Organ)

Altenbruch (Klapmeyer Organ) / Lüdingworth (Arp Schnitger Organ)

St. Martini, Groningen / St. Marien, Stralsund (Stellwagen Organ)

St. Charles, Monaco (Tamburini Organ)

Évreux Cathedral (Quoirin Organ)

Orgue de St. Vincent, Roquevaire

4 - Mary MOZELLE

• Exultate •

D. Gawthrop : Exultate; Sketchbook One; Caprice; Nocturne; Toccata Brevis; Sketchbook Three; Partita on Hyfrydol; Chorale; O Jerusalem – A Symphony for Organ

- Princeton University Chapel
- Disque MSR,

5 - Odile BAILLEUX [1], Pierre MEA [2], Paul BARRAS [3], Jean-Christophe REVEL [4], Christophe D'ALESSANDRO [5], Hervé DESARBRE [6], Frédéric MAYEUR [7]

B. Storace : Passacaille [1]

N. de Grigny : Tierce en taille [1]

M. Ravel : Pavane pour une infante defunte [2]

P. Barras : Méditation sur le Kyrie Cum Jubilo (suite à sainte-Waudru); Arabesque (Six miniatures) [3]

J.-C. Revel : 3 versets de magnificat improvisés [4]

C. D'Alessandro : La création au 3e jour & la création d'Eve (Speculum nuptiarum) [5]

A. Fleury : Communion pour la Fête de tous les Saints, Elévation pour le 16e dimanche après la Pentecôte, Vereset sur A solis ortus cardine [6]

A. Fleury : Postlude [7]

- Uzès cathédrale [1], Laguna Woods Geneva Presbyterian Church [2], Woluwe-Saint-Lambert Divin Sauveur [3], Auch St-Orens [4], Paris Ste-Elisabeth [5], Paris Val-de-Grâce [6], Dijon St-Bénigne [7; cathédrale]
- Disque Orgues Nouvelles; ON70, 21 oct. 1984 [1], Fevr. 2025 [2], années 1980 [3?], 16 mai 2025 [4], 2025 [5?, 6?, 7?]

6 - Gabriel MARGHIERI

• Paysages intérieurs •

G. Marghieri : Improvisations

- Lyon St-Bonaventure
- Disque Hortus;, 2025

7 - 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

8 - Eric LEBRUN, Marie-Ange LEBRUN-LEURENT

• Intégrale Js Bach vol. 10 - Sonates en trio, 5 trios, Praeludium, Fantaisie, Te Deum •

J. S. Bach : Six Sonates en trio BWV 525-530 [1] [interprétés avec une basse continue], Concerto BWV 597 [1], Trio BWV 1027a [1]; Trios BWV 583, 584, 586 (avec continuo) [2]; Fantaisie en ut mineur BWV 1121 [découverte ces dernières années], Fantasia inachevée ut majeur BWV 573, Prélude ut mineur BWV 999, Fugue ut mineur BWV 575, Fugue sol BWV 581, Prélude en la mineur BWV 569, Te Deum BWV 725 [3]

- Lübeck Jacobikirche [grand orgue -1; orgue Stellwagen -2], Saint-Loup-sur-Thouet [3]
- Disque Chanteloup;, 9 & 10 sept. 2025 [1, 2], 27 oct. 2025 [3]

https://www.youtube.com/watch?v=dg5n9uKKje8&t=1s

https://www.youtube.com/watch?v=iBobNVA6m1Q&list=RDiBobNVA6m1Q&start_radio=1

Lübeck :
-Friedrich Stellwagen (1637, rest. G. Hillebrand 1978)
-Grand orgue (Schuke 1984, rest. Flentrop 2013)

9 - 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

10 - Jurgita KAZAKEVICIUTE, Egle RUDOKAITE, Dovile SAVICKAITE, Balys VAITKUS

Mikalojus Konstantinas Ciurlionis : intégrale

- Vilnius université [St John's Church- Sv. Jonų baznycios vargonai]
- Disque vargonininkai@gmail.com, août 2025

http://vargonininkai.lt/cd_ciurlionis.htm?fbclid=IwY2xjawNwpvpleHRuA2FlbQIxMABicmlkETE1YUN6UUJsejhtRkpxc1c5AR47r_spUr-_yOIJO5GDu8n5iPmav1hgJMt1lXcJEI_JgTM7E-6go8l32MoZ5w_aem_w5qGJyMRG8EpwgDlE78O2w

préludes, hymnes d'église, canons, fugues, variations et paysages - et le poème symphonique ”Forest” (dr. B. Transcription de Vaitkus pour deux organistes selon le manuscrit de 1900-1901)

Mikalojus Konstantinas Čiurlionis (1875–1911)

1 CD Preliudai, ankstyvosios fugos, kanonai, variacijos 1. Preliudas Fis-dur „Viešpaties Angelas“, VL 184 2. Preliudas A-dur, VL 87 3. Preliudas C-dur, VL 89 4. Preliudas g-moll, VL 90 5. Preliudas F-dur, VL 90a 6. Preliudas B-dur, VL 94 7. Preliudas Es-dur, VL 95 8. Preliudas C-dur, VL 96 9. Preliudas As-dur, VL 97 10. Preliudas a-moll, VL 98 11. Preliudas C-dur, VL 99 12. Preliudas F-dur, VL 103 Dovilė Savickaitė (vargonai) 13. Fuga C-dur, VL 134 14. Fuga F-dur, VL 135 15. Fuga A-dur, VL 136 16. Fuga Des-dur, VL 137 17. Fuga C-dur, VL 138 18. Fuga f-moll, VL 154 19. Kanonas B-dur, VL 125 20. Kanonas d-moll, VL 127 21. Kanonas As-dur, VL 132 22. Kanonas A-dur, VL 211 23. Kanonas fis-moll, VL 212 24. Kanonas Des-dur, VL 213 25. Kanonas c-moll, VL 216 Balys Vaitkus (vargonai) 26. Mazurka su variacija G-dur, VL 238 27. Variacijos „Oi giria, giria“, VL 276 28. Variacijos „Vai, močiute“, VL 277 29. Variacijos „Bėkit, bareliai“, VL 279 30. Variacijos „Sėjau rūtą“, VL 334 Jurgita Kazakevičiūtė (vargonai) 31. Preliudas h-moll, VL 182a 32. Pastoralė, VL 187 33. Preliudas F-dur/a-moll, VL 188 34. Dainelė, VL 199 35. Preliudas a-moll, VL 230 36. Postliudas C-dur, VL 240 37. Simbolinio garsaeilio preliudas d-moll, VL 256 38. Naujosios dermės preliudas, VL 302 39. Preliudas g-moll „Šventas Dieve“, VL 343 Eglė Rudokaitė (vargonai)

2 CD Fugos, jūros peizažai, simfoninė poema „Miške“ 1. Fuga c-moll „Kyrie eleison“, VL 19 2. Fuga cis-moll, VL 86 3. Fuga g-moll, VL 218 4. Fuga c-moll, VL 219 5. Fuga Es-dur, VL 220 6. Fuga a-moll, VL 221 Jurgita Kazakevičiūtė (vargonai) 7. Fuga fis-moll, VL 223 8. Fuga h-moll, VL 224 9. Fuga C-dur, VL 225 10. Fuga e-moll, VL 226 11. Fuga-choralas a-moll, VL 227 Dovilė Savickaitė (vargonai) 12. Fugetė g-moll, VL 91 13. Fugetė a-moll, VL 92 14. Fugetė c-moll, VL 93 15. Fugato d-moll, VL 102 16. Fugetė h-moll, VL 262 17. Fugetė c-moll, VL 314 18. Fuga b-moll, VL 345 Eglė Rudokaitė (vargonai) 19. Santaika, VL 255 20. Marios: Andante, VL 317b Balys Vaitkus (vargonai) 21. Simfoninė poema „Miške“, VL 1 Eglė Rudokaitė ir Balys Vaitkus (vargonininkų duetas)

16547 discs

Source: database Alain CARTAYRADE
www.france-orgue.fr

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