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Organ works account for only 17 of Vierne's 62 opus numbers, and yet no one would now question his status as the organ's greatest symphonist after Franck and Widor. His six symphonies stand at the pinnacle of the 20th-century literature for the instrument: the six-movement First Symphony with it's fugue and celebrated Final ('my Marseillaise', as he referred to it); the Second, his masterpiece, with it's scintillating scherzo; the Third, the shortest and most concise; the Fourth, whose tortured outer movements are in sharp contrast to the buoyant Menuet and sumptuous Romance; the Fifth, the longest, and in many respects the most elevated; his Sixth and last, the most harmonically advanced and psychologically complex, rising from the depths of despair to ebullience in it's rampant Final. In complement to the symphonies, Vierne composed several suites of pieces 'in a free style', as well as more impressionistically conceived sets of fantasy pieces. Music specifically designed for the liturgy includes a pair of organ masses - one of them a requiem - and a triptych of meditations. Whether reflective and deeply etched with chromaticism or ebullient and thunderous, all of Vierne's output for his own instrument is conceived with the sound and tonal variety of Cavaillé-Coll's organ's in mind - one of the largest of all being the organ at Notre Dame in Paris, where Vierne occupied the post of titular organist for many decades. The German-American organist Wolfgang Rübsam has himself been counted among the finest living organists for many decades, internationally known through over a hundred highly acclaimed albums of organ repertoire from the Baroque and Romantic periods including recent Bach recordings on the lute-harpsichord for Brilliant Classics: 'These lovely performances memorably showcase Rübsam's sensitive and poetic side' (Classics Today).
Organ works account for only 17 of Vierne's 62 opus numbers, and yet no one would now question his status as the organ's greatest symphonist after Franck and Widor. His six symphonies stand at the pinnacle of the 20th-century literature for the instrument: the six-movement First Symphony with it's fugue and celebrated Final ('my Marseillaise', as he referred to it); the Second, his masterpiece, with it's scintillating scherzo; the Third, the shortest and most concise; the Fourth, whose tortured outer movements are in sharp contrast to the buoyant Menuet and sumptuous Romance; the Fifth, the longest, and in many respects the most elevated; his Sixth and last, the most harmonically advanced and psychologically complex, rising from the depths of despair to ebullience in it's rampant Final. In complement to the symphonies, Vierne composed several suites of pieces 'in a free style', as well as more impressionistically conceived sets of fantasy pieces. Music specifically designed for the liturgy includes a pair of organ masses - one of them a requiem - and a triptych of meditations. Whether reflective and deeply etched with chromaticism or ebullient and thunderous, all of Vierne's output for his own instrument is conceived with the sound and tonal variety of Cavaillé-Coll's organ's in mind - one of the largest of all being the organ at Notre Dame in Paris, where Vierne occupied the post of titular organist for many decades. The German-American organist Wolfgang Rübsam has himself been counted among the finest living organists for many decades, internationally known through over a hundred highly acclaimed albums of organ repertoire from the Baroque and Romantic periods including recent Bach recordings on the lute-harpsichord for Brilliant Classics: 'These lovely performances memorably showcase Rübsam's sensitive and poetic side' (Classics Today).
5028421963983
Complete Organ Music (Box)
Artist: Wolfgang Rübsam
Format: CD
New: Available $38.99
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DISC: 1
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1. Pièces En Style Libre, Op. 31 Livre I: I. Préambule
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2. Pièces En Style Libre, Op. 31 Livre I: II. Cortège
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3. Pièces En Style Libre, Op. 31 Livre I: III. Complainte
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4. Pièces En Style Libre, Op. 31 Livre I: IV. Épitaphe
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5. Pièces En Style Libre, Op. 31 Livre I: V. Prélude
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6. Pièces En Style Libre, Op. 31 Livre I: VI. Canon
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7. Symphony No. 1 In D Minor, Op. 14: I. Prélude
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8. Symphony No. 1 In D Minor, Op. 14: II. Fugue
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9. Symphony No. 1 In D Minor, Op. 14: III. Pastorale
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10. Symphony No. 1 In D Minor, Op. 14: IV. Allegro Vivace
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11. Symphony No. 1 In D Minor, Op. 14: V. Andante
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12. Symphony No. 1 In D Minor, Op. 14: VI. Final
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13. Symphony No. 2 In E Minor, Op. 20: I. Allegro
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14. Symphony No. 2 In E Minor, Op. 20: II. Choral
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15. Symphony No. 2 In E Minor, Op. 20: III. Scherzo
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16. Symphony No. 2 In E Minor, Op. 20: IV. Cantabile
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17. Symphony No. 2 In E Minor, Op. 20: V. Final
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18. Triptyque, Op. 58: II. Communion
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19. Triptyque, Op. 58: I. Matines
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20. Triptyque, Op. 58: III. Stèle Pour Un Enfant Défunt
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21. Symphony No. 3 In F-Sharp Minor, Op. 28: I. Allegro Maestoso
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22. Symphony No. 3 In F-Sharp Minor, Op. 28: II. Cantilène
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23. Symphony No. 3 In F-Sharp Minor, Op. 28: III. Intermezzo
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24. Symphony No. 3 In F-Sharp Minor, Op. 28: IV. Adagio
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25. Symphony No. 3 In F-Sharp Minor, Op. 28: V. Finale
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26. Allegretto In B Minor, Op. 1
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27. Communion, Op. 8
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28. Pièces En Style Libre, Op. 31 Livre I: VII. Méditation
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29. Pièces En Style Libre, Op. 31 Livre I: VIII. Idylle Mélancolique
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30. Pièces En Style Libre, Op. 31 Livre I: IX. Madrigal
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31. Pièces En Style Libre, Op. 31 Livre I: X. Rêverie
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32. Pièces En Style Libre, Op. 31 Livre I: XI. Divertissement
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33. Pièces En Style Libre, Op. 31 Livre I: XII. Canzona
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34. Symphony No. 4 In G Minor, Op. 32: I. Prélude
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35. Symphony No. 4 In G Minor, Op. 32: II. Allegro
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36. Symphony No. 4 In G Minor, Op. 32: III. Menuet
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37. Symphony No. 4 In G Minor, Op. 32: IV. Romance
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38. Symphony No. 4 In G Minor, Op. 32: V. Final
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39. Verset Fugué Sur 'in Exitu Israël'
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40. Marche Triomphale Du Centenaire De Napoléon I, Op. 46
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41. Pièces En Style Libre, Op. 31 Livre II: XIII. Légende
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42. Pièces En Style Libre, Op. 31 Livre II: XIV. Scherzetto
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43. Pièces En Style Libre, Op. 31 Livre II: XV. Arabesque
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44. Pièces En Style Libre, Op. 31 Livre II: XVI. Choral
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45. Pièces En Style Libre, Op. 31 Livre II: XVII. Lied
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46. Symphony No. 5 In A Minor, Op. 47: I. Grave
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47. Symphony No. 5 In A Minor, Op. 47: II. Allegro Molto Marcato
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48. Symphony No. 5 In A Minor, Op. 47: III. Tempo Di Scherzo Ma Non Troppo Vivo
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49. Symphony No. 5 In A Minor, Op. 47: IV. Larghetto
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50. Symphony No. 5 In A Minor, Op. 47: V. Final
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51. Pièces En Style Libre, Op. 31 Libre II: XVIII. Marche Funèbre
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52. Pièces En Style Libre, Op. 31 Libre II: XIX. Berceuse
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53. Pièces En Style Libre, Op. 31 Libre II: XX. Pastorale
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54. Pièces En Style Libre, Op. 31 Libre II: XXI. Carillon Sur La Sonnerie Du Carillon De La Chapelle Du Château De Long
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55. Pièces En Style Libre, Op. 31 Libre II: XXII. Élégie
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56. Pièces En Style Libre, Op. 31 Libre II: XXIII. Épithalame
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57. Pièces En Style Libre, Op. 31 Libre II: XXIV. Postlude
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58. Symphony No. 6 In B Minor, Op. 59: I. Introduction Et Allegro
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59. Symphony No. 6 In B Minor, Op. 59: II. Aria
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60. Symphony No. 6 In B Minor, Op. 59: III. Scherzo
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61. Symphony No. 6 In B Minor, Op. 59: IV. Adagio
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62. Symphony No. 6 In B Minor, Op. 59: V. Final
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63. Messe Basse, Op. 30: I. Entrée
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64. Messe Basse, Op. 30: II. Introït
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65. Messe Basse, Op. 30: III. Offertoire
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66. Messe Basse, Op. 30: IV. Élévation
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67. Messe Basse, Op. 30: V. Communion
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68. Messe Basse, Op. 30: VI. Sortie
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69. Messe Basse Pour Les Défunts, Op. 62: I. Introït
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70. Messe Basse Pour Les Défunts, Op. 62: II. Prélude
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71. Messe Basse Pour Les Défunts, Op. 62: III. Offertoire
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72. Messe Basse Pour Les Défunts, Op. 62: IV. Élévation
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73. Messe Basse Pour Les Défunts, Op. 62: V. Communion
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74. Messe Basse Pour Les Défunts, Op. 62: VI. Défilé
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75. Prélude Funèbre, Op. 4
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76. 3 Improvisations: I. Cortège
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77. 3 Improvisations: II. Marche Épiscopale
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78. 3 Improvisations: III. Méditation
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79. Pièces De Fantaisie Suite No. 1, Op. 51: I. Prélude
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80. Pièces De Fantaisie Suite No. 1, Op. 51: II. Andantino
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81. Pièces De Fantaisie Suite No. 1, Op. 51: III. Caprice
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82. Pièces De Fantaisie Suite No. 1, Op. 51: IV. Intermezzo
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83. Pièces De Fantaisie Suite No. 1, Op. 51: V. Requiem Aeternam
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84. Pièces De Fantaisie Suite No. 1, Op. 51: VI. Marche Nuptial
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85. Pièces De Fantaisie Suite No. 2, Op. 53: I. Lamento
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86. Pièces De Fantaisie Suite No. 2, Op. 53: II. Sicilienne
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87. Pièces De Fantaisie Suite No. 2, Op. 53: III. Hymne Au Soleil
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88. Pièces De Fantaisie Suite No. 2, Op. 53: IV. Feux Follets
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89. Pièces De Fantaisie Suite No. 2, Op. 53: V. Clair De Lune
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90. Pièces De Fantaisie Suite No. 2, Op. 53: VI. Toccata
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91. Pièces De Fantaisie Suite No. 3, Op. 54: I. Dédicace
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92. Pièces De Fantaisie Suite No. 3, Op. 54: II. Impromptu
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93. Pièces De Fantaisie Suite No. 3, Op. 54: III. Étoile Du Soir
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94. Pièces De Fantaisie Suite No. 3, Op. 54: IV. Fantômes
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95. Pièces De Fantaisie Suite No. 3, Op. 54: V. Sur Le Rhin
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96. Pièces De Fantaisie Suite No. 3, Op. 54: VI. Carillon De Westminster
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97. Pièces De Fantaisie Suite No. 4, Op. 55: I. Aubade
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98. Pièces De Fantaisie Suite No. 4, Op. 55: II. Résignation
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99. Pièces De Fantaisie Suite No. 4, Op. 55: III. Cathédrales
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100. Pièces De Fantaisie Suite No. 4, Op. 55: IV. Naïades
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101. Pièces De Fantaisie Suite No. 4, Op. 55: V. Gargouilles Et Chimères
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102. Pièces De Fantaisie Suite No. 4, Op. 55: VI. Les Cloches De Hinckley
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More Info:

Organ works account for only 17 of Vierne's 62 opus numbers, and yet no one would now question his status as the organ's greatest symphonist after Franck and Widor. His six symphonies stand at the pinnacle of the 20th-century literature for the instrument: the six-movement First Symphony with it's fugue and celebrated Final ('my Marseillaise', as he referred to it); the Second, his masterpiece, with it's scintillating scherzo; the Third, the shortest and most concise; the Fourth, whose tortured outer movements are in sharp contrast to the buoyant Menuet and sumptuous Romance; the Fifth, the longest, and in many respects the most elevated; his Sixth and last, the most harmonically advanced and psychologically complex, rising from the depths of despair to ebullience in it's rampant Final. In complement to the symphonies, Vierne composed several suites of pieces 'in a free style', as well as more impressionistically conceived sets of fantasy pieces. Music specifically designed for the liturgy includes a pair of organ masses - one of them a requiem - and a triptych of meditations. Whether reflective and deeply etched with chromaticism or ebullient and thunderous, all of Vierne's output for his own instrument is conceived with the sound and tonal variety of Cavaillé-Coll's organ's in mind - one of the largest of all being the organ at Notre Dame in Paris, where Vierne occupied the post of titular organist for many decades. The German-American organist Wolfgang Rübsam has himself been counted among the finest living organists for many decades, internationally known through over a hundred highly acclaimed albums of organ repertoire from the Baroque and Romantic periods including recent Bach recordings on the lute-harpsichord for Brilliant Classics: 'These lovely performances memorably showcase Rübsam's sensitive and poetic side' (Classics Today).
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