Repertoire

1460–1521 · German Renaissance

Arnolt Schlick served as an organist at Trier Cathedral, where he composed notable organ works that exemplify the Renaissance German style. His "Speculum musices," published in 1512, is one of the earliest printed books on organ music and includes theoretical discussions alongside practical pieces, making him a pivotal figure in early organ music history.

Tabulatura Nova — Open repertoire

1540–1623 · English Renaissance

William Byrd, English composer of the Renaissance period, served as an organist at Lincoln Cathedral and later at the Chapel Royal. Renowned for his sacred and secular polyphonic works, Byrd also composed significant organ music, including voluntaries and variations on traditional plainchants. His contributions have cemented his status as a pivotal figure in the development of English keyboard music.

Voluntary for organ II (B.46) — Open repertoire

1549–1624 · Italian Renaissance

Costanzo Antegnati served as organist at the Cathedral of Milan, continuing his family’s prestigious tradition in instrument making and composition. His organ works exemplify the Italian Renaissance style with their intricate polyphony and expressive ornamentation. Antegnati's contributions are significant to the development of organ music, showcasing technical mastery and aesthetic refinement that influenced subsequent generations of composers and performers.

Toccata quarta — Open repertoire

1564–1612 · German Renaissance

Organist at the prestigious Church of Our Lady in Nuremberg, Hans Leo Hassler was a pivotal figure in the German Renaissance. Renowned for his sacred vocal works, Hassler also made significant contributions to organ music with his collections published posthumously. His compositions exemplify the German polyphonic style and exerted a profound influence on subsequent generations of composers, securing his legacy as an important innovator in early Baroque organ music.

Toccata in D minor — Open repertoire

1565–1627 · Neapolitan Renaissance

Organist at the Naples Cathedral, Ascanio Mayone was a prominent figure in the Renaissance Napolitain style. Renowned for his intricate organ compositions, which blended local traditions with broader European influences, Mayone's works contributed significantly to the development of Italian organ music during the late 16th and early 17th centuries. His legacy is marked by an innovative approach that enriched the organ repertory with complex counterpoint and expressive ornamentation.

Toccata e Fuga in Do minore — Open repertoire

1570–1635 · German Renaissance

Organist at the Church of St. Martin in Ulm, Christian Erbach was a prominent figure in the German Renaissance organ tradition. His compositions, particularly his chorale settings and free works for organ, showcase a masterful command of counterpoint and texture. Erbach's contributions to the repertoire were significant, influencing subsequent generations of organists and composers throughout Europe.

Praeambulum et fugue super 'Veni Creator Spiritus' — Open repertoire

1572–1656 · English Renaissance

Thomas Tomkins served as organist at Worcester Cathedral during the English Renaissance, contributing significantly to the development of English organ music. Known for his skillful compositions that blend vocal and instrumental styles, Tomkins's works for the organ exemplify the rich polyphonic traditions of his time. His contributions are crucial in the history of organ music, marking a bridge between the Renaissance and early Baroque periods in England.

Voluntary in G minor — Open repertoire

1575–1647 · Neapolitan Baroque

Organist at the Naples Cathedral from 1620, Giovanni Maria Trabaci was a prominent figure in the Baroque Neapolitan style. His extensive collection of organ works, including Toccate and Ricercari, showcases his mastery of counterpoint and improvisation techniques. Trabaci's compositions significantly influenced the development of Italian organ music during the early 17th century, earning him a lasting place in the history of organ literature.

Toccata e Fuga sopra il Canto fermo della Miserere — Open repertoire

1583–1625 · English Renaissance

Organist at King's College Cambridge from 1603 until his death, Orlando Gibbons was a prominent figure in Renaissance English music. His contributions to organ music include several fantasias that showcase the florid and intricate style characteristic of the period. Gibbons’s works are significant for their integration of vocal polyphony into keyboard composition, influencing the development of English organ music.

Voluntary for Organ I — Repertoire in dialogue

1587–1654 · German Baroque

Considered the father of German organ music, Samuel Scheidt was organist in Halle and a student of Jan Pieterszoon Sweelinck in Amsterdam. His Tabulatura Nova (1624), in three volumes containing fifty-seven pieces, is the founding monument of Germanic organ literature. The work introduced open-score notation replacing alphabetical tablature, revolutionizing editorial practice. His chorale variations, fantasias, toccatas, and liturgical pieces for the Lutheran Mass and Office established the formal models that subsequent generations would develop through to Bach.

Tabulatura Nova, Vol. II — Echo ad Manuale Duplex (SSWV 128) (SSWV 128) — Repertoire in dialogue

1592–1667 · North German Baroque

Melchior Schildt served as an organist in Hamburg, where he significantly contributed to the development of North German Baroque organ music. His extensive collection of chorale preludes and fugues exemplify the stylistic characteristics of his era, blending contrapuntal complexity with expressive melody. Schildt's works were influential in shaping the organ repertory of Northern Germany during the 17th century, solidifying his legacy as a pivotal figure in early Baroque organ composition.

Praeambulum — Open repertoire

1595–1663 · North German Baroque

Co-founder of the North German organ school, Heinrich Scheidemann studied under Sweelinck in Amsterdam from 1611 to 1614, then became organist at the Catharinenkirche in Hamburg, a position he held for over thirty years. More organ music by Scheidemann survives than by any other composer of his time. His chorale fantasias, a genre he helped invent, combine Sweelinck's style with the resources of the developing German Baroque organ. His Magnificat cycles and chorale preludes directly anticipate the art of Buxtehude and Bach. Among his students was Johann Adam Reincken.

Magnificat VIII. Toni (Fantaisie chorale) — Repertoire in dialogue

1601–1656 · Italian Baroque

Michelangelo Rossi, active during the Italian Baroque period, served as an esteemed organist at St. Peter's Basilica in Rome. His contributions to organ music include several notable works that exemplify the grandeur and technical sophistication characteristic of his era. Rossi’s compositions have earned him a significant place in the history of organ music, influencing subsequent generations of composers with their expressive depth and structural innovation.

Toccata e Corrente — Open repertoire

1601–1694 · North German Baroque

Delphin Strungk served as an organist at various churches in Hamburg, significantly contributing to the Baroque north German style of organ music. His works are characterized by intricate counterpoint and expressive harmonies, which have influenced generations of organists. Strungk's compositions for the organ, including chorale preludes and fugues, are essential to the repertoire, exemplifying the technical and musical ideals of his era.

Praeludium et Fuga in G — Repertoire in dialogue

1611–1679 · Spanish Baroque

Pablo Bruna served as organist at the Cathedral of Tarragona, Spain, where he composed numerous works for the organ that exemplify the Baroque Spanish style. His compositions are characterized by intricate polyphony and an expressive use of registration, which have earned him a significant place in the history of organ music. Bruna's contributions to the development of Spanish organ literature during the 17th century remain highly influential and studied today.

Toccata y Fuga en Re menor — Open repertoire

1616–1674 · North German Baroque

Trained in Dresden by Heinrich Schütz and in Hamburg by Jacob Praetorius, Matthias Weckmann was appointed titular organist of the Jakobikirche in Hamburg in 1655, where he founded the Collegium Musicum. His organ works, among the most inventive of the pre-Buxtehude North German school, include monumental chorale variation cycles, toccatas, fantasias, and canzonas. His Es ist das Heil uns kommen her, in seven variations lasting about thirty-five minutes, is the longest 17th-century organ chorale work. His friendship with Froberger, born of a competition organized by the Elector of Saxony, enriched his style with Italian and French influences.

Es ist das Heil uns kommen her (7 variations) — Repertoire in dialogue

1616–1667 · German Baroque

Johann Jacob Froberger, an Austrian Baroque composer and organist, served as court organist in Vienna under Emperor Ferdinand III, significantly influencing the development of keyboard music. His works, particularly his suites and free organ pieces, exemplify the fusion of Italian, French, and German styles. Froberger’s innovative use of basso continuo and thematic variation techniques made him a pivotal figure in early Baroque organ music history.

Toccata VII (FWV 6:7) — Repertoire in dialogue

1618–1701 · Flemish Baroque

Abraham van den Kerckhoven served as an esteemed organist at several prominent churches in Antwerp, including Saint James's Church and Our Lady's Cathedral. Renowned for his mastery of the Baroque Flemish style, his extensive organ works significantly enriched the repertory of the period. Van den Kerckhoven’s contributions are celebrated for their intricate counterpoint and expressive use of the organ, marking him as a pivotal figure in the evolution of organ music during the late Baroque era.

Preludium et Fugue (OVK I/24) — Repertoire in dialogue

1637–1710 · Italian Baroque

Roman harpsichordist and organist, Pasquini was one of the central figures in the musical life of Rome at the end of the 17th century. His sonatas and toccatas for organ combine virtuosity with a thoroughly Italian expressiveness.

Toccata con lo Scherzo del Cucco — Repertoire in dialogue

1643–1722 · North German Baroque

Organist at Saint Catherine's in Hamburg for more than fifty years, Reincken was a legendary master of the North German stylus phantasticus. Bach made two trips to Hamburg to hear him and improvised before him on "An Wasserflüssen Babylon."

An Wasserflüssen Babylon — Repertoire in dialogue

1645–1725 · North German Baroque

Christian Ritter served as an organist at several important churches in Germany, notably at St. Mary's Church in Lübeck. Renowned for his intricate and expressive organ compositions, Ritter contributed significantly to the development of North German Baroque organ music. His works exemplify the contrapuntal complexity and technical virtuosity characteristic of the era, ensuring his enduring legacy as a pivotal figure in organ music history.

Praeludium et Fuga in D minor — Repertoire in dialogue

1649–1712 · North German Baroque

Daniel Erich served as an organist at the St. Jacobi Church in Lübeck, contributing significantly to the Baroque north German organ tradition. His extensive collection of chorale preludes and fugues exemplifies the technical and expressive possibilities of the northern German organ style. Erich's works are notable for their contrapuntal complexity and emotional depth, securing his importance in the history of organ music.

Praeludium in C major — Repertoire in dialogue

1653–1706 · German Baroque

Organist at Saint-Sebald in Nuremberg, Pachelbel is one of the great figures of South German baroque organ music. His chorales and magnificats, with their clear southern character, differ from the virtuosic style of the Northern school.

Chaconne en ré mineur — Repertoire in dialogue

1653–1704 · German Baroque

A truly international composer, Georg Muffat was born in Savoy, studied in Paris under Lully (1663-1669), then in Rome with Pasquini where he befriended Corelli. Organist and Kapellmeister in Salzburg and then Passau, he achieved a unique synthesis of French, Italian, and German styles. His Apparatus musico-organisticus (1690), dedicated to Emperor Leopold I, comprises twelve toccatas, a ciacona, a passacaglia, and a set of variations. It is the largest corpus of organ works published at the time and one of the summits of South German 17th-century organ repertoire.

Apparatus musico-organisticus — Passacaglia — Repertoire in dialogue

1654–1740 · North German Baroque

Organist at Saint-Nicolas in Hamburg, Vincent Lübeck is an eminent representative of the North German organ school. His preludes and fugues stand out for their virtuosic drive and the brilliance of their composition.

Prélude et Fugue en mi majeur — Repertoire in dialogue

1660–1722 · German Baroque

Johann Kuhnau served as the Thomaskantor in Leipzig, succeeding Johann Schelle, and was a pivotal figure in German Baroque organ music. His compositions for the organ, including "Neuer Baeumlein," showcase his mastery of counterpoint and textural clarity, making significant contributions to the development of the chorale prelude. Kuhnau's work bridged the styles of Sweelinck and Bach, influencing subsequent generations of organ composers.

Praeludium in C Major — Open repertoire

1661–1733 · German Baroque

Organist of the Johanniskirche in Lüneburg, Georg Böhm was one of the masters of German baroque organ music. His chorale partitas, blending French influences with northern German tradition, notably influenced the young Bach.

Prélude et Fugue en do majeur — Repertoire in dialogue

1663–1711 · North German Baroque

Johann Nicolaus Hanff served as an esteemed organist at St. Katharinen in Hamburg, where his mastery of the Baroque nord-allemand style significantly influenced local musicians. His compositions for the organ are celebrated for their intricate counterpoint and expressive melodies, contributing notably to the rich tapestry of Northern German Baroque organ music. Hanff's works have endured as essential study pieces for aspiring organists, highlighting his lasting impact on the genre.

Toccata, Fugue et Corrente — Open repertoire

1664–1710 · North German Baroque

Georg Dietrich Leyding served as an esteemed organist at St. Nicolai church in Hamburg, Germany. Renowned for his intricate and harmonically rich organ compositions, Leyding significantly contributed to the development of the North German Baroque organ style. His works exemplify the period's technical virtuosity and expressive depth, solidifying his legacy in organ music history.

Praeludium in F major — Open repertoire

1665–1697 · North German Baroque

Pupil of Buxtehude and organist at Husum, Nicolaus Bruhns was a prodigy of North German organ music, who died at only 31 years old. The few preludes that have reached us bear witness to his dazzling genius and exceptional virtuosity.

Prélude en mi mineur (Grand) — Repertoire in dialogue

1666–1727 · German Baroque

Johann Heinrich Buttstett served as an organist at several important churches in his native Germany, including the Predigerkirche in Erfurt. His extensive collection of organ works exemplifies the intricate and expressive style characteristic of the Baroque era. Buttstett's contributions to the genre are marked by a profound influence on subsequent generations of composers, solidifying his status as a pivotal figure in the history of German organ music.

Praeludium in D minor — Repertoire in dialogue

1670–1725 · North German Baroque

Arnold Matthias Brunckhorst served as an esteemed organist at various churches in Hamburg, significantly contributing to the Baroque north German organ tradition. His extensive collection of organ works showcases the intricate counterpoint and expressive ornamentation characteristic of his era. Brunckhorst's compositions remain pivotal for understanding the development of organ music within the Baroque period, particularly influencing subsequent generations of northern German composers.

Toccata et Fugue en ré mineur — Repertoire in dialogue

1684–1748 · German Baroque

Organist of the Stadtkirche in Weimar and cousin of J. S. Bach, Walther is the author of an important body of transcriptions for organ of Italian concertos and elaborate chorales. He is also the author of the first German music dictionary (1732).

Concerto en si mineur (d'après Vivaldi) — Repertoire in dialogue

1688–1726 · Italian Baroque

Italian composer and Jesuit missionary, Zipoli settled in South America where he evangelized through music. His « Sonate d'intavolatura » (1716), published in Rome before his departure, contains organ pieces of melodious simplicity.

Sonate d'Intavolatura - Toccata — Repertoire in dialogue

1702–1762 · German Baroque

Johann Ernst Eberlin served as an organist at various churches in Alsace, notably at the Munster in Colmar. Renowned for his intricate and technically demanding organ compositions, his works exemplify the refined Baroque style of the German school. Eberlin's contributions are pivotal to organ music history, particularly through his publication "Livre d'orgue," which remains a testament to his innovative approach to composition and his mastery of the organ.

Praeludium in D Minor — Open repertoire

1706–1785 · Venetian Classical

Baldassare Galuppi served as an esteemed organist at Santa Maria della Visitazione in Venice, where his skill and compositions significantly influenced Venetian musical life. Renowned for his concerti for organ, which showcased virtuosic techniques and harmonic innovation, Galuppi's works expanded the expressive capabilities of the instrument. His contributions are pivotal to understanding the development of the Classical Venetian style in organ music history.

Toccata en mi bémol majeur — Repertoire in dialogue

1710–1784 · German Baroque

Wilhelm Friedemann Bach, eldest son of Johann Sebastian Bach, served as an esteemed organist at churches in Dresden and Halle. Renowned for his virtuosity and innovative compositions, he contributed significantly to the Baroque organ repertoire with works that showcased complex counterpoint and expressive ornamentation. His importance in organ music history is marked by his profound influence on succeeding generations of composers and performers.

Toccata in D minor (BWV 538) — Open repertoire

1713–1780 · German Baroque

Favorite pupil of J. S. Bach in Leipzig, Johann Ludwig Krebs was organist at Altenburg. His abundant and varied organ works skillfully extend his master's legacy while embracing the gallant style.

Prélude et Fugue en do majeur (Krebs-WV 501) — Repertoire in dialogue

1714–1788 · Galant Style

Eldest son of J. S. Bach and a major figure in the galant style and Empfindsamkeit, C. P. E. Bach composed several organ sonatas. His writing, free and expressive, breaks with his father's contrapuntal tradition.

Sonate en la mineur (Wq 70/4) — Repertoire in dialogue

1727–1789 · French Classical

Great-great-nephew of François 'le Grand', Armand-Louis Couperin inherited the organist post at Saint-Gervais at age 21. A virtuoso praised by contemporaries including Charles Burney, he held multiple positions in Paris: Notre-Dame, Sainte-Chapelle, and the Royal Chapel. He died tragically in a traffic accident.

Élévation — Repertoire in dialogue

1729–1783 · Spanish Classical

Padre Antonio Soler served as an organist at the Royal Monastery of El Escorial, where he composed numerous works for the organ. His organ compositions are notable for their intricate counterpoint and innovative use of form within the Spanish Baroque tradition. Soler's contributions to organ music have secured his position as a significant figure in the history of Iberian keyboard music, influencing subsequent generations of composers with his richly textured and technically demanding pieces.

Sonata for Organ No. 6 (Op. 47, No. 6) — Repertoire in dialogue

1732–1809 · Viennese Classical

Master of Viennese Classicism and father of the symphony, Haydn composed numerous pieces for mechanical clock organ as well as concertos. These works combine the wit and elegance characteristic of his style.

Pièces pour horloge musicale No.1 (Hob. XIX:1) — Repertoire in dialogue

1732–1809 · German Classical

Johann Christian Kittel served as an organist at several important churches in Germany, notably at the Stadtkirche in Weimar. His extensive oeuvre includes numerous cantatas, preludes, and fugues that showcase his mastery of counterpoint and harmony within the Classical German style. Kittel's contributions are significant for their integration of traditional Lutheran chorales with sophisticated compositional techniques, making him a notable figure in the evolution of organ music during the late 18th century.

Sonate en do majeur — Repertoire in dialogue

1756–1791 · Viennese Classical

Universal genius of Viennese classicism, Mozart composed a limited but remarkable body of work for the organ, including several church sonatas and the great "Fantaisie en fa mineur" K. 608. He described the organ as the "king of instruments."

Fantaisie en fa mineur (K. 608) — Repertoire in dialogue

1766–1837 · English Classical

Samuel Wesley, an eminent English composer of the Classical era, served as organist at Hereford Cathedral and later at Trinity College, Cambridge. Renowned for his virtuosic organ compositions, which include fantasias and voluntaries, Wesley significantly contributed to the development of British organ music. His works reflect a profound understanding of Baroque forms infused with emerging Classical ideals, solidifying his legacy in the history of organ music.

Voluntary in G Major — Open repertoire

1770–1846 · German Classical

Organist at St. Catherine’s Church in Hamburg and later at St. Nikolai, Johann Christian Heinrich Rinck was a significant figure in the German organ tradition during the late Classical period. His compositions for the organ, including numerous preludes, fugues, and chorale settings, exemplify the clarity and formal discipline characteristic of his era. Rinck’s works continue to be valued for their technical proficiency and aesthetic refinement, contributing notably to the organ music literature of the early 19th century.

Sonate pour orgue en do majeur — Repertoire in dialogue

1810–1856 · German Romantic

A major figure of German Romanticism, Schumann composed for organ (or pedalboard) his "Six Études en forme de canon" op. 56, the "Esquisses" op. 58, and the "Six Fugues sur B-A-C-H" op. 60, works that combine contrapuntal rigor with poetic imagination.

Études pour pédalier - Canon en si mineur (Op. 56/5) — Repertoire in dialogue

1810–1876 · English Romantic

Samuel Sebastian Wesley served as organist at Hereford Cathedral and later at St. Paul's Church in Hammersmith, London, where his innovative compositions for the organ garnered acclaim. His extensive organ works, characterized by Romantic expressiveness and technical virtuosity, significantly contributed to the development of British organ music. Wesley is remembered for expanding the repertoire with complex and emotionally rich pieces that set a new standard for future generations of organists and composers.

Voluntary No. 4 in D Minor — Open repertoire

1817–1869 · French Romantic

Organist at Saint-Merri in Paris from 1839, Louis James Alfred Lefébure-Wély became renowned for his virtuosic organ performances and compositions. His extensive body of work includes symphonic poems for solo organ that exemplify the Romantic French style, blending technical brilliance with poetic expression. Lefébure-Wély significantly advanced the organ repertoire and pedagogy, leaving a lasting legacy in organ music history.

Boléro de concert, Op. 166 (Op. 166) — Repertoire in dialogue

1833–1897 · German Romantic

One of the greatest composers of German Romanticism, Brahms concludes his oeuvre with the "Eleven Chorale Preludes" op. 122 for organ, a musical testament of profound inner depth. These pieces reconnect with the great tradition of Lutheran chorales.

Prélude et Fugue en sol mineur (WoO 10) — Repertoire in dialogue

1835–1921 · French Romantic

Organist at the Madeleine in Paris and a musician of multiple talents, Saint-Saëns was an early virtuoso on the organ. His "Third Symphony" with organ and his pieces for solo organ demonstrate his mastery of the instrument.

Bénédiction nuptiale (Op. 9) — Repertoire in dialogue

1837–1911 · French Symphonic

Organist of the Trinité in Paris and co-founder of the Schola Cantorum, Guilmant was an international concert performer and an indefatigable editor of ancient music. His eight sonatas for organ and orchestra bear witness to his mastery of the grand symphonic style.

Marche Funèbre et Chant Séraphique (Op. 17) — Repertoire in dialogue

1837–1924 · French Romantic

Organist of La Madeleine in Paris and director of the Conservatoire, Théodore Dubois composed numerous organ pieces in a noble and measured style. His writing, clear and well-constructed, fits within the tradition of the French school.

Toccata en sol majeur — Repertoire in dialogue

1839–1901 · German Romantic

Munich-based organist and pedagogue of Liechtenstein origin, Rheinberger is the author of twenty sonatas for organ of robust and generous craftsmanship. His writing, enriched by classical and romantic influences, remains a pillar of the teaching repertoire.

Sonate No.8 en mi mineur (Op. 132) — Repertoire in dialogue

1844–1937 · French Symphonic

Organist of Saint-Sulpice in Paris for 64 years, Widor is the author of ten symphonies for organ that brought the genre to its zenith. His famous "Toccata" from the Fifth Symphony is one of the most performed organ pieces in the world.

Symphonie No.5 - Adagio (Op. 42/1) — Repertoire in dialogue

1844–1925 · French Romantic

Organist at Saint-Augustin in Paris, a student of Saint-Saëns and professor at the Conservatoire, Gigout is the author of organ pieces of solid and elegant craftsmanship. His "Grand chœur dialogué" and his "Dix pièces" remain in the repertoire.

Scherzo — Repertoire in dialogue

1862–1897 · French Romantic

Organist at Saint-Vincent-de-Paul in Paris, Boëllmann is chiefly renowned for his "Suite gothique" (1895), an emblematic work of the French Romantic repertoire. Died at 35 years old, he left behind a brief but generously inspired catalogue.

Suite Gothique - Introduction-Choral (Op. 25) — Repertoire in dialogue

1870–1939 · French Mystical

Organist at Sainte-Clotilde in Paris and successor to Franck, Tournemire developed a mystical and visionary language based on Gregorian chant. His monumental "Orgue mystique," a cycle of 51 offices for the liturgical year, is a unique work in the repertoire.

L'Orgue Mystique - Cycle de Pâques (Op. 55) — Repertoire in dialogue

1870–1937 · French Symphonic

Organist of Notre-Dame de Paris for 37 years, Louis Vierne is the author of six symphonies for organ of visionary power. Blind from birth, he died at his console while giving a recital.

Symphonie No.1 - Finale (Op. 14) — Repertoire in dialogue

1873–1916 · German Post-Romantic

Last of the great German post-romantics, Max Reger composed for the organ a monumental corpus of extreme harmonic and contrapuntal complexity. His fantasias and fugues, chorales and sonatas bring Bach's legacy to its romantic culmination.

Introduction, Passacaille et Fugue en mi mineur (Op. 127) — Repertoire in dialogue

1886–1971 · French Symphonic

Organist at Saint-Sulpice in Paris, successor to Widor, and director of the Conservatoire, Marcel Dupré was the greatest organ virtuoso of his time. A legendary improviser, he composed a vast repertoire including the "Chemin de la Croix" and the "Trois Préludes et Fugues" op. 7.

Prélude et Fugue en sol mineur (Op. 7/3) — Repertoire in dialogue

1886–1943 · Italian Modern

Pietro Yon, an Italian composer deeply rooted in the Modernist style, served as the organist at St. Patrick's Cathedral in New York City from 1920 until his death. His contributions to organ literature include numerous compositions that blend traditional elements with modern harmonies and techniques. Yon is remembered for expanding the expressive range of the organ, significantly influencing twentieth-century organ music.

Toccata and Fugue in D minor — Repertoire in dialogue

1903–1986 · Neoclassical

Organist of Malines Cathedral and influential pedagogue, the Belgian Flor Peeters composed a vast neo-classical organ work. His "Thirty-five Miniatures" and the instructive "Ars Organi" are widely disseminated worldwide.

Chorale Prelude on "Lobe den Herren" — Repertoire in dialogue

1907–1991 · French Modern

Organist at Sainte-Clotilde in Paris and blind from childhood, Jean Langlais composed a considerable body of organ works, inspired by Gregorian chant and Breton modality. His "Trois Poèmes évangéliques" and "Huit Chants de Bretagne" are notable examples thereof.

Suite Médiévale - Prélude — Repertoire in dialogue

1911–1940 · French Modern

Died in combat at 29 years old, Jehan Alain left a dazzling, visionary, and poetic organ oeuvre. His "Litanies," his "Trois Danses," and his "Deux Danses à Agni Yavishta" count among the most original pages of the twentieth century.

Le Jardin Suspendu — Repertoire in dialogue