Andrew Cantrill: Fete

Fête

FRENCH ORGAN MUSIC FROM THE WELLINGTON CATHEDRAL OF ST. PAUL

Andrew Cantrill

Fête

FRENCH ORGAN MUSIC FROM THE

WELLINGTON CATHEDRAL OF ST. PAUL

Andrew Cantrill : 4:33

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g 2002 HRL Morrison Music Trust  h 2002 HRL Morrison Music Trust

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MMT2032  Digital Stereo Recording  Copyright Clearance via AMCOS

 Variations de Concert, Op.1 Joseph Bonnet  Scherzetto  Pastorale from 24 Pièces en Style Libre, Op.31 Louis Vierne  Sortie in E Flat Louis James Alfred Lefébure-Wély  Fête Jean Langlais  Andante in F Louis James Alfred Lefébure-Wély  Choral No.1 in E César Franck  Magnificat V from Vêpres du Commun de la Sainte Vierge Marcel Dupré  Offrande Pierre Cogen  Carillon de Westminster from Pièces de Fantasie, Op.54 LOUIS VIERNE  

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French Organ Music An Introduction Contemporary reports indicate that when Louis-Claude Daquin (1694-1772) played a Christmas recital at Notre Dame he drew crowds in their thousands; the two organ masses of François Couperin (1668-1733) are unsurpassed in scale and invention; and the unique French classical organ as built by François-Henri Cliquot (1732-1790) defines an epoch. Yet this halcyon period for French organ composition was to come to an abrupt end at the foot of the guillotine in 1789.

Revolution was to touch all corners of French life, and it comes as no surprise that one of Daquin’s successors at Notre Dame, Claude Balbastre (1727-1799), was forced to save the cathedral organ from marauding crowds of republicans by improvising on patriotic songs. Consequently, during a so-called “post-classical” era, musical quality fell sharply after the glories of the Grand Siècle and the Church was secularised, her assets seized, buildings were used as storerooms, stables or barracks, and many organs were sold or destroyed.

By the middle of the 19th century, the parlous state of church music in Paris was a source of great controversy. The opening of the Paris Conservatoire in 1795 and the increasing interest in opera and ballet heralded a musical liberation in the city that marked a decline in solemn church music. It was inevitable that the organ would follow the trend – a simpler pianistic style emerged and the Tierce en taille and Plein Jeu of François Couperin were lost forever.

The ascendancy of Louis James Alfred Lefébure-Wély (1817-1869) reflects the public desire for simple and accessible music. By the 1830s the style of the opera comique was firmly entrenched in the fashionable Parisian churches and organists deficient in both taste and technique were dazzling their congregations with “the barcarolle, the galop, the valse and the polka”! The composer and organist Camille Saint-Saëns (1835-1921) had little time for most of his contemporaries, rebuking them as “musicians without brains, performers without fingers”. Saint-Saëns survived for 20 years at the church of La Madeleine, where he succeeded Lefébure-Wély in 1863, but his august and erudite mentor Alexandre-Pierre-François Boëly (1785-1858) fared less well, and was dismissed from his post at a neighbouring church for playing too many fugues!

Change was inevitable and revolution was not slow in coming. Over the next 20 years, two distinct organ schools emerged, one headed by Saint-Saëns and César Franck (1822-1890), and the other by Alexandre Guilmant (1837-1911) and Charles-Marie Widor (1844-1937). The key elements in both these schools of composition and performance were the great French organ-builder Aristide Cavaillé-Coll (1811-1899) and the Belgian organist Jacques-Nicolas Lemmens (1823-1881). The majority of the music on this recording is in some way indebted to this revolution.

Saint-Saëns’ passionate attachment to the 18th century and Franck’s love of Bach, Beethoven and Schubert meant that both men were willing to swim against the tide.

Both were deemed esoteric, but their influence was pervasive. When French organ art had sunk to its lowest point, Saint-Saëns’ teacher, Boëly, was one of the few musicians to respect contrapuntal idioms and to urge the building of German pedalboards. An admirer of Bach, Haydn, Mozart piano and Beethoven, his tastes were reflected in his pupil’s programming and composition – in the 1860s and 1870s Saint-Saëns performed all Mozart’s piano concertos and promoted the works of Bach, Mendelssohn and Schumann, and Saint-Saëns’ own music is the epitome of balance, clarity and elegance.

As professor of organ at the Paris Conservatoire from 1872, César Franck exerted a gentle influence over a generation of organists, and his music overflows with a unique mastery of harmony and counterpoint. In addition, Franck often included the works of the 18th century masters in his recitals, and when he opened the new Cavaillé-Coll

organ at the Basilica of St Clotilde in December 1859, he finished his programme with Bach’s mighty Prelude and Fugue in E Minor.

The influence of Cavaillé-Coll’s new instruments cannot be underestimated. His reputation was launched by the organ he built in 1841 for the abbey of St Denis, and a succession of Parisian organs, including those at La Madeleine (1846), St Clotilde (1859), St Sulpice (1862) and Notre Dame (1868) followed – all masterpieces in their own right. In 1932 Charles-Marie Widor summed it up: “our school owes its creation – I say it without reservation – to the special, magical sound of these instruments”.

In northern Europe a true tradition of organ playing centred around the music of Bach still survived. The year 1844 saw the first French performances of the works of Bach by the German organist Adolph Friedrich Hesse (1809-1863). In a recital at the church of St Eustache, Hesse carried to France a style he had learned from Rinck, who had been trained by Kittel, who had been taught by Bach himself. Those who were accustomed to organists who played airs and depicted battles found Hesse intolerably boring, but a few found it significant: in the audience was Aristide Cavaillé-Coll, and leaving the church he felt sure he had glimpsed the future.

When Hesse’s most famous pupil, Jacques-Nicolas Lemmens visited Paris in 1850, Cavaillé-Coll jumped at the chance to entrust to his care two young and very brilliant Frenchmen, Guilmant and Widor. The organ builder’s protégés travelled to Brussels and returned to Paris having mastered a technique that placed them in a different league from all their contemporaries. By the 1860s, Lemmens’ style had begun to be lauded by some as the “pure tradition of Bach”.

So, while minor composers were entertaining their listeners with thunderstorms, or depiction of shipwrecks, it took a new generation of composers to exploit the true value of Cavaillé-Coll’s extraordinary instruments. An almost apostolic succession of organist-composers emerged over the next 100 years, but the composer and teacher who did the most to ensure that new structures rose from the foundations laid by Hesse and Lemmens was Widor. Single-mindedly he saw to it that Bach was revered by a line of young musicians, who became masters in their turn.

On New Year’s Eve, 1869, while deputising for Saint-Saëns at La Madeleine with

Cavaillé-Coll at his side, the 25 year old Widor learnt of the sudden death of LefébureWély. Within a few days Widor was installed as titulaire of St Sulpice and was to preside over its “amphitheatre” of a console and command the 100 stops of Cavaillé-Coll’s largest masterwork for more than 63 years. Indeed, the instrument had such a profound influence on the composer that he later remarked: “One will never write for the orchestra in the same way as for the organ. But from now on, one will have to be as careful managing tone colour in an organ work as in an orchestral.”

Widor succeeded Franck at the Paris Conservatoire in 1890 and immediately imposed discipline in technique, improvisation and execution upon his students. His first pupils included Louis Vierne (1870-1937) and Charles Tournemire (1870-1939), and over the next 50 years, Widor was singularly powerful and influential. To Widor, Vierne owed his appointment at Notre Dame in 1900. Thanks to Widor, Marcel Dupré, his most devoted disciple, carried off the coveted Rome Prize, pursued a career in America and succeeded Widor as titulaire of St Sulpice in 1934. Alexandre Guilmant owed him his appointment as professor of organ at the Conservatoire; and in 1914, Widor was appointed permanent secretary of the Academy of Fine Arts and directed state money and prestige to such artists as he thought deserving.

When Dupré succeeded Eugène Gigout (1870-1937) as professor of organ at the Paris Conservatoire in 1926, the Widorian tradition was guaranteed for yet another generation – for Marcel Dupré honoured the “pure tradition of Bach” as “dogma incontestible”! In 28 years, from 1926 to 1954, Dupré produced a prodigious number of international virtuosos – among them Marie-Claire Alain, Pierre Cochereau, Jeanne Demessieux, Marie-Madeleine Duruflé, Jean Guillou, Gaston Litaize and Odile Pierre – putting into practice “the precious methods [he] had been privileged to learn” from Widor. Other pupils, Olivier Messiaen (1908-1992) and Jean Langlais (1907-1992) found fame as composers.

As a successor to Franck and Tournemire at the Parisian church of St Clotilde, Langlais also felt the magical influence of Cavaillé-Coll’s work. Indeed, the St Clotilde organ was so important an influence that he laughingly called it his “mistress”. “I will never forget the feelings aroused in me the first time I played it. The first chords I played,

on the three 8 foot foundations of the swell, were literally overwhelming. For 25 years, each Sunday has brought me a renewal of those feelings”. Even Olivier Messiaen’s music, with its unique mix of bird song, modes, eastern rhythms and plainsong, promotes the Romanticist ideal of Franck and Widor. One could even go further and say that the composer’s obsession with duration has its roots in Lemmens’ teaching, and his suites hark back to the form Widor and Vierne developed. Certainly, both composers demonstrate the fascination french composers have always had for modes, and in their requests for specific timbres, they are fulfilling a tradition which has its foundation in the 18th century classicists and the music of Saint-Saëns and Guilmant – both legendary “colourists”.

With Messiaen’s death in 1992, a tradition came to an end. It was a tradition that is still copied the world over, but nonetheless, in the music of Langlais and Messiaen, it found a level of sophistication which is unlikely to be surpassed. And in many ways the tradition came full circle – Cavaillé-Coll built on the precedent of Cliquot, and Franck, Saint-Saëns and Widor built on the example of the masters of the 18th century. This recording is but a small taste of nearly 150 years of intense creativity.

Andrew Cantrill

John Drawbridge (b.1930) Approach to St AndrĂŠ, Artois (1960), etching and mezzotint, 600mm x 497 mm.

Private Collection, Wellington. Reproduced by permission of the artist.

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French Organ Music Variations de Concert, Op.1 Joseph Bonnet (1884-1944) A prized student of Guilmant at the Paris Conservatoire, Joseph Bonnet was appointed organist at the Parisian church of St Eustache in 1906 at the age of just 22. His international recital career was launched in the same year and he was fêted throughout Europe, Canada and the United States as a virtuoso and teacher.

The Variations de Concert was published in 1908, but probably dates from a few years earlier. After an improvisatory opening on full organ, the theme is heard in a simple harmonisation and followed by four variations. In the first variation the theme is accompanied by a pizzicato-like pedal part, whilst in the second, it is heard as a cantus firmus in the feet against a fiercely moving triplet figure for the hands. The third variation weaves a beautiful counterpoint around the melody in the tenor, and the fourth takes the form of a dashing Sortie, complete with pedal cadenza.

Scherzetto and Pastorale, Op.31 Nos. 14 & 20 from 24 Pièces en Style Libre Louis Vierne (1870-1937) Louis Vierne was a pupil at the National Institute for Blind Children from the age of 11 and it was here that he fell under the spell of the composer-organist César Franck. On entering the Paris Conservatoire in 1890, Vierne became a pupil of the formidable Charles-Marie Widor and later assisted him at the church of St Sulpice in Paris. He was named organist of Notre Dame Cathedral in 1900, and despite several personal and career setbacks, he won universal acclaim.

As a composer, Vierne takes the forms he inherited from Widor and pours into them

the warmth and transparency of Franck. In this way, he, more than any other figure, united the two 19th century organ schools. These two works are typical of the innovative Schumannesque character pieces Vierne produced in two large collections – the Pièces de Fantasie and the 24 Pièces en Style Libre. Though distinctive, his harmonies and rhythms grow naturally from those of Widor and Franck and one can also feel the influence of Debussy and Fauré.

Sortie in E Flat Louis James Alfred Lefébure-Wély (1817-1869) Like Franck, Lefébure-Wély was a child prodigy and a pupil of Benoist at the Paris Conservatoire. Here the comparison ends. Franck, austere and intense, and LefébureWély, populist and comedic, would often appear together at the inauguration of a new organ, but their styles of improvisation and composition could not have been more different.

Lefébure-Wély was appointed titulaire at the church of St Roche at the age of 14 and his career first took him to the fashionable church La Madeleine (1847) and then to preside over Cavaillé-Coll’s ‘magnum opus’ at St Sulpice (1863). Second to none at conjuring up thunderstorm, battle or shipwreck, his improvisations were guaranteed to exploit every resource on the organ, and his excesses were encouraged by the clergy, who were in his debt for their flourishing congregations.

The influence of the opera comique and of his composer friends, Gounod and Thomas can be felt in this work. Its elegance, and lighthearted appeal represents the apotheosis of French romantic bourgeois style.

Fête Jean Langlais (1907-1992) Of Dupré’s pupils, many would assert that the most brilliant of them all was Jean Langlais. Blind from the age of 3, he, like Vierne, studied at the National Institute for the Blind from 1917 where he found a mentor in the person of André Marchal. He was

appointed organist of the Basilica of St Clotilde in 1945 and was regarded as a direct inheritor and interpreter of César Franck and Charles Tournemire. Among the rewards of Langlais’ final decades were his organ class at the Schola Cantorum (from 1960 to 1975), which drew students from all over the world, and which he undertook, he said, in faithfulness to the memory of his predecessor Louis Vierne.

Langlais wrote and published over 300 works for organ and was a prolific composer of sacred and secular music of all types. The organ works, early and late, are by turns modal and tonal, traditional and daring, and well over half are based on Gregorian chant. The riotous Fête is a celebratory work which contrasts toccata-like figuration on full organ with an energetic syncopated solo melodic line. A slow central section on the cornet stop provides brief respite.

Andante in F Louis James Alfred Lefébure-Wély (1817-1869) From a programmatic pastorale, complete with “orage”, or thunder effects, to a highenergy sortie, Lefébure-Wély was able to provide a work for any mood. Here, in contemplative vein, he pens an andante originally scored for the plaintive Vox Humana stop and a piquant 8 foot flute. Though not explicitly sacred, it would not have sounded out of place during the communion at La Madeleine or St Sulpice.

Choral No.1 in E César Franck (1822-1890) Intended by his ambitious father for a career as a piano virtuoso, Franck studied at the Liège and Paris conservatories but found his true vocation only later as organist of St Clotilde (from 1858) and professor of organ at the Paris Conservatoire (from 1872).

His improvisatory skill was legendary and his works for organ, though few in number, include the remarkable Six Pièces of 1862 and the epoch making Trois Chorals of 1890.

Unappreciated during his lifetime, his achievements are evident especially in the

symphonic, chamber and keyboard works in which he made one of the most distinguished contributions to the field by any French musician.

The Trois Chorals was composed in Namours, during the last year of the composer’s life. Published posthumously, the collection caused something of a stir; indeed, Albert Schweitzer commented “Franck was a wonderful improviser, but no one expected from him so great a work.” The Prèmiere Choral is certainly a masterly essay in thematic transformation – all the themes of the work are related and culminate in their simplest, chorale-like version at the end. This Lisztian technique is coupled with the harmonic inspiration of Schubert, as Franck oscillates between major and minor tonalities and constantly introduces subtle chromatic alterations.

Magnificat V from Vêpres du Commun de la Sainte Vierge Marcel Dupré (1886-1971) Born into a family of musicians, Dupré’s fate was sealed in the cradle when Guilmant, examining the baby’s fingers, prophesised “This will be an organist!” Indeed, this was to be an organist such as the world had never seen. With first prizes in piano, organ and fugue, and the coveted Rome Prize under his belt, Dupré embarked on an unparalleled career as a touring virtuoso, teacher, writer and composer.

His name is forever linked to the church of St Sulpice, where for 28 years he assisted Widor before being appointed titulaire in 1934. From 1916 to 1922 he deputised for Vierne at Notre Dame, and the verset on the Magnificat dates from this time. Essentially a written down improvisation, this short work is evocative of the distinctive timbre of that Cavaillé-Coll organ and the mysterious half-light of the cavernous Cathedral at Vespers.

Offrande Pierre Cogen (b. 1925) Dedicated to “mon cher Maître Jean Langlais”, this work is a devoted assistant’s tribute to a master – Pierre Cogen was deputy to Langlais and, with Jacques Taddei, his successor at St Clotilde (1987-1993). Written in 1988, the piece is a short set of liturgical variations for Easter based on a Burmese folk tune. The melody is first heard on the swell hautbois, before a short trio for the cornet, cromorne and pedal flutes leads into a more animated section on the foundation stops. The work finishes with a tranquil rendition of the theme for swell strings and solo flute.

Carillon de Westminster, Op.54 No.6 from Pièces de Fantasie Louis Vierne (1870-1937) The clock tower of the Houses of Parliament in London soars 300 feet above the River Thames. Its hourly chime is part of the city’s soundscape, and it has been broadcast by the BBC since the 1920s. The “Englishness” of the theme must have appeared germane to Vierne and it is often said that the dedicatee of this work, the organ builder (Father) Henry Willis, dictated the chime to the composer over the telephone!

Much like the Choral of the Second Symphony, this work gradually builds in intensity towards an inevitable and awesome climax. The lead-up is full of unexpected harmonic and textural twists and the piece is, understandably, one of the composer’s most popular works.

The Organ of theWellington Cathedral of St Paul POSITIVE ORGAN Gedackt 8 Rohr Flute 4 Octave 2 Quint 1Z\c Octave 1 Cimbel III Cromorne 8 Trompette en Chamade 8 Solo to Positive Swell to Positive GREAT ORGAN Double Diapason 16 Open Diapason I 8 Open Diapason II 8 Principal 8 Stopped Diapason 8 Octave 4 Nason Flute 4 Twelfth 2X\c Fifteenth 2 Seventeenth 1C\b Mixture IV 8 Trumpet Clarion 4 Solo to Great Swell to Great Positive to Great Great and Pedal

Pistons SWELL ORGAN Lieblich Bourdon 16 Geigen Principal 8 Lieblich Gedackt 8 Viol di Gamba 8 Voix Celeste 8 Principal 4 Lieblich Flute 4 Fifteenth 2 Nineteenth 1Z\c Mixture III Fagotto 16 Trompette 8 Hautboy 8 Clarion 4 Tremulant Sub Octave Octave Unison Off PEDAL ORGAN Sub Bourdon Open Wood Open Metal Sub Bass Echo Bass Octave Bass Flute Fifteenth Octave Flute Open Flute

32 16 16 16 16 8 8 4 4 2

Mixture IV Contra Bombarde 32 Bombarde 16 Fagotto 16 Octave Bombarde 8 Schalmey 4 Solo to Pedal Swell to Pedal Great to Pedal Positive to Pedal SOLO ORGAN 8 Claribel Unda Maris 8 Wald Flute 4 Nazard 2X\c Piccolo 2 Tierce 1C\b Larigot 1Z\c Flageolet 1 Clarinet 8 Gallery Trumpet 8 Trompette en Chamade 8 Tremulant Sub Octave Octave Unison off Great Reeds on Solo

ACCESSORIES 8 Divisional Pistons to: Great, Swell & Pedal organs 6 Divisional Pistons to: Positive & Solo organs 8 General Pistons (96 channels) Sequencer (999 stages) BUILDERS TC Lewis 1877 Hobday 1893 Lawton & Osborne 1945 George Croft & Son 1964 & 1976 South Island Organ Company 1992

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Andrew Cantrill Born in Hampshire, England, Andrew Cantrill was educated at Durham University.

His teachers included the late Lady Susi Jeans, Peter Wright and Gerre Hancock (improvisation). After graduating in 1992, he was appointed Organist & Director of Music at the Parish Church of St George, Belfast. There he was responsible for the choir of men and boys, and the St George’s Singers and Orchestra. Two years later, he was appointed Organist & Master of the Choristers at Grimsby Parish Church, the only Parish Church in Britain to have its own Choir School. During the next three years he directed the five weekly choral services, took the choir on tour to London, Iceland and Germany, and recorded two critically acclaimed CDs for the Cantoris label. The Yorkshire Post described the Choristers of Grimsby Parish Church as “a revelation – the only Parish Church choir in Britain able to take on the big hitters of the International recording market and leave them all standing”.

As a concert organist, Andrew has played in many prestigious venues throughout the UK and Europe. Festival appearances have included the Cheltenham International Festival of Music and he has undertaken recital tours to Switzerland, Germany and the Republic of Ireland. He performed on two occasions as the organ soloist with the New Zealand Symphony Orchestra during 2001, and has broadcast live on Concert FM. Recent concerts in Wellington have included an appearance for the Friends of the New Zealand Festival, and an improvised soundtrack to Cecil B. DeMille’s silent movie The King of Kings. During 2002 he will give recitals at Lincoln Cathedral and St Paul’s Cathedral, London.

Andrew was appointed Organist and Director of Music at the Wellington Cathedral of St Paul, New Zealand, in August 1999. He is much in demand as a conductor and choral clinician throughout New Zealand and, with the Orpheus Choir of Wellington, has appeared with the New Zealand Symphony Orchestra and the Wellington Sinfonia.

In recent months, Andrew has established St Paul’s Baroque, a period instrument ensemble based at the Wellington Cathedral of St Paul, and the Orpheus Youth Chorus – a choir for Secondary School students. He is tutor in organ at Massey University and Artistic Director of the Wellington Cathedral Festival of Music and the Arts.

Gordon Walters (1919-1995) Untitled (1955), gouache on paper, 250mm x 300mm.

Private Collection, Auckland. Reproduced by permission of the Estate of Gordon Walters.

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The Art Gordon Walters (1919-1995) Born in Wellington, Gordon Walters undertook part-time study at Wellington Technical College in the mid-1930s, which was later augmented by a valuable association with the emigré artist, Theo Schoon. Throughout the 1940s and 1950s Walters lived and worked in Australia and Europe and by the late 1950s his work was involved with the important themes and images that continued to reappear in his painting throughout his working life.

A major survey of his painting was organised by the Auckland Art Gallery in 1983 and was followed more recently in 1994 by Parallel Lines – Gordon Walters in Context. His abstraction is rooted in the patterns of Polynesia, notably the koru motif that is found in much of his mature work of the 1960s and 1970s. His late paintings continued to develop his interest in an art of abstract relationships and his example is important to many artists working in New Zealand today.

John Drawbridge (b.1930) Born in Wellington, John Drawbridge studied at Wellington Technical College Art School and was awarded a scholarship to London’s Central School of Arts and Crafts in 1957. He worked and studied in London and in Paris where much of his focus was on printmaking.

The Approach to St André, Artois was completed in 1960 in Paris and demonstrates a successful combing technique – where the landscape is seen to be largely made up of lines which are almost Futurist in their sweeping, symmetrical formation. Since returning to New Zealand in 1963 Drawbridge has lived and worked at Island Bay, Wellington where his studio overlooks Cook Strait. Not only has he been inspired by the colours, forms and rhythms of the coastal environment, he has explored the interior of his beachfront house, its many windows framing figures as well as vistas of the world beyond.

Andrew Cantrill Fête – French Organ Music MMT2032 Digital Stereo Recording © 2002 HRL Morrison Music Trust h 2002 HRL Morrison Music Trust Recorded in the Wellington Cathedral of St Paul, Wellington, New Zealand, on 12, 13 & 15 May 2002 Executive Producer Ross Hendy Producer Kate Mead Recording Engineer, Editor and Mastering Neil Maddever Organ Technician Timothy Hurd Assistant Richard Apperley Booklet Notes Andrew Cantrill Booklet Editor Janey MacKenzie Design Mallabar Music The HRL Morrison Music Trust gratefully acknowledges the support of the Wellington Cathedral of St Paul, Jenny Gibbs, Dr. Margaret Orbell, John Drawbridge, Rebecca Wilson (City Gallery, Wellington).

HRL MORRISON MUSIC TRUST The HRL Morrison Music Trust was established in March 1995 as a charitable trust to support New Zealand musicians of international calibre. All funds received by the Trust are used to make recordings, present concerts – both in New Zealand and overseas – and assist artists to undertake projects to further develop their talents.

More information about other releases by the HRL Morrison Music Trust can be found at the internet site:

www.trustcds.com HRL Morrison Music Trust PO Box 1395 Wellington, New Zealand info@trustcds.com ALL RIGHTS OF THE PRODUCER AND OF THE OWNER OF THE WORK REPRODUCED RESERVED. UNAUTHORISED COPYING, HIRING, LENDING, PUBLIC PERFORMANCE AND BROADCASTING OF THIS RECORDING PROHIBITED.

Following the recently completed extension to the nave, the Cathedral’s reverberation time has increased to around seven seconds. In order to meet listeners’ expectations of a reasonably detailed recording, while placing the organ clearly in its Cathedral acoustic, microphones were placed both in the nave and directly in front of the organ chamber. Consequently some instrument action and wind-pressure hiss will be apparent during quieter passages in the music.

Fête

FRENCH ORGAN MUSIC FROM THE

WELLINGTON CATHEDRAL OF ST. PAUL

Andrew Cantrill

 Variations de Concert, Op.1 Joseph Bonnet  Scherzetto  Pastorale from 24 Pièces en Style Libre, Op.31 Louis Vierne  Sortie in E Flat Louis James Alfred Lefébure-Wély  Fête Jean Langlais  Andante in F Louis James Alfred Lefébure-Wély  Choral No.1 in E César Franck  Magnificat V from Vêpres du Commun de la Sainte Vierge Marcel Dupré  Offrande Pierre Cogen  Carillon de Westminster from Pièces de Fantasie, Op.54 LOUIS VIERNE  

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