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The dance-like scherzo (where, in its contrasted second episodes, [A] is heard on an 8' pedal beneath limpid phrases high up in the compass) looks forward to many of the Pièces de Fantaisie in its quicksilver textures and the Cantabile converts themes [A] and [B] both tonally and rhythmically. After a 'maestoso' lntroduction, the Finale begins where the opening Allegro left off. Hardly the well-known crowd-pleaser of the First Symphony, the main theme [A] reappears only altered slightly and the brooding disquiet of the opening Allegro is maintained. The ending, which ultimalely establishes the tonic major key, is triumphant but not transfigured. Debussy heard the Symphony at its premiere (played by its dedicatee Charles Mulin) and commented that 'The Symphonie of M. Vierne is a remarkable work; it contains abundant musicianship with ingenious discoveries in the special sonority of the organ. Old J. S. Bach, the father of us all, would have been pleased with M. Vierne'.
from notes by Jeremy Filsell © 2005