Hyperion Records

With ‘Ad nos’, organ music reached a plateau of heroic maturity on which it was subsequently joined by Liszt’s later works for organ, the massive chorale fantasias and other works of Max Reger (1873–1916), and works of such twentieth-century masters as Olivier Messiaen (1908–1992). From now on, organists were on a par with pianists and conductors; and the grand, C major statement of the chorale with which the work concludes may be taken as a celebration of the organist’s emancipation from the organ-loft and his acceptance as a concert as well as a church performer.

from notes by Relf Clark © 2004