With the aid of propulsive rhythmic figures in the accompaniment of Kyrie, Gloria and Sanctus, which give the music a continual sense of forward momentum, Vierne allows himself more time than Widor, more time for thematic development, and more time for imaginative expression. Perhaps the influences are still slightly undigested; the shadow of Widor looms large over some sections, while passages such as the central ‘Christe’ of the first movement are strongly reminiscent of Franck. But there is no doubt that the whole work is animated by real inspiration; following the awesome solemnity of the Kyrie and the triumphant Gloria and Sanctus, the mysterious antiphonal harmonies of the Benedictus sound a completely new note in the French church music of the time, and the long-breathed phrases of the Agnus Dei, again echoing from choir to Grand Orgue, bring the whole work to a wonderfully serene conclusion.
from notes by David Gammie © 1997
