The Première Symphonie in D minor, Opus 14 (1898-99) is dedicated to Alexandre Guilmant and begins with a homage to Bach in a Prelude and Fugue, the only example in Vierne's oeuvre. Although not a 'cyclic' Symphony as such, the opening notes of the Prelude become the cornerstone for the later finale's main theme, and the four-note descending figure which follows bears a resemblance to the finale's second subject. The Prelude betrays the influence of Franck and the Fugue is built on a four-note ascending figure which forms a pervasive diminished seventh. A lyrical and ternary-shaped Pastorale contains a haunting minor key central episode, placed between an engaging oboe melody in the outer portions. The main theme again hints at 'cyclic' writing as its contours share those of the Finale's second theme. The scherzo (Allegro Vivace) incorporates a lyrical 'trio' where the melody (heard on the trompette) is set periodically in canon with the pedal. A quiet and tender Adagio precedes the noble and heroic Finale, one of Vierne's most celebrated pieces with its thundering pedal melody set beneath broken chord figurations in the hands. That the first several notes of the pedal melody are identical to those of the Marseillaise may be purely incidental…

from notes by Jeremy Filsell © 2005