1. J. S. Bach: Fantasy G-major BWV 572: The Fantasia in G major, catalogued as BWV 572 or BC. J82, is a work for organ by German composer Johann Sebastian Bach. Though it is not accompanied by a fugue, it has three main moments or sections (allegro, grave, and lento). As with most of the music written by Bach before 1723, it survives thanks to his pupils' transcriptions. It is generally agreed that it was written during his Weimar period. In this piece Bach renounced the tradition of writing organ capable of being played in a harspichord.
2. C. Franck: Cantabile: Cantabile, composed by César Franck in 1878, is one of the three pieces besides Fantaisie and Pièce héroique. When the “Palais du Trocadéro” was built in 1878 on the occasion of the World Exhibition in Paris, the first large concert organ in France was given pride of place in the “Salle des Fêtes.” Franck wrote his Trois pieces for this instrument. In the Cantabile, we hear the solo Trompete in almost every voice – in the soprano, tenor, bass, sounding in a wonderful canon at the third part of the piece. This much praised work, although small, is one of the most performed ones. It is built on a strict ternary scheme.
3. Liszt Ferenc: Hosannah: Hosannah is part of the Hungarian Coronation Mass, composed and first performed by Franz Liszt in 1867 for the coronation of Franz Joseph I.. It’s the transliteration of an older composition of Liszt’s, whose lyrics is the same as Saint Francis of Assisi’s Canticle of the Sun; and is one of the three pieces for organ composed by Liszt in the winter of 1850. The tune itself is an archaic Jewish song, also appearing in Meyerbeer’s opera, The Prophet. This composition, originating from 1862, was written using musical material of the Liszt Work entitled “Cantico del Sol di San Francesco d’Assisi” (Der Sonnenhymnus des heiligen Franziscus von Assisi) for baritone solo, male choir, organ and orchestra. Except for the introductory bars, the motive of the text “Sei hochgelobet, allmächtiger Gott” has been elaborated throughout. The grandiose melody is present in broad architecture during the entire composition.
4. M. Dupré: Noël-variations Op. 20.: When Dupré’s Op 20 was published in 1923, it was titled ‘Variations sur un Noël’. Since then, however, it has been more often referred to as ‘Variations sur un vieux Noël’, the title under which it appears in the list of works appended to Marcel Dupré raconte…, the autobiographical volume which appeared in 1972. The tune is, of course, Noël nouvelet, an old French carol, the unmistakably first mode opening of which hints at an ancient liturgical origin, for it begins just like the plainsong Ave maris stella. As Dupré’s theme, it consists of six four-bar phrases, moderato 2/4, in which the modal tune in D is simply harmonized in four parts. In the succeeding movements, contrapuntal variations alternate with freer ones.
5. J. S. Bach: Passacaglia C-minor BWV 582: The Passacaglia is in 3/4 time typical of the form. Bach's ostinato comprises eight bars, which is unusual but not unheard of: an ostinato of the same length is used, for example, in Johann Krieger's organ passacaglia. The Passacaglia is originally a Spanish dance built on a repeating bass line—an ostinato—over which a series of variations plays out in the upper voices. In principle it’s one of the simplest approaches to music-making, one that crosses all kinds of traditions, from folk to jazz and beyond: keep the bass-line going and do something different above each repetition of the pattern. This monumental composition is considered as Bach’s largest organ work.