Vierne: 24 Pieces En Style Libre Op. 31 Music CD

The name of Louis Vierne (1870-1937) will be associated with organ music immediately. Like a few other 19th century organists/composers he used the instrument as a means to perform 'symphonic' music. The scope in this respect was greatly enhanced by the new organs built at the time, for instance by Aristide Cavaille-Coll.The blend of styles in this music for organ is unique. It contains aspects of Romanticism combined with an impressionistic 'pastel-like' quality. Like many of his contemporary colleagues Vierne felt a strong fascination with Wagnerian chromaticism.An admirer and pupil of Cesar Franck at thirty, the virtually blind Vierne was appointed organist at the Paris Notre Dame. Among many other pieces for organ he wrote six (five movement) symphonies, which became standard organ repertoire. Franck inspired him in the use of cyclical elements and harmonic refinement, whereas Widor's influence is clear in the use of the organ and the classical forms.Louis Vierne's 24 Pieces en style libre Op.31 (1913), is a landmark collection in the French organ repertoire. Written for either organ or harmonium, these pieces demonstrate Vierne's gift for expressive lyricism and refined harmonic color. Unlike his larger symphonic works, the Pieces en style libre are concise, intimate, and accessible, designed for both liturgical use and concert performance. Each piece explores a distinct mood or character, from serene meditations like "Communion" and "elevation" to more animated works such as "Cortege" and "Postlude." Vierne's rich harmonic language, rooted in late Romanticism yet tinged with Impressionist nuance, reveals his deep sensitivity to tonal atmosphere.Played by Carlo Mazzone on the magnificent 1999 "Andrea Zeni" organ of the Parish Church of San Michele Arcangelo, Salgarede (TV), Italy. This instrument aimed to create a fully suited instrument for the performance of the organ repertoire of the second half of the 19th century in France. It is inspired by late-Romantic aesthetics, and endowed with all the stylistic and sonic prerequisites essential to the organ literature of the period.