Organ Symphony No.2 in E minor - Louis Vierne

Performed by Marie-Claire Alain (Cavaillé-Coll organ of the Abbatiale St-Etienne, Caen).

I - Allegro risoluto ma non troppo vivo: 0:00
II - Choral. Largo - Agitato - Largo - Agitato: 7:22
III - Scherzo. Quasi presto: 16:23
IV - Cantabile. Larghetto - Poco più vivo - Tempo I: 20:23
V - Final. Maestoso - Allegro: 29:04

Vierne's Organ Symphony No.2 was composed between July 1902 and April 1903, being premiered on February 23 of 1903 by Charles Mutin, to whom the work was dedicated. Debussy himself said the following: "Vierne's symphony is truly remarkable. It combines rich musicality with ingenious discoveries in the special sonority of the organ. J.S. Bach, the father of us all, would have been well pleased with Vierne."

Despite only a few years separating it with the first, the second organ symphony showcases impressive progress in creativity and organ mastery. Having competed for and won the post of titular organist at the prestigious Notre Dame de Paris on May 21 of 1900, by the time he came to compose the piece, the rich timbres and sheer power of Notre Dame's splendid Cavaillé-Coll instrument had become an extension of himself. The piece is cyclical in nature, with the material of the first movement being the basis of the whole work.

The first movement is structured in a concise sonata form. It opens with a rhythmic and vigorous main theme, followed by a lyrical second theme in form of a hymn. The rich development that follows combines these materials, modulating through several tonalities. A sustained thrill leads us to the recapitulation of the themes. An expansive coda ends the movement brilliantly.

The second movement is structured in ternary form. It begins with a solemn main theme in form of a chorale, derived from the second theme of the previous movement. It soon passes to the upper register, with an almost angelic touch, going back to the lower and then upper again. The middle section opens with a more rhythmic and dramatic second theme, derived from the main one of the previous movement, contrasted by the angelic main theme. The music grows more expressive in a slow crescendo, leading to a passionate recapitulation of the main theme. A potent chord ends the movement.

The third movement is a scherzo in ternary form. It begins with a lively and bright main theme in the upper register, reminiscent of the "Pièces de Fantasie" in its quicksilver textures. The short and seamless trio opens with a second theme on the pedals, but offering little contrast as it is fast-paced. It is, however, derived from the main theme of the first movement. The scherzo is quickly resumed, leading us to a peaceful coda.

The fourth movement is written in sonata form. It opens with a hymn-like meditative main theme, followed by a darkly melancholic second one. They are derived from the opening movement themes as well, but their chromaticism and darkness reflect the morbidity which often besets Vierne's most searching expressions. These materials are combined and transformed in the development, which culminates in an unresolved anticlimax. The recapitulation is inverted, with the second theme before the main one. A redeemed coda ends the movement calmly.

The fifth movement is also structured in sonata form. It begins with a short and majestic introduction. The allegro begins with a moderate main theme, derived from the second one of the first movement, more powerfully exposed on full organ. The rhythmic second theme is derived from the main one of the first movement. The development contrapuntally develops the materials, rising in a grand climax. The recapitulation brings the themes back, modulating to a major key near the end. A triumphal coda ends the work brilliantly.

Picture: A photograph Vierne with his pupil and first biographer Bernard Gavoty (1933)

Musical analysis partially written by myself. Sources: https://bit.ly/3BNRJaf and https://bit.ly/3CgZrvi

To check the score: https://bit.ly/3UHuo2N