When you consider that César Franck (1822-1890) must have spent half his life sitting on an organ bench, it seems a bit odd that he didn't write any Toccatas and only one Fugue, the type of organ works favored by most organist/composers including Franck's contemporaries. His one and only fugue, which is part of his Prélude, Fugue et Variation Op. 18 is rather short and pedestrian, and is quickly overshadowed by its consequent Variation, graced with a memorable melody and pianistic left-hand accompaniment. Obviously counterpoint was not his strong point, but because he had been pushed by his father during his formative years to work hard at becoming a virtuoso concert pianist, that style of playing and composing left an impression on him. For example, the Allegreto non troppo in E-flat major is riddled with left-hand arpeggios, a rarely used technique when writing for the organ. César Franck's strength is to be found in his original and evocative melodies, and dense quasi-orchestral textures. Even his many liturgical pieces, like Offertoire, and Prière have a secular sound to them. In pieces like his famous Pièce Héroïque it's made obvious that for him, the musical dénouement or narrative was more important than any artistic, descriptive, religious or paramusical elements. Another strong example, the beautiful Offertoire pour la Messe de minuit could just as well be played in August and no one would suspect that it was meant to be heard on Christmas Eve. And as far as grandeur and epic scale are concerned, he had no match. Just hearing the final glorious chords of the Grand Choeur in C major is enough to make you glad to be alive.

Dutch organist Ben van Oosten, who records solely for the MDG label, has already performed and recorded all the organ music of Saint-Saëns, Vierne, Dupré, Widor, and some Guilmant and Bach, with most of it coming highly recommended. It's surprising that he took this long to undertake the music of César Franck, but better late than never as they always say, especially when it's this good. Masterful playing, on the 64 stop Cavaillé-Coll instrument (now classified as a Historical Monument) in the cavernous 15th century church of St-Ouen in Rouen. The size and scope of the building go hand in hand with the power and calibration of the organ to generate an unforgettable sound, be it gentle or seismic. Definitely a collection to acquire without any reservations.