Louis Vierne, organist of the Grand Organ of the Cathedral of Notre Dame in Paris, began his 24 Fantasy Pieces (one in each major and minor key) after 20 years of personal catastrophes. A severe leg injury in 1906 threatened amputation and required him to rebuild a new pedal technique. He nearly died of typhus in 1907. His wife divorced him in 1910. In 1911, his mother died of uremia. His best friend, Guilmant, died of the same illness six days later. Then Vierne was pushed out of his teaching position at the Conservatoire (on the pretext of his partial blindness) because Fauré was mad at some remarks made by Vierne's old teacher Widor. In 1915, Vierne contracted glaucoma and he had to move to Switzerland and sell all his possessions for a chance at surgery that would save what remained of his vision. In 1917, his brother and son were killed in the War. When he returned to Notre-Dame in 1920, he found the organ was practically ruined, the result of the cathedral's windows having been removed as a wartime precaution.

Amazingly, the fantasy pieces are an emotionally balanced set, not dwelling on these disasters. Like the other three suites, this first suite contains six movements.

The first, Prelude (Moderato, in C major) is a toccata but unlike most organ toccatas is restrained in mood and registration. The main theme appears in the pedals while the hands play staccato figures. These, due to the quiet registration, are more like a shimmer than a bell sound. The theme eventually moves to the manuals.

The second movement is called Andantino (though there is an adagio tempo marking) and is in A minor. It is a simple four-voice chorale with an attractive theme and a couple of effective faster passages using flute stops for contrast.

Caprice (Allegretto, in D minor) begins to introduce more virtuosic display. It is in a lively 6/8 time with a theme that moves from the top register to the pedals. It speeds up before the theme moves to the Trompette stop while the right hand embroiders the theme with fast figurations.

An intermezzo (Allegro ma non troppo vivo in F major) is a brief piece with contrasting sections, one staccato and the other quiet and legato and is one of the most attractive little pieces in the entire set.

The weightiest piece in this suite is called Requiem aeternam. This Lento ma non troppo movement is in G minor and is dedicated to the memory of the composer's brother Edouard. The piece is melancholy but resigned, with a chorale theme.

The conclusion, Marche nuptiale (wedding march) in B flat, is a powerful and brilliant ceremonial march leading to a grand conclusion with rapid triplets over a strong repetition of the main theme in the pedals.

© Joseph Stevenson, All Music Guide