Organ History, French Romanticism

In this 1996 recording, Arturo Sacchetti performs Charles Gounod's “Marche réligieuse, Transcribed by Polibio Fumagalli”. Measured ceremonial breadth supports sacred scenes, remembrance and historical aftermath.

Recorded in 1996, Jakob Meyerbeer's “Offertoire” is performed by Arturo Sacchetti. A poised lyrical line with a trace of wit suits intimate period scenes and understated comedy.

Arturo Sacchetti recorded Adolphe Adam's “Entrée” in 1996. A stately entrance and broad phrasing work well for royal ceremony and formal occasions.

In this 1996 recording, Arturo Sacchetti performs Hector Berlioz's “Toccata”. Firm attacks and concentrated toccata motion suit heightened drama and decisive transitions.

Recorded in 1996, Ambroise Thomas's “Elévation” is performed by Arturo Sacchetti. Quiet suspended phrasing lends itself equally to prayer or mourning and to reflective documentary scenes.

Arturo Sacchetti recorded Charles Gounod's “Communion” in 1996. Warm devotional continuity supports religious imagery and restrained vintage drama.

In this 1996 recording, Arturo Sacchetti performs César Franck's “Grande Pièce Symphonique. Op. 17”. A broad symphonic span and strong contrasts suit monumental drama and historical mystery.

Recorded in 1996, Camille Saint-Saëns's “Fantaisie, Op. 101” is performed by Arturo Sacchetti. Fluid fantasy writing and veiled harmonic tension suit mysticism and nostalgic reflection.

Arturo Sacchetti recorded Georges Bizet's “Trois Esquisses Musicales, Op. 33: Caprice” in 1996. Capricious gestures and a light pulse suit playful period comedy and animation.

In this 1996 recording, Arturo Sacchetti performs Jules Massenet's “Prélude en ut Majeur”. A majestic C-major statement with an unhurried flow suits ceremony and a dignified historical finale.