This survey of organ music from three centuries written by organist-composers at Notre-Dame could hardly be more exciting or splendid. It takes you from the more modest scale of the Noels of the 18th century, all of great charm and wondrous sound, to the superb grandeur of Cochereau's Improvisation in the form of a bolero, complete with percussion, and Olivier Latry's own fantastic improvisation at the end. In between come the Final from Guilmant's 1st Symphony and over 20 minutes of Vierne, a personal favourite for me, described by Latry as "surely one of the most endearing musicians to have played at Notre Dame". Needless to say, Latry's advocacy of all his predecessors is absolutely stunning, the juxtapositions inspired. What an exciting range of sounds this instrument possesses, particularly since the restoration by Cavaille-Coll, first exploited some time after, when Vierne took up the position of organiste titulaire. His works here sound quite amazing, representing perhaps the highest point of glory in the organ's history, as implied by its focus here. The Cochereau is fairly awe-inspiring in its inexorable build-up and visionary harmonies. The rhythm is the same as Ravel's famous example, but this one sounds a lot less safe, and pushes at the boundary of the apocalyptic in sound. Interestingly it then pulls back from this to a reflective, piano conclusion that is most effective. Latry's own work has all the excitement of Stravinsky - edgy, stark, thrilling, it guarantees that the audience end the recital on the edge of their knife-board! Latry's note is an inspiring tribute to the organists who have preceeded him and the beautiful instrument they have all written for in such uplifting ways.