Charles Camille Saint-Saëns Fantaisie No. 1 for Organ in E Major Mov. I Con moto / Mov. II Allegro di molto e con fuoco 聖桑：降E大調幻想曲 《降E大調幻想曲》是聖桑所出版的首部管風琴作品。幻想曲具有即興演奏、模擬聲樂和自由發揮的戲劇性等特質，這正是聖桑身為教會管風琴家最令人津津樂道的演奏特色，也是對管風琴演奏家技巧的高度試煉。 作品以兩個對比鮮明的樂章構成。
第一樂章在起伏的低音踏板中，逸出純潔輕盈的抒情旋律。
第二樂章經歷一段主題與對句的呈現，彷彿對真理的揚聲確認；藉由管風琴無限豐沛的寬廣音域，奏出無可動搖的信心。
Charles-Marie Widor Symphony No. 5, Op. 42, Mov. I Allegro Vivace 魏多：《第五號管風琴交響曲》，第一樂章 活潑的快板 十九世紀後期，法國陸續建置了音管數量龐大、腳鍵盤音栓數擴充的管風琴，提寬廣的低音層次，產生雷霆萬鈞的聲響；同時因為建造技藝的提升，使得管風琴能產生細緻溫厚、有如簧管的共鳴音色。 樂曲由活潑的快揭示主題，接著在不同聲部由音色各異的音栓重現演繹，有如不同器樂輪替主奏，再彼此交織豐富的旋律。樂曲進行到三分之一，出現一段詼諧輕快的變奏後，續以堅實而穩定的間奏帶回主題。隨後，藉由明確而富有動態的樂音強化變奏的主題。樂曲進行到後段，由腳鍵盤的渾厚低音驅動向前，發出燦爛澎湃的的震撼效果，樂曲也在此劃下句點。
Theodore Dubois 12 Piece for Organ, No. 9 In Paradisum 杜布瓦：十二首管風琴小品，第九首〈進入天堂〉 這十二首管風琴作品是杜布瓦獻給他的老師管風琴家法朗克，至今仍受世人喜愛。第九首〈進入天堂〉自始至終都維持寧靜溫柔格調，不斷上行下行的十六分琶音伴奏輕柔飄渺，平穩的旋律線條帶來幸福感，呈現仙境般氛圍。非常特別的是，此曲選擇了屏東演藝廳管風琴獨有福爾摩沙笛來表現主旋律，讓這首曲子散發獨特的親切感受。
C. Franck:Chorale no. 3 en la mineur, FWV 40 法朗克:A小調第三號聖詠曲 法朗克是法國後期浪漫派作曲家，公認是繼巴赫之後最偉大的管風琴作曲家。第三號A小調聖詠曲全曲分為三段，第一段以華麗快速的十六分音符分解和絃為開場，充滿戲劇性的風格；接著是聖詠主題；之後進入慢板的第二段，音樂平靜而優美，聖詠旋律隱身在複雜、多聲部的對位技巧之中。十六分音符分解和絃的主題再度出現時，與聖詠旋律併行呈現，樂曲在氣勢磅礡的尾奏結束。
Pietro Mascagni Cavalleria Rusticana Intermezzo ( Arr. J. Scott) 馬斯卡尼：歌劇《鄉村騎士》間奏曲，史考特改編 歌劇《鄉村騎士》敘述西西里島兩位男士為了鍾愛的女人決鬥的故事。間奏曲安排在換幕時，鎮上廣場空無一人，靜待決鬥的場景。當樂音響起，腦海立刻湧入鄉自然鄉土的美麗、往日情懷的感傷和西西里的蕭瑟空間與濃烈情感。這令人難忘的旋律也在許多電影出現，特別是《蠻牛》、《教父III》和《四海兄弟》等帶有義大利元素的經典作品。它總能喚起我們內心底層的激情，唱出多熟善感的靈魂。
Sir Edward Elgar Enigma Variations, Op.36, Nimrod ( Arr. J. Scott) 艾爾加：《謎語變奏曲》第九變奏〈寧錄〉，史考特改編 1998年深秋的一個夜晚，艾爾加結束疲憊的教琴工作，回到家坐到鋼琴前，即興演奏一些樂段，要妻子猜謎——分別是形容哪些朋友？這成了他為管弦樂團所寫《謎語變奏曲》，包含一個主題與十四段變奏。這首樂曲讓艾爾加享譽國際，以第九變奏最為人所熟知。 艾爾加以貝多芬鋼琴奏鳴曲《悲愴》第二樂章為靈感而作，紀念一位好友在自己不如意時，以貝多芬不畏挫折的勇氣，鼓勵他繼續努力。旋律婉約，觸動人心。
Charles Camille Saint-Saëns: Fantaisie No. 1 for Organ in E-flat Major, Mov. I Con moto / Mov. II Allegro di molto e con fuoco
The Fantaisie in E-flat Major is Saint-Saëns’ first published work for organ. The genre of the fantaisie embodies qualities of improvisation, vocal imitation, and dramatic freedom—hallmarks of Saint-Saëns as a church organist, and at the same time a demanding test of an organist’s skill.
The piece is structured in two contrasting movements. The first unfolds a pure, airy lyrical melody over undulating pedal tones. The second presents a theme and countersubject, as if affirming truth with resounding proclamation. Through the organ’s vast and inexhaustible range, the music voices an unshakable confidence.
Charles-Marie Widor: Symphony No. 5, Op. 42, Mov. I Allegro vivace
In the late 19th century, French organs were built with ever-larger pipe counts and expanded pedal stops, providing a broad bass foundation capable of thunderous power. At the same time, advances in construction allowed for refined, warm, reed-like timbres.
The first movement opens with a lively theme, then passes it through different registers with varied stop colors, as if different instruments were taking turns as soloists before weaving into rich counterpoint. About one-third into the piece, a playful and light variation appears, followed by a firm interlude that brings back the main theme. The music intensifies as dynamic clarity reinforces the variation’s theme. Toward the end, the massive pedal bass propels the work forward with radiant grandeur, culminating in a brilliant, overwhelming conclusion.
Théodore Dubois: 12 Pièces pour orgue, No. 9 In Paradisum
This set of twelve organ pieces was dedicated by Dubois to his teacher, César Franck, and remains beloved to this day. The ninth piece, In Paradisum, maintains a serene and gentle character throughout. The softly ascending and descending sixteenth-note arpeggios create a delicate, ethereal atmosphere, while the smooth melodic lines convey a sense of bliss and heavenly peace.
Uniquely, this performance employs the Formosan Flute stop, an organ color found only on the Pingtung Performing Arts Center organ, giving the work a distinctive sense of intimacy and charm.
César Franck: Chorale No. 3 in A Minor, FWV 40
Widely regarded as the greatest organ composer after Bach, Franck was a leading figure of late-Romantic French music. His Chorale No. 3 in A Minor unfolds in three sections. The opening features brilliant, rapid sixteenth-note arpeggiated chords, dramatic in style, before presenting the chorale theme. The second section, marked Adagio, is calm and lyrical, with the chorale melody woven into intricate polyphonic textures. When the sixteenth-note arpeggiations return, they are combined with the chorale theme, and the work concludes in a majestic and powerful coda.
Pietro Mascagni: Cavalleria Rusticana Intermezzo (arr. J. Scott)
Mascagni’s opera Cavalleria Rusticana tells the story of two men on the island of Sicily who fight a duel over a woman they both love. The famous Intermezzo occurs during a scene change, when the village square is empty in anticipation of the duel. As the music begins, images of Sicily’s pastoral beauty, bittersweet nostalgia, and intense emotions arise vividly.
This unforgettable melody has been featured in many films, notably Raging Bull, The Godfather Part III, and Once Upon a Time in America. Its deep lyricism always awakens buried passions, voicing the tenderest depths of the human soul.
Sir Edward Elgar: Enigma Variations, Op. 36, Variation IX “Nimrod” (arr. J. Scott)
One late autumn evening in 1898, after a long day of teaching, Elgar returned home, sat at the piano, and improvised several musical sketches for his wife to guess—each representing a different friend. This became the Enigma Variations, a theme with fourteen variations for orchestra, the ninth of which, Nimrod, is the most famous.
Inspired by the second movement of Beethoven’s Pathétique Sonata, Elgar wrote it as a tribute to a dear friend who encouraged him, with Beethoven’s indomitable spirit, to persevere during difficult times. The music is tender and deeply moving, touching the heart with its noble simplicity.
