With one of the largest solo repertoire of any musical instrument, the organ has traditionally accompanied voices in praise of God, drawing from a rich body of music inspired by or written for the Christian church. In its earliest Grecian form dating back to 300 BC, it began as a water-powered instrument that channelled air through pipes. Over the centuries, its design evolved in size and complexity, influenced by its status as a musical symbol among the wealthy and powerful Greeks and Romans, among other factors. Notably, the court of Byzantine Emperor Constantine V gifted an organ to France in 757 AD, leading to the instrument’s growth in popularity among churches of Western Europe.

By the 15th century, innovations such as pedals, ebony keys, and new components were introduced, allowing for the performance of polyphonic choral pieces that were popular at the time. Tones that emulated other orchestral instruments and emphasised bass became possible, while the stacking of multiple keyboards enabled the organist to reach and play them all. Builders created instruments that leveraged on the acoustic properties within grand cathedrals. Aesthetically, pipe organs grew more elaborate and richly adorned, and by the 20th century, the organ’s full power was evident.

With so much of its repertoire composed to induce a meditative state, or communicate grandeur and power, the sound of a pipe organ is best described as majestic, moving and profound—music that is inspired by and aspires to reach the heights of religious fervour. As such, it has long been acknowledged for its ability to deepen worshippers’ sense of connection with God.

Immerse yourself in sacred organ works themed around tribute, performed by acclaimed French organist Thomas Ospital. This recital features masterpieces by some of the most influential composers, dating back as early as the 17th century. Experience the grandeur of Singapore’s largest pipe organ—all 4,740 pipes and 61 stops—as its rich harmonics and commanding presence fill the Esplanade Concert Hall.

Programme

Johann Sebastian BACH (1685–1750)

Sinfonia de la cantate 29 (transcription by Marcel Dupré)

Choral : O mensch bewein dein Sünde gross BWV 622

Franz LISZT (1811–1886)

Weinen, Klagen, Sorgen, Zagen

César FRANCK (1822–1890)

Prière

Charles-Marie WIDOR (1844–1937)

Allegro vivace extrait de la Cinquième symphonie Op. 42 N°5

Camille SAINT-SAËNS (1835–1921)

Danse Macabre (transcription by Louis Robilliard)

Thomas OSPITAL (1990)

Improvisation