Léon Boëllmann’s Suite gothique has long been a staple of the organ repertoire and a number of his chamber works have been recorded over the years but this is the first appearance on record of his only symphony. Premiered in 1894, three years before Boëllmann’s death at the age of 35, the symphony was dedicated to Saint-Saëns. Following the model of the latter’s Third Symphony, Boëllmann combines the initial Allegro and slow movement in a single span, although the Scherzo and finale are presented as separate movements. It’s a well-crafted, engaging and occasionally ingenious work but not one that strikes me as being especially original or profound.

The cello was Boëllmann’s favourite instrument after the organ and features in many of his works, including the Symphonic Variations of 1892. Although only 11 minutes long, it’s a work rich in lyricism and contrast, capped by an extrovert and stirring conclusion. Paul Tortelier recorded a fine version in the 1970s (EMI/Warner, 10/79), but Henri Demarquette’s virtuoso and persuasive interpretation is equally impressive.

The Four Short Pieces of 1896, also previously unrecorded, derive from a larger collection of pieces originally written for harmonium. Rescored by Boëllmann for strings, the pieces have a classical restraint that provides a strong contrast with the Symphony. The last of the four, a wistful Andantino, is especially attractive. As with the other works on the recording, the late Patrick Davin draws committed playing from the orchestra and the sound is first-class.