A quarter of a century has passed since Paul Derrett’s pioneering survey of Guy Weitz’s organ music, recorded in Hereford Cathedral, appeared on the Priory label. His single disc included both symphonies, bolstered by a quintet of separate movements. Now Peter Van de Velde has produced a handsome, benchmark two disc set which includes all of Weitz’s organ output, recorded on two substantial organs in Antwerp in superb SACD audio, with the addition of six pieces by his fellow Belgian Joseph Jongen. Van de Velde has been the titular organist at Antwerp Cathedral for the past 15 years and disc 1 was the last recording to be made on the Cathedral’s 1891 Pierre Schygen organ before its restoration last year. It still sounds to be in good tonal shape, despite some clattery action noise in the quieter moments.

Having been a star pupil of the organ with Guilmant and composition with d’Indy at the Scola Cantorum in Paris, Weitz (1883-1970) moved his family to London at the outbreak of the Great War, taking up the position of organist at the Jesuit Church, Farm Street, London, in 1917. Known to his choristers as ‘Gee Whizz’ he held the post for exactly half a century. Although he could be irascible and difficult there is little here that would be incomprehensible to the average listener. Idiomatically, Weitz could best be termed a ‘post-Franckian’, with a rich melodic vein, fond of healthy doses of twisting chromaticism (the best example being in the De profundis clamavi) and whole-note-ism reminiscent of Vierne. His output is uneven: the Prelude on Salve regina is, frankly, dull, whereas the charming Sicilienne has a beguiling lightness.

Due to the technical demands of the music, the two symphonies were recorded on the 1935 Bernard Pels & Son organ of St Lawrence Church. Here Weitz shows his mastery of larger forms. The First Symphony (1930) hangs together very well, its three movements being based on Gregorian themes. The middle movement is beautifully balanced, the ideal foil to the sparkling Toccata which follows. The rambling Second Symphony is twice the length of its predecessor, cast in five movements, the strongest of which is the Passacaglia, which grows organically and satisfyingly.

The finest performance of this release, however is of Jongen’s magnificent Sonata eroïca, in which Van de Velde balances in perfect amounts the work’s rhetorical thrust and limpid impressionism.