For many, Saint-Saëns’s most obvious contribution to the organ’s repertory is the simple chord of C major which heralds the final section of his Third Symphony, but more devoted Saint-Saënsians will point to the Fantaisie in E flat which the 22-year-old composer wrote during his first major Parisian organist’s appointment, at the church of Saint-Merry. That Gerard Brooks is devoting no fewer than four discs to the organ music of Saint-Saëns will come as a surprise, I imagine, to most people.

Brooks is hardly treading new ground here – in addition to many single discs devoted to Saint-Saëns’s organ music, there are complete series available or emerging on Arte Nova (Stefan-Johannes Bleicher) and Hyperion (Andrew-John Smith) – and, in any case, the term ‘complete’ has a variety of interpretations in the context of Saint-Saëns. The first disc in this series was of transcriptions rather than genuine solo organ works but Vols 2 and 3, despite misleadingly having the word ‘transcriptions’ printed on the spine, are all original works created for organ alone, ranging from the 1857 Fantaisie in E flat to the C major Fantaisie of 1919 composed for King Manuel II of Portugal.

The playing is delightful in its open sincerity and clear affection for the music, and the recording absolutely honest, even down to the obtrusive action clatter. I prefer what is coming from Smith on Hyperion in terms of sound and all-round interpretative insight but the unique selling point of these two discs is the instrument itself, chosen, we read, because of its ability to capture the intimate nature of much of the music. As what was originally built by Cavaillé-Coll in 1894 for a private house, the organ certainly does have a charmingly intimate character, yet with an expanded specification of 46 speaking stops over three manuals and pedals, it has more than enough tonal variety to make for a richly colourful programme, and Brooks selects registrations with great sensitivity; I particularly like the eloquent flutes in the second of the Op 99 Preludes and Fugues. It can also rattle the rafters as well as any of the big Cavaillé-Coll instruments, as we hear in the virtuoso E flat major work from the same set.

Delightful music, delightfully played and making a delightful sound, this is a very special addition to the Saint-Saëns discography.