Instant melodic appeal and formal simplicity explains the early Bénédiction nuptiale's popularity, although the late-period Marche Religieuse seems to last three times the duration of its four-and-one-half-minute playing time. However, the three Fantasies' imaginative contrasts of mood, register, and harmony warrant serious attention.

Andrew-John Smith's solid technique and sense of style serves these works well, and chances are that the sonorities of the organ of La Madeleine come close to what the composer had in mind. Granted, you might prefer the closer, clearer sonics and incisive articulation distinguishing Hans Fagius' splendid Saint-Saëns collection on BIS, or, on Alba, Jan Lehtola's faster tempos in the Fantasies (compare, for instance, his pliable legato phrasing of the E-flat's opening section to Smith's slightly squarer delivery). I also retain a soft spot for Daniel Roth's lucid, austere interpretations in a complete Saint-Saëns organ music edition once available on vinyl from EMI. But this takes nothing away from Smith's mastery, and the organist's excellent booklet notes provide welcome background and context.

--Jed Distler, ClassicsToday.com