I've heard played in recital his Sonata No. 1.

Two books were recommended to me by the two organ teachers I've had - Flor Peeters's collection, and Guilmant's "Practical Organist". Our choir sometimes sings his Ave Verum as well - when I can pull them kicking and screaming away from the Mozart.

I have been told that Guilmant was the greatest organist of the 19th century. Too bad there aren't recordings available. I, too, like the theme of Handel.

Interesting info guys! I’ll have to check out the 1st Sonata and the March on a Theme by Handel.

I wonder why he has fallen out of favor somewhat. He seems to not have the overall reputation of Widor or Vierne. And I suppose he never wrote any “hits” like Gigout’s Toccata or Boelman’s Suite Gothique.

What would you say is unique about the “Guillmant playing tradition” Noel?

I wish you all could be here at Incardination's retreat. Msgr. Wadsworth gave a talk on the place of organ (especially re improvisation) at Mass. Then he placed selections from Messiaen. This has been a rather sedate bunch up until that point, but after that - well, it's the closest I think I'll ever get to a recreation of the premiere of The Rite of Spring at Champs-Elysees. (Perhaps I overexaggerate . . .)

Guilmant is excellent! I played two pieces from the Practical Organist this morning (an interlude and an elegy), and played the Finale from his 1st Sonata last week as a postlude. I guess I've lived in a bubble of French-influenced organists, so I haven't really had the impression that he's fallen out of favor in any way. I play Guilmant, my brother seminarian organists from my seminary days played Guilmant, the cathedral organist up the street plays Guilmant. Definitely dive into some of his literature, and share the wealth!

I have never understood the Baroque-only mentality, though I've run into plenty of Catholics (including clergy) who seem to feel that nearly anything post-Bach is probably unworthy of the Liturgy. (oddly enough, they're often also the sort whose nostalgia for the schmaltzy barbershop-style ditty "Bring Flowers of the Rarest" leads them to consider it a solidly traditional Catholic hymn; now there's a conundrum of musical opinions for you). On the contrary, the French school (Romantic through modern) has carried on the Catholic organ tradition through the centuries, and has given us thousands of beautiful compositions, and an entire school of improvisational technique and thought. And a large portion of that school draws directly from Gregorian chant motifs. Watch the living masters like Daniel Roth or Olivier Latry dive head-first into stunning improvisations, but listen for the chant themes. They play on both the melodies and the meanings of the chants to assemble remarkably fitting improvisations. Yes, every Sunday, the propers give us more than enough motif and material to form countless improvisations. I'm all for playing the great compositions when they are fitting, but I think the art of improvising on and around the chants of the day is the most authentic sort of Catholic "filler" organ music for the Liturgy. But here I go rambling again, and wandering off topic. Mea culpa.

I don't remember which, but I once played a slower Langlais piece in a similar character to the one you linked, and I was told after Mass by one in attendance that I had prevented her from praying when it was played. I smiled and moved on with my day.

Yes I use his scores often.

See this Discussion:
https://forum.musicasacra.com/forum/discussion/1422/chant-based-organ-scores/p1

Listen to this radio program episode "Alexandre The Great"
https://pipedreams.publicradio.org/listings/2001/0110/

If we do not play and sing music that challenges the ear at times, we are nothing better than elevator operators, going from floor to floor all day but never getting any place.