Louis Vierne (1870-1937) composed six organ symphonies. Beginning with the first, in D minor, they trace a rising sequence of minor keys, so that the Fifth and Sixth symphonies are in A minor and B minor, respectively, and a seventh symphony, for which a few sketches survive, would have been in C minor. This is the third and final instalment of Hans-Eberhard Ross's recording of all six. Although the symphonies were conceived for the instrument in Notre Dame cathedral in Paris, where Vierne was the principal organist from 1900 until his death, Ross has chosen to record them in St Martin's church in the Bavarian town of Memmingen, arguing that the clarity of its Goll organ is better suited to the contrapuntal nature of Vierne's music than many French instruments would be. The Fifth and Sixth symphonies, composed in 1924 and 1930, are certainly worth investigating. Both are five-movement works written after Vierne's experience of the first world war; their harmonic language is complex and shiftingly chromatic, using Wagnerian leitmotifs to bind structures together. At times, the result comes close to Reger's, though Vierne's writing seems less self-conscious and highly wrought, and Ross ensures that the textures never become opaque or overloaded.