The Naxos pairing is also more than worth its modest price. Burno Mathieu is a pupil of Marie-Claire Alain, and a splendid organist in his own right. Moreover, he chooses the ‘historic’ organ at Nancy, which still has mechanical traction, and provides a very characterful baroque palette of its own, richly displayed in the Cantiléne of No.3. But the pedals are very telling, too, and the finale of No. 6 is powerfully spectacular; yet overall, inner detail is remarkably clear. The only small disappointment is the Scherzo of No. 6, where the diabolic rhythmic figure is not as ironically piquant as with Van Oosten.