From the seventeenth century music of French composer, Pierre DuMage, to the exciting dissonance of Czech composer, Milos Sokola, Dorothy Young Riess plays a stunning program of organ music for her seventy-fifth birthday celebration recital on the brilliant von Beckerath pipe organ recorded 'live' at The University of Nevada, Las Vegas. To date, this is the only recording in the world of this spectacular instrument featuring three manuals, 53 stops and over 2,000 pipes. The program opens with the early French 'Grand Jeu' of Pierre DuMage followed by the massive 'Prelude and Fugue in E Flat' by Bach. The E Flat Prelude and Fugue form the beginning and end of Bach's Book III of the Clavierübung (Keyboard Practice). The fugue subject is the tune, St. Anne (O, God Our Help in Ages Past), and it is usually called the 'triple fugue' in three parts. Robert Schumann experimented with pedal piano and wrote several works for this interesting instrument, quite easily adapted to the organ. The 'Sketch #3' is a lovely graceful waltz. Felix Mendelssohn was a superb pianist and composed 'Prelude and Fugue in b Minor' for the piano. German organist, Christoph Bossert, adapted the music for organ which was further adapted by the artist for greater clarity of line and subject. Cesar Franck was part of the great Nineteenth Century French organ tradition and composed three Chorales toward the end of his life. The 'Chorale in a Minor' is one of his greatest works and uses full range of the organ from softest stops to loudest. Herbert Howells was very disturbed by the bombings on London during WWI and composed 'Rhapsody #3 in C Sharp Minor' during the raids. It is a big dramatic work filled with grand chords, melancholy, and a build up at the end to a stunning conclusion in C# Major. B-A-C-H translated into musical notes is B Flat, A natural, C natural and B natural, and a favorite theme of many composers. Milos Sokola crafted a swiftly moving dissonant dramatic 'tour de force' in his 'Passacaglia quasi Toccata on B-A-C-H'. It tests the stamina of the performer and ends with a pedal cadenza and one of the most difficult pages in organ literature. The huge spread chords at the end lift the listeners out of their seats!