Filsell, famously untroubled by technical demands, concentrates on wringing every last drop of sonority in deeply-felt, idiomatic performances.

Vierne's six organ symphonies have very uneven representation in the catalogues. Most popular by far is the Third; and for 10 years the only widely available box-set was Ben van Oosten's (Dabringhaus und Grimm). In many ways this set was pretty well ideal, the only drawback being his lack of flair in the big toccata-like movements (such as the finale of No 1). Now Jeremy Filsell has brought just that kind of flair and panache to this set, recorded, interestingly, on the same instrument as Oosten's set.
It sounds quite different, though. The sound engineers have produced an altogether warmer and more all-embracing sound, giving the quieter movements (such as the enchanting Menuet of the Fourth Symphony) plenty of space to reveal their charms, while handling the monumental pleno in such a way that it still sends shivers down the spine without ever becoming overwhelming. The music, too, may be the same but Filsell seems to have a better sense of the musical architecture, especially in the later and more remote symphonies. As a result he convinces that the relative neglect, especially of the Fourth Symphony, is unwarranted; it may not be easy to communicate this music but it can be done and Filsell does it wonderfully.
The booklet-notes are exceptionally pretentious but all in all, Filsell has done both Vierne and discerning organ-lovers a great service.

…Jeremy Filsell has… flair and panache… he has convinced me that the relative neglect, especially of the Fourth Symphony, is unwarranted; it may not be easy to communicate this music but it can be done and Filsell does it wonderfully.