In the 19th century, the musical landscape in Parisian churches was a source of considerable controversy. The influence of opera and ballet also shaped sacred music, with organists—often lacking a strong sense of aesthetics—satisfying the undemanding public with sentimental and banal music. Saint-Saëns sharply criticized this situation, referring to a conversation he had with a clergyman. Despite his ironic stance, he remained organist at La Madeleine for many years, aware of the legacy of his predecessor, Alexandre Boëly. A turning point came when the organ builder Aristide Cavaillé-Coll sent young musicians to Brussels to introduce them to the tradition of organ music. Alexandre Guilmant and Charles-Marie Widor returned as outstanding virtuosos, reshaping the Parisian organ scene and assuming leading positions.
Subsequently, figures such as Marcel Dupré, Louis Vierne, and César Franck emerged as innovative musicians at the great Parisian churches. Vierne had a significant influence on Notre-Dame, while Dupré shone at Saint-Sulpice. Church music in France differed markedly from the Anglican tradition, particularly in the separate roles of organist and choirmaster, a distinction reflected in its musical style. Composers such as Widor and Vierne left behind important works that profoundly shaped church music. The influence of Cavaillé-Coll and the innovations of other musicians created a vibrant and diverse musical atmosphere in Parisian churches.