During playing the piece I imagined an almost dark and empty cathedral space at night where the chords evolve slowly until they are reflected from the walls, so the tempo has become slower than in other recordings of this piece and the breaks between the different parts much longer. I think this piece is sometimes played too fast, especially in live concerts. In my opinion it needs "time in space". I also felt free to add convolution reverb to create the virtual space. In the (mystic) pp part on the Récit right before the final crescendo I've tried a kind of pre-crescendo by adding stops up to the full Swell. At the end the wonderful Flûte Éolienne of the Récit, Flûtes and Unda Maris of the Positif and Bourdon 32' have been used.