Charles marie widor compositions often chosen

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charles marie widor compositions often chosen

We need, we want, to hear everything.' The Ninth was Widor's favourite symphony. I had taken the artistic approach that it was crucial to record Widor’s symphonies in a massive space, on a Cavaillé-Coll organ of real pedigree, as Widor and Cavaillé-Coll are inseparable. Inspired by the orchestral possibilities of Cavaillé-Coll’s grand organ (capable of imitating the timbres of orchestral instruments), he began to write his Organ Symphonies.

He was the first to apply the term ” symphony ” to organ music, transforming the solo instrument into a veritable one-man orchestra .

First subject, ABA, A major (minor)/C-sharp minor/A major, Andante 4/4, forte/piano/forte. 20 (1875, Hamelle)

  • 6 Valses caractéristiques op. 'When this theme is caught in a symphonic web, becoming part of the polyphony, it must be executed strictly in tempo, calmly and grandly without any kind of attenuation. Despite his job's ostensibly "provisional" nature, Widor remained as organist at St-Sulpice for nearly 64 years, until the end of 1933.

    86 (1927, Durand)

  • Trois Nouvelles Pièces op. 14 (1872, Hamelle)- Voice and Piano
  • Tantum ergo op. 59 (1884, Hamelle) - Voice, Harp and Organ
  • O salutaris op. 2 (1879, Hamelle)
  • Symphonie pour orgue No. 7 op. This requirement was the basis of their celebrated joint edition .

    3. 🇩🇪 The German Romantic Heritage (By Orchestration)

    Although Widor was French , the idea of a “symphony” for a solo instrument was inspired by the German Romantic orchestral model .

    César Franck (1822-1890) :

    Link: His predecessor as a professor at the Conservatory.

    Similarity : Franck raised the organ to a level of spiritual and formal expression just as high as Widor’s, but with a more mystical and contemplative style, often based on cyclic form (as in his Grande Pièce Symphonique ) .

    Contrasting the Sixth, however, variation procedure replaces sonata discipline. The fifth [here sixth] movement, an Adagio in D major, was written originally (uniquely) for just the short-resonating voix humaine, re-registered in the 1887 revision. He was also a key pedagogue (director of the Conservatory).

    Relationships

    1. 3 (1887, Hamelle)

  • Symphonie pour orgue No.

    8 op. Whether or not Schweitzer was entirely correct to say that the Fifth 'deserts' the path of its predecessors, 'the lyric withdraws' (1951), is arguable. Likewise his habitual pleasure in key-shifting. Time is money in the recording business, and although I had rehearsed with great diligence for six months prior—and performed the symphonies many times across the way—once the red light comes on everything changes.

    64

  • [5 Valses] op. 'Hail, holy Queen, Mother of Mercy, our life, our sweetness and our hope.