Charles-Marie Widor

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Charles-Marie Jean Albert Widor (February 21, 1844 – March 12, 1937) was a French organist, composer and teacher with many noted students listed below.

Bust in the private salon of the organ tribune at the Church of St. Sulpice, Paris.
Bust in the private salon of the organ tribune at the Church of St. Sulpice, Paris.

Contents

[edit] Biography

Widor was born in Lyon, France to a family of organ builders, and initially studied music there with his father, who was an organist himself. The French organ builder Aristide Cavaillé-Coll, reviver of the art of organ building, was a friend of the Widor family: he arranged for the talented young organist to study in Brussels, with Jacques-Nicolas Lemmens for organ technique and with François-Joseph Fétis, director of the Brussels Conservatoire for composition.

In 1870, with the combined lobbying of Cavaillé-Coll, Charles Gounod and Camille Saint-Saëns, the 26-year-old Widor was appointed as organist of Saint-Sulpice in Paris, the most prominent position for a French organist. The organ at St-Sulpice was Cavaillé-Coll's masterwork; the instrument's spectacular capabilities proved an inspiration to Widor. Widor remained as organist at St-Sulpice for 64 years until the end of 1933. He was succeeded in 1934 by his former student Marcel Dupré. Meanwhile, in 1890 he succeeded César Franck as organ professor at the Paris Conservatoire; he later gave up his post in organ to become composition professor in 1896.

Widor's best-known single piece for the organ is the final movement, Toccata, from his Symphony for Organ No. 5, which is often played as a recessional at wedding ceremonies and even at the close of the Christmas Midnight Mass at Saint Peter's Basilica. This piece is simply known as "Widor's Toccata". Although the Fourth Symphony also opens with a Toccata, it is in a dramatically different (and earlier) style. The Toccata from Symphony No. 5 is the first of the toccatas characteristic of French Romantic organ music, and served as a model for later works by Boellmann, Mulet, and Dupre. Widor was pleased with the world-wide renown this single piece afforded him, but he was unhappy with how fast many other organists played it. Widor himself always played the Toccata rather deliberately. Many organists play it at speed whereas Widor preferred a more controlled articulation to be involved. He recorded the piece, along with his Symphony Gothique at St. Sulpice in his eighty-eighth year. The tempo chosen for the Toccata is extraordinarily slow; whether this is his actual preference, or merely the result of very advanced old age, is unknown.

Cavaillé-Coll's masterpiece, at the Church of St. Sulpice, Paris. Widor presided over this monumental organ for 64 years.
Cavaillé-Coll's masterpiece, at the Church of St. Sulpice, Paris. Widor presided over this monumental organ for 64 years.

Widor had several students in Paris who were to become famous composers and organists in their own right, most notably Louis Vierne, Charles Tournemire, Darius Milhaud (who was to later strongly influence jazz pianist Dave Brubeck), Marcel Dupré, Alexander Schreiner, and Edgard Varèse. Albert Schweitzer studied with him, especially from 1899, and master and pupil collaborated on an annotated edition of J. S. Bach's organ works published in 1912-14: Widor, whose own master Lemmens was an important Bach exponent, encouraged Schweitzer's theological exploration of Bach's religious music. He wrote music himself for a wide variety of instruments and ensembles (some of his songs for voice and piano are especially notable) and composed four operas and a ballet, but only his works for organ are played with any regularity today. Widor showed no interest in breaking new ground by stretching tonality to its limits, as many of his colleagues did. However, his music is not unoriginal or dull. Much of it is tremendously effective in the most idiomatic way for the organ, but it offers few startling surprises.

Over his career Widor returned again and again to edit his earlier music, even after publication. His biographer John Near reports "Ultimately, it was discovered that over a period of about sixty years, as many as eight different editions were issued for some of the symphonies." (ref. Near)

Widor's organ works include: ten Symphonies, Suite Latine, Trois Nouvelles Pièces, and six arrangements of works by Bach under the title Bach's Memento (1925). The symphonies are his most significant contribution to the organ repertoire.

It seems unusual to assign the term "symphony" to a work written for one instrument. However, Widor was at the forefront of a revival in French organ music, which had sunk to its nadir during the nineteenth century. A prime mover in this revival was Aristide Cavaillé-Coll, who pioneered a new organ that was "symphonic" in style. The organ of the Baroque and Classical periods was designed to project a clear and crisp sound capable of handling contrapuntal writing. Cavaillé-Coll's organs had a much warmer sound, ideal for the homophonic style of writing that now predominated, and a vast array of stops that extended the timbre of the instrument. This new style of organ with a truly orchestral range of voicing encouraged composers to write music that was truly symphonic in scope. This trend was not limited to France, and was reflected in Germany by the organs built by Eberhard Friedrich Walcker and the works of Franz Liszt, Julius Reubke, and Max Reger.

Widor's symphonies can be divided into three groups. The first four symphonies comprise Op. 13 (1872) and are more properly termed "suites" (Widor himself called them "collections".) They represent Widor's early style. Widor made later revisions to the earlier symphonies. Some of these revisions were quite extensive. The early symphonies show great variety in writing, but neither the individual movements nor the symphonies themselves compare to his later works.

With the Opus 42 symphonies, Widor shows his mastery and refinement of his contrapuntal technique, while exploring to the fullest the capabilities of the Cavaille-Coll organs for which these works were written. The Fifth Symphony has five movements, the last of which is the famous Toccata. The Sixth Symphony is also famous for its opening movement. The Seventh and Eighth Symphonies are the longest and most obscure of Widor's Symphonies. Each one contains six movements. The fourth movement of the Eighth Symphony is a monumental passacaglia, though described in the published score as 'variations', and the longest single movement in all of Widor's oeuvre.

The ninth and tenth symphonies, respectively termed "Gothique" (Op. 70, of 1895) and "Romane" (Op. 73, of 1900), are much more introspective. They both derive thematic material from plainchant. In the Symphonie Gothique, the plainchant theme is only introduced in the third movement, but is not fully exploited until the fourth and last movement. In the Symphonie Romane, however, plainchant themes are present in all of the verses. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most-beloved pieces. In general, however, although these symphonies are considered to represent the pinnacle of Widor's development as a composer, they are not as well-known as the fifth and sixth symphonies.

[edit] Compositions

Rough dates of composition/publication are in brackets, along with the original publisher, if known.

[edit] Organ solo

  • Symphonie pour orgue No. 1 op. 13 no. 1 (1872, Hamelle)
  • Symphonie pour orgue No. 2 op. 13 no. 2 (1872, Hamelle)
  • Symphonie pour orgue No. 3 op. 13 no. 3 (1872, Hamelle)
  • Symphonie pour orgue No. 4 op. 13 no. 4 (1872, Hamelle)
  • Marche Americaine (transc. by Marcel Dupré: no. 11 from 12 Feuillets d’Album op. 31, Hamelle)
  • Symphonie pour orgue No. 5 op. 42 no. 1 (1887, Hamelle)
  • Symphonie pour orgue No. 6 op. 42 no. 2 (1887, Hamelle)
  • Symphonie pour orgue No. 7 op. 42 no. 3 (1887, Hamelle)
  • Symphonie pour orgue No. 8 op. 42 no. 4 (1887, Hamelle)
  • Marche Nuptiale op. 64 (1892) (trasc., from Conte d'Avril, Schott)
  • Symphonie pour orgue No. 9 "Gothique" op. 70 (1895, Schott)
  • Symphonie pour orgue No. 10 "Romane" op. 73 (1900, Hamelle)
  • Bach's Memento (1925, Hamelle)
  • Suite Latine op. 86 (1927, Durand)
  • Trois Nouvelles Pièces op. 87 (1934, Durand)

[edit] Piano solo

  • Airs de ballet op. 4 (Hamelle)
  • Scherzo Brilliant op. 5
  • Sérénade op. 6 (Benacci-Peschier)
  • La prière op. 7
  • L'orientale, scherzo op. 8
  • Caprice op. 9
  • Sérénade op. 10 (Hamelle)
  • 3 Valses op. 11 (Hamelle)
  • Impromptu op. 12 (Hamelle)
  • 6 Morceau de Salon op. 15 (1872, Hamelle)
  • Prelude, andante et final op. 17
  • Scènes de Bal op. 20
  • 6 Valses caractéristiques op. 26 (1877, Hamelle)
  • 12 Feuillets d’Album op. 31 (1877, Hamelle)
  • Conte d'Automne op. 42 no. 1 (1904, Hamelle) (transc. of 2nd movement from Symphonie pour orgue No. 5)
  • Toccata op. 42 no. 1 (transc. of 5th mvt from Symphonie pour orgue No. 5) (Hamelle)
  • Dans les bois op. 44
  • Romance op. 46
  • Suite polonaise op. 51 (1885, Hamelle)
  • Suite op. 58 (1887)
  • Carnaval op. 61
  • Suite Écossaise op.78 (1905) (Joseph Williams)
  • Variations de concert sur un thème original (1867)
  • La Barque (Fantaisie Italienne) (1877, Durand)
  • La Corricolo (Fantaisie Italienne) (1877, Durand)
  • Scherzo-Valse (1878, Durand)
  • Fileuse (1909)

[edit] Piano duo

  • Sérénade op. 10 - 2 Pianos (arr. Frène) (Hamelle)
  • Symphony No. 1 op. 16 - Piano Duet (Durand)
  • March americaine op. 31 no. 11 - Piano Duet (1890, Hamelle)
  • Piano Concerto No. 1 op. 39 (1876, Hamelle) - 2 Pianos
  • Toccata op. 42 no. 1 - 2 Pianos (arr. Isidor Philipp) (transc. of 5th mvt from Symphonie pour orgue No. 5) (Schirmer)
  • Symphony No. 2 op. 54 - Piano Duet (Durand)
  • Fantaisie op. 62 - 2 Pianos (Durand)
  • Contes d'Avril op. 64 - Piano Duet (Schott)

[edit] Chamber works

  • Piano Quintet op. 7 (1890, Hamelle)
  • Sérénade op. 10 (1883, Hamelle) - Piano, Flute, Violin, Cello and Harmonium
  • Sérénade op. 10 - Violin, Cello and Piano (Hamelle)
  • Sérénade op. 10 - Violin and Piano (arr. Bordes) (Hamelle)
  • Sérénade op. 10 - Cello and Piano (arr. Delsart) (Hamelle)
  • Sérénade op. 10 - Violin, Cello and Piano (Hamelle)
  • Valse op. 11 no. 1 - Violin and Piano (Hamelle)
  • Valse impromptu op. 15 no. 6 - Violin and Piano (Hamelle)
  • Piano Trio op. 19 - Piano, Violin and Cello (1875, Hamelle)
  • Suite op. 21 nos.1-3 - Piano and Violin (Hamelle)
  • 3 Pieces op. 21 - Cello and Piano (Hamelle)
  • Valse op. 26 no. 6 - Piano and Violin (Hamelle)
  • Suite op. 34 - Flute and Piano (1898) (Heugel)
  • Toccata op. 42 no. 1 (transc. of 5th mvt from Symphonie pour orgue No. 5) (Hamelle)
  • Sonate op. 50 - Violin and Piano (Hamelle)
  • Soirs d'Alsace - 4 Duos op. 52 - Violin, Cello and Piano (1908) (Hamelle)
  • Cavatine op. 57 - Violin and Piano
  • Piano Quartet op. 66 - Violin, Viola, Cello and Piano (1891, Durand)
  • Piano Quintet op. 68 - 2 Violins, Viola, Cello and Piano (1896, Durand)
  • Introduction et Rondo op. 72 - Clarinet and Piano (1898, Leduc)
  • Suite op. 76 - Violin and Piano (Hamelle)
  • Sonate op. 79 - Violin and Piano (Heugel)
  • Sonate op. 80 - Cello and Piano (Heugel)
  • Salvum fac populum tuum op. 84 - 3 Trumpets, 3 Trombones, Drum and Organ (Heugel)
  • Humoresque - Violin, Cello and Piano (P
  • 4 Pièces - Violin, Cello and Piano (1890)
  • 6 Duos - Piano and Harmonium (1891, Pérégally & Parvy Fils)
  • Sérénade - Piano and Harmonium (1905, Schott)
  • 4 Duos - Violin, Cello and Piano (1908)
  • 3 Pièces - Oboe and Piano (1891)
  • Suite - Cello and Piano (1912)
  • Suite Florentine - Flute or Violin and Piano (1920)

[edit] Symphonic works

  • Symphony No. 1 op. 16 (1870, Durand) - Orchestra
  • Piano Concerto No. 1 op. 39 (1876, Hamelle) - Orchestra and Piano solo
  • Cello Concerto op. 41 (1882, Hamelle) - Orchestra and Cello solo
  • Symphonie pour orgue et orchestre op. 42 (1882, A-R Editions) - Orchestra and Organ solo
  • Chant séculaire op. 49 - Soprano solo, Chorus and Orchestra
  • Symphony No. 2 op. 54 (1886, Heugel) - Orchestra
  • Maître Ambros op. 56 (Hamelle) - Orchestra
  • La noit de Walpurgis - poeme symphonique op. 60 (1887, Hamelle) - Chorus and Orchestra
  • Fantaisie op. 62 (1889, Durand) - Piano and Orchestra
  • Contes d'Avril op. 64 (Heugel) - Orchestra
  • Symphony No. 3 op. 69 (1894, Schott) - Organ and Orchestra
  • Choral et Variations op. 74 (1900, Leduc) - Harp and Orchestra
  • Piano Concerto No. 2 op. 77 (1906, Heugel) - Piano and Orchestra
  • Sinfonia sacra op. 81 (1908, Otto Junne) - Organ and Orchestra
  • Symphonie antique op. 83 (1911, Heugel) - Soloists, Chorus, Organ and Orchestra
  • La Korrigane WoO (1882, Heugel) - Orchestra
  • Ouverture espagnole (1897, Heugel) - Orchestra

[edit] Songs and choral works

  • O Salutaris op. 8 (Hamelle) - Contralto or Baritone and Organ
  • 6 Mélodies op. 14 (1872, Hamelle)- Voice and Piano
  • Tantum ergo op. 18 no. 1 (Hamelle) - Baritone Choir, SATB Choir and Organ
  • Regina coeli op. 18 no. 2 (Hamelle) - Baritone Choir, SATB Choir and Organ
  • 6 Mélodies op. 22 (1875, Hamelle) - Voice and Piano
  • Quam dilecta tabernacula tua op. 23 no. 1 (1876, Hamelle) - Baritone Choir, SATB Choir, Choir Organ and Grand Organ
  • Tu es Petrus op. 23 no. 2 (1876, Hamelle) - Baritone Choir, SATB Choir, Choir Organ and Grand Organ
  • Surrexit a mortuis (Sacerdos et pontifex) op. 23 no. 3 (1876, Hamelle) - SATB Choir, Choir Organ and Grand Organ
  • Ave Maria op. 24 (Hamelle) - Mezzo-Soprano, Harp and Organ
  • 3 Choruses op. 25 (Hamelle) - SATB Choir
  • 3 Mélodies op. 28 - Voice and Piano
  • 2 Duos op. 30 - Soprano, Contralto and Piano
  • 3 Mélodies italiennes op. 32 (Hamelle) - Voice and Piano
  • 3 Mélodies italiennes op. 35 (Hamelle) - Voice and Piano
  • Messe op. 36 (1890, Hamelle) - Baritone Choir, SATB Choir, Choir Organ and Grand Organ
  • 6 Mélodies op. 37 (Hamelle) - Voice and Piano
  • 2 Duos op. 40 (Hamelle) - Soprano, Contralto and Piano
  • 6 Mélodies op. 43 (Hamelle) - Voice and Piano
  • 6 Mélodies op. 47 (Hamelle) - Voice and Piano
  • 6 Mélodies op. 53 - Voice and Piano
  • Ave Maria op. 59 - Voice and Organ
  • O salutaris op. 63 - Voice, Violin or Cello and Organ
  • Soirs d'été op. 63 (1889, Durand) - Voice and Piano
  • Mon bras pressait (Hamelle) - Soprano and Piano
  • Contemplation (Hamelle) - Mezzo-Soprano and Piano
  • Ecce Joanna, Alleluia! (Schola Cantorum) - SATB Choir and Organ
  • Psalm 112 (1879) - Baritone Choir, SATB Choir, Choir Organ, Grand Organ and Orchestra

[edit] Stage music

  • Conte d'Avril (1885) - Incidental music
  • Maître Ambros : drame lyrique en 4 actes et 5 tableaux de François Coppée & Auguste Dorchain (piano reduction published Heugel, 1886) - Opera
  • Les pêcheurs de Saint-Jean (1904, Heugel) - Opera
  • Nerto WoO (1924, Heugel) - Opera

[edit] References

[edit] External links