Charles-Marie Widor

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Charles-Marie Jean Albert Widor (February 24, 1844 – March 12, 1937) was a French organist, composer and teacher.

1 Biography
2 Compositions
3 References
4 External links

[edit] Biography

Widor was born in Paris 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 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 24-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, where he also became 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. When an organist hears a reference to "the Widor", he instantly knows the speaker is referring to the Toccata from Symphony #5. 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. He recorded the piece, along with his Symphony Gothique at St. Sulpice in his eighty-eighth year.

Widor had several students in Paris who were to become famous composers in their own right, most notably Darius Milhaud, Marcel Dupré and Edgard Varèse. 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 a low point during the eighteenth 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 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.

The second group of symphonies, Symphonies 5-8, are part of Op. 42 (1878-87). The Fifth Symphony has five movements and closes with the famous Toccata. The opening movement of the Sixth Symphony is also very famous. The Seventh and Eighth Symphonies, while not very well known, contain some truly remarkable and exciting moments, and are by far the longest of Widor's Symphonies, employing the full scope of sonorities of which Cavaillé-Coll's organ at St-Sulpice was capable.

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. Although these symphonies are considered to represent the pinnacle of Widor's development as a composer, they are not as famous 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)
Symphonie pour orgue No. 5 op. 42 no. 1 (1880, Hamelle)
Symphonie pour orgue No. 6 op. 42 no. 2 (1880, Hamelle)
Symphonie pour orgue No. 7 op. 42 no. 3 (1880, Hamelle)
Symphonie pour orgue No. 8 op. 42 no. 4 (1880, Hamelle)
March Nuptiale op. 64 (1892) (trasc., from Conte d'Avril, Hamelle)
Symphonie pour orgue No. 9 'Gothique op. 70 (1895, Schott)
Symphonie pour orgue No. 10 'Romane' op. 73 (1900, Hamelle)
Suite Latine op. 86 (1927, Durand)
Trois Nouvelles Pièces op. 87 (1934, Durand)
Bach's Memento WoO (1925, Hamelle)
Pièce mystique WoO

[edit] Piano Solo

Scherzo Brilliant op. 5
Sérénade op. 6
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 finale 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 mvt 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)
Variations de concert sur un thème original WoO (1867)
La Barque (Fantaisie Italienne) WoO (1877, Durand)
La Corricolo (Fantaisie Italienne) WoO (1877, Durand)
Scherzo-Valse WoO (1878, Durand)
Fileuse WoO (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. Philip) (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)
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. 80 - Cello and Piano (Heugel)
Salvum Fac Populum Tuum op. 84 - 3 Trumpets, 3 Trombones, Drum and Organ (Heugel)
Humoresque WoO - Violin, Cello and Piano (P
4 Pièces WoO - Violin, Cello and Piano (1890)
6 Duos WoO - Piano and Harmonium (1891, Schott)
Sérénade WoO - Piano and Harmonium (1905, Schott)
4 Duos WoO - Violin, Cello and Piano (1908)
3 Pièces WoO - Oboe and Piano (1891)
Suite WoO - Cello and Piano (1912)
Suite Florentine WoO - 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
Ouveture Espagnole WoO (1898) - Orchestra
Les pêcheurs de Saint-Jean WoO (1904, Heugel) - Orchestra
Nerto WoO (1924, Heugel) - Chorus and 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'Ete op. 63 (1889, Durand) - Voice and Piano
Mon Bras Pressait WoO (Hamelle) - Soprano and Piano
Contemplation WoO (Hamelle) - Mezzo-Soprano and Piano
Ecce Joanna, Alleluia! WoO (Schola Cantorum) - SATB Choir and Organ
Psalm 112 WoO (1879) - Baritone Choir, SATB Choir, Choir Organ, Grand Organ and Orchestra

[edit] References

Thomson, A. (1989). The life and times of Charles-Marie Widor: 1844-1937. Oxford University Press. ISBN 0-19-816186-7.
Near, John (1985). The Life and Work of Charles-Marie Widor. Boston University.