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Charles-Marie Widor

 
Artist: Charles-Marie Widor
 
Home > Library > Entertainment & Arts > Classical Artists
  • Period: Post-Romantic (1870-1909)
  • Country: France
  • Born: February 21, 1844 in Lyons, France
  • Died: March 12, 1937 in Paris, France
  • Genres: Chamber Music, Keyboard Music, Orchestral Music

Biography

With an active performing career spanning eight decades, and an impressive class of students that included Darius Milhaud, Albert Schweitzer, and Marcel Dupré, French organist and composer Charles-Marie Widor maintained a lifelong position as one of the country's most prominent and influential musicians. Born in 1844, Widor was given his first lessons by his father, a well-known organ-builder and amateur performer. By age 11, Widor's skill had manifest itself so strongly that he was able to successfully compete for the job of organist at the lycée in his hometown of Lyons. A few years later the young musician traveled to Brussels, where he came under the tutelage of organist J.N. Lemmens, a well-known teacher at the Brussels Conservatory, whose own teacher could boast of having studied with a student of J.S. Bach. Therefore, the venerable German tradition of Bach interpretation formed the backbone of Widor's work with Lemmens. By 1870 Widor had earned a one-year position as replacement organist at St. Sulpice Cathedral in Paris; the appointment was such a success that Widor held on to the position until just four years before his death 67 years later.

During the 1870s Widor's career as a composer for media other than the organ began to take shape. Between the time of appointment at St. Sulpice in 1870 and the turn of the century, he produced three full symphonies, two ballets, a number of chamber works, and some sacred vocal music. Widor joined the organ faculty of the Paris Conservatoire in 1890 (replacing César Franck), and by 1896 had also been appointed professor of composition. During the early years of the twentieth century, Widor divided his time between his work at St. Sulpice, his duties with the Conservatoire, and activities on the administrative staff of the Académie des Beaux-Arts. Widor's strength and dexterity on the organ remained basically unimpaired until his retirement from St. Sulpice in 1933, at which time his student Marcel Dupré took over. Widor died four years later at the age of 93.

Widor was, by all accounts, one of the most formidable organists of the nineteenth and twentieth centuries. His dedication to the music of Bach in particular, earned him the respect of several generations of musicians worldwide. Widor's student Albert Schweitzer, who helped Widor edit Bach's complete organ works, did much to publicize Widor's ideals. Widor was considered by many to be the greatest improviser after César Franck, and Gabriel Faure, another gifted improviser and friend of Widor's, is known to have challenged Widor to improvisational "duels" on a number of occasions. Not surprisingly, Widor's compositions for organ have outlasted his other works. The ten Symphonies for organ are particularly powerful, especially the Symphonie Gothique (1895) and the Symphonie Romaine (1900), in which the composer's knowledge of plainchant, and his penchant for delicate contrapuntal textures come to the fore in a most rewarding way. ~ Blair Johnston, All Music Guide
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Music Encyclopedia: Charles-Marie(-Jean-Albert) Widor
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(b Lyons, 21 Feb 1844; d Paris, 12 March 1937). French organist,composer and teacher. He studied in Brussels with Fétis (composition) and J.N. Lemmens (organ). He was organist at St Sulpice, Paris, for over 60 years (1870-1934) and professor of organ (1890) and composition (1896) at the Conservatoire, his pupils including Louis Vierne, Albert Schweitzer, Marcel Dupré, Honegger and Milhaud. As a performer he is remembered for his rhythmic precision and traditional interpretations of Bach, whose music he often used in teaching. Though he composed prolifically in many genres he is best known for his organ music, most of it secular and conceived to make full use of the elaborate resources of the grandiose contemporary instruments, notably those of Cavaillé-Coll. He created the organ symphony, a decorative, powerful multi-movement piece that treats the organ as a kind of self-contained orchestra, using a wide variety of heavy technical demands. From the ten he composed (1876-1900), the most famous movements are the ‘Marche pontificale’ of the First and the Toccata of the Fifth.


 
Columbia Encyclopedia: Charles Marie Widor
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Widor, Charles Marie (shärl märē' vēdōr') , 1845–1937, French organist and composer. He was organist at St. Sulpice from 1869 until his retirement in 1934. In 1891 he succeeded César Franck as professor of organ at the Paris Conservatory and later also became professor of composition there. Chief among his compositions are 10 symphonies for organ. He composed operas, chamber music, orchestral suites, and piano concertos as well. In 1904 he wrote a supplement to Berlioz's treatise on orchestration. He also made, with Albert Schweitzer, an edition of the organ works of Bach.
 
Wikipedia: Charles-Marie Widor
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Home > Library > Miscellaneous > Wikipedia

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

A young Charles-Marie Widor ca. 1870 when he became organist of Saint-Sulpice.

Contents

Life

Widor was born in Lyon, France to a family of organ builders, and initially studied music there with his father, François-Charles Widor, titular organist of Saint-François-de-Sales from 1838 to 1889. 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 in 1863 with Jacques-Nicolas Lemmens for organ technique and with François-Joseph Fétis, director of the Brussels Conservatoire, for composition. After this term of study Widor moved to Paris where he would make his home for the rest of his life. In 1869 he was appointed assistant to Camille Saint-Saëns at Église de la Madeleine.

In January 1870, with the combined lobbying of Cavaillé-Coll, Charles Gounod and Camille Saint-Saëns, the 25-year-old Widor was appointed as "provisional" 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 and assistant for twenty-eight years, Marcel Dupré.

In 1890, Widor succeeded César Franck as organ professor at the Paris Conservatoire; he later gave up this post to become composition professor in 1896. 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 music.

Widor's career as an acclaimed organ recitalist took him to many countries including Russia, England, Germany, the Netherlands, Portugal, Italy, Poland and Switzerland, and he participated in the inaugural concerts of many of Cavaillé-Coll's greatest instruments, notably Notre-Dame de Paris, Saint-Germain-des-Près, the Trocadéro and Saint-Ouen de Rouen.

Well-known as a man of great culture and learning, Widor was made a chevalier of the Légion d'Honneur in 1892, named to the Institut de France in 1910, and was elected "Secrétaire perpetuel" (permanent secretary) of the Académie des Beaux-Arts on July 18, 1914, succeeding Henry Roujon.

In 1921, Widor founded the American Conservatory at Fontainebleau with Francis-Louis Casadesus. He was the Director until 1934, when he was succeeded by Maurice Ravel.

At the age of seventy-six, Widor married Mathilde de Montesquiou-Fézensac on April 26, 1920 at Charchigné. The thirty-six-year-old Mathilde was a member of one of the oldest and most prominent families of Europe. She died in 1960: there were no children from this union.

On December 31, 1933, Widor resigned his position at Saint-Sulpice. Three years later he suffered a stroke which paralysed the right side of his body. He died at his home in Paris on March 12, 1937 and his remains interred in the crypt of Saint-Sulpice four days later.

Organ Symphonies

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

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

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.

With the Opus 42 symphonies Widor shows his mastery and refinement of 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 least performed of Widor's Symphonies. The Seventh Symphony contains six movements, and the first version of the Eighth Symphony had seven (Widor subsequently removed the Prélude for the 1901 edition).

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: Symphonie Gothique uses the Christmas Day Introit "Puer natus est" in the third and fourth movements, while the Symphonie Romane has the Easter Gradual "Haec dies" woven throughout all four movements. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most-beloved pieces.

Hoerprobe Goll Orgel St. Martin (Memmingen).ogg
Symphonie pour orgue N° 5, op. 42 Nr. 1 (1887), 5. Toccata

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 (The Vatican City, Rome). 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 Boëllmann, Mulet, and Dupré. 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 a very fast tempo 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-ninth year: the tempo used for the Toccata is quite slow.

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)

Compositions

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

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 américaine (transc. by Marcel Dupré: no. 11 from 12 Feuillets d’Album op. 31, Hamelle)
  • Symphonie pour orgue No. 5 op. 42 no. 1 (1879, Hamelle)
  • Symphonie pour orgue No. 6 op. 42 no. 2 (1879, 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 Gothique pour orgue [No. 9], op. 70 (1895, Schott)
  • Symphonie Romane pour orgue [No. 10], op. 73 (1900, Hamelle)
  • Bach's Memento (1925, Hamelle)
  • Suite Latine op. 86 (1927, Durand)
  • Trois Nouvelles Pièces op. 87 (1934, Durand)

Piano solo

  • Variations de concert sur un thème original pour piano op. 1 (1867, Heugel)
  • Sérénade op. 3 no. 4 (arr. Leistner) (Hamelle)
  • Airs de ballet op. 4 (1868, Hamelle)
  • Scherzo-valse op. 5 (1868, Hamelle)
  • Caprice op. 9 (1868, Hamelle)
  • 3 Valses op. 11 (1871, Hamelle)
  • Impromptu op. 12 (1871, Hamelle)
  • 6 Morceaux de salon op. 15 (1872, Hamelle)
  • Prelude, andante et final op. 17 (1874, Hamelle)
  • Scènes de bal op. 20 (1875, Hamelle)
  • 6 Valses caractéristiques op. 26 (1877, Hamelle)
  • Variations sur un thème original pour piano op. 29 (1877, Hamelle)
  • 12 Feuillets d’album op. 31 (1877, Hamelle)
  • [5 Valses] op. 33 (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 (1880, Hamelle)
  • Pages intimes op.48 (1879, Hamelle)
  • Suite polonaise op. 51 (1881, Hamelle)
  • Suite op. 58 (1887, Hamelle)
  • Carnaval, douze pièces pour piano op. 61 (1889, Hamelle)
  • Nocturne, from Contes d'Avril op. 64
  • [5 Valses] op. 71 (1894, Hamelle)
  • Suite Écossaise op.78 (1905, Joseph Williams)
  • La Barque (Fantaisie italienne) (1877, Durand)
  • Le Corricolo (Fantaisie italienne) (1877, Durand)
  • Introduction (Hamelle)
  • Intermezzo (Hamelle)

Piano duo

  • Sérénade op. 10 - 2 Pianos (arr. Frène) (Hamelle)
  • Symphony No. 1 op. 16 - Piano Duet (arr.) (Durand)
  • Marche américaine op. 31 no. 11 - Piano Duet (arr.) (1890, Hamelle)
  • Piano Concerto No. 1 op. 39 - 2 Pianos (arr.) (1876, Hamelle)
  • 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 (arr.) (Durand)
  • Fantaisie op. 62 - 2 Pianos (arr.) (Durand)
  • Suite Concertante, from Conte d'Avril op. 64 - Piano Duet (arr.) (Schott)
  • Choral et Variations op. 74 - 2 Pianos (arr. Isidor Philipp)

Chamber works

  • 6 Duos op. 3 - Piano and Harmonium (1867, Regnier-Canaux/Renaud/Pérégally & Parvy/Schott)
  • Humoresque op. 3 no. 1 - Violin, Violoncello and Piano (arr. Widor) (Pérégally & Parvy)
  • Cantabile op. 3 no. 2 - Violin and Piano (arr. Vierne) (Pérégally & Parvy)
  • Cantabile op. 3 no. 2 - Violoncello and Piano (arr. Vierne) (Pérégally & Parvy)
  • Cantabile op. 3 no. 2 - Violin, Violoncello and Piano (arr. Widor) (Pérégally & Parvy)
  • Nocturne op. 3 no. 3 - Violin, Violoncello and Piano (arr. Widor) (Pérégally & Parvy)
  • Sérénade op. 3 no. 4 - Violin and Piano (arr. Vierne) (Pérégally & Parvy)
  • Sérénade op. 3 no. 4 - Violoncello and Piano (arr. Vierne) (Pérégally & Parvy)
  • Sérénade op. 3 no. 4 - Violin, Violoncello and Piano (arr. Widor) (Pérégally & Parvy)
  • Piano Quintet No. 1 op. 7 (1868, Hamelle)
  • Sérénade op. 10 (1870, Hamelle) - Piano, Flute, Violin, Cello and Harmonium
  • Sérénade op. 10 - Violin, Cello and Piano (1922, Schott)
  • Sérénade op. 10 - Violin (or Flute) and Piano (arr. Bordes) (Hamelle)
  • Sérénade op. 10 - Cello and Piano (arr. Delsart) (Hamelle)
  • Valse op. 11 no. 1 - Violin and Piano (arr.) (Hamelle)
  • Valse impromptu op. 15 no. 6 - Violin and Piano (arr.) (Hamelle)
  • Piano Trio op. 19 - Piano, Violin and Cello (1875, Hamelle)
  • 3 Pieces op. 21 - Cello and Piano (1875, Hamelle)
  • Suite op. 21 nos 1-3 - Piano and Violin (arr.) (Hamelle)
  • Valse op. 26 no. 6 - Piano and Violin (arr.) (Hamelle)
  • Suite op. 34 - Flute and Piano (1877, Hamelle; 1898, Heugel)
  • Toccata op. 42 no. 1 (transc. of 5th mvt from Symphonie pour orgue No. 5) (Hamelle)
  • Romance op. 46 - Violin and Piano
  • Sonate No. 1 op. 50 - Violin and Piano (1881, Hamelle)
  • Soirs d'Alsace - 4 Duos op. 52 - Violin, Cello and Piano (1881, Hamelle)
  • Cavatine op. 57 - Violin and Piano (1887, Hamelle)
  • Piano Quartet op. 66 - Violin, Viola, Cello and Piano (1891, Durand)
  • Piano Quintet No. 2 op. 68 - 2 Violins, Viola, Cello and Piano (1894, Durand)
  • Introduction et Rondo op. 72 - Clarinet and Piano (1898, Leduc)
  • Suite op. 76 - Violin and Piano (1903, Hamelle)
  • Sonate op.79 - Violin and Piano (1906, Heugel)
  • Sonate op. 80 - Cello and Piano (1907, Heugel)
  • Salvum fac populum tuum op. 84 - 3 Trumpets, 3 Trombones, Drum and Organ (1917, Heugel)
  • 4 Pièces - Violin, Cello and Piano (1890)
  • 3 Pièces - Oboe and Piano (1891)
  • Suite - Cello and Piano (1912)
  • Suite Florentine - Flute or Violin and Piano (1920)

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 (arr. by Widor of movements from Op. 42)
  • Chant séculaire op. 49 - (1881, Hamelle) - Soprano solo, Chorus and Orchestra
  • Symphony No. 2 op. 54 (1882, Heugel) - Orchestra
  • Maître Ambros op. 56 (Hamelle) - Orchestra
  • La nuit de Walpurgis - poeme symphonique op. 60 (1887, Hamelle) - Chorus and Orchestra
  • Fantaisie op. 62 (1889, Durand) - Piano and Orchestra
  • Suite, from Conte d'Avril op. 64 (1892, 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
  • Ouverture espagnole (1897, Heugel) - Orchestra

Songs and choral works

  • O Salutaris op. 8 (1868, Hamelle) - Contralto or Baritone, Violin, Cello and Organ
  • 6 Mélodies op. 14 (1872, Hamelle)- Voice and Piano
  • Tantum ergo op. 18 no. 1 (1874, Hamelle) - Baritone Choir, SATB Choir and Organ
  • Regina coeli op. 18 no. 2 (1874, 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 (1877, Hamelle) - Mezzo-Soprano, Harp and Organ
  • Ave Maria op. 24 (Hamelle) - Voice and Piano (arr.)
  • 3 Choruses op. 25 (1876, Hamelle) - SATB Choir
  • 3 Mélodies op. 28 - (1876, Hamelle) - Voice and Piano
  • 2 Duos op. 30 - (1876, Hamelle) - Soprano, Contralto and Piano
  • 3 Mélodies italiennes op. 32 (1877, Hamelle) - Voice and Piano
  • 3 Mélodies italiennes op. 35 (1878, Hamelle) - Voice and Piano
  • Messe op. 36 (1878, Hamelle) - Baritone Choir, SATB Choir, Choir Organ and Grand Organ
  • 6 Mélodies op. 37 (1877, Hamelle) - Voice and Piano
  • 2 Duos op. 40 (1876, Hamelle) - Soprano, Contralto and Piano
  • 6 Mélodies op. 43 (1878, Hamelle) - Voice and Piano
  • 6 Mélodies op. 47 (1879, Hamelle) - Voice and Piano
  • 6 Mélodies op. 53 (1881, Hamelle) - Voice and Piano
  • Ave Maria op. 59 (1884, Hamelle) - Voice, Harp and Organ
  • O salutaris op. 63[bis] (1889, Hamelle) - Voice, Violin, Cello and Organ
  • Soirs d'été op. 63 (1889, Durand) - Voice and Piano
  • Ecce Joanna, Alleluia! (Schola Cantorum) - SATB Choir and Organ
  • Psalm 112 (1879, Hamelle) - Baritone Choir, SATB Choir, Choir Organ, Grand Organ and Orchestra
  • Da Pacem (1930, Durand) - SATB Choir and Organ or Piano
  • Non Credo (1890, Durand) - Voice and Piano

Stage music

  • Le Capitaine Loys (ca. 1878, unpublished) - Comic opera
  • La Korrigane (1880, Hamelle) - Ballet
  • Maître Ambros : drame lyrique en 4 actes et 5 tableaux de François Coppée & Auguste Dorchain Op.56 (piano reduction published by Heugel, 1886) - Opera
  • Conte d'Avril op. 64 (1885; 1891, Heugel) - Incidental music
  • Les pêcheurs de Saint-Jean : drame lyrique en 4 actes (1895; 1904, Heugel) - Opera
  • Nerto : drame lyrique en 4 actes (1924, Heugel) - Opera

References

External links

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Artist. Copyright © 2009 All Media Guide, LLC. Content provided by All Music Guide ® , a trademark of All Media Guide, LLC. All rights reserved.  Read more
Music Encyclopedia. The Concise Grove Dictionary of Music. Copyright © 1994 by Oxford University Press, Inc.. All rights reserved.  Read more
Columbia Encyclopedia. The Columbia Electronic Encyclopedia, Sixth Edition Copyright © 2003, Columbia University Press. Licensed from Columbia University Press. All rights reserved. www.cc.columbia.edu/cu/cup/  Read more
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