Кіріспе
Француз органисті және композиторы (1844–1937)
French organist and composer (1844–1937)
Charles Marie Jean Albert Widor (21 February 1844 – 12 March 1937) was a French organist, composer and teacher of the late Romantic era. As a composer he is known for his ten organ symphonies, especially the toccata of his fifth organ symphony, which is frequently played as recessional music at weddings and other celebrations. The Sixth Symphony is also famous for its opening movement Allegro. 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. They also honored, respectively, the Gothic Church of St. Ouen, Rouen and the Romanesque Basilica of St. Sernin, Toulouse, with the new Cavaillé Coll organs installed in each. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most beloved pieces. Dating from this same period, and also based on a plainsong theme, is the "Salve Regina" movement, a late addition to the much earlier second symphony. Widor's best known piece for the organ is the final movement of his Symphony for Organ No. 5, a toccata, which is often played as a recessional at wedding ceremonies and at the close of the Christmas Midnight Mass at Saint Peter's Basilica, Vatican City. 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 Gigout, Boëllmann, Mulet, Vierne and Dupré. Widor was pleased with the worldwide 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, at St. Sulpice in his eighty ninth year; the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos. Over his long 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." |
|Symphonie pour orgue et orchestre, Op. 42
|1882
|repr. A R Editions
|organ and orchestra (arr. by Widor of movements from Op. 42)
|
|Chant séculaire, Op. 49
|1881
|Julien Hamelle
|soprano solo, chorus and orchestra
|
|Symphony No. 2, Op. 54
|1882
|Heugel
|orchestra
|
|La Nuit de Walpurgis, Op. 60
|1887
|Julien Hamelle
|chorus and orchestra
|
|Fantaisie, Op. 62
|1889
|Auguste 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
|Éditions Alphonse 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
|}
Charles Marie Jean Albert Widor (21 February 1844 – 12 March 1937) was a French organist, composer and teacher of the late Romantic era. As a composer he is known for his ten organ symphonies, especially the toccata of his fifth organ symphony, which is frequently played as recessional music at weddings and other celebrations. The Sixth Symphony is also famous for its opening movement Allegro. 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. They also honored, respectively, the Gothic Church of St. Ouen, Rouen and the Romanesque Basilica of St. Sernin, Toulouse, with the new Cavaillé Coll organs installed in each. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most beloved pieces. Dating from this same period, and also based on a plainsong theme, is the "Salve Regina" movement, a late addition to the much earlier second symphony. Widor's best known piece for the organ is the final movement of his Symphony for Organ No. 5, a toccata, which is often played as a recessional at wedding ceremonies and at the close of the Christmas Midnight Mass at Saint Peter's Basilica, Vatican City. 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 Gigout, Boëllmann, Mulet, Vierne and Dupré. Widor was pleased with the worldwide 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, at St. Sulpice in his eighty ninth year; the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos. Over his long 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." |
|Symphonie pour orgue et orchestre, Op. 42
|1882
|repr. A R Editions
|organ and orchestra (arr. by Widor of movements from Op. 42)
|
|Chant séculaire, Op. 49
|1881
|Julien Hamelle
|soprano solo, chorus and orchestra
|
|Symphony No. 2, Op. 54
|1882
|Heugel
|orchestra
|
|La Nuit de Walpurgis, Op. 60
|1887
|Julien Hamelle
|chorus and orchestra
|
|Fantaisie, Op. 62
|1889
|Auguste 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
|Éditions Alphonse 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
|}
Шарль Мари Жан Альберт Видор (21 ақпан 1844 – 12 наурыз 1937) – француз органисті, композиторы және кеш романтика дәуірінің мұғалімі. Композитор ретінде ол он орган симфониясымен, әсіресе бесінші орган симфониясының токкатасымен танымал, ол жиі тойларда және басқа да мерекелерде рецессиялық музыка ретінде орындалады. Алтыншы симфонияның алғашқы бөлімі – «Алегро» деп аталады. Жетінші және сегізінші симфониялар Видор симфонияларының ең ұзын және ең аз орындалатын туындылары болып табылады. Жетінші симфонияда алты бөлім бар, ал сегізінші симфонияның алғашқы нұсқасында жеті бөлім болған. (Содан кейін Видор 1901 жылғы басылымнан прелюдияны алып тастады.) Тоғызыншы және оныншы симфониялар, тиісінше «Готикалық» (Op. 70, 1895) және «Романдық» (Op. 73, 1900) симфониялары, көбірек терең ойлы. Олардың екеуі де қарапайым әннен тақырыптық материал алады: «Готикалық симфония» үшінші және төртінші бөлімдерінде Рождество күнінің «Puer natus est» әнін пайдаланады, ал «Романдық симфония» төрт бөлімінің барлығында «Haec dies» Пасхалық әнімен тоқылған. Олар сонымен қатар, Сент-Уэннің готикалық шіркеуін және Тулузадағы Сент-Серниннің романдық базиликасын, оларға орнатылған жаңа Cavaillé Coll органдарымен бірге құрметтейді. «Готикалық симфонияның» екінші бөлімі «Andante sostenuto» деп аталады, бұл Видордың ең сүйікті шығармаларының бірі. Осы кезеңнен бастап, сонымен қатар қарапайым ән тақырыбына негізделген «Salve Regina» бөлімі, әлдеқайда ертерек екінші симфонияға кейіннен қосылған. Видордың ең танымал орган туындысы – оның №5 орган симфониясының соңғы бөлімі, токката, ол көбінесе тойларда және Ватикан қаласындағы Киелі Петр базиликасындағы Рождество түн ортасындағы миссаның соңында орындалады. Төртінші симфония да токкатамен ашылса да, ол күрт өзгеше (және ертерек) стильде. №5 симфониядағы токката француз романтикалық орган музыкасына тән токкаталардың біріншісі болып табылады және Гигу, Боэльман, Муле, Виерне және Дюпренің кейінгі туындыларына үлгі болды. Видор осы бір туындының бүкіл әлемге танылуына қуанды, бірақ басқа органшілердің оны қаншалықты жылдам орындайтынына риза болмады. Видордың өзі токкатаны әуелі орындаған. Көптеген органшілер оны өте жылдам темппен орындайды, ал Видор одан да бақыланатын артикуляцияны ұнатты. Ол бұл туындыны өзінің сексен тоғызыншы жылында Сент-Сулпицеде жазды; токката үшін қолданылатын темп өте баяу. Исидор Филипп токкатаны екі фортепианоға аударды. Ұзақ мансабында Видор өзінің бұрынғы музыкасын редакциялауға қайта-қайта оралды, тіпті жарияланғаннан кейін де. Оның өмірбаянын жазған Джон Нир былай деп жазады: «Соңында, шамамен алпыс жыл ішінде кейбір симфониялардың сегіз түрлі басылымы шығарылғаны анықталды».
French organist and composer (1844–1937)
Charles Marie Jean Albert Widor (21 February 1844 – 12 March 1937) was a French organist, composer and teacher of the late Romantic era. As a composer he is known for his ten organ symphonies, especially the toccata of his fifth organ symphony, which is frequently played as recessional music at weddings and other celebrations. The Sixth Symphony is also famous for its opening movement Allegro. 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. They also honored, respectively, the Gothic Church of St. Ouen, Rouen and the Romanesque Basilica of St. Sernin, Toulouse, with the new Cavaillé Coll organs installed in each. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most beloved pieces. Dating from this same period, and also based on a plainsong theme, is the "Salve Regina" movement, a late addition to the much earlier second symphony. Widor's best known piece for the organ is the final movement of his Symphony for Organ No. 5, a toccata, which is often played as a recessional at wedding ceremonies and at the close of the Christmas Midnight Mass at Saint Peter's Basilica, Vatican City. 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 Gigout, Boëllmann, Mulet, Vierne and Dupré. Widor was pleased with the worldwide 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, at St. Sulpice in his eighty ninth year; the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos. Over his long 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." |
|Symphonie pour orgue et orchestre, Op. 42
|1882
|repr. A R Editions
|organ and orchestra (arr. by Widor of movements from Op. 42)
|
|Chant séculaire, Op. 49
|1881
|Julien Hamelle
|soprano solo, chorus and orchestra
|
|Symphony No. 2, Op. 54
|1882
|Heugel
|orchestra
|
|La Nuit de Walpurgis, Op. 60
|1887
|Julien Hamelle
|chorus and orchestra
|
|Fantaisie, Op. 62
|1889
|Auguste 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
|Éditions Alphonse 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
|}
Charles Marie Jean Albert Widor (21 February 1844 – 12 March 1937) was a French organist, composer and teacher of the late Romantic era. As a composer he is known for his ten organ symphonies, especially the toccata of his fifth organ symphony, which is frequently played as recessional music at weddings and other celebrations. The Sixth Symphony is also famous for its opening movement Allegro. 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. They also honored, respectively, the Gothic Church of St. Ouen, Rouen and the Romanesque Basilica of St. Sernin, Toulouse, with the new Cavaillé Coll organs installed in each. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most beloved pieces. Dating from this same period, and also based on a plainsong theme, is the "Salve Regina" movement, a late addition to the much earlier second symphony. Widor's best known piece for the organ is the final movement of his Symphony for Organ No. 5, a toccata, which is often played as a recessional at wedding ceremonies and at the close of the Christmas Midnight Mass at Saint Peter's Basilica, Vatican City. 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 Gigout, Boëllmann, Mulet, Vierne and Dupré. Widor was pleased with the worldwide 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, at St. Sulpice in his eighty ninth year; the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos. Over his long 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." |
|Symphonie pour orgue et orchestre, Op. 42
|1882
|repr. A R Editions
|organ and orchestra (arr. by Widor of movements from Op. 42)
|
|Chant séculaire, Op. 49
|1881
|Julien Hamelle
|soprano solo, chorus and orchestra
|
|Symphony No. 2, Op. 54
|1882
|Heugel
|orchestra
|
|La Nuit de Walpurgis, Op. 60
|1887
|Julien Hamelle
|chorus and orchestra
|
|Fantaisie, Op. 62
|1889
|Auguste 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
|Éditions Alphonse 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
|}
|Симфония орган мен оркестр үшін, Op. 42|
|1882|
|қайта басылым: A R Editions|
|орган және оркестр (Widor-дың Op. 42 туындыларынан жасалған)|
French organist and composer (1844–1937)
Charles Marie Jean Albert Widor (21 February 1844 – 12 March 1937) was a French organist, composer and teacher of the late Romantic era. As a composer he is known for his ten organ symphonies, especially the toccata of his fifth organ symphony, which is frequently played as recessional music at weddings and other celebrations. The Sixth Symphony is also famous for its opening movement Allegro. 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. They also honored, respectively, the Gothic Church of St. Ouen, Rouen and the Romanesque Basilica of St. Sernin, Toulouse, with the new Cavaillé Coll organs installed in each. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most beloved pieces. Dating from this same period, and also based on a plainsong theme, is the "Salve Regina" movement, a late addition to the much earlier second symphony. Widor's best known piece for the organ is the final movement of his Symphony for Organ No. 5, a toccata, which is often played as a recessional at wedding ceremonies and at the close of the Christmas Midnight Mass at Saint Peter's Basilica, Vatican City. 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 Gigout, Boëllmann, Mulet, Vierne and Dupré. Widor was pleased with the worldwide 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, at St. Sulpice in his eighty ninth year; the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos. Over his long 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." |
|Symphonie pour orgue et orchestre, Op. 42
|1882
|repr. A R Editions
|organ and orchestra (arr. by Widor of movements from Op. 42)
|
|Chant séculaire, Op. 49
|1881
|Julien Hamelle
|soprano solo, chorus and orchestra
|
|Symphony No. 2, Op. 54
|1882
|Heugel
|orchestra
|
|La Nuit de Walpurgis, Op. 60
|1887
|Julien Hamelle
|chorus and orchestra
|
|Fantaisie, Op. 62
|1889
|Auguste 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
|Éditions Alphonse 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
|}
Charles Marie Jean Albert Widor (21 February 1844 – 12 March 1937) was a French organist, composer and teacher of the late Romantic era. As a composer he is known for his ten organ symphonies, especially the toccata of his fifth organ symphony, which is frequently played as recessional music at weddings and other celebrations. The Sixth Symphony is also famous for its opening movement Allegro. 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. They also honored, respectively, the Gothic Church of St. Ouen, Rouen and the Romanesque Basilica of St. Sernin, Toulouse, with the new Cavaillé Coll organs installed in each. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most beloved pieces. Dating from this same period, and also based on a plainsong theme, is the "Salve Regina" movement, a late addition to the much earlier second symphony. Widor's best known piece for the organ is the final movement of his Symphony for Organ No. 5, a toccata, which is often played as a recessional at wedding ceremonies and at the close of the Christmas Midnight Mass at Saint Peter's Basilica, Vatican City. 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 Gigout, Boëllmann, Mulet, Vierne and Dupré. Widor was pleased with the worldwide 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, at St. Sulpice in his eighty ninth year; the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos. Over his long 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." |
|Symphonie pour orgue et orchestre, Op. 42
|1882
|repr. A R Editions
|organ and orchestra (arr. by Widor of movements from Op. 42)
|
|Chant séculaire, Op. 49
|1881
|Julien Hamelle
|soprano solo, chorus and orchestra
|
|Symphony No. 2, Op. 54
|1882
|Heugel
|orchestra
|
|La Nuit de Walpurgis, Op. 60
|1887
|Julien Hamelle
|chorus and orchestra
|
|Fantaisie, Op. 62
|1889
|Auguste 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
|Éditions Alphonse 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
|}
|Chant séculaire, Op. 49|
|1881|
|Жюльен Хамель|
|сопрано соло, хор және оркестр|
French organist and composer (1844–1937)
Charles Marie Jean Albert Widor (21 February 1844 – 12 March 1937) was a French organist, composer and teacher of the late Romantic era. As a composer he is known for his ten organ symphonies, especially the toccata of his fifth organ symphony, which is frequently played as recessional music at weddings and other celebrations. The Sixth Symphony is also famous for its opening movement Allegro. 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. They also honored, respectively, the Gothic Church of St. Ouen, Rouen and the Romanesque Basilica of St. Sernin, Toulouse, with the new Cavaillé Coll organs installed in each. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most beloved pieces. Dating from this same period, and also based on a plainsong theme, is the "Salve Regina" movement, a late addition to the much earlier second symphony. Widor's best known piece for the organ is the final movement of his Symphony for Organ No. 5, a toccata, which is often played as a recessional at wedding ceremonies and at the close of the Christmas Midnight Mass at Saint Peter's Basilica, Vatican City. 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 Gigout, Boëllmann, Mulet, Vierne and Dupré. Widor was pleased with the worldwide 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, at St. Sulpice in his eighty ninth year; the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos. Over his long 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." |
|Symphonie pour orgue et orchestre, Op. 42
|1882
|repr. A R Editions
|organ and orchestra (arr. by Widor of movements from Op. 42)
|
|Chant séculaire, Op. 49
|1881
|Julien Hamelle
|soprano solo, chorus and orchestra
|
|Symphony No. 2, Op. 54
|1882
|Heugel
|orchestra
|
|La Nuit de Walpurgis, Op. 60
|1887
|Julien Hamelle
|chorus and orchestra
|
|Fantaisie, Op. 62
|1889
|Auguste 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
|Éditions Alphonse 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
|}
Charles Marie Jean Albert Widor (21 February 1844 – 12 March 1937) was a French organist, composer and teacher of the late Romantic era. As a composer he is known for his ten organ symphonies, especially the toccata of his fifth organ symphony, which is frequently played as recessional music at weddings and other celebrations. The Sixth Symphony is also famous for its opening movement Allegro. 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. They also honored, respectively, the Gothic Church of St. Ouen, Rouen and the Romanesque Basilica of St. Sernin, Toulouse, with the new Cavaillé Coll organs installed in each. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most beloved pieces. Dating from this same period, and also based on a plainsong theme, is the "Salve Regina" movement, a late addition to the much earlier second symphony. Widor's best known piece for the organ is the final movement of his Symphony for Organ No. 5, a toccata, which is often played as a recessional at wedding ceremonies and at the close of the Christmas Midnight Mass at Saint Peter's Basilica, Vatican City. 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 Gigout, Boëllmann, Mulet, Vierne and Dupré. Widor was pleased with the worldwide 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, at St. Sulpice in his eighty ninth year; the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos. Over his long 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." |
|Symphonie pour orgue et orchestre, Op. 42
|1882
|repr. A R Editions
|organ and orchestra (arr. by Widor of movements from Op. 42)
|
|Chant séculaire, Op. 49
|1881
|Julien Hamelle
|soprano solo, chorus and orchestra
|
|Symphony No. 2, Op. 54
|1882
|Heugel
|orchestra
|
|La Nuit de Walpurgis, Op. 60
|1887
|Julien Hamelle
|chorus and orchestra
|
|Fantaisie, Op. 62
|1889
|Auguste 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
|Éditions Alphonse 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
|}
|Симфония №2, Op. 54|
|1882|
|Heugel|
|оркестр|
French organist and composer (1844–1937)
Charles Marie Jean Albert Widor (21 February 1844 – 12 March 1937) was a French organist, composer and teacher of the late Romantic era. As a composer he is known for his ten organ symphonies, especially the toccata of his fifth organ symphony, which is frequently played as recessional music at weddings and other celebrations. The Sixth Symphony is also famous for its opening movement Allegro. 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. They also honored, respectively, the Gothic Church of St. Ouen, Rouen and the Romanesque Basilica of St. Sernin, Toulouse, with the new Cavaillé Coll organs installed in each. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most beloved pieces. Dating from this same period, and also based on a plainsong theme, is the "Salve Regina" movement, a late addition to the much earlier second symphony. Widor's best known piece for the organ is the final movement of his Symphony for Organ No. 5, a toccata, which is often played as a recessional at wedding ceremonies and at the close of the Christmas Midnight Mass at Saint Peter's Basilica, Vatican City. 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 Gigout, Boëllmann, Mulet, Vierne and Dupré. Widor was pleased with the worldwide 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, at St. Sulpice in his eighty ninth year; the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos. Over his long 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." |
|Symphonie pour orgue et orchestre, Op. 42
|1882
|repr. A R Editions
|organ and orchestra (arr. by Widor of movements from Op. 42)
|
|Chant séculaire, Op. 49
|1881
|Julien Hamelle
|soprano solo, chorus and orchestra
|
|Symphony No. 2, Op. 54
|1882
|Heugel
|orchestra
|
|La Nuit de Walpurgis, Op. 60
|1887
|Julien Hamelle
|chorus and orchestra
|
|Fantaisie, Op. 62
|1889
|Auguste 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
|Éditions Alphonse 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
|}
Charles Marie Jean Albert Widor (21 February 1844 – 12 March 1937) was a French organist, composer and teacher of the late Romantic era. As a composer he is known for his ten organ symphonies, especially the toccata of his fifth organ symphony, which is frequently played as recessional music at weddings and other celebrations. The Sixth Symphony is also famous for its opening movement Allegro. 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. They also honored, respectively, the Gothic Church of St. Ouen, Rouen and the Romanesque Basilica of St. Sernin, Toulouse, with the new Cavaillé Coll organs installed in each. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most beloved pieces. Dating from this same period, and also based on a plainsong theme, is the "Salve Regina" movement, a late addition to the much earlier second symphony. Widor's best known piece for the organ is the final movement of his Symphony for Organ No. 5, a toccata, which is often played as a recessional at wedding ceremonies and at the close of the Christmas Midnight Mass at Saint Peter's Basilica, Vatican City. 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 Gigout, Boëllmann, Mulet, Vierne and Dupré. Widor was pleased with the worldwide 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, at St. Sulpice in his eighty ninth year; the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos. Over his long 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." |
|Symphonie pour orgue et orchestre, Op. 42
|1882
|repr. A R Editions
|organ and orchestra (arr. by Widor of movements from Op. 42)
|
|Chant séculaire, Op. 49
|1881
|Julien Hamelle
|soprano solo, chorus and orchestra
|
|Symphony No. 2, Op. 54
|1882
|Heugel
|orchestra
|
|La Nuit de Walpurgis, Op. 60
|1887
|Julien Hamelle
|chorus and orchestra
|
|Fantaisie, Op. 62
|1889
|Auguste 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
|Éditions Alphonse 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
|}
|Уалпүргіс түні, Op. 60|
|1887|
|Жюльен Хамель|
|хор және оркестр|
French organist and composer (1844–1937)
Charles Marie Jean Albert Widor (21 February 1844 – 12 March 1937) was a French organist, composer and teacher of the late Romantic era. As a composer he is known for his ten organ symphonies, especially the toccata of his fifth organ symphony, which is frequently played as recessional music at weddings and other celebrations. The Sixth Symphony is also famous for its opening movement Allegro. 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. They also honored, respectively, the Gothic Church of St. Ouen, Rouen and the Romanesque Basilica of St. Sernin, Toulouse, with the new Cavaillé Coll organs installed in each. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most beloved pieces. Dating from this same period, and also based on a plainsong theme, is the "Salve Regina" movement, a late addition to the much earlier second symphony. Widor's best known piece for the organ is the final movement of his Symphony for Organ No. 5, a toccata, which is often played as a recessional at wedding ceremonies and at the close of the Christmas Midnight Mass at Saint Peter's Basilica, Vatican City. 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 Gigout, Boëllmann, Mulet, Vierne and Dupré. Widor was pleased with the worldwide 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, at St. Sulpice in his eighty ninth year; the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos. Over his long 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." |
|Symphonie pour orgue et orchestre, Op. 42
|1882
|repr. A R Editions
|organ and orchestra (arr. by Widor of movements from Op. 42)
|
|Chant séculaire, Op. 49
|1881
|Julien Hamelle
|soprano solo, chorus and orchestra
|
|Symphony No. 2, Op. 54
|1882
|Heugel
|orchestra
|
|La Nuit de Walpurgis, Op. 60
|1887
|Julien Hamelle
|chorus and orchestra
|
|Fantaisie, Op. 62
|1889
|Auguste 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
|Éditions Alphonse 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
|}
Charles Marie Jean Albert Widor (21 February 1844 – 12 March 1937) was a French organist, composer and teacher of the late Romantic era. As a composer he is known for his ten organ symphonies, especially the toccata of his fifth organ symphony, which is frequently played as recessional music at weddings and other celebrations. The Sixth Symphony is also famous for its opening movement Allegro. 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. They also honored, respectively, the Gothic Church of St. Ouen, Rouen and the Romanesque Basilica of St. Sernin, Toulouse, with the new Cavaillé Coll organs installed in each. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most beloved pieces. Dating from this same period, and also based on a plainsong theme, is the "Salve Regina" movement, a late addition to the much earlier second symphony. Widor's best known piece for the organ is the final movement of his Symphony for Organ No. 5, a toccata, which is often played as a recessional at wedding ceremonies and at the close of the Christmas Midnight Mass at Saint Peter's Basilica, Vatican City. 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 Gigout, Boëllmann, Mulet, Vierne and Dupré. Widor was pleased with the worldwide 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, at St. Sulpice in his eighty ninth year; the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos. Over his long 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." |
|Symphonie pour orgue et orchestre, Op. 42
|1882
|repr. A R Editions
|organ and orchestra (arr. by Widor of movements from Op. 42)
|
|Chant séculaire, Op. 49
|1881
|Julien Hamelle
|soprano solo, chorus and orchestra
|
|Symphony No. 2, Op. 54
|1882
|Heugel
|orchestra
|
|La Nuit de Walpurgis, Op. 60
|1887
|Julien Hamelle
|chorus and orchestra
|
|Fantaisie, Op. 62
|1889
|Auguste 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
|Éditions Alphonse 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
|}
|Фантазия, Op. 62|
|1889|
|Огюст Дюран|
|фортепиано және оркестр|
French organist and composer (1844–1937)
Charles Marie Jean Albert Widor (21 February 1844 – 12 March 1937) was a French organist, composer and teacher of the late Romantic era. As a composer he is known for his ten organ symphonies, especially the toccata of his fifth organ symphony, which is frequently played as recessional music at weddings and other celebrations. The Sixth Symphony is also famous for its opening movement Allegro. 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. They also honored, respectively, the Gothic Church of St. Ouen, Rouen and the Romanesque Basilica of St. Sernin, Toulouse, with the new Cavaillé Coll organs installed in each. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most beloved pieces. Dating from this same period, and also based on a plainsong theme, is the "Salve Regina" movement, a late addition to the much earlier second symphony. Widor's best known piece for the organ is the final movement of his Symphony for Organ No. 5, a toccata, which is often played as a recessional at wedding ceremonies and at the close of the Christmas Midnight Mass at Saint Peter's Basilica, Vatican City. 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 Gigout, Boëllmann, Mulet, Vierne and Dupré. Widor was pleased with the worldwide 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, at St. Sulpice in his eighty ninth year; the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos. Over his long 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." |
|Symphonie pour orgue et orchestre, Op. 42
|1882
|repr. A R Editions
|organ and orchestra (arr. by Widor of movements from Op. 42)
|
|Chant séculaire, Op. 49
|1881
|Julien Hamelle
|soprano solo, chorus and orchestra
|
|Symphony No. 2, Op. 54
|1882
|Heugel
|orchestra
|
|La Nuit de Walpurgis, Op. 60
|1887
|Julien Hamelle
|chorus and orchestra
|
|Fantaisie, Op. 62
|1889
|Auguste 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
|Éditions Alphonse 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
|}
Charles Marie Jean Albert Widor (21 February 1844 – 12 March 1937) was a French organist, composer and teacher of the late Romantic era. As a composer he is known for his ten organ symphonies, especially the toccata of his fifth organ symphony, which is frequently played as recessional music at weddings and other celebrations. The Sixth Symphony is also famous for its opening movement Allegro. 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. They also honored, respectively, the Gothic Church of St. Ouen, Rouen and the Romanesque Basilica of St. Sernin, Toulouse, with the new Cavaillé Coll organs installed in each. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most beloved pieces. Dating from this same period, and also based on a plainsong theme, is the "Salve Regina" movement, a late addition to the much earlier second symphony. Widor's best known piece for the organ is the final movement of his Symphony for Organ No. 5, a toccata, which is often played as a recessional at wedding ceremonies and at the close of the Christmas Midnight Mass at Saint Peter's Basilica, Vatican City. 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 Gigout, Boëllmann, Mulet, Vierne and Dupré. Widor was pleased with the worldwide 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, at St. Sulpice in his eighty ninth year; the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos. Over his long 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." |
|Symphonie pour orgue et orchestre, Op. 42
|1882
|repr. A R Editions
|organ and orchestra (arr. by Widor of movements from Op. 42)
|
|Chant séculaire, Op. 49
|1881
|Julien Hamelle
|soprano solo, chorus and orchestra
|
|Symphony No. 2, Op. 54
|1882
|Heugel
|orchestra
|
|La Nuit de Walpurgis, Op. 60
|1887
|Julien Hamelle
|chorus and orchestra
|
|Fantaisie, Op. 62
|1889
|Auguste 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
|Éditions Alphonse 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
|}
|Сюита, «Апрель ертегісінен», Op. 64|
|1892|
|Heugel|
|оркестр|
French organist and composer (1844–1937)
Charles Marie Jean Albert Widor (21 February 1844 – 12 March 1937) was a French organist, composer and teacher of the late Romantic era. As a composer he is known for his ten organ symphonies, especially the toccata of his fifth organ symphony, which is frequently played as recessional music at weddings and other celebrations. The Sixth Symphony is also famous for its opening movement Allegro. 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. They also honored, respectively, the Gothic Church of St. Ouen, Rouen and the Romanesque Basilica of St. Sernin, Toulouse, with the new Cavaillé Coll organs installed in each. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most beloved pieces. Dating from this same period, and also based on a plainsong theme, is the "Salve Regina" movement, a late addition to the much earlier second symphony. Widor's best known piece for the organ is the final movement of his Symphony for Organ No. 5, a toccata, which is often played as a recessional at wedding ceremonies and at the close of the Christmas Midnight Mass at Saint Peter's Basilica, Vatican City. 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 Gigout, Boëllmann, Mulet, Vierne and Dupré. Widor was pleased with the worldwide 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, at St. Sulpice in his eighty ninth year; the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos. Over his long 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." |
|Symphonie pour orgue et orchestre, Op. 42
|1882
|repr. A R Editions
|organ and orchestra (arr. by Widor of movements from Op. 42)
|
|Chant séculaire, Op. 49
|1881
|Julien Hamelle
|soprano solo, chorus and orchestra
|
|Symphony No. 2, Op. 54
|1882
|Heugel
|orchestra
|
|La Nuit de Walpurgis, Op. 60
|1887
|Julien Hamelle
|chorus and orchestra
|
|Fantaisie, Op. 62
|1889
|Auguste 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
|Éditions Alphonse 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
|}
Charles Marie Jean Albert Widor (21 February 1844 – 12 March 1937) was a French organist, composer and teacher of the late Romantic era. As a composer he is known for his ten organ symphonies, especially the toccata of his fifth organ symphony, which is frequently played as recessional music at weddings and other celebrations. The Sixth Symphony is also famous for its opening movement Allegro. 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. They also honored, respectively, the Gothic Church of St. Ouen, Rouen and the Romanesque Basilica of St. Sernin, Toulouse, with the new Cavaillé Coll organs installed in each. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most beloved pieces. Dating from this same period, and also based on a plainsong theme, is the "Salve Regina" movement, a late addition to the much earlier second symphony. Widor's best known piece for the organ is the final movement of his Symphony for Organ No. 5, a toccata, which is often played as a recessional at wedding ceremonies and at the close of the Christmas Midnight Mass at Saint Peter's Basilica, Vatican City. 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 Gigout, Boëllmann, Mulet, Vierne and Dupré. Widor was pleased with the worldwide 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, at St. Sulpice in his eighty ninth year; the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos. Over his long 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." |
|Symphonie pour orgue et orchestre, Op. 42
|1882
|repr. A R Editions
|organ and orchestra (arr. by Widor of movements from Op. 42)
|
|Chant séculaire, Op. 49
|1881
|Julien Hamelle
|soprano solo, chorus and orchestra
|
|Symphony No. 2, Op. 54
|1882
|Heugel
|orchestra
|
|La Nuit de Walpurgis, Op. 60
|1887
|Julien Hamelle
|chorus and orchestra
|
|Fantaisie, Op. 62
|1889
|Auguste 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
|Éditions Alphonse 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
|}
|Симфония №3, Op. 69|
|1894|
|Schott|
|орган және оркестр|
French organist and composer (1844–1937)
Charles Marie Jean Albert Widor (21 February 1844 – 12 March 1937) was a French organist, composer and teacher of the late Romantic era. As a composer he is known for his ten organ symphonies, especially the toccata of his fifth organ symphony, which is frequently played as recessional music at weddings and other celebrations. The Sixth Symphony is also famous for its opening movement Allegro. 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. They also honored, respectively, the Gothic Church of St. Ouen, Rouen and the Romanesque Basilica of St. Sernin, Toulouse, with the new Cavaillé Coll organs installed in each. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most beloved pieces. Dating from this same period, and also based on a plainsong theme, is the "Salve Regina" movement, a late addition to the much earlier second symphony. Widor's best known piece for the organ is the final movement of his Symphony for Organ No. 5, a toccata, which is often played as a recessional at wedding ceremonies and at the close of the Christmas Midnight Mass at Saint Peter's Basilica, Vatican City. 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 Gigout, Boëllmann, Mulet, Vierne and Dupré. Widor was pleased with the worldwide 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, at St. Sulpice in his eighty ninth year; the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos. Over his long 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." |
|Symphonie pour orgue et orchestre, Op. 42
|1882
|repr. A R Editions
|organ and orchestra (arr. by Widor of movements from Op. 42)
|
|Chant séculaire, Op. 49
|1881
|Julien Hamelle
|soprano solo, chorus and orchestra
|
|Symphony No. 2, Op. 54
|1882
|Heugel
|orchestra
|
|La Nuit de Walpurgis, Op. 60
|1887
|Julien Hamelle
|chorus and orchestra
|
|Fantaisie, Op. 62
|1889
|Auguste 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
|Éditions Alphonse 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
|}
Charles Marie Jean Albert Widor (21 February 1844 – 12 March 1937) was a French organist, composer and teacher of the late Romantic era. As a composer he is known for his ten organ symphonies, especially the toccata of his fifth organ symphony, which is frequently played as recessional music at weddings and other celebrations. The Sixth Symphony is also famous for its opening movement Allegro. 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. They also honored, respectively, the Gothic Church of St. Ouen, Rouen and the Romanesque Basilica of St. Sernin, Toulouse, with the new Cavaillé Coll organs installed in each. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most beloved pieces. Dating from this same period, and also based on a plainsong theme, is the "Salve Regina" movement, a late addition to the much earlier second symphony. Widor's best known piece for the organ is the final movement of his Symphony for Organ No. 5, a toccata, which is often played as a recessional at wedding ceremonies and at the close of the Christmas Midnight Mass at Saint Peter's Basilica, Vatican City. 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 Gigout, Boëllmann, Mulet, Vierne and Dupré. Widor was pleased with the worldwide 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, at St. Sulpice in his eighty ninth year; the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos. Over his long 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." |
|Symphonie pour orgue et orchestre, Op. 42
|1882
|repr. A R Editions
|organ and orchestra (arr. by Widor of movements from Op. 42)
|
|Chant séculaire, Op. 49
|1881
|Julien Hamelle
|soprano solo, chorus and orchestra
|
|Symphony No. 2, Op. 54
|1882
|Heugel
|orchestra
|
|La Nuit de Walpurgis, Op. 60
|1887
|Julien Hamelle
|chorus and orchestra
|
|Fantaisie, Op. 62
|1889
|Auguste 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
|Éditions Alphonse 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
|}
|Хор және вариациялар, Op. 74|
|1900|
|Éditions Alphonse Leduc|
|арфа және оркестр|
French organist and composer (1844–1937)
Charles Marie Jean Albert Widor (21 February 1844 – 12 March 1937) was a French organist, composer and teacher of the late Romantic era. As a composer he is known for his ten organ symphonies, especially the toccata of his fifth organ symphony, which is frequently played as recessional music at weddings and other celebrations. The Sixth Symphony is also famous for its opening movement Allegro. 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. They also honored, respectively, the Gothic Church of St. Ouen, Rouen and the Romanesque Basilica of St. Sernin, Toulouse, with the new Cavaillé Coll organs installed in each. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most beloved pieces. Dating from this same period, and also based on a plainsong theme, is the "Salve Regina" movement, a late addition to the much earlier second symphony. Widor's best known piece for the organ is the final movement of his Symphony for Organ No. 5, a toccata, which is often played as a recessional at wedding ceremonies and at the close of the Christmas Midnight Mass at Saint Peter's Basilica, Vatican City. 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 Gigout, Boëllmann, Mulet, Vierne and Dupré. Widor was pleased with the worldwide 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, at St. Sulpice in his eighty ninth year; the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos. Over his long 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." |
|Symphonie pour orgue et orchestre, Op. 42
|1882
|repr. A R Editions
|organ and orchestra (arr. by Widor of movements from Op. 42)
|
|Chant séculaire, Op. 49
|1881
|Julien Hamelle
|soprano solo, chorus and orchestra
|
|Symphony No. 2, Op. 54
|1882
|Heugel
|orchestra
|
|La Nuit de Walpurgis, Op. 60
|1887
|Julien Hamelle
|chorus and orchestra
|
|Fantaisie, Op. 62
|1889
|Auguste 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
|Éditions Alphonse 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
|}
Charles Marie Jean Albert Widor (21 February 1844 – 12 March 1937) was a French organist, composer and teacher of the late Romantic era. As a composer he is known for his ten organ symphonies, especially the toccata of his fifth organ symphony, which is frequently played as recessional music at weddings and other celebrations. The Sixth Symphony is also famous for its opening movement Allegro. 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. They also honored, respectively, the Gothic Church of St. Ouen, Rouen and the Romanesque Basilica of St. Sernin, Toulouse, with the new Cavaillé Coll organs installed in each. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most beloved pieces. Dating from this same period, and also based on a plainsong theme, is the "Salve Regina" movement, a late addition to the much earlier second symphony. Widor's best known piece for the organ is the final movement of his Symphony for Organ No. 5, a toccata, which is often played as a recessional at wedding ceremonies and at the close of the Christmas Midnight Mass at Saint Peter's Basilica, Vatican City. 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 Gigout, Boëllmann, Mulet, Vierne and Dupré. Widor was pleased with the worldwide 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, at St. Sulpice in his eighty ninth year; the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos. Over his long 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." |
|Symphonie pour orgue et orchestre, Op. 42
|1882
|repr. A R Editions
|organ and orchestra (arr. by Widor of movements from Op. 42)
|
|Chant séculaire, Op. 49
|1881
|Julien Hamelle
|soprano solo, chorus and orchestra
|
|Symphony No. 2, Op. 54
|1882
|Heugel
|orchestra
|
|La Nuit de Walpurgis, Op. 60
|1887
|Julien Hamelle
|chorus and orchestra
|
|Fantaisie, Op. 62
|1889
|Auguste 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
|Éditions Alphonse 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
|}
|Фортепиано концерті №2, Op. 77|
|1906|
|Heugel|
|фортепиано және оркестр|
French organist and composer (1844–1937)
Charles Marie Jean Albert Widor (21 February 1844 – 12 March 1937) was a French organist, composer and teacher of the late Romantic era. As a composer he is known for his ten organ symphonies, especially the toccata of his fifth organ symphony, which is frequently played as recessional music at weddings and other celebrations. The Sixth Symphony is also famous for its opening movement Allegro. 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. They also honored, respectively, the Gothic Church of St. Ouen, Rouen and the Romanesque Basilica of St. Sernin, Toulouse, with the new Cavaillé Coll organs installed in each. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most beloved pieces. Dating from this same period, and also based on a plainsong theme, is the "Salve Regina" movement, a late addition to the much earlier second symphony. Widor's best known piece for the organ is the final movement of his Symphony for Organ No. 5, a toccata, which is often played as a recessional at wedding ceremonies and at the close of the Christmas Midnight Mass at Saint Peter's Basilica, Vatican City. 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 Gigout, Boëllmann, Mulet, Vierne and Dupré. Widor was pleased with the worldwide 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, at St. Sulpice in his eighty ninth year; the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos. Over his long 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." |
|Symphonie pour orgue et orchestre, Op. 42
|1882
|repr. A R Editions
|organ and orchestra (arr. by Widor of movements from Op. 42)
|
|Chant séculaire, Op. 49
|1881
|Julien Hamelle
|soprano solo, chorus and orchestra
|
|Symphony No. 2, Op. 54
|1882
|Heugel
|orchestra
|
|La Nuit de Walpurgis, Op. 60
|1887
|Julien Hamelle
|chorus and orchestra
|
|Fantaisie, Op. 62
|1889
|Auguste 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
|Éditions Alphonse 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
|}
Charles Marie Jean Albert Widor (21 February 1844 – 12 March 1937) was a French organist, composer and teacher of the late Romantic era. As a composer he is known for his ten organ symphonies, especially the toccata of his fifth organ symphony, which is frequently played as recessional music at weddings and other celebrations. The Sixth Symphony is also famous for its opening movement Allegro. 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. They also honored, respectively, the Gothic Church of St. Ouen, Rouen and the Romanesque Basilica of St. Sernin, Toulouse, with the new Cavaillé Coll organs installed in each. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most beloved pieces. Dating from this same period, and also based on a plainsong theme, is the "Salve Regina" movement, a late addition to the much earlier second symphony. Widor's best known piece for the organ is the final movement of his Symphony for Organ No. 5, a toccata, which is often played as a recessional at wedding ceremonies and at the close of the Christmas Midnight Mass at Saint Peter's Basilica, Vatican City. 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 Gigout, Boëllmann, Mulet, Vierne and Dupré. Widor was pleased with the worldwide 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, at St. Sulpice in his eighty ninth year; the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos. Over his long 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." |
|Symphonie pour orgue et orchestre, Op. 42
|1882
|repr. A R Editions
|organ and orchestra (arr. by Widor of movements from Op. 42)
|
|Chant séculaire, Op. 49
|1881
|Julien Hamelle
|soprano solo, chorus and orchestra
|
|Symphony No. 2, Op. 54
|1882
|Heugel
|orchestra
|
|La Nuit de Walpurgis, Op. 60
|1887
|Julien Hamelle
|chorus and orchestra
|
|Fantaisie, Op. 62
|1889
|Auguste 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
|Éditions Alphonse 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
|}
|Sinfonia sacra, Op. 81|
|1908|
|Otto Junne|
|орган және оркестр|
French organist and composer (1844–1937)
Charles Marie Jean Albert Widor (21 February 1844 – 12 March 1937) was a French organist, composer and teacher of the late Romantic era. As a composer he is known for his ten organ symphonies, especially the toccata of his fifth organ symphony, which is frequently played as recessional music at weddings and other celebrations. The Sixth Symphony is also famous for its opening movement Allegro. 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. They also honored, respectively, the Gothic Church of St. Ouen, Rouen and the Romanesque Basilica of St. Sernin, Toulouse, with the new Cavaillé Coll organs installed in each. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most beloved pieces. Dating from this same period, and also based on a plainsong theme, is the "Salve Regina" movement, a late addition to the much earlier second symphony. Widor's best known piece for the organ is the final movement of his Symphony for Organ No. 5, a toccata, which is often played as a recessional at wedding ceremonies and at the close of the Christmas Midnight Mass at Saint Peter's Basilica, Vatican City. 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 Gigout, Boëllmann, Mulet, Vierne and Dupré. Widor was pleased with the worldwide 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, at St. Sulpice in his eighty ninth year; the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos. Over his long 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." |
|Symphonie pour orgue et orchestre, Op. 42
|1882
|repr. A R Editions
|organ and orchestra (arr. by Widor of movements from Op. 42)
|
|Chant séculaire, Op. 49
|1881
|Julien Hamelle
|soprano solo, chorus and orchestra
|
|Symphony No. 2, Op. 54
|1882
|Heugel
|orchestra
|
|La Nuit de Walpurgis, Op. 60
|1887
|Julien Hamelle
|chorus and orchestra
|
|Fantaisie, Op. 62
|1889
|Auguste 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
|Éditions Alphonse 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
|}
Charles Marie Jean Albert Widor (21 February 1844 – 12 March 1937) was a French organist, composer and teacher of the late Romantic era. As a composer he is known for his ten organ symphonies, especially the toccata of his fifth organ symphony, which is frequently played as recessional music at weddings and other celebrations. The Sixth Symphony is also famous for its opening movement Allegro. 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. They also honored, respectively, the Gothic Church of St. Ouen, Rouen and the Romanesque Basilica of St. Sernin, Toulouse, with the new Cavaillé Coll organs installed in each. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most beloved pieces. Dating from this same period, and also based on a plainsong theme, is the "Salve Regina" movement, a late addition to the much earlier second symphony. Widor's best known piece for the organ is the final movement of his Symphony for Organ No. 5, a toccata, which is often played as a recessional at wedding ceremonies and at the close of the Christmas Midnight Mass at Saint Peter's Basilica, Vatican City. 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 Gigout, Boëllmann, Mulet, Vierne and Dupré. Widor was pleased with the worldwide 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, at St. Sulpice in his eighty ninth year; the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos. Over his long 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." |
|Symphonie pour orgue et orchestre, Op. 42
|1882
|repr. A R Editions
|organ and orchestra (arr. by Widor of movements from Op. 42)
|
|Chant séculaire, Op. 49
|1881
|Julien Hamelle
|soprano solo, chorus and orchestra
|
|Symphony No. 2, Op. 54
|1882
|Heugel
|orchestra
|
|La Nuit de Walpurgis, Op. 60
|1887
|Julien Hamelle
|chorus and orchestra
|
|Fantaisie, Op. 62
|1889
|Auguste 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
|Éditions Alphonse 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
|}
|Ежелгі симфония, Op. 83|
|1911|
|Heugel|
|солисттер, хор, орган және оркестр|
French organist and composer (1844–1937)
Charles Marie Jean Albert Widor (21 February 1844 – 12 March 1937) was a French organist, composer and teacher of the late Romantic era. As a composer he is known for his ten organ symphonies, especially the toccata of his fifth organ symphony, which is frequently played as recessional music at weddings and other celebrations. The Sixth Symphony is also famous for its opening movement Allegro. 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. They also honored, respectively, the Gothic Church of St. Ouen, Rouen and the Romanesque Basilica of St. Sernin, Toulouse, with the new Cavaillé Coll organs installed in each. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most beloved pieces. Dating from this same period, and also based on a plainsong theme, is the "Salve Regina" movement, a late addition to the much earlier second symphony. Widor's best known piece for the organ is the final movement of his Symphony for Organ No. 5, a toccata, which is often played as a recessional at wedding ceremonies and at the close of the Christmas Midnight Mass at Saint Peter's Basilica, Vatican City. 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 Gigout, Boëllmann, Mulet, Vierne and Dupré. Widor was pleased with the worldwide 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, at St. Sulpice in his eighty ninth year; the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos. Over his long 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." |
|Symphonie pour orgue et orchestre, Op. 42
|1882
|repr. A R Editions
|organ and orchestra (arr. by Widor of movements from Op. 42)
|
|Chant séculaire, Op. 49
|1881
|Julien Hamelle
|soprano solo, chorus and orchestra
|
|Symphony No. 2, Op. 54
|1882
|Heugel
|orchestra
|
|La Nuit de Walpurgis, Op. 60
|1887
|Julien Hamelle
|chorus and orchestra
|
|Fantaisie, Op. 62
|1889
|Auguste 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
|Éditions Alphonse 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
|}
Charles Marie Jean Albert Widor (21 February 1844 – 12 March 1937) was a French organist, composer and teacher of the late Romantic era. As a composer he is known for his ten organ symphonies, especially the toccata of his fifth organ symphony, which is frequently played as recessional music at weddings and other celebrations. The Sixth Symphony is also famous for its opening movement Allegro. 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. They also honored, respectively, the Gothic Church of St. Ouen, Rouen and the Romanesque Basilica of St. Sernin, Toulouse, with the new Cavaillé Coll organs installed in each. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most beloved pieces. Dating from this same period, and also based on a plainsong theme, is the "Salve Regina" movement, a late addition to the much earlier second symphony. Widor's best known piece for the organ is the final movement of his Symphony for Organ No. 5, a toccata, which is often played as a recessional at wedding ceremonies and at the close of the Christmas Midnight Mass at Saint Peter's Basilica, Vatican City. 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 Gigout, Boëllmann, Mulet, Vierne and Dupré. Widor was pleased with the worldwide 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, at St. Sulpice in his eighty ninth year; the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos. Over his long 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." |
|Symphonie pour orgue et orchestre, Op. 42
|1882
|repr. A R Editions
|organ and orchestra (arr. by Widor of movements from Op. 42)
|
|Chant séculaire, Op. 49
|1881
|Julien Hamelle
|soprano solo, chorus and orchestra
|
|Symphony No. 2, Op. 54
|1882
|Heugel
|orchestra
|
|La Nuit de Walpurgis, Op. 60
|1887
|Julien Hamelle
|chorus and orchestra
|
|Fantaisie, Op. 62
|1889
|Auguste 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
|Éditions Alphonse 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
|}
|Испандық увертюра|
|1897|
|Heugel|
|оркестр|
French organist and composer (1844–1937)
Charles Marie Jean Albert Widor (21 February 1844 – 12 March 1937) was a French organist, composer and teacher of the late Romantic era. As a composer he is known for his ten organ symphonies, especially the toccata of his fifth organ symphony, which is frequently played as recessional music at weddings and other celebrations. The Sixth Symphony is also famous for its opening movement Allegro. 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. They also honored, respectively, the Gothic Church of St. Ouen, Rouen and the Romanesque Basilica of St. Sernin, Toulouse, with the new Cavaillé Coll organs installed in each. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most beloved pieces. Dating from this same period, and also based on a plainsong theme, is the "Salve Regina" movement, a late addition to the much earlier second symphony. Widor's best known piece for the organ is the final movement of his Symphony for Organ No. 5, a toccata, which is often played as a recessional at wedding ceremonies and at the close of the Christmas Midnight Mass at Saint Peter's Basilica, Vatican City. 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 Gigout, Boëllmann, Mulet, Vierne and Dupré. Widor was pleased with the worldwide 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, at St. Sulpice in his eighty ninth year; the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos. Over his long 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." |
|Symphonie pour orgue et orchestre, Op. 42
|1882
|repr. A R Editions
|organ and orchestra (arr. by Widor of movements from Op. 42)
|
|Chant séculaire, Op. 49
|1881
|Julien Hamelle
|soprano solo, chorus and orchestra
|
|Symphony No. 2, Op. 54
|1882
|Heugel
|orchestra
|
|La Nuit de Walpurgis, Op. 60
|1887
|Julien Hamelle
|chorus and orchestra
|
|Fantaisie, Op. 62
|1889
|Auguste 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
|Éditions Alphonse 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
|}
Charles Marie Jean Albert Widor (21 February 1844 – 12 March 1937) was a French organist, composer and teacher of the late Romantic era. As a composer he is known for his ten organ symphonies, especially the toccata of his fifth organ symphony, which is frequently played as recessional music at weddings and other celebrations. The Sixth Symphony is also famous for its opening movement Allegro. 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. They also honored, respectively, the Gothic Church of St. Ouen, Rouen and the Romanesque Basilica of St. Sernin, Toulouse, with the new Cavaillé Coll organs installed in each. The second movement of the Symphonie Gothique, entitled "Andante sostenuto", is one of Widor's most beloved pieces. Dating from this same period, and also based on a plainsong theme, is the "Salve Regina" movement, a late addition to the much earlier second symphony. Widor's best known piece for the organ is the final movement of his Symphony for Organ No. 5, a toccata, which is often played as a recessional at wedding ceremonies and at the close of the Christmas Midnight Mass at Saint Peter's Basilica, Vatican City. 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 Gigout, Boëllmann, Mulet, Vierne and Dupré. Widor was pleased with the worldwide 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, at St. Sulpice in his eighty ninth year; the tempo used for the Toccata is quite slow. Isidor Philipp transcribed the Toccata for two pianos. Over his long 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." |
|Symphonie pour orgue et orchestre, Op. 42
|1882
|repr. A R Editions
|organ and orchestra (arr. by Widor of movements from Op. 42)
|
|Chant séculaire, Op. 49
|1881
|Julien Hamelle
|soprano solo, chorus and orchestra
|
|Symphony No. 2, Op. 54
|1882
|Heugel
|orchestra
|
|La Nuit de Walpurgis, Op. 60
|1887
|Julien Hamelle
|chorus and orchestra
|
|Fantaisie, Op. 62
|1889
|Auguste 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
|Éditions Alphonse 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
|}
Камера жұмысы
Құрастыру жылыБаспагерАспаптар6 дуэт, Op. 31867Regnier Canaux/Renaud/Pérégally & Parvy/Schottфортепиано және гармонияПианолық квинтет № 1, Op. 71868Жулиен ХамельфортепианоСеренаде, Op. 101870Жулиен Хамельфлейта, скрипка, виолончель, фортепиано және гармонияПиано трио, Op. 191875Жулиен Хамельфортепиано3 пьеса, Op. 211875Жулиен Хамельвиолончель және фортепианоСюита, Op. 341877; 1898Жулиен Хамель (1870) Heugel (1898)флейта және фортепианоРоманс, Op. 46????? ?скрипка және фортепианоСоната № 1, Op. 501881Жулиен Хамельскрипка және фортепианоСойрс д'Эльзас (4 дуэт), Op. 521881Жулиен Хамельскрипка, виолончель және фортепианоКаватина, Op. 571887Жулиен Хамельскрипка және фортепианоПиано квартеті, Op. 661891Auguste DurandфортепианоПианолық квинтет № 2, Op. 68 1894Auguste DurandфортепианоIntroduction et rondo, Op. 721898Éditions Alphonse Leducкларнет және фортепианоСюита, Op. 76 1903Жулиен Хамельскрипка және фортепианоСоната, Op. 791906Heugelскрипка және фортепианоСоната, Op. 801907Heugelвиолончель және фортепианоSalvum fac populum tuum, Op. 841916Heugel3 труба, 3 тромбон, барабан және орган4 пьеса1890?? ?скрипка, виолончель және фортепиано3 пьеса1891?? ?гобой және фортепианоСюита 1912?? ?виолончель және фортепианоСюита флорентина1920?? ?скрипка және фортепиано
(Salvum fac populum tuum Op. 84 «Құдай халқыңды сақта» деп те белгілі)
CompositionYearPublisherInstruments6 duos, Op. 31867Regnier Canaux/Renaud/Pérégally & Parvy/Schottpiano and harmoniumPiano Quintet No. 1, Op. 71868Julien HamellepianoSérénade, Op. 101870Julien Hamelleflute, violin, cello, piano and harmoniumPiano Trio, Op. 191875Julien Hamellepiano3 Pièces, Op. 211875Julien Hamellecello and pianoSuite, Op. 341877; 1898Julien Hamelle (1870) Heugel (1898)flute and pianoRomance, Op. 46????? ?violin and pianoSonate No. 1, Op. 501881Julien Hamelleviolin and pianoSoirs d'Alsace (4 Duos), Op. 521881Julien Hamelleviolin, cello and pianoCavatine, Op. 571887Julien Hamelleviolin and pianoPiano Quartet, Op. 661891Auguste DurandpianoPiano Quintet No. 2, Op. 68 1894Auguste DurandpianoIntroduction et rondo, Op. 721898Éditions Alphonse Leducclarinet and pianoSuite, Op. 76 1903Julien Hamelleviolin and pianoSonate, Op. 791906Heugelviolin and pianoSonate, Op. 801907Heugelcello and pianoSalvum fac populum tuum, Op. 841916Heugel3 trumpets, 3 trombones, drum and organ4 Pièces1890?? ?violin, cello and piano3 Pièces1891?? ?oboe and pianoSuite 1912?? ?cello and pianoSuite florentine1920?? ?violin and piano
(Salvum fac populum tuum Op. 84 is also known in english as "Lord, Save Thy People")
(Salvum fac populum tuum Op. 84 is also known in english as "Lord, Save Thy People")
Пианино солосы
КомпозицияЖылБаспагерОригиналдық тақырып бойынша концерттік вариациялар, Op. 11867ХьюгелСеренада, Op. 3 № 4 (Лейстнердің өңдеуі)?? ?Жулиан ХамельБалет әуендері, Op. 41868Жулиан ХамельШерцо-вальс, Op. 5 1868Жулиан ХамельЛа Барк (Италиялық фантазия), Op. 61877Огуст ДюранКорриколо (Италиялық фантазия), Op. 61877Огуст ДюранКаприс, Op. 91868Жулиан Хамель3 Вальс, Op. 11 1871Жулиан ХамельИмпромпту, Op. 121871Жулиан Хамель6 Салондық пьеса, Op. 151872Жулиан ХамельПрелюдия, анданте және финал, Op. 171874Жулиан ХамельБал сахналары, Op. 201875Жулиан Хамель6 Сипаттамалы вальс, Op. 261877Жулиан ХамельОригиналдық тақырып бойынша вариациялар, Op. 29 (Op. 1-дің қайта қарауы)1877Жулиан Хамель12 Альбом парақтары, Op. 311877Жулиан Хамель5 Вальс, Op. 33?? ?Жулиан ХамельОрманда, Op. 441880Жулиан ХамельЖақын беттер, Op. 481879Жулиан ХамельПольша сюитасы, Op. 511881Жулиан ХамельСюита, Op. 58 1887Жулиан ХамельКарнавал, 12 пьеса, Op. 611889Жулиан ХамельНоктюрн, «Сәуір ертегілерінен», Op. 64????? ?5 Вальс, Op. 711894Жулиан ХамельШотландиялық сюита, Op. 781905Жозеф УильямсКіріспе?? ?Жулиан ХамельИнтермеццо ? ? ?Жулиан Хамель
CompositionYearPublisherVariations de concert sur un thème original, Op. 11867HeugelSérénade, Op. 3 No. 4 (arr. Leistner)?? ?Julien HamelleAirs de ballet, Op. 41868Julien HamelleScherzo valse, Op. 5 1868Julien HamelleLa Barque (Fantaisie italienne), Op. 61877Auguste DurandLe Corricolo (Fantaisie italienne), Op. 61877Auguste DurandCaprice, Op. 91868Julien Hamelle3 Valses, Op. 11 1871Julien HamelleImpromptu, Op. 121871Julien Hamelle6 Morceaux de salon, Op. 151872Julien HamellePrélude, andante et final, Op. 171874Julien HamelleScènes de bal, Op. 201875Julien Hamelle6 Valses caractéristiques, Op. 261877Julien HamelleVariations sur un thème original, Op. 29 (revision of op. 1)1877Julien Hamelle12 Feuillets d'album, Op. 311877Julien Hamelle5 Valses, Op. 33?? ?Julien HamelleDans les bois, Op. 441880Julien HamellePages intimes, Op. 481879Julien HamelleSuite polonaise, Op. 511881Julien HamelleSuite, Op. 58 1887Julien HamelleCarnaval, 12 pièces, Op. 611889Julien HamelleNocturne, from Contes d'avril, Op. 64????? ?5 Valses, Op. 711894Julien HamelleSuite écossaise, Op. 781905Joseph WilliamsIntroduction?? ?Julien HamelleIntermezzo ? ? ?Julien Hamelle
Әндер мен хорлық шығармалар
Құрастыру жылыБаспагерАспаптарO Salutaris, Op. 81868Жулиен Хамель контральто немесе баритон, скрипка, виолончель және орган6 Мелодия, Op. 141872Жулиен Хамель дауыс және фортепианоTantum ergo, Op. 18 № 11874Жулиен Хамель баритон, хор және органRegina coeli, Op. 18 № 21874Жулиен Хамель баритон, хор және орган6 Мелодия, Op. 221875Жулиен Хамель дауыс және фортепианоQuam dilecta tabernacula tua, Op. 23 № 11876Жулиен Хамель баритон, хор және органTu es Petrus, Op. 23 № 21876Жулиен Хамель баритон, хор және органSurrexit a mortuis (Sacerdos et pontifex), Op. 23 № 31876Жулиен Хамель хор және органAve Maria, Op. 241877Жулиен Хамель меццо-сопрано, арфа және орган3 Хор, Op. 251876Жулиен Хамель SATB хор3 Мелодия, Op. 281876Жулиен Хамель дауыс және фортепиано2 Дуэт, Op. 301876Жулиен Хамель сопрано, контральто және фортепиано3 Итальяндық мелодия, Op. 321877Жулиен Хамель дауыс және фортепиано3 Итальяндық мелодия, Op. 351878Жулиен Хамель дауыс және фортепианоMesse, Op. 361878Жулиен Хамель баритон хор, SATB хор және екі орган6 Мелодия, Op. 371877Жулиен Хамель дауыс және фортепиано2 Дуэт, Op. 40 1876Жулиен Хамель сопрано, контральто және фортепиано6 Мелодия, Op. 431878Жулиен Хамель дауыс және фортепиано6 Мелодия, Op. 471879Жулиен Хамель дауыс және фортепиано6 Мелодия, Op. 531881Жулиен Хамель дауыс және фортепианоAve Maria, Op. 591884Жулиен Хамель дауыс, арфа және органO salutaris, Op. 63[bis]1889Жулиен Хамель дауыс, скрипка, виолончель және органSoirs d'été, Op. 631889Огюст Дюран дауыс және фортепианоEcce Joanna, Alleluia!?? ?Schola CantorumSATB хор және органПсалом 112 1879Жулиен Хамель баритон, хор, орган және оркестрChansons de mer, Op. 751902????? ?Da pacem1930Огюст Дюран SATB хор және орган немесе фортепианоNon credo1930Огюст Дюран дауыс және фортепиано
CompositionYearPublisherInstrumentsO Salutaris, Op. 81868Julien Hamellecontralto or baritone, violin, cello and organ6 Mélodies, Op. 141872Julien Hamellevoice and pianoTantum ergo, Op. 18 No. 11874Julien Hamellebaritone, chorus and organRegina coeli, Op. 18 No. 21874Julien Hamellebaritone, chorus and organ6 Mélodies, Op. 221875Julien Hamellevoice and pianoQuam dilecta tabernacula tua, Op. 23 No. 11876Julien Hamellebaritone, chorus and organTu es Petrus, Op. 23 No. 21876Julien Hamellebaritone, chorus and organSurrexit a mortuis (Sacerdos et pontifex), Op. 23 No. 31876Julien Hamellechorus and organAve Maria, Op. 241877Julien Hamellemezzo, harp and organ3 Choruses, Op. 251876Julien HamelleSATB choir3 Mélodies, Op. 281876Julien Hamellevoice and piano2 Duos, Op. 301876Julien Hamellesoprano, contralto and piano3 Mélodies italiennes, Op. 321877Julien Hamellevoice and piano3 Mélodies italiennes, Op. 351878Julien Hamellevoice and pianoMesse, Op. 361878Julien Hamellebaritone chorus, SATB chorus and two organs6 Mélodies, Op. 371877Julien Hamellevoice and piano2 Duos, Op. 40 1876Julien Hamellesoprano, contralto and piano6 Mélodies, Op. 431878Julien Hamellevoice and piano6 Mélodies, Op. 471879Julien Hamellevoice and piano6 Mélodies, Op. 531881Julien Hamellevoice and pianoAve Maria, Op. 591884Julien Hamellevoice, harp and organO salutaris, Op. 63[bis]1889Julien Hamellevoice, violin, cello and organSoirs d'été, Op. 631889Auguste Durandvoice and pianoEcce Joanna, Alleluia!?? ?Schola CantorumSATB choir and organPsalm 112 1879Julien Hamellebaritone, chorus, organ and orchestraChansons de mer, Op. 751902????? ?Da pacem1930Auguste DurandSATB choir and organ or pianoNon credo1930Auguste Durandvoice and piano
Сахналық музыка
КомпозицияЖылБаспагерСахнаМузыка түріLe Capitaine Loys 1878жарияланбаған комедиялық операLa Korrigane1880Julien HamelleбалетMaître Ambros, Op. 561886пианинолық нұсқасы HeugelопераConte d'avril, Op. 641885; 1891Heugelқосымша музыкаLes Pêcheurs de Saint Jean1895; 1904HeugelопераNerto 1924Heugelопера
CompositionYearPublisherStage Music TypeLe Capitaine Loys 1878unpublishedcomic operaLa Korrigane1880Julien HamelleballetMaître Ambros, Op. 561886piano reduction published by HeugeloperaConte d'avril, Op. 641885; 1891Heugelincidental musicLes Pêcheurs de Saint Jean1895; 1904HeugeloperaNerto 1924Heugelopera