Введение
Французский органист и композитор (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 февраля 1844 – 12 марта 1937) был французским органистом, композитором и педагогом позднего романтического периода. Как композитор он известен своими десятью органными симфониями, особенно токкатой из его пятой органной симфонии, которая часто исполняется как рецессиональная музыка на свадьбах и других торжествах. Шестая симфония также знаменита своим вступительным Allegro. Седьмая и восьмая симфонии – самые протяженные и редко исполняемые из симфоний Видора. Седьмая симфония состоит из шести частей, а первоначальная версия Восьмой симфонии – из семи. (Видор впоследствии исключил Прелюдию из издания 1901 года.) Девятая и десятая симфонии, соответственно названные «Готическая» (Op. 70, 1895) и «Романская» (Op. 73, 1900), гораздо более созерцательны. Обе они используют тематический материал из григорианского хорала: «Симфония Готика» использует интроит Рождественского дня «Puer natus est» в третьей и четвертой частях, а «Симфония Романская» включает пасхальный градиал «Haec dies», пронизывающий все четыре части. Они также отдают дань уважения готической церкви Сен-Уэн в Руане и романской базилике Сен-Сернен в Тулузе, в обеих из которых были установлены новые органы Кавайе-Коль. Вторая часть «Симфонии Готика», озаглавленная «Andante sostenuto», – одно из самых любимых произведений Видора. К этому же периоду и также основанное на григорианской мелодии относится движение «Salve Regina», позднее добавленное ко второй симфонии, написанной значительно раньше. Наиболее известное произведение Видора для органа – заключительная часть его Симфонии для органа № 5, токката, которую часто исполняют как рецессиональную на свадебных церемониях и в конце Рождественской полуночной мессы в соборе Святого Петра в Ватикане. Хотя Четвертая симфония также начинается с токкаты, она написана в совершенно ином (и более раннем) стиле. Токката из Симфонии № 5 – первая из токкат, характерных для французской романтической органной музыки, и послужила образцом для более поздних произведений Жигу, Бёльмана, Мюле, Виерна и Дюпре. Видор был доволен всемирной известностью, которую ему принесла эта единственная композиция, но его не устраивало, с какой скоростью многие другие органисты ее исполняли. Сам Видор всегда играл токкату довольно сдержанно. Многие органисты исполняют ее в очень быстром темпе, в то время как Видор предпочитал более контролируемую артикуляцию. Он записал это произведение в Сен-Сюльписе в свои восемьдесят девять лет; темп, использованный для токкаты, довольно медленный. Исидор Филипп переложил токкату для двух фортепиано. На протяжении своей долгой карьеры Видор неоднократно возвращался к редактированию своей ранней музыки, даже после публикации. Его биограф Джон Нир сообщает: «В конечном итоге было обнаружено, что за период примерно в шестьдесят лет было издано до восьми различных редакций некоторых симфоний».
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 для органа и оркестра, Op. 42 ‒ 1882 ‒ переизд. A R Editions
Орган и оркестр (аранжировка Видора движений из Op. 42)
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 ‒ Julien Hamelle
Соло сопрано, хор и 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
|}
La Nuit de Walpurgis, Op. 60 ‒ 1887 ‒ Julien Hamelle
Хор и 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
|}
Fantaisie, Op. 62 ‒ 1889 ‒ Auguste Durand
Фортепиано и 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
|}
Suite, из Conte d'avril, 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 и 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
|}
Choral et variations, Op. 74 ‒ 1900 ‒ Éditions Alphonse Leduc
Арфа и 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
|}
Piano Concerto No. 2, Op. 77 ‒ 1906 ‒ Heugel
Фортепиано и 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 и 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
|}
Symphonie antique, Op. 83 ‒ 1911 ‒ Heugel
Солисты, хор, орган и 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
|}
Ouverture espagnole ‒ 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
|}
Работа в палате
Сочинение Год Издатель Инструменты 6 дуэтов, Оп. 31867 Regnier Canaux/Renaud/Pérégally & Parvy/Schott фортепиано и гармониум
Пиано-квинтет № 1, Оп. 71868 Julien Hamelle фортепиано
Серенада, Оп. 101870 Julien Hamelle флейта, скрипка, виолончель, фортепиано и гармониум
Пиано-трио, Оп. 191875 Julien Hamelle фортепиано
3 пьесы, Оп. 211875 Julien Hamelle виолончель и фортепиано
Сюита, Оп. 341877; 1898 Julien Hamelle (1870) Heugel (1898) флейта и фортепиано
Романс, Оп. 46????? скрипка и фортепиано
Соната № 1, Оп. 501881 Julien Hamelle скрипка и фортепиано
Соиры Эльзаса (4 дуэта), Оп. 521881 Julien Hamelle скрипка, виолончель и фортепиано
Каватина, Оп. 571887 Julien Hamelle скрипка и фортепиано
Квартет для фортепиано, Оп. 661891 Auguste Durand фортепиано
Пиано-квинтет № 2, Оп. 68 1894 Auguste Durand фортепиано
Введение и рондо, Оп. 721898 Éditions Alphonse Leduc кларнет и фортепиано
Сюита, Оп. 76 1903 Julien Hamelle скрипка и фортепиано
Соната, Оп. 791906 Heugel скрипка и фортепиано
Соната, Оп. 801907 Heugel виолончель и фортепиано
Salvum fac populum tuum, Оп. 841916 Heugel 3 трубы, 3 тромбона, барабан и орган
4 пьесы1890?? скрипка, виолончель и фортепиано
3 пьесы1891?? гобой и фортепиано
Сюита 1912?? виолончель и фортепиано
Флорентийская сюита1920?? скрипка и фортепиано
(Salvum fac populum tuum Op. 84 также известна как "Господи, спаси народ Твой")
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")
Соло для фортепиано
СочинениеГодИздательВариации на концертную тему, Op. 111867HeugelСеренада, Op. 3 № 4 (аранжировка Лайтнера)Жюльен АмельВоздушные балеты, Op. 41868Жюльен АмельСкерцо-вальс, Op. 51868Жюльен Амель"Ла Барка" (Итальянская фантазия), Op. 61877Огюст Дюран"Корриколо" (Итальянская фантазия), Op. 61877Огюст ДюранКаприс, Op. 91868Жюльен Амель3 Вальса, Op. 111871Жюльен АмельИмпромпт, Op. 121871Жюльен Амель6 Салонных пьес, Op. 151872Жюльен АмельПрелюдия, анданте и финал, Op. 171874Жюльен АмельСцены из бальной жизни, Op. 201875Жюльен Амель6 Характерных вальсов, Op. 261877Жюльен АмельВариации на оригинальную тему, Op. 29 (ревизия Op. 1)1877Жюльен Амель12 Листов альбома, Op. 311877Жюльен Амель5 Вальсов, Op. 33Жюльен Амель"В лесу", Op. 441880Жюльен АмельИнтимные страницы, Op. 481879Жюльен АмельПольская сюита, Op. 511881Жюльен АмельСюита, Op. 581887Жюльен АмельКарнавал, 12 пьес, Op. 611889Жюльен АмельНоктюрн, из "Апрельских сказок", Op. 645 Вальсов, Op. 711894Жюльен АмельШотландская сюита, Op. 781905Джозеф УильямсВведениеЖюльен АмельИнтермеццо
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
Песни и хоровые произведения
СоставГодИздательИнструментыO Salutaris, Op. 81868Julien Hamelleконтральто или баритон, скрипка, виолончель и орган6 Мелодий, Op. 141872Julien Hamelleголос и фортепианоTantum ergo, Op. 18 № 11874Julien Hamelleбаритон, хор и органRegina coeli, Op. 18 № 21874Julien Hamelleбаритон, хор и орган6 Мелодий, Op. 221875Julien Hamelleголос и фортепианоQuam dilecta tabernacula tua, Op. 23 № 11876Julien Hamelleбаритон, хор и органTu es Petrus, Op. 23 № 21876Julien Hamelleбаритон, хор и органSurrexit a mortuis (Sacerdos et pontifex), Op. 23 № 31876Julien Hamelleхор и органAve Maria, Op. 241877Julien Hamelleмеццо-сопрано, арфа и орган3 Хора, Op. 251876Julien HamelleSATB хор3 Мелодий, Op. 281876Julien Hamelleголос и фортепиано2 Дуэта, Op. 301876Julien Hamelleсопрано, контральто и фортепиано3 Итальянские мелодии, Op. 321877Julien Hamelleголос и фортепиано3 Итальянские мелодии, Op. 351878Julien Hamelleголос и фортепианоMesse, Op. 361878Julien Hamelleбаритон, хор SATB и два органа6 Мелодий, Op. 371877Julien Hamelleголос и фортепиано2 Дуэта, Op. 40 1876Julien Hamelleсопрано, контральто и фортепиано6 Мелодий, Op. 431878Julien Hamelleголос и фортепиано6 Мелодий, Op. 471879Julien Hamelleголос и фортепиано6 Мелодий, Op. 531881Julien Hamelleголос и фортепианоAve Maria, Op. 591884Julien Hamelleголос, арфа и органO salutaris, Op. 63[bis]1889Julien Hamelleголос, скрипка, виолончель и органSoirs d'été, Op. 631889Auguste Durandголос и фортепианоEcce Joanna, Alleluia!?? ?Schola CantorumSATB хор и органPsalm 112 1879Julien Hamelleбаритон, хор, орган и оркестрChansons de mer, Op. 751902?????Da pacem1930Auguste DurandSATB хор и орган или фортепианоNon credo1930Auguste Durandголос и 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
Сценическая музыка
Сочинение Год Издатель Музыкальный тип
Капитан Лойс 1878 Неопубликованная комическая опера
Корриган 1880 Жюльен Хамель Балет
Мастер Амброс, Op. 56 1886 Фортепианная редакция, изданная Heugel опера
Conte d'avril, Op. 64 1885; 1891 Heugel музыка к спектаклю
Les Pêcheurs de Saint Jean 1895; 1904 Heugel опера
Nerto 1924 Heugel опера
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