‘The Word of Charles Male Wir Few have een the ovganists who have had such a profound inMuence as the French crgan masta of the ate nintcenth Century. This was the period im France when several young rss ere appointed 10 th famous churches of Pars: Ggott fo Saint Augustin (1863), Widor 10 Saint Sulpleo (1869), and Guilmant to La Tinie (871), The great Franck, Pater Seraphicus 2 be was known to his colleague, held forth t Sant Chote Widor vas bom in Lyons, Francs, February 21, 184, and bre he completed his goneral education. Asa young man fe Went 10 Briss, whee he became 2 pupil of Lemmens and et. I wae here that he lsmad the real elments ofthe Bach tradition in organ playing, upon which he built his own supersricture, which wis to py such an important part inthe evelopment of the Fench school. Returning from Brush, he became the succewor of his brother in an organ postion in Lyons His father, an Abaton of Hungarian descent, as onanit ff the church of St. Francois, Lyons, and his randlther inetalled organs in Akoe. By the time Widor had reached his fenteth birthday, his fone a spread 28 far 38 Pars and in 1867 he was enzige 2s organist at the age Cvallé-Coll orn. {in 1870 he was appointed eran 2S. Supe. As composer, org vicuoo, teacher oF innumerable fist cles) owansts viter, Weturer, elitr, advisor to French Iacans, leader in thoopht and’ Setetare Perpetual of the Academie dos Beaux Arts, which is one of the greatest honors conferred in Fran, Vidor contibutod mighty through the force of his great genus, is indomitable will and his high idsaen, (ne of the most popular men in France, be was revered by everyone fur his personally was pesively captivating and he Id ® wonderful sense of humor. Widor vas a man of deep spit raves, £008 frond in any gathering an inspiration to tho cago and serious student, aman to whom the whale organ ‘Tete no dost that Widar wat the mot distinguished con ofl aoe, 2m of cy, sin ese wi, im exaoniay snr ie Wh oe Lata yee ad ‘Gls sew Hit ht clean except or Good, ‘Situ, Dale, Mason oe ok wo es Hs tes at th wld ve tertile lng elpuce fen Anse Foc, OF s,s, "We nt te cal wen ne eh fur es aig to our ovn then of th ign and of esi) ‘hanno mh i ce eons” Wierd woe vg chr he wold pinto ‘be magi mas punted by Dei th Cpl of te ng dg be ec ofr tte, ie ead. din oe of hal ped ply meses of ‘be Mont So Would ay oer aoe, "Ys, es be vaste gd mi or yet Be seine the dite masa of ve Pa of epi che ad Nl evpd: ening, Vt, Dap, and Sho, He nd a ca nn et i nf el hel alg Be {nb prodgous enemy and. be fake was port, nme, bested geal to lslest option, dost ve tenga mime of colt. var Wor vin si “th modem on spsuy symp; 4 suet rue +e ges, hota eo that he plypene oa” The and ite att log or tS Se alg wih ast ‘hooped te wy forthe Fes Roma Sl. Te se, Senta or spony, 9 wel town and wed by the Cacia oe ro Wi? upton steal anes he ad spon Shin wich tarpon he le geo ea of he ‘tighten smo, may “Sa Abe” His othe ver denn om the fants Mails fy, ar “voto endian fh bln. “Sot Abo” he sit the wos oie xp compete acts een le ted, Cetin no compen for opus expe Bal ‘a ne hyn me Ws "Deon a Supe sd Wil’ eit sypbonis ate vo bomnd ap ah oh hr that th one cnt be ‘gms dened wtb! + Knowle of the ott ‘er Wider Rl who sd tat he pan ed see at St Sac we the i as te wets. Fhenh ats ano fr ng, cy, deo nd ‘nln and tht Pench msc sce 190 ha be oF pet mga ht ther ane dob. ace sas hd ral pn, ute of he par ss of th ech choo hte he dogo Pr expen forth aay Boman sins, distinc xs, ed meve ston od gra inc of et wee so eine reed inte gif CalleCol. The polos ieomet ch povided Bach wih imple no es tet of ie Fechs A n (pe af tet OL, oe wich oul pro an Tieng wind ply td ae shin, bo = ‘col oh» rope blo: of inbes an ety of Tone I) meds sth ar Runes, 4 profsond pet, vs et for the op, sary eas he ed Ite cold macinery oft ne nye we fr BS ad sii, Th ld og el ie of inert with fier uly wed sap, dha ede coping of mama, insole plbeare 3 sr vee ntoa sop, Stay ithe qty ad intensty of Dts and pss, fd ao expose etn ma pi. Thus De ea ten oe et aha ie edits Cail oho en! fom Lemme thts orn meds ctl tee of fot ss ad intra ast two mana of St tousands plead of 32 ae. Tena cme oP 0 phy # ea a Sint Vine de Paul (H52) and tot ths sy cont a we ConCl ie tse and ung pines wh bead teil the, P hs cane the ep of Setup, Note Dane, Sit Onde Rot, and son the ss Bo, Nir, ‘a, Fac, Gala) Ban fo wos mii fr ona, ‘hs aped's ympbnic sol of oni whi od ‘Cerail-Coll the onique vehicle fr their ar. The great organ of Sine Dei 4) by Caracal ws that ening of eno og ang ich conti unl the wa of TBTEADIS Car ht pet man eupdous, 50 ole, so ext poa his tk ent ry Samay fo ais stamens hee 80 Ua the expt sui ‘oud a im ul arnt. ‘Kiendoing tht ich cote the eseen of th chee ep of Raitt tb plo ee ono ened ean te fo thee ha hr Became ‘rin ee sg sel Che ses kt in iy Tino bt pedi stem and ec. (Gece led the cp by proving an teen vinden exer to inp the pons of the ‘Bnd ep Hi doped be Baer br wich pemited ral bow nce inky son pes, Nok lye crate pel psn, bat pial testy was ‘eine by ra impo deg ad wh hi came too of he hal or fst ie in Fae Pring he pn wth ew lng inthe form of reas and toes ‘ipl fo sie he a,b tbe te fom eanp> ‘iim ch ad bre a exten see Loud i ‘toe pln oor cot as piano ‘inc the dt ihr he to oie aso of foto het, A of is ade eran tes oh palyic lntumet fo the gps etd opts 0 nt ‘pede oth nov pe ofr. Thu Wide us as Fancy Ut by fr the ong of ‘conical Ftd ye dot a of ems whos ‘vee he our of he Fech cho of gn vin, ‘er amped te Fanci chght and eared the oc ‘symphony The spon posts pad ene, ch fom mu standin cane cpa ote Woks of Fak Inbued whan snc frm, thi ad ss, they pct ru en of oma ich tne, afte So nny yrs, fo si od interet Ta rt, Set sys domi, © moe wtch qu bot Gi ‘tuned abe sae msl wo Wor aun: as 3 i ce, gous seg wih op hogs impos Ween town 1861900, fh fi gt vere composed nan steal of een yx, ‘has syaphos, hl peu oe, a estab ‘Thy evel, ut ae i, ie, psn; al woes ‘hat compen ms att an nc, "The Bi our shoes wer wien in 1872, he ves atthe tok pe hc of Sui Tis pci fev whole grphons ead, cages an cage we tie wich ome tbo impoesen, moments We ed her aed, as cargo texte. Te thee vel of he fourth exh symphonies swe he bs of te pede conc wh Vie ier ‘aed oe gen i wea 0 hes pong re anoth, on santo prodig te cl, th oh, tld, pring ther ve. The fi, the gd lego a equly cuss on wo mot Ihe these ‘meal of Wot bas te abet of hs of Fak, hey til cary 4 commons ot pouty. They cn bo emenberd fo Oe resale stn wich noe of is (etimpomiey poses, He yas 2 nonunion Sito, who emyed ‘puss, pede of len, caging Insulting ne af wih ex chanter i Wo ih fhe pnd ms of ie sovententh cena ‘rr own en Wier toe te et, in Fane after Lens os the aciato or aa ene sce leaf Symp Tec of Symphane V), poi» fasevon of 0, cmp Yr aed donning th, ‘he ented sus mo by te comput on he Sit pop of spo pae the ny fr hand sth ‘Spon IEE, and tha i a rhe mae dst tnd mor mor veh deh syn in 1890. Ln ‘tse for gmpooss be pact exaust syle nd tepid psitsof he eqpn He the tured to cone ew idan terol ste Co spied ‘by te bey Cah ofS. ser 6 Rus, td he Ronan,oe emanates: alae 3 ta, Katine: sieges’ Dit Re betty NR eR values as inherent in Widor come to a climax and we have before Us masterpieces which will outlast any other organ compositions since Bach, “Taree petiods might readily be discemed in Widor’s ten symphonies. The first four were based toa large extent upon the foundations of the past. The second group Of four opens up a ‘whole world of new organ thought and, although a century has passed since thefe composition, nothing has since appeared which {eatens to eslipe them. The Gorhique and Romane form a {hid period in which the spiritual quality appeats on it highest phne. [A Brief Analysis ofthe Ten Symphonies ‘SYMPHONIB 1 ‘The Prelude begins in C minor with the introduction in the ‘dal, and then it is taken up bythe righthand. A second moti, ‘more Iyeical is cleverly developed unt it finally returns to the First theme, The Allegerto may well be considered 2 second ‘movement, somewhat enlarged, and ina Beethovenian manne. The Intermeszo iz in the fore of 4 perpetual movement, @ dialogue between the two hands, while the pedal supports or furries the theme. The Adagio begins with a chorale in 9/8, meditative, rch counterpoint combined with a mefodi lin of| ‘hstined beaity. The development ofthe recond thera enliven the principal parts of the different movements, proving 2 lovely effect. "The Marche Fontifieale begins with a short introduction of four measutes, @ sccond couplet in Ab Majo, followed by 2 refrain-rondo G relmains]-2 couplets). Meditation, 4 monothematie phrase with a barcarolle rhythm. Final, comes {nthe form ofa shythmically exciting fugue SYMPHONIE IL Preludium Circlare, 2 singlo thome is developed, in brief modolations. Pastore, the oviinal theme, In the barcarolle rhythm of 12/8, is fist statod on the oboe, then follows the fecond theme, and a development in the siythm of the orginal theme. Andente, with two themes, tho fist appearing in Bb Major, followed’ by a bridge passige, cartied through into @ restatement in G Major and then a decisive change Into D Major ‘The second theme is developed on avery characteristic rhythm cal fragment. ‘Then we have a return of the fst theme in the orm of a variation, with « conclusion of long arabesques in Bb Major. Widor made lle use of greyovan chant in his youth, but hee we find the Salve Regina plaiione, written in a versatile ‘counterpoint. After a Tong introduction in the ight hand, the theme appears in the Toft hand and follows through to the Adegio which begins in B minor. The theme, which we ear with Several vatiations, terminator in B Major. Piva, a bilsksllesz0 in| D' Major, coniains a mattial theme: which is preceded by an introduction, modulating, into D Major, B minor, B Major, G Major, and then into G minor. After poriod of tianstion, the ‘home & heard in Bb Major before resolving Into the tsumpinant DNajor. SYMPHONIE I Prelude in E minor, into two expositions of the same mot, however, separated by a clarinet solo, the ist of which i in C Major, then repeated in B Majer. Minietto, in casical form the theme of the minuet, in B minor, t followed by a tio in G Major, then, retuming a8 it begun, the first theme is woven into varlous exquisite modulations Tnshing in B Major. Marcie, in TPH Major, march step shythm, a second theme in Bb, is more restful. After 2 development which is constructed. onthe fragments of tho fist thome, it return inthe onginal P Major ey. Andantino, a single theme in 9/8, canon at the octave, Continues ntl the evanescent conclusion In A Major. Fina, begins with long Introduction in D minor, unfolds from stave ‘movement to s breathless dovelopment, gradually returns to the ‘pening rave mood, slowly emerges into a broad E Major SYMPHONIE IV TTocecta i the thythm of 8 match, begins with» quick dancing ‘Relative, similar t0 Buxtehude, Fugue, in F minor, is a classic ‘side Caracal fa a a Wi Ande oul, vy me home i usd ete Ab Mj, pte ech fin yx chit wl, ud witha tment in oe henge, nin ee gees. Sehr, Ce wh he it eta a a se in fhe oh cl ngewe te Bt fe oy, ee tering on sa las to hes fn fst Fj, ree ad yh int, buat wih he pean 0 et, lol Tam ip in yds regu eh an fieint ene Fa SMIRHONEY ‘Aer oy, te pil hexe peas tw tis ia Seta in Pi, sued ye co ee nF Dj ie thf of el, hn et in of ftw ko Ase Te otiin Bb je, hei in Mj, de esh 3B Mjr, ate 1 Tit am Fee dl cone ane of ds fem ih fit mo oe la loge wh fies er ral sed hee fl wi tandon, on Sexe nated Pe econ be ee fe it ee ih a Bs i nd gus ae, ‘Maradona mein AN snd hoi Ab ino, dete nit fn Co pee incom by tpt moat A Mas, te ist i be, fd ends Ab Neji Ai oper ih sa fds seer! on xe ne, Maj, sins odine bad a Db Wo. Toa cout o fn tee nF Majo, psi sc he i, 2 ‘il wos sex Mig, Be ee a mig, ae i ie tool ew tn ie ‘psu pel en in, ela ‘nC Pain nao eC vse pnp ten ef nse. Ae Men sj mate Ab abu Soe of fp eae Bi ray wt, scond in EM ten fe i nC: Conti theme Db Mare wih nap tnd ne tmp, ce a Do of, il jr extn ‘ie selbaon pega not, GMa tee ei, ‘onthe sped mG ir, ta ene GO repaein in. sixriowe va dot, ft ee las, cond in Dis, fist thse mp i i, dapat of sd ee, ‘he mp i Ein moda iz, 8 aj, EM, D mir, ©, ea ten i A aco 0 tomar i Ht then AN, cd A in, Feat fst ams Mor 20 wena Cn, Atte FE rn ep st eA, th tonne Analeyerintoucon i PE iw ie hein Fier, wo Ba, oan, {FS ice. Algo a oe Fp, fst hee i A in, Feet i Fn ae teed hee. deopa, Te i, condi i 8 jor Los, Hit he CE in sd tne dp nC Mj, tte in condi nC Mae le, ene & ar Sod i pl, epee ty spe, id ie in Cj, ‘es ene Db se ee fa eco his) Aes by mod lng estes, and ge of it ‘neta de aero SYNPKONE VL ‘Alea, octal, tne cm Br, theme to nF a, ne dept with notions, ‘et fe tng nln ri BN, eto ‘at, Chae na Ej, the vin Css, pat tf thane oe Ee. Ag he nf he), then on Bint, ene toe Fir che on B a, cman 0B Ar Vas, the am of + ‘hn, Dl, ees. lg, theme oe it jth too Ee eo een DN, tie isn eit emi F#No, cnn. Fe he one in Bi, thee to D Map, dope of thn cpa hee os, ec in B ie SYMTHONIE IX, THE GOTEIQUE ade, fis hen C mie, oad a Ma epson te i ane cnn nM Anat axe Sige tena Eb ir, ed exgstin inte pn BO Ar dg nih span Bb Ma, eas jr le, a of oe ane bea es ver to tho Pr ar ete a pda Made Por te peti ri Cj in allo ot kin, gus on tompte Bevo span and hs it ‘anes erent @ Mi, ane in mia pees ini hich ethene cae psd in Mae Fring BM ats Aj fit no sea in ji id Co, E, Mae Ma, enon Chi. SYMPHONE, THE ROMANE Ira, n 3b, ie ea een Beek 1 pe, than in bo, sa ot in Nj eat etl theme in hn el i, afar any etn cua in Play, Ch, pation hain Pio end moi Fe, dame 4 al, of fit hme pein Mae emt ih thn ening Fx, Glen i oti expe rn it, ond nos Gj, dept of fist mi, conde A i. detection, ie teen cr pooped et des hd, ‘ais of yn ese, se oy, usa in Doi. 1 sem a gh Vir edd fran ve it vl tang im ta en posh. Tevet ed in Ft aie oth is aia et Roe pis in fh to wo hie dee Vib apd,more secure; a magnificent symphonic force full of maturity. It |r precissly at this moment that we come to sco Widor in gat splendor. He has embraced ewo of the mest beautiful Gregorian Chants, tho Puer natus es ftom the Christmas iturgy, and the eee dies from the great drama of Ester. He had aot tured ‘ver a now tea as they say, but rather his writing reinforood tho language of the symphony in the two great monuments of his Lifework. The Hage dies thome, lowing as it does throughout the Romane symphony, was spoken of by Widor as an elegant arabesque, a song that Keeps repeating, like the song of bird. It comes like the spiit of youth, leading impetuously into an texpunsve rainbow, continuing to bulld up to a Tortisimo and finally resolving into an andante quasi adegio plane of rhythm, proud and confident. Like the Gothique, the Romane concindes fn comparative calmness, We are truly teansported into peaceful cstasy, a soul that has arived, ‘And so it was that Charles Marie Widor, Nestor of French ‘musi, ast sieiving pupil of Rossini, maser organist, composer of operas, symphonies and organ’ works, teacher of thee [enerations of French composers, dd in Pais 19 days after his 93rd birthday, tho 12 of March, 1937. Tho funeeal vas bold March 17, 1937 at 11:00 a.m. in St Sulpos. At Widors request ‘everything was conducted in as simple a way as possible, and it ‘was his express wish that plansong shoutd be sung a the mass. Dupré played Bach's 2 minor Prelude and Fugue before the mast, at the consecration the Andante cantabie Tram Wis Symphonie 1Y and during the procession to the erypt where the {rand maitre lies, his Symphonie Goohique ‘The recording of these symphonies comes as @ rather Herculean task, not only due to the fantastic tachnical skill roquted, but aso because few of Widor's most iustious students chose to promote their master’s talent. Rather, they sought every opportunity. to pass lightly over this great statesman of the French Romuntic School, The fen symphonics wore recordod in three sittings; symphonies ane tough six in one sitting, symphonies soven, mine and ton in the socond sitting, and the cihth last. PETER J. BASCH